CSPC: High School Musical Popularity Analysis

High School Musical CAREER CSPC RESULTS

high school musical

So, after checking all the figures, how many overall equivalent album sales has each High School Musical album achieved? Well, at this point we hardly need to add up all of the figures defined in this article!

In the following table, all categories display figures that way, e.g. in equivalent album sales. For example, singles from High School Musical released in digital format sold the equivalent of 975,000 albums – 6,500,000 downloads with a 10 to 1,5 weighting.

    • As a reminder:

  • Studio Album: sales of the original album
  • Other Releases: sales of compilations generated thanks to the album
  • Physical Singles: sales of physical singles from the album (ratio 3/10)
  • Download Singles: sales of digital singles from the album (ratio 1,5/10)
  • Streaming: equivalent album sales of all the album tracks (ratio 1/1500 for Audio stream and 1/11750 for Video stream)

The flying TV series High School Musical went on to sell 25,2 million equivalent albums with a lifespan of barely 3 years. Each volume contributed greatly. The first one is on 11,9 million units, the second is up to 8,6 million while the third volume is on 4,8 million.

The streaming figures are interesting. With nearly 600,000 equivalent album sales from this avenue, the soundtracks are still increasing to this day. The days of Zac Efron playing Troy and Vanessa Hudgens playing Gabriella may be long gone, but the popularity of the franchise is not over.

Do not forget to check our amazing lists posted inside the CSPC: Data Collector which includes the full listing of all CSPC results compiled so far.

As usual, feel free to comment and / or ask a question!

Sources: IFPI, Spotify, YouTube, Chartmasters.org.

6 thoughts on “CSPC: High School Musical Popularity Analysis”

  1. Thank you for doing this! I was just wondering, was the fourth movie (spin-off) “Sharpay’s Fabulous Adventure” that much of a flop in terms of sales?

  2. Hi MJD!

    I have to say, this is a very interesting read. The 3 soundtracks show similarities to both Frozen soundtrack (Disney movies) and teen acts (eg. Miley, Justin)

    Firstly, the HSM soundtracks sold impressively well in South America, just like 1D did. I remember you saying that that particular region has a large influence from visuals and imagery, hence artists with TV shows or movies sell bucketloads there (Whitney with Bodyguard, Miley Cyrus)

    Another thing similar is what you mentioned, download sales linear for the entire tracklist.

    Finally, a comment about the HSM trilogy sucess: while 25m+ for 3 albums in 3 years is impressive, there was no denying the project was becoming less and less successful, with the last project at barely 5m. Another thing is that album sales are the main provider for their CSPC sales. They achieved tremendous numbers in that format, but underperformed in other formats, the most disappointing one are downloads, as those 3 albums were released when the download market was still healthy.

    Still, the first project was quite successful, matching the success of mega albums of the same period (eg. B’day by Beyonce, Loose by Nelly Furtado, Futuresex/Lovesounds by JT). The 2nd project was also a decent follow up, though highly front loaded compared to its predecessor, as album sales only added 0,3m for the former in their first year, while the first one added a nice 3m after its first year.

    Can you give us any hints on who will be up next for analysis? Thanks and keep uo the good work you all!

  3. Hey! I’ve been browsing your popularity analysis for a while, and I have a question to make. It seems that you’re using the formula of 1500 streams = 1 album sale, but isn’t that a method used only in the USA? For example, if a song has 500,000,000 total streams, it is unrealistic to assume 100% of them are based on the USA to apply this formula to reflect on total album sales, especially that the streaming data seemingly are private and are sent exclusively to Billboard (in the USA).

    If that’s not the case, I hope you can elaborate as I’m confused on your usage of the formula :).

    1. Hi Alfonso!

      I’m not sure to really understand your question. The streaming method is not supposed at all to concern the US only, in fact all streaming numbers are global. Both Spotify and YouTube provide streams of their audio/video tracks.

      1. What I’m saying is, isn’t the formula of a 1500 streams accounting into one album sale exclusive to US streams only? I’ve seen you use this formula to gather album sales from streams throughout the world, which makes me wonder if it’s a global formula for WW streams rather than the USA only.

        1. Hi Alfonso,

          Every country is free to use the ratio they want but most of them have a ratio equal /close to 1500/1. This is the way the IFPI does. In any case, we aren’t aiming to replicate specific rules of each country – to compare accurately, we have set the same ratio for streams no matter where they come from. It sounds like the best reflection of what is really happening!

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