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Author Topic: The Wilson/Paley Sessions  (Read 18298 times)
kreen
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« Reply #75 on: August 25, 2022, 08:31:34 AM »

Why didn't "Unleash The Love" go top-5 if it were a case of the calculations behind the album charts and the diehard fans coming out the first week to binge on buying the album? Obviously more than the diehard fan base bought TWGMTR, otherwise it would have hit the charts around 78 or something instead of number 3.



Mike Love solo doesn't have the same diehard fanbase as the Beach Boys with Brian Wilson.

The latest album by the Who opened at number 2 on the US Billboard 200 chart. McCartney III similarly opened at number 2. Rough and Rowdy Ways, by Bob Dylan, opened at number 2. Blue & Lonesome, an album of blues covers by the Rolling Stones, made it to number 4.

So all we're saying is that, when one hears "the album was in the top 5", it needs an asterisk where people are reminded that it doesn't mean the album resonated with the record-buying public, had commercial success or had songs that got into the public consciousness. It just means that the fanbase bought it, which in this day and age is enough to get a top-5 showing for one week if you're an old, established Sixties band.
 
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« Reply #76 on: August 25, 2022, 08:58:52 AM »

Why didn't "Unleash The Love" go top-5 if it were a case of the calculations behind the album charts and the diehard fans coming out the first week to binge on buying the album? Obviously more than the diehard fan base bought TWGMTR, otherwise it would have hit the charts around 78 or something instead of number 3.



Mike Love solo doesn't have the same diehard fanbase as the Beach Boys with Brian Wilson.

The latest album by the Who opened at number 2 on the US Billboard 200 chart. McCartney III similarly opened at number 2. Rough and Rowdy Ways, by Bob Dylan, opened at number 2. Blue & Lonesome, an album of blues covers by the Rolling Stones, made it to number 4.

So all we're saying is that, when one hears "the album was in the top 5", it needs an asterisk where people are reminded that it doesn't mean the album resonated with the record-buying public, had commercial success or had songs that got into the public consciousness. It just means that the fanbase bought it, which in this day and age is enough to get a top-5 showing for one week if you're an old, established Sixties band.
 

Quick poll: who here, when you're told that TWGMTR made it into the top-5 billboard in 2012, thinks that that chart position suddenly equates TWGMTR with the musical and commercial success of ANY classic Beach Boys record from the 60s?

Personally, I don't think it's worth needing to footnote every instance of when an album charts with how the culture/medium/chart-meaning changed in that instance of time just for the sake of knocking down TWGMTR a few pegs. I'm hopeful that other message boards aren't adopting such a ridiculous practice...can't imagine a Bob Dylan forum asterisking every mention of Dylan's recent #1 digital sales chart with "gUyS iT's IrReLeVaNt BeCaUsE lYkE a RoLlInG sToNe ChArTeD tWo In 65!!!"

I credit the overall fanbase for having more intelligence than a rock (thus being able to easily decipher that TWGMTR is clearly not on par with Pet Sounds), I wish others did as well.
« Last Edit: August 25, 2022, 09:00:06 AM by rab2591 » Logged

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« Reply #77 on: August 25, 2022, 09:09:00 AM »

Why didn't "Unleash The Love" go top-5 if it were a case of the calculations behind the album charts and the diehard fans coming out the first week to binge on buying the album? Obviously more than the diehard fan base bought TWGMTR, otherwise it would have hit the charts around 78 or something instead of number 3.



Mike Love solo doesn't have the same diehard fanbase as the Beach Boys with Brian Wilson.

The latest album by the Who opened at number 2 on the US Billboard 200 chart. McCartney III similarly opened at number 2. Rough and Rowdy Ways, by Bob Dylan, opened at number 2. Blue & Lonesome, an album of blues covers by the Rolling Stones, made it to number 4.

So all we're saying is that, when one hears "the album was in the top 5", it needs an asterisk where people are reminded that it doesn't mean the album resonated with the record-buying public, had commercial success or had songs that got into the public consciousness. It just means that the fanbase bought it, which in this day and age is enough to get a top-5 showing for one week if you're an old, established Sixties band.
 

I'll ask what kind of people would be happy if there were such an asterisk or disclaimer placed on the accomplishment of landing a top-5 album? It feels like an attempt to diminish the accomplishment itself, and I just don't understand the need to do that for some artists but not others. So in your opinion, only "legacy" artists or those who have been making music for 50 years or more should get the asterisk? Should one be applied to modern artists, or rap artists, or should the Beiber/Beyonce/Kanye/Post Malone "big earners" get one too considering that their fanbases also drive bigger sales in the first several weeks after a new release drops?

I totally disagree with the notion that any asterisk or disclaimer should be applied. If any artist is set to release a new album, their fanbase will naturally buy the album when it's released and the sales/chart numbers will reflect that. It shouldn't matter if the artist is in their 70's or in their 20's, in fact if an artist in their 70's has a loyal enough fanbase to generate a top-5 chart placement on a new album, it should be celebrated that they're able to appear on the charts next to the "young" artists.

I was going to suggest the whole idea smacks of ageism but I won't go further on that. A top-5 album is a top-5 album whether the artist is 75 or 20.
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« Reply #78 on: August 25, 2022, 09:38:03 AM »

I'm not sure how this rabbit hole was created regarding the "success" of the TWGMTR album.

I'm not a fan of like fence walking just for the sake of it, but really, the chart success of TWGMTR is all relative, and it was neither "meh, just the hardcore fans bought it", nor "This is a smash hit like they had in the 60s!"

In the huge, grand scheme of things when we look at the history of the modern music business and look at the entire career of the band, TWGMTR is not a HUGE smash hit.

But all things considered, considering *all* factors (not just modern industry trends, but also the latter-day history of *the band* itself), a Top 5 showing for the album in 2012 was *quite good*.

Again, some of the *many* factors working against the album even doing that well:

1. Less people buying music for "legacy artists", and certainly *liking* and sticking with that new music, and instead just seeing their shows (See: Paul McCartney). Even "longtime fans" often won't drop $15 on a new album, but will pay $80 for the overpriced hoodie at the concert.

2. The Beach Boys as an actual creative, living entity releasing new music being something that mostly stopped at 1980, and completely stopped at 1992.

3. The aforementioned scant number of "new" albums in the 80s and 90s being generally not that great, especially their then-most recent from 1992.

4. Not the best promotion (either in quantity or quality) from Capitol. I think had the album come out after the Universal merger, it may have been at least marginally better.

I could go on and on, but the point is that the 50th Anniversary reunion, on all fronts, went VERY WELL for about 9 months. The album could have been like an awful hodge podge of the worst aspects of "Summer in Paradise" and "Gettin' in Over My Head" rolled up together, but these guys, who hadn't been in the studio together in any long-term, meaningful way since 1980-something, pieced together a surprisingly "pretty good!" album.

All of this of course occurring in the midst of the world-renowned BRI brand of politics and dysfunction. Somehow they pulled off a solid album that dig "pretty good!" on the charts, and the tour was really even more substantially beyond all expectations. Good reviews, the guys all there nailing it. How many people here actually thought there was any chance any fan would even *suggest* a 2012 reunion tour might be their best shows since 1975?

The only thing that ever irked me about the TWGMTR chart performance is that Mike in later interviews minimized it, claiming it didn't stay on the charts long. Which A) Shows a gross lack of understanding of how modern sales and charts worked and B) Is, at least in the hypothetical, really hypocritical considering there's NO CHANCE he wouldn't have NEVER STOPPED TALKING about it if he had written another "Kokomo" in 2012 that hit #1 for like one week and then fell off the charts quickly.
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« Reply #79 on: August 25, 2022, 09:51:08 AM »




A top-5 album is a top-5 album whether the artist is 75 or 20.
[/quote]

Yes, but a top-5 album is not a top-5 album whether the year is 1970 versus 2012, and whether the album remains in the top 5 for 20 weeks or stays there for one week before dropping out of the top 200 altogether.

You say it's diminishing the accomplishment. I'm saying there is no accomplishment to diminish: it sold the minimal number it was always going to sell. They have a fanbase of about 20,000 people worldwide that will buy a new album in the first week. Millions more like their old music but will not buy or listen to any new album they put out.

It reminds me of the old spin Sony Music put on Michael Jackson's Blood on the Dance Floor album. "It's the best-selling remix album of all time". Some fans still use that factoid all these years later. Sounds good, until you remember remix albums are usually niche releases, which means of course a major MJ album promoted as a real new album will be the best-selling remix album of all time by default. Record stores still sent back unsold copies to Sony by the truckload.
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« Reply #80 on: August 25, 2022, 10:02:45 AM »

I'm losing brain cells reading this drivel. Honestly. How you can write that even after HeyJude spelled it out in crayon for anyone to understand is beyond me.
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« Reply #81 on: August 25, 2022, 10:05:10 AM »

In terms of sales, yes a Top 5 album in 2012 (or now) was/is not the same as the heyday of album sales decades ago. I suppose the sales of BB music *relative* to other artists at that time in 2012 could gauged as "pretty good!" considering there have been other eras where they sold far, far less than other acts at that same time (which I know is just a long-winded way of saying they charted poorly often  in the 70s/80s/90s, and didn't even hit the Top 200 with "Summer In Paradise" in 1992).

Is saying they hit the "Top 5" in 2012 more valuable while selling like 25K copies than it was back in a few decades ago when they could have moved 50K copies and not hit the Top 50? I guess that's debatable.

It's more of a curio/bit of trivia at this stage, but it was pretty tacky that they were literally selling "10 PACKS" of the album at the merch stand on 2012 tour (with an autographed copy as enticement) to goose sales numbers (especially since fewer were streaming/downloading new BB music in 2012), and even *more* tacky that Mike made it a bit during the shows to do a cheesy sales pitch about it.
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« Reply #82 on: August 25, 2022, 10:17:19 AM »

I'm losing brain cells reading this drivel. Honestly. How you can write that even after HeyJude spelled it out in crayon for anyone to understand is beyond me.

I think I have unravelled this mystery, at last, with the help of my dear Tom Hardy:

https://youtu.be/ThJcHjCI9j4
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« Reply #83 on: August 25, 2022, 11:37:14 AM »

LOL very true.
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« Reply #84 on: August 25, 2022, 12:15:23 PM »

I've been trying to find the data on how many copies of the CD were sold, but it seems to be harder to find than I imagined. I guess that would settle the debate as to whether a top-5 showing means anything.

To get back on topic, I became a fan of the BB in the early days of the Internet, when the "Paley Sessions" tended to be talked about as a kind of "Smile 2", another instance of BW coming up with great, quirky material that his know-nothing entourage and clueless record company suits thought wasn't "commercial" enough.

So I eagerly downloaded the whole thing, and, yeah... Some of it was fun, some of it was ok, but by and large, it wasn't as good as its reputation.
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« Reply #85 on: August 25, 2022, 12:24:15 PM »




A top-5 album is a top-5 album whether the artist is 75 or 20.

Yes, but a top-5 album is not a top-5 album whether the year is 1970 versus 2012, and whether the album remains in the top 5 for 20 weeks or stays there for one week before dropping out of the top 200 altogether.

You say it's diminishing the accomplishment. I'm saying there is no accomplishment to diminish: it sold the minimal number it was always going to sell. They have a fanbase of about 20,000 people worldwide that will buy a new album in the first week. Millions more like their old music but will not buy or listen to any new album they put out.

It reminds me of the old spin Sony Music put on Michael Jackson's Blood on the Dance Floor album. "It's the best-selling remix album of all time". Some fans still use that factoid all these years later. Sounds good, until you remember remix albums are usually niche releases, which means of course a major MJ album promoted as a real new album will be the best-selling remix album of all time by default. Record stores still sent back unsold copies to Sony by the truckload.
[/quote]


Well , sh*t then, guess we should abandon the charts entirely since theyíre worthless. Everyone instead gets a participation trophy.  ďOnlyĒ making it to #3 on the top 200Ö those poor imaginary non-existent other 197 artists ranked below them mustíve really been depressed that week.

If I win the lottery tomorrow, Iíll throw away the ticket because it means less, since less people are buying it vs a few weeks ago when the jackpot was several hundred million. Hell, so long to my right kidney; itís only functioning at a percentage of its smaller cousin. I have two kids, but might as well give my son up since the sex lasted longer when I conceived my daughter.*

* not really. I mean, I didnít have a stop watch set . Obviously that was a joke, but I could *never* pass up the opportunity to be sarcastic. Itís my civil duty.


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Wtf happened to the quote tree?
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« Reply #86 on: August 25, 2022, 12:30:23 PM »

Geez, I mean, a Top 5 showing isn't really ever "nothing", at least for a band that hadn't released an album in 20 years and whose last album didn't hit the Top 200.

It hit #3 on the Top 200 album chart with 61,000 units sold in the first week according to this article:

https://www.billboard.com/music/music-news/the-beach-boys-thats-why-god-made-the-radio-debuts-at-no-3-1093377/

I have little reason to doubt that sales tapered off from there. There are probably some old threads on this very board about it, and some additional sales data might be buried in there.

It did just squeak into the year-end Top 200 chart.

This is all I think a pretty clear case of landing on the positive/optimistic side of realistic expectations for an album at that time.

Looking back at old threads very briefly, they did try a few gimmicks to goose sales eventually on the album. There was the 10-pack at shows as I mentioned before, and in July they dropped the price of the MP3 album on Amazon to 99 cents for some period of time. It sounds like at that point albums under a certain price didn't count towards sales on the Billboard chart for the first four weeks, so I'm guessing this was done at Week 5.

In any event, the album did fine as essentially sort of a semi-ancillary product to the arguable main draw of the reunion, which was the live tour.
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« Reply #87 on: August 25, 2022, 12:52:01 PM »

It's also worth noting, as Wirestone alluded to awhile back, three months after the TWGMTR album was released, there was no band to support it.

That also means that, in many ways, there was no *need* for it to be a success at that point. Beyond a nice feather in the cap, or a nice stat for fans to feel good about, why did the album need to be successful by some measure? It would be to add to momentum for the band to do more things. More tours, more albums, more projects. Good reviews and good sales would help with those things.

But only 3-4 months after the album came out, they were all off on their own again, acrimoniously at that. There was nobody to represent the album, and the album represented a now-junked project/lineup.

If the band had stayed together, I have little doubt that they would have seen bigger shows and more touring in 2013, and I would imagine Capitol would have been happy to put out a follow-up studio album. Good press and momentum would have all tied it all together.

Instead, TWGMTR got literally the shortest, least substantive push by the band of any studio album they ever released.

They *actually* even could have continued to celebrate and push more singles and more reunion projects (there were *more than one* canceled reunion concert films/videos for instance) even after they split apart. But they all dropped the entire thing nearly like it never happened. Sure, Mike did "Isn't It Time" a a hand full of times with his band  (weird on multiple levels, but whatever), and Brian did  TWGMTR on a short solo 2013 mini-tour, and did a couple other songs from the "suite" one time at that Vegas 2014 gig for PBS.

It is indeed ironic that they did "Summer in Paradise" songs in concert for YEARS, but that wasn't because they were more relevant on the music scene in 1992. It was because there was a band there to do it, to represent that album.

I rememeber a fan reporting on a 1995 Beach Boys concert where someone yelled out at Mike to do "Orange Crate Art", and obviously Mike said they wouldn't be doing that one. I think you'd get the same reaction now if you shouted at him to do "From There to Back Again" or "The Private Life of Bill and Sue."
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« Reply #88 on: August 25, 2022, 12:59:51 PM »

I think that if anybody asked "From There to Back Again", Mike or even Bruce would have the offender ejected by the security.
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« Reply #89 on: August 25, 2022, 01:28:54 PM »

http://www.bellagio10452.com/sales.html

Info taken from the web. Reposted on bellagio. Data is ten years old now but it has sales figures you were asking about.
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« Reply #90 on: August 25, 2022, 02:30:39 PM »

http://www.bellagio10452.com/sales.html

Info taken from the web. Reposted on bellagio. Data is ten years old now but it has sales figures you were asking about.

Are those numbers shipped or sold-through? Some of those seem surprisingly low.
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« Reply #91 on: August 25, 2022, 02:41:20 PM »

It's also worth noting, as Wirestone alluded to awhile back, three months after the TWGMTR album was released, there was no band to support it.


It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

"Iíd like to do a whole show of new songs but thatís for the anoraks in the crowd, thatís for the deep fans. Most of the people who come and see me, who have paid good money, have brought their mums and dads, who have travelled a distanceÖ Iím not so sure they wanna hear the deep cuts. I think they want Beatles stuff mainly, Wings stuff, and maybe some of the new stuff. I force some of the new stuff on them. I know which ones people like because you can see it all light up, all the phones recordingÖ when you say you want to do a new one itís like a black hole!"
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« Reply #92 on: August 25, 2022, 02:55:00 PM »

It's also worth noting, as Wirestone alluded to awhile back, three months after the TWGMTR album was released, there was no band to support it.


It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

"Iíd like to do a whole show of new songs but thatís for the anoraks in the crowd, thatís for the deep fans. Most of the people who come and see me, who have paid good money, have brought their mums and dads, who have travelled a distanceÖ Iím not so sure they wanna hear the deep cuts. I think they want Beatles stuff mainly, Wings stuff, and maybe some of the new stuff. I force some of the new stuff on them. I know which ones people like because you can see it all light up, all the phones recordingÖ when you say you want to do a new one itís like a black hole!"

Where are you getting your statistics for this? Were there any demographic studies done of the concert goers that year?
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« Reply #93 on: August 25, 2022, 03:43:48 PM »

Quote
It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

Youíre missing the third, most important group of allÖ the new fans (mostly around college age) who were just getting into the band from TSSand were excited at the opportunity to see the reunited lineup for the first/only time. That was a HUGE part of it, especially since many of them went on to be musicians of note themselves, or make up a huge portion of the indie pop/indie rock journalism scene. Itís one of the big parts of the renaissance over the past decade, and for some reason (likely ageism) itís the segment of the fanbase the longer term fans dismiss, if not outright despise.  They were certainly there during  c50 , and not just at Bonnaroo (the fact that they even PLAYED there also spoke volumes). I think some of us even commented on that during the original c50 tour threads, how there was a surprising amount of 20 somethings in the crowds, and TWGMTR and especially Isnít It Time seemed to go over better with *them* than others. No, they werenít drawn in by the new songs, but they certainly didnít embarrass the BB like the newer output did in 1995, which was the last time The Beach Boys were starting to get indie cred and f***ed it up , hence the very subject of this thread.

Those people are parents now, or had small kids then. This is the generation watching Stranger things or doing YouTube videos doing in-depth analysis on why theyíre disappointed with the mastering of the new compilation.

Oh and McCartney had a good amount of exposure for his song ďNewĒ a year or so after . Yeah it was in a kids movie but still.
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« Reply #94 on: August 25, 2022, 03:51:27 PM »

It's also worth noting, as Wirestone alluded to awhile back, three months after the TWGMTR album was released, there was no band to support it.


It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

"Iíd like to do a whole show of new songs but thatís for the anoraks in the crowd, thatís for the deep fans. Most of the people who come and see me, who have paid good money, have brought their mums and dads, who have travelled a distanceÖ Iím not so sure they wanna hear the deep cuts. I think they want Beatles stuff mainly, Wings stuff, and maybe some of the new stuff. I force some of the new stuff on them. I know which ones people like because you can see it all light up, all the phones recordingÖ when you say you want to do a new one itís like a black hole!"

Where are you getting your statistics for this? Were there any demographic studies done of the concert goers that year?

I'm going by what Paul McCartney says about his own audience: I figure he knows what he's talking about.
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« Reply #95 on: August 25, 2022, 03:56:30 PM »

Quote
It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

Youíre missing the third, most important group of allÖ the new fans (mostly around college age) who were just getting into the band from TSSand were excited at the opportunity to see the reunited lineup for the first/only time.

Yes, that's the young, hipster, music-nerd crowd I was a part of myself 20 years ago, when I got into Smile. They show up at Brian Wilson concerts, read Pitchfork and some of them probably come here. I include them in the hardcore fanbase.
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« Reply #96 on: August 26, 2022, 02:44:34 AM »

It's also worth noting, as Wirestone alluded to awhile back, three months after the TWGMTR album was released, there was no band to support it.


It doesn't matter. There are two kinds of people who showed up to those BB reunion shows. Hardcore fans like all of us here who bought the record Day One. And casual  fans who don't care for any new music they release and only want to hear the hits. Even if the band had stayed together, there's no audience for new music from old acts beyond the hardcore fanbase. Paul McCartney, in a recent interview, talked about this :

"Iíd like to do a whole show of new songs but thatís for the anoraks in the crowd, thatís for the deep fans. Most of the people who come and see me, who have paid good money, have brought their mums and dads, who have travelled a distanceÖ Iím not so sure they wanna hear the deep cuts. I think they want Beatles stuff mainly, Wings stuff, and maybe some of the new stuff. I force some of the new stuff on them. I know which ones people like because you can see it all light up, all the phones recordingÖ when you say you want to do a new one itís like a black hole!"

Where are you getting your statistics for this? Were there any demographic studies done of the concert goers that year?

I'm going by what Paul McCartney says about his own audience: I figure he knows what he's talking about.

My point is that you and Lonely Summer are being very particular about what makes an album a successful album (it has to stay on the charts this many weeks to be successful apparently, one or more songs from the new album need to be called out to be played in concert for it to warrant a non-asterisk footnoting in forum posts, and because the album charted blank number of years after blank we need to ensure that people don't think the album is on the same pedestal as Pet Sounds, etc etc). So if you're going to be this particular about when and why we should compliment or not compliment an album then you should be just as particular in finding statistics or studies to back up your claims about a particular audience/album/etc.

This takes me back to my original point: no one is disagreeing that people would rather hear Little Deuce Coupe over anything from TWGMTR in concert. Of course songs that have been ruminating in the public conscious for 30, 50+ years are going to be more popular at concerts. This fact does not mean that TWGMTR isn't worthy of praise for it's chart showing in 2012. That, among other reasons which Hey Jude spelled it out in layman's terms above, which you completely ignored.

being in the top 5 of the Billboard album chart in 2012 doesn't mean much, aside from the symbolism of it. How many copies do you need to sell to get a top 5 record? 20,000? Almost any name band or artist from the Sixties -- Paul McCartney, Bob Dylan, the Beach Boys -- is guaranteed that many sales in the first week, especially since boomers are one of the last demographics to buy actual CDs.

They have a fanbase of about 20,000 people worldwide that will buy a new album in the first week. Millions more like their old music but will not buy or listen to any new album they put out.

So, according to you, 20,000 hardcore/non-casual fans bought the album the first week and that's what broke it into the top-5. And according to you, 20,000 people buying the albums the first week is an unimpressive non-achievement. But according to the above stats, that leaves roughly 180,000 sales to account for from casual fans (and possibly non-fans?). So is that other 180,000 also an unimpressive figure?

I really just don't get why people put this much effort into trying to knock a great send-off album. Again, this is like if Bob Dylan fans were complaining about his recent #1 with 'Murder Most Foul', it would be quite incredulous to witness.
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« Reply #97 on: August 26, 2022, 05:55:20 AM »

Also, since we're quoting Paul:

Egypt Station hit #1 and stayed on the charts for 8 weeks (compare that with TWGMTR hitting #3 and staying on the charts for 8 weeks), his response to Egypt Station's placement:

"'Oh, oh, wait a minute, hey guys.' I announce to everyone, 'We're number one.'

So that party that evening, that was special, because we had a real great reason to celebrate. Ö We danced the night away, baby."


So Paul McCartney found reason to celebrate his chart achievement (clearly if charting the first week isn't an achievement for these legacy artists, surely he knows there's no reason to celebrate?), yet, like you, I figure he knows what he's talking about.
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Bill Tobelman's SMiLE site

God mustíve smiled the day Brian Wilson was born!

"ragegasm" - /rāj ē ga-zəm/ : a logical mental response produced when your favorite band becomes remotely associated with the bro-country genre.

Ever want to hear some Beach Boys songs mashed up together like The Beatles' 'LOVE' album? Check out my mix!
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« Reply #98 on: August 26, 2022, 06:21:25 AM »

I'd also add that Weird Al Yankovic had the number one album on Billboard two years after TWGMTR, landing the top spot in 2014 and becoming the first comedy album since 1963 to achieve that position. I remember talking about that here when it happened. And when he was on a talk show just after it happened, the host presented him with a framed copy of the Billboard chart page, which made Al emotional and he actually teared up on the show. And that accomplishment of him having the #1 album made headlines all over the media.

So if we're putting asterisks on "legacy" artists scoring a number one, or top-10 or whatever album in the last 10-15 years, give one to Weird Al too. But I don't think he'll give a sh*t.

I'll repeat again what's been said numerous times, I just don't understand why such an accomplishment has to be parsed or given an asterisk or diminished in some way, especially if it seems to be based on who the artist is and how old they are rather than the merits of reaching that high on the charts.
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« Reply #99 on: August 26, 2022, 10:05:28 AM »

Also, since we're quoting Paul:

Egypt Station hit #1 and stayed on the charts for 8 weeks (compare that with TWGMTR hitting #3 and staying on the charts for 8 weeks), his response to Egypt Station's placement:

"'Oh, oh, wait a minute, hey guys.' I announce to everyone, 'We're number one.'

So that party that evening, that was special, because we had a real great reason to celebrate. Ö We danced the night away, baby."


So Paul McCartney found reason to celebrate his chart achievement (clearly if charting the first week isn't an achievement for these legacy artists, surely he knows there's no reason to celebrate?), yet, like you, I figure he knows what he's talking about.

I can't find the interview, but there's one where Paul McCartney relates how he was told his compilation "Pure McCartney" had made it to like number 10 in the charts. He goes, that's great, how many copies did we sell? His people tell him, like, "2,000". He goes, man, we used to sell that in an hour, not in a week.

Paul knew chart placement doesn't mean anything these days.

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