CSPC: Celine Dion Popularity Analysis

1 Fille & 4 Types (2003)
  • America
    • US – 30,000
    • Canada – 250,000
    • Argentina – N/A
    • Brazil – 15,000
    • Mexico – N/A
  • Asia
    • Japan – N/A
  • Oceania
    • Australia – N/A
    • New Zealand – N/A
  • Europe – 1,110,000
    • UK – N/A
    • France – 845,000
    • Germany – 25,000
    • Italy – 15,000
    • Spain – N/A
    • Sweden – 10,000
    • Netherland – 10,000
    • Switzerland – 50,000
    • Austria – 3,000
    • Finland – 17,000
  • World – 1,500,000

34 thoughts on “CSPC: Celine Dion Popularity Analysis”

  1. Wow! Fantastic! I would like to see a total equivalent albums comparison between Céline, Mariah and Whitney to see who’s #2, #3 and #4 in the female category!

  2. Thanks again for your great work.

    I have a few things to comment on though:

    1.) I think that you did not acknowledge the huge success that both Falling Into You and Let’s Talk About Love (+All The Way) achieved in Asia. Both albums, for example, exceed half a million copies in obscure markets like Taiwan (650k for FIY, 500k+ for LTAL). For the rest of Southeast Asia, we do have little information, but when that rare information is available – as for the Malaysian chart posted in the Billboard magazine – it shows that her albums were absolute top sellers to say the least and spent eternities in the Top 10 with very impressive chart runs that exceeded those of all other international artists. Furthermore there is even a Billboard article stating that “The Colour Of My Love” sold 1,5 million outside of Japan, and another one stating that Celine sold more than 7 million albums in that region prior to “All The Way”.

    I would be thankful if you posted your estimations for her non-Japanese Asian sales in the comment section. Thanks in advance.

    2.) I also think that were a little “harsh” on her Japanese sales, sometimes granting close to none import sales. You give 925k for Falling Into You, which is only 200k above it’s Oricon total and should represent import sales, catalog sales and sales when the album was off the Top 200. I do think that you are a little conservative here (the same for LTAL).

    3.) Moreover, i think that you did an overall great job on the US numbers with the exception of Let’s Talk About Love, which seems to be underestimated. You are basically posting its SoundScan total plus what it sold via BMG music club, not acknowledging further music clubs (Columbia House?) or the fact that SoundScan didn’t cover 100% of the market in 1997. It is interesting that you grant FIY 2 million on top of its SS-total, whereas only 1 million for LTAL. Can you clear this up, please?

    4.) Could you give us the breakdown for “All The Way”?

    Otherwise, I’m extremely thankful for her hard work, again!

    I’m already super excited for your article referring Mariah Carey! I hope that it is soon about to come!

    1. Hello Luminator!

      I’ll be adding more detailed information tonight when I have all my files available but here is a first batch of answers, hope this helps!

      1) Taiwan is a bit specific since the Titanic became by very far the biggest selling foreign album there, sending her catalog sales through the roof during the period. Still, Celine Dion was a very solid seller all over Asia, it is just that we tend to overestimate this continent market. Falling Into You was up to 1,213,000 units sold in the eight main Asian (minus Japan) markets by December 1996, when it had sold roughly 2/3 of its to date totals, meaning some 1,8 million copies by now. To consider the very low additional markets plus the Taiwanese boom, I granted it 2,1 million sales in Asia IIRC. In the same way, Let’s Talk About Love was up to 1,65 million in the Top 9 Asian markets minus Japan by April 1998, when it had sold 2/3 of its to date totals, including over 400,000 units in Taiwan. I granted it 2,5 million Asian sales. As for The Colour Of My Love, in the leading seven markets, it sold 406,000 units by Dec 1995, when it was up to 11 million units worldwide, once again 2/3 of its to date total. I still granted it 1,2 million sales in Asian sales minus Japan due to her delayed explosion there.

      2) Japanese sales of Celine Dion include a big trap: To Love You More. I carefully checked RIAJ certifications, her chart runs with sales that I have plus all shipment detailed data published for her albums and they all felt very much in line. I was first doubtful about the lack of a gap between Oricon figures and RIAJ/Shipment data before understanding the point – The Colour Of My Love and Falling Into You albums that sold in Japan were Japan-only releases, featuring To Love You More hit that wasn’t present on the rest of World track list. This is why certifications followed so well Oricon sales, because those albums weren’t imported at all. The real international version of The Colour Of My Love is the one that sold only 37,000 units while the one of Falling Into You wasn’t released at all in Japan. This latter went 4xP (800,000) in late 1998 when most of its sales were done already. It was never certified as a million seller although this was heavily reported. Let’s Talk About Love had little gaps between different data, which appears quite logical as the same version in Japan and elsewhere was released, thus creating a few imports although when an artist gets so big there, the album gets largely shipped locally which reduces the importance of imports.

      3) As mentioned in the article about Britney Spears, Club sales were not a % of retail sales. It is more complicated than that since they had distribution deals, exclusivity rules and everything. This is why for example, ‘Celine Dion’ sold more than 600,000 units on BMG, FIY/LTAL/ATW sold 1m-ish each, but The Colour Of My Love near nothing, because it was a Columbia House exclusive for long. As per RIAA certifications, it appears clear that FIY was big on both sides, TCOML on Columbia and CD/LTAL/ATW on BMG. Both ATW and These Are Special Times got updated in December 2005, while LTAL, from the same era – majors audit catalog titles per batch depending on the release date – wasn’t certified, meaning under 11 million. As per Soundscan, by 1999 when it was last certified the album had sold already 8,9 million of its 9,6 million to date sales. Club sales were done too by then as the release of ATW just when LTAL reached the 10 million certification killed its catalog appeal.

      4) Yes, I’ll be posting them tonight when I switch from computer 🙂

      You are most welcome!

      1. That was indeed very insightful. Thank you so much.

        I have one regard on the situation in Taiwan though:

        Her boom there didn’t come about with Titanic, but with her tour in early 1997: Please compare the chartrun of Falling Into You:

        Falling Into You (#1(15)/40w)
        (11/08/1996): 8-8-6-8-7-5-6-5-6-4-6-6-7-6

        (Re 24/11/1996): 10
        (Re 26/01/1997): 4-*1*-1-1-1-1-1-1-1-1-1-1-1-1-1-1-4-5-6-7-7-9
        (Re 20/07/1997): 8-8-8

        The album had sold 176,800 (3xP= 150.000) as of December 1996 and then it exploded in early 1997 and sold up to 633,518 (12xP= 600.000) until November 1997.

        I asked myself if this explosion was exclusive to Taiwan or whether it also affected other Asian markets that she toured in 1997. If so, one would have to adjust the estimation for Asia for FIY significantly.

        What do you think?

        1. Hi again!

          Sales of LTAL make it rather clear that it was limited to Taiwan. If by Dec 96 sales of FIY in Taiwan were on par with other big Asian countries and even quite lower than in Korea, by April 98 LTAL was closing in 450k in Taiwan while being around 200k in all other notable Asian countries, illustrating how specific of a case it was.

          During the Titanic era she was just out of this world there, with LTAL and the Soundtrack combining for 1,5 million in the country!

          The FIY tour only went in Japan for a stretch of dates and then one in Korea, none in Taiwan. In Japan itself the album climbed back to #27 only thanks to those dates. If we refer to FIY early 97 sales in Taiwan, I would expect the usage of one of her songs in a popular TV show or a covered from a famous local act.

    2. Hi again,

      Here comes the breakdown of All The Way!

      America
      – US – 9,300,000
      – Canada – 1,400,000
      – Argentina – 120,000
      – Brazil – 525,000
      Asia
      – Japan – 2,100,000
      Oceania
      – Australia – 325,000
      – New Zealand – 100,000
      Europe – 5,980,000
      – UK – 1,350,000
      – France – 775,000
      – Germany – 1,250,000
      – Italy – 400,000
      – Spain – 275,000
      – Sweden – 200,000
      – Netherland – 250,000
      – Switzerland – 200,000
      – Austria – 100,000
      – Finland – 56,000
      World – 22,900,000

  3. Hello MJD!
    Such a great work for only one artist, it is a colossal job to study all the big selling artists, especially the oldest!

    1. Did Céline was the biggest act in the 90’s? Her sales were incredible!

    2. I think that there is a typo in page 15: it is written that French sales for “Dion Chante Plamondon” are 145k, and 645k for UK. I think it is the opposite?
    If I am right, maybe European and worlwide total are wrong.

    3. I know approximately how you estimate album sales (using certifications, soundscan, other reliable sources…). Is it the same way for physical singles? Or is it posible to calculate sales knowing the chartrun?

    4. Where do you find global Digital single sales? Or how do you calculate it?

    5. Are the Streaming numbers easy to have on Spotify?

    6. If I can help you in one way or another to complete your site, please do not hesitate to ask me.

    That is lot of questions, but I would understand how you work.
    Tony

    1. Hi Tony!

      1) If I have to answer within’ three letters, I would say yes.

      2) Thanks for noticing, it is now fixed! The 145k figure relates to nothing, it is an uncleared copy/paste. The 645k figure is indeed sales of the album in France!

      3) Yes. Unlike albums, singles sell the huge majority of their copies during the chart run, in a wake-like format, which make it rather easy to calculate using cleverly put formulas. I do use such calculations extensively for single sales in countries like France or Germany.

      4) It really depends on the artist available data. In the case of an act that sold mostly catalog material, it isn’t very difficult. We got US Soundscan sales for most Celine Dion songs in 2010. If one adds all downloads done in the US since it exists, the end of 2010 is the midway point. In concrete words, an old song at 500k in 2010 is roughly around 1 million by now. For singles with missing information and for worldwide estimates, on top of available data I use calculations based on Streaming figures. The target is to identify artist totals (for example Celine Dion sold 956k download singles in the US in 2011) and then spread them as per Streaming distribution. When a song appears way bigger in Streaming platform than US Soundscan sales, I weight it accordingly elsewhere, here it is the case of Think Twice that sold very low numbers in the US but got estimated among her biggest catalog hits elsewhere due to its Streaming results.

      5) Yes! They are all available, you only need to go to their website, search for a song and mouse over at the end of the song line where there is some popularity bars. It takes several hours to write down all the data into Excel for such an extensive discography as this one yet.

      6) Thanks! You can keep watching how it works and ask me some insights through the site Twitter or Facebook pages. If you still interested afterwards you may contribute in the future 🙂

      1. Thank you very much for all these answers it is very appreciated!

        I am not an expert to analyse data, so my contribution to make a CSPC analysis by myself is, for the moment, not conceivable…
        But I can help in another way. For example, you could tell me each artist you want to study, and then I send you all the streaming data (album, track, total stream). It is not a lot of thing but it is easy to do and can “save your time” for the real analysis.

        Tony

        1. That’s very nice from you to be ready to provide some of your time to contribute! You haven’t set an email here, but feel free to send me a PM on Facebook / Twitter that we can discuss and that I can send you the templates I use to fullfil! 🙂

  4. fantastic job. a bit surprised you downgraded both her 2 big albums to below 30 million, and you didn’t add the sales generated by MHWGO from the OST to her sales. even though you give your reasons for it, i think they needed to be credited to her as it is her vocals on. if you were to do so, how many millions would be added to her sales?

    1. Hi Pat!

      Of course she performs vocals of the single, but she still contributes to only 1 song out of 15. In everything, there is always two ways to look at things – the technical way and the functional way.

      Technically, Celine Dion is clearly not the author of the Soundtrack, so that must be excluded. The debate is in the functional way, as one may feel she contributed a lot to it. The real question yet isn’t how many sales MHWGO generated for the Soundtrack, but how many copies LTAL / Titanic would have sold without the smash of the movie. Just imagine a second the movie would have bombed. The single would have been successful but way, way less as its exposure would have been much lower. As Streaming figures suggest, LTAL would have most likely ended as a lower seller than FIY – likely in the 18-20 million range. On its side, the Titanic Soundtrack would have sold in the 5-6 million range at most, almost exclusively thanks to Celine Dion on that case. Then, you would have 25-ish millions attributed to her.
      Thanks the movie smash, LTAL already sold way more than it would have done, All The Way gained many millions too, so did her catalog in 1998 with very healthy sales for all her English albums everywhere. Ultimately, in a functional point of view, if we really want to attribute merits to Celine Dion against Titanic, she would most likely end losing a few million of sales rather than gaining some.

      In the same way that no sales from Eminem or David Guetta albums have ever been granted to Rihanna (Titanium, Love The Way You Lie etc.), there is no reason to grant sales of a James Horner album to Celine Dion.

      A small word about FIY/LTAL ending under 30 million, I always spend a lot of time examining available information, searching for more and then creating it when there is none and that I can do it in a mathematically valid way. After that work, I barely let Excel add for all figures. I was myself surprised to see both albums under that mark, but I never change the detailed data to adjust as I would wish / believe the total to be. Just like a poker player truly focus on playing each hand in an optimized way, I study all information the best I can, the total then just get determined by itself.

      1. very interesting analysis. so basically for madonna in evita, who’s that girl, and i’m breathless or whitney in the bodyguard, preacher’s wife and waiting to exhale, they get all the album sales even if not all songs are theirs, but because they were the main reason behind the album selling basically (and they starred in the movie).
        can’t wait for mariah and whitney as well as barbra and see how much these 3 epic artists have sold as well. and i can’t wait for MJ, Beatles, Elvis and all the artists that have CSPC sales of an album that is more than 40 million. This just gives so much perspective into how big an album is or an era for an artist. celine has had i would assume the biggest era (consecutive albums) of any female artist ever.

      2. Note: please read my post slowly cos I’m not mad. 🙂

        A soundtrack album is a soundtrack album. People buy it because they love the movie. Whitney never sold more than 30 million copies for one album. And same with Madonna’s Evita, why credit the album sales to them when the album was made for the movie and not for them, which explains why not all of the tracks in the soundtrack album are theirs?

        Second, do you think the Titanic soundtrack album will sell more than 30 million copies if “MHWGO” wasn’t in it but was just in Celine Dion’s “Let’s Talk About Love” album? Do you think a lot of people will buy a Titanic soundtrack album with just all instruments and no song? And one more thing, it was only “MHWGO” that went to the music charts worldwide and not the other tracks in the Titanic soundtrack.

        So my take is, if they have credited The Bodyguard album to Whitney, the Evita soundtrack to Madonna, then they should also credit the Titanic soundtrack to Celine Dion. If they don’t credit the Titanic soundtrack album sales to Celine, then they should not as well to Whitney and Madonna’s. ( or any other soundtrack albums)

        If that isn’t fair, then the sales of the soundtrack album should be divided (by ratio) to the artists involved, not just Whitney nor Madonna, because it wasn’t just them who recorded songs.

        Luckily for Titanic album, only Celine’s track had her voice singing. So she gets all the credit.

        My take.

        1. Hello RLAAMJR!

          I’m sorry but I have to deeply disagree on everything you post as you are clever mixing very different things.

          When Random Access Memories sells well, nobody claim sales should be attributed to Pharrell Williams, because it is a Daft Punk project. There is no Daft Punk vocals, but Get Lucky was their song just like the album is their album. In the same way, when Crisis sells a lot of copies in 1983, sales go to Mike Oldfield, since it was his project, his album, that Maggie Reilly sings vocals on Moonlight Shadow doesn’t provide her album sales. Bodyguard Soundtrack was a Whitney Houston project. Who’s That Girl was a Madonna project. Titanic was a James Horner project. This is the huge difference. It was at 100% James Horner project, the movie team selected him as a composer and as a successful composer he was free to do whatever he wanted. He elected to put mostly instrumentals, he elected to do a proper single with vocals, he elected Celine Dion to sing on it. He would have elected Mariah Carey or Whitney Houston to perform it, the song would have been utterly massive as well. Celine Dion was just a guest on Titanic Soundtrack, just like Maggie Reilly on Crisis, just like Pharrell Williams on Random Access Memories. She is already incredibly lucky to gain a lot of album sales thanks to the song being on LTAL, the norm would have been that she got none except for later compilations.

          As for non-Madonna / Whitney songs on their respective Soundtracks, Prince often added songs from random artists to his last albums, do you consider some sales of them must be removed from Prince total? Of course not, they are his albums, his projects. When people bought Bodyguard or Who’s That Girl, they were purchasing a Whitney Houston / Madonna album, no purchaser of Titanic OST ever expected a Celine Dion album. Vocals is just a small part of a song, let alone of an album. What matters is not who has vocals or not on a song – elseway why don’t you add to every artist who does a featuring sales of an album that is not from him? – what matters is who is responsible of the album, who’s the owner of the project, and the responsible / owner of Titanic OST is James Horner.

          1. Now that you are writing about equivalent album sales, you can’t ignore that “My Heart Will Go On” sold 30 million copies on the Titanic soundtracks. The soundtrack was promoted by “My Heart Will Go On”. It was the only track you heard on the radio, that won awards, that was performed on TV. The same for Beauty And The Beast, Sleepless in Seattle, Up Close And Personal and many other soundtracks.

            Also, you can’t ignore the VH1 Divas 1998, VH1 Divas 2002 or albums like God Bless America or America: A Tribute To Heros.

            You are doing an incomplete work if you ignore equivalent track/album sales from soundtracks or compilations (like God Bless America, America: A Tribute To Heros and the Now series).

          2. Hello Bjs,

            We speak about equivalent album sales of the artist, not equivalent album sales of albums from others. Rather than getting into arguments, I’ll just ask you two questions that will point out how wrong your logic is.

            1) Do you think Eminem, Jay-Z, Kanye West, Drake, David Guetta, T.I., Maroon 5, Shakira, Nicki Minaj or Calvin Harris album sales must be added to Rihanna results?
            2) Do you think a few million sales from Let’s Talk About Love must be removed from Celine Dion and attributed to Barbra Streisand and the Bee Gees? Or half D’Eux sales being assigned to Jean-Jacques Goldman?

          3. Think about “Tell Him”. What do you do with the single sales and the streams? Don’t you count it for Celine’s and Barbra’s total?

            Let’s say the single sold 1,5 million. You add 1,5 million to Celine Dion and 1,5 million to Barbra Streisand right? You don’t count 0,75m for Celine and 0,75m for Barbra.

            Over 100 million tracks of “My Heart Will Go On” were sold wordwide and you just ignore 30 million from the Titanic soundtracks.

            Look at Celine’s top 25 songs on itunes: https://itunes.apple.com/us/artist/celine-dion/id63729
            You have The Prayer at #2 (track from the Andrea Bocelli album) and #6 (track from the single). You have “My Heart Will Go On” with 5 versions (Let’s Talk About Love, My Love and 3 Titanic Soundtracks). You have “Because You Loved Me” at #6 (All The Way) and #9 (a compilation not from Celine).

            I can buy and stream Tell Him from a Celine album or from a Barbra Streisand album.

            If i want Celine’s “God Bless America” i can buy the compilation or the digital single. If i buy the digital single you count it, if i buy the album you ignore it. What is the logic?

          4. Hi Bjs,

            Once again you are completely missing the credits concept. The logic is quite simple, Tell Him is a song by Barbra and Celine, so it’s normal they both get its sales. Let’s Talk About Love is NOT a Barbra album, so it’s normal she gets 0 sale from it. When people went pick LTAL, they went to buy a Celine album, not a Barbra album. In the same way, God Bless America is a Celine song, so it’s normal to assign her it’s sales. A various artists compilation containing it is NOT a Celine album, so it’s normal she gets 0 sale from it.

            The point is not to multiply all sales of all records into all persons who ever participated into it (I see that you voluntarily left out the question about Rihanna), the point is to judge the popularity of an artist catalog and for that, we matter about how many records the catalog of the artist moved. MHWGO is part of Celine catalog, Titanic OST isn’t.

          5. MJD’s reasoning makes sense.

            as for the 100 million MHWGO tracks sold on multiple releases, it becomes unimaginable work and illogical to attribute the sales that did not come from her single or LTAL album. imagine doing that for every artist, it would take a few months to analyze each artist and see all the albums they are featured on lol.

      3. As for your post”Just imagine a second the movie would have bombed”, what about Avatar? but I See You is not even a hit, or gone with the wind, which song isbits theme song? And in the Billboard Music Awards ceremey of 1997, they award Album of Year for the soundtrack to celine

  5. Hello MJD congratulations again for the website, yesterday I complimented with Hernàn, you are fantastic, it’s nice to see that analyzed in detail so many artists, yesterday I suggested in my earlier comments many artists and groups that you could analyze, now I’d love to know CSPC analysis of groups like the Beatles, Pink Floyd, Rolling Stones, Queen, Eagles, AC/DC and Aerosmith.
    I hope you will answer me soon !!

    1. Hi Anthony,

      Thanks for your nice words! I have read your messages on Hernàn article, definitely an extensive list hehe. I’m myself interested in all those artists and while that will require a lot of time, we will be doing our best to cover all of them!

  6. thanks to you dear MJD, are curious about the CSPC analysis of all the artists that I mentioned to you and Hernan in yesterday’s messages, but I would be happy if next week you could analyze the solo career of Paul McCartney and The Beatles (the Fab Four). I’d be very grateful !!!

  7. One more tiny question:

    Hasn’t her live-album “Live A Paris” been officially certified 2xPlatinum in Europe (IFPI European Platinum Awards) for shipments of 2 million?

    I was a little confused when I saw your worldwide figure of only 1,8 million?

    The same should apply to “A L’Olympia”, which is also certified 1xPlatinum for European shipments of 1 million, but you still give a figure of only 800,000 ww.

    Thanks as always!
    Your Luminator!

    1. Hello Luminator!

      As you can imagine I’m fully aware of those awards. Both of those awards, especially by the time they were attributed, are completely impossible to validate as per official data from European countries.

      It is unclear as to why Sony Music went after those awards, if they included a free album on tour tickets or if they added various exports and music video sales to their report. Both certifications happened in early 2004, I happened to speak with the person that requested all three Jean-Jacques Goldman certifications received in 2003, from Sony Music too. At the time, I was surprised when he told me no verification was ever done by the IFPI on the amount claimed on those awards template filled by himself. The IFPI confirmed it themselves in their procedure:

      Procedure

      It is the sole responsibility of the individual record company to monitor and verify the accuracy of sales figures.
      Link

      The system is still usually valid as majors must pay royalties for certified awards, so they won’t certify fanciful amounts of unsold records. At that time Sony was heavily promoting Celine Dion by her success, even providing her a 50-million sales award in Europe a few months earlier. It isn’t impossible at all that they agreed with her management team on requesting those awards if they didn’t claim for royalties. Interestingly, in the same month, Sony also certified another French record, Tryo ska band debut Mamagubida from 1998, itself clearly way short of a million – but the band, as underground beginners, most likely had rights on no royalties at all, only being paid a fix amount upon the album release.

      The fact Sony Music earned 10 IFPI certifications in 2002, 13 in 2003 and then 13 in the sole first quarter of 2004, when both Celine Dion albums (plus Tryo) got certified, is also quite intriguing, especially considering the market was slowing down a lot.

  8. Hi everyone!
    I reversed MJD’s formulas to determine the CSP for each track. We could interpret this as the CSP total “due to” a track, so its success.

    I have calculated the top 10 below (All songs):
    Song [Album] = CSP total (millions sales equivalent)

    My Heart Will Go On [Let’s Talk About Love] = 36,37
    Because You Loved Me [Falling Into You] = 16,18
    The Power of Love [The Colour Of My Love] = 13,01
    It’s All Coming Back to Me Now [Falling Into You] = 12,21
    Beauty and the Beast [Celine Dion] = 6,70
    All by Myself [Falling Into You] = 6,53
    Think Twice [The Colour Of My Love] = 6,23
    Pour que tu m’aimes encore [D’Eux] = 5,90
    I’m Alive [A New Day Has Come] = 5,29
    The Prayer [These Are Special Times] = 3,39

    Top 5 French songs:
    Pour que tu m’aimes encore [D’Eux] = 5,90
    On ne change pas [S’il Suffisait D’Aimer] = 2,30
    J’irai où tu iras [D’Eux] = 1,82
    S’il suffisait d’aimer [S’il Suffisait D’Aimer] = 1,35
    Je sais pas [D’Eux] = 1,21

    As expected, “My Heart Will Go On” is by far Dion’s most successful track with an unbelievable 36.37 million sales equivalent! It is by far, if my calculation is correct and consistent, the “biggest” track from all the CSPC analysis made on this website. Here the top 10:

    Song [Album – Artist] = CSP total (millions sales equivalent)

    My Heart Will Go On [Let’s Talk About Love – Céline Dion] = 36,37
    Bohemian Rhapsody [A Night At The Opera – Queen] = 26,27
    Stairway To Heaven [Led Zeppelin IV – Led Zeppelin] = 25,35
    With Or Without You [The Joshua Tree – U2] = 23,14
    Wish You Were Here [Wish You Were Here – Pink Floyd] = 20,52
    Like A Prayer [Like A Prayer – Madonna] = 19,21
    …Baby One More Time […Baby One More Time – Britney Spears] = 18,13
    You’re the One That I Want [Grease – Soundtracks] = 17,59
    Sweet Child O’Mine [Appetite For Destruction – Guns N Roses] = 17,25
    Walk This Way [Toys In The Attic – Aerosmith] = 16,97

    If you have any question/remarks about the method/calculation I used to obtained these numbers, I will be pleased to answer you.
    Tony

      1. Hello Pat200!

        Here is the top 20 “French songs”:
        1 1995 Pour que tu m’aimes encore [D’Eux] – 5,900,000
        2 1998 On ne change pas [S’Il Suffisait D’Aimer] – 2,300,000
        3 1995 J’irai où tu iras [D’Eux] – 1,820,000
        4 1998 S’il suffisait d’aimer [S’Il Suffisait D’Aimer] – 1,350,000
        5 1995 Je sais pas [D’Eux] – 1,210,000
        6 1991 Un garçon pas comme les autres (Ziggy) [Dion Chante Plamondon] – 850,000
        7 1982 D’Amour Ou D’Amitié [Early Material Albums] – 680,000
        7 1991 L’amour existe encore [Dion Chante Plamondon] – 680,000
        9 1995 Destin [D’Eux] – 650,000
        10 2003 Tout l’or des hommes [1 Fille & 4 Types] – 630,000
        11 1987 Ne Partez Pas Sans Moi [Early Material Albums] – 560,000
        12 1995 Les derniers seront les premiers [D’Eux] – 520,000
        13 2016 Encore un soir [Encore Un Soir] – 500,000
        14 2003 Et je t’aime encore [1 Fille & 4 Types] – 490,000
        15 1995 Vole [D’Eux] – 480,000
        16 2012 Parler à mon père [Sans Attendre] – 400,000
        17 1995 Le ballet [D’Eux] – 390,000
        18 1998 Dans un autre monde [S’Il Suffisait D’Aimer] – 380,000
        19 1995 Regarde-moi [D’Eux] – 370,000
        20 1981 Ce N’Était Qu’Un Rêve [Early Material Albums] – 360,000

        And the top 100 overall:
        1 1997 My Heart Will Go On [Let’s Talk About Love] – 36,370,000
        2 1996 Because You Loved Me [Falling Into You] – 16,180,000
        3 1993 The Power of Love [The Colour Of My Love] – 13,010,000
        4 1996 It’s All Coming Back to Me Now [Falling Into You] – 12,210,000
        5 1992 Beauty and the Beast [Celine Dion] – 6,700,000
        6 1996 All by Myself [Falling Into You] – 6,530,000
        7 1993 Think Twice [The Colour Of My Love] – 6,230,000
        8 1995 Pour que tu m’aimes encore [D’Eux] – 5,900,000
        9 2002 I’m Alive [A New Day Has Come] – 5,290,000
        10 1998 The Prayer [These Are Special Times] – 3,390,000
        11 2003 I Drove All Night [One Heart] – 3,370,000
        12 1998 Happy Xmas (War Is Over) [These Are Special Times] – 3,320,000
        13 2002 A New Day Has Come [A New Day Has Come] – 3,240,000
        14 1997 Tell Him [Let’s Talk About Love] – 3,180,000
        15 1998 I’m Your Angel [These Are Special Times] – 3,060,000
        16 1990 Where Does My Heart Beat Now [Unison] – 2,920,000
        17 1997 Immortality [Let’s Talk About Love] – 2,400,000
        18 1998 On ne change pas [S’Il Suffisait D’Aimer] – 2,300,000
        19 1999 That’s The Way It Is [Orphan] – 2,160,000
        20 1995 J’irai où tu iras [D’Eux] – 1,820,000
        21 1996 Falling into You [Falling Into You] – 1,390,000
        22 1998 S’il suffisait d’aimer [S’Il Suffisait D’Aimer] – 1,350,000
        23 2007 Alone [Taking Chances] – 1,290,000
        24 1995 Je sais pas [D’Eux] – 1,210,000
        25 1992 If You Asked Me To [Celine Dion] – 1,100,000
        26 1998 O Holy Night [These Are Special Times] – 1,040,000
        27 1996 River Deep, Mountain High [Falling Into You] – 980,000
        28 2007 Taking Chances [Taking Chances] – 950,000
        29 1991 Un garçon pas comme les autres (Ziggy) [Dion Chante Plamondon] – 850,000
        30 1992 Love Can Move Mountains [Celine Dion] – 720,000
        31 1996 I Love You [Falling Into You] – 680,000
        31 1982 D’Amour Ou D’Amitié [Early Material Albums] – 680,000
        31 1991 L’amour existe encore [Dion Chante Plamondon] – 680,000
        34 1995 Destin [D’Eux] – 650,000
        35 1997 The Reason [Let’s Talk About Love] – 640,000
        36 2003 Tout l’or des hommes [1 Fille & 4 Types] – 630,000
        37 1997 To Love You More [Let’s Talk About Love] – 620,000
        38 1996 Seduces Me [Falling Into You] – 560,000
        38 1987 Ne Partez Pas Sans Moi [Early Material Albums] – 560,000
        40 2003 One Heart [One Heart] – 550,000
        41 1996 Call the Man [Falling Into You] – 530,000
        42 2013 Loved Me Back to Life [Loved Me Back to Life] – 520,000
        42 1995 Les derniers seront les premiers [D’Eux] – 520,000
        44 1993 Only One Road [The Colour Of My Love] – 510,000
        45 2007 My Love [Taking Chances] – 500,000
        45 1996 If That’s What It Takes [Falling Into You] – 500,000
        45 2016 Encore un soir [Encore Un Soir] – 500,000
        48 2003 Et je t’aime encore [1 Fille & 4 Types] – 490,000
        49 2002 Have You Ever Been in Love [A New Day Has Come] – 480,000
        49 1995 Vole [D’Eux] – 480,000
        49 1993 When I Fall in Love [The Colour Of My Love] – 480,000
        49 1998 Ave Maria [These Are Special Times] – 480,000
        53 2002 I Surrender [A New Day Has Come] – 460,000
        53 1997 When I Need You [Let’s Talk About Love] – 460,000
        55 1998 Christmas Eve [These Are Special Times] – 440,000
        55 2000 Sous Le Vent [Orphan] – 440,000
        57 1998 Feliz Navidad [These Are Special Times] – 420,000
        58 2012 Parler à mon père [Sans Attendre] – 400,000
        58 1998 Don’t Save It All for Christmas Day [These Are Special Times] – 400,000
        60 1995 Le ballet [D’Eux] – 390,000
        61 1998 Dans un autre monde [S’Il Suffisait D’Aimer] – 380,000
        61 2002 Goodbye’s (The Saddest Word) [A New Day Has Come] – 380,000
        63 2004 A Mother’s Prayer [Miracle] – 370,000
        63 1993 Misled [The Colour Of My Love] – 370,000
        63 1995 Regarde-moi [D’Eux] – 370,000
        66 1981 Ce N’Était Qu’Un Rêve [Early Material Albums] – 360,000
        67 1991 Je danse dans ma tête [Dion Chante Plamondon] – 350,000
        68 1995 Prière païenne [D’Eux] – 330,000
        69 1996 Fly [Falling Into You] – 320,000
        69 1991 Des mots qui sonnent [Dion Chante Plamondon] – 320,000
        69 1995 J’attendais [D’Eux] – 320,000
        72 1998 The Magic of Christmas Day (God Bless Us Everyone) [These Are Special Times] – 310,000
        73 1997 Let’s Talk About Love [Let’s Talk About Love] – 290,000
        74 2004 What a Wonderful World [Miracle] – 280,000
        75 2013 Incredible [Loved Me Back to Life] – 260,000
        75 1998 Je crois toi [S’Il Suffisait D’Aimer] – 260,000
        75 1993 The Colour of My Love [The Colour Of My Love] – 260,000
        75 1996 Dreamin’ of You [Falling Into You] – 260,000
        75 2004 If I Could [Miracle] – 260,000
        80 1987 Incognito [Early Material Albums] – 250,000
        80 1993 Love Doesn’t Ask Why [The Colour Of My Love] – 250,000
        80 2007 Eyes on Me [Taking Chances] – 250,000
        80 1992 I Love You, Goodbye [Celine Dion] – 250,000
        80 2003 Je lui dirai [1 Fille & 4 Types] – 250,000
        80 1998 Brahms’ Lullaby [These Are Special Times] – 250,000
        80 1998 Another Year Has Gone By [These Are Special Times] – 250,000
        87 2004 The First Time Ever I Saw Your Face [Orphan] – 240,000
        87 1991 Le blues du businessman [Dion Chante Plamondon] – 240,000
        87 1996 Make You Happy [Falling Into You] – 240,000
        90 1996 I Don’t Know [Falling Into You] – 230,000
        90 1993 Just Walk Away [The Colour Of My Love] – 230,000
        90 1997 Treat Her Like a Lady [Let’s Talk About Love] – 230,000
        90 1998 Adeste Fideles (O Come All Ye Faithful) [These Are Special Times] – 230,000
        94 2004 Miracle [Miracle] – 220,000
        94 1998 These Are the Special Times [These Are Special Times] – 220,000
        94 1998 The Christmas Song (Chestnuts Roasting on an Open Fire) [These Are Special Times] – 220,000
        97 1997 Us [Let’s Talk About Love] – 210,000
        97 1998 Terre [S’Il Suffisait D’Aimer] – 210,000
        97 1997 Where Is The Love [Let’s Talk About Love] – 210,000
        100 2002 Nature Boy [A New Day Has Come] – 200,000
        100 1998 Blue Christmas [These Are Special Times] – 200,000

  9. Fantastic work MJD! Unbelievable total for Celine! She was really huge during her FIY/LTAL years! This must have been very hard work considering her extensive discography!

    Is there anyway, MJD, that you can post Celine’s Asian sales outside of Japan and her African sales? I’m quite interested in that information since there are either 0 info on those countries or inflated/falsified info. I also hope you will do that when you do a CSPC analysis on Mariah Carey as we know how huge she was in Asia in comparison to Europe!

    Finally, MJD, i hope you will do a CSPC analysis on rap legend 2Pac since 2016 marks the 20th year since his murder. I know a lot of his sales are concentrated in the US, but it would be nice to see how he ranks among rap artists like Eminem. Also, 2016 also marks the 15th year since Aaliyah passed away, so i hope you can do an analysis on her too! She shouldn’t be hard as she only has 3 studio albums to her name.

    Anyway, keep up the good work MJD! Looking forward for the next artist you’re gonna work on!

Leave a Reply

Your email address will not be published. Required fields are marked *