CSPC: P!nk Popularity Analysis

Ascoltando Funhouse - Pink...

Full Length related record Sales

It sounds fairly logical to add together weighted sales of one era – studio album, physical singles, downloads, streams – to get the full picture of an album’s popularity. For older releases though, they also generate sales of various live, music videos and compilation albums.

All those packaging-only records do not create value, they exploit the value originating from the parent studio album of each of its tracks instead. Inevitably, when such compilations are issued, this downgrades catalog sales of the original LP. Thus, to perfectly gauge the worth of these releases, we need to re-assign sales proportionally to its contribution of all the compilations which feature its songs. The following table explains this method.

Remaining Long Format – Compilations / Boxes

How to understand this table? If you check for example the Greatest Hits… So Far!!! compilation line, those figures mean it sold 4,575,000 units worldwide. The second statistics column means all versions of all the songs included on this package add for 905,000 equivalent album sales from streams of all types.

The second part on the right of the table shows how many equivalent streams are coming from each original album, plus the share it represents on the overall package. Thus, streaming figures tell us songs from the Funhouse album are responsible for 32% of the Greatest Hits… So Far!!! track list attractiveness. This means it generated 1,461,000 of its 4,575,000 album sales and so forth for the other records.

This compilation is by far the biggest seller from this list so its distribution of sales is key. Expectedly, songs from Can’t Take Me Home and Try This have little impact, but M!ssundaztood, I’m Not Dead, Funhouse and the Orphan songs all contribute greatly to its ongoing success. Obviously, catalog sales of studio albums dropped considerably since the release of this package. It explains why The Truth About Love is the one which continues to sell, as it came out after the best of. To gain access to all its songs we still need to purchase the studio set.

The rest of the table is made up of various multi-CD boxes. P!nk sold plenty of those. All those sales are re-assigned to every studio album that are a part of those merged releases.

15 thoughts on “CSPC: P!nk Popularity Analysis”

  1. I actually like Pink…….she’s got a soulful voice and her choice of pop song’s is great compared to other divas of the 21st century

    1. Hi Pedro,

      I suggest you to read the page 2 to understand the concept. The Greatest Hits is distributed into “Other releases” sales among her studio albums, its own sales are listed page 23.

  2. Good career! Her GH album’s stats are impressive.

    You should update Beyoncé & Rihanna since they’re two of the artists whose recent changes in the CSPC methodology will impact the most.

  3. Britney only had a big peak, but she has sold about forty percent more than Pink. And they debuted at the same time. There are no excuses. Britney’s success is far superior in spite of the fact that she has not kept up so well as Pink (although the reasons are obvious and she had a lot more potential). In addition, without Britney there would have been no anti Britney: Pink, Avril … Her impact will always be greater than any girl of his generation, who appeared thanks to her. None of her generation can boast that if they had not existed in the industry, the industry would be different. She, yes. Definitely.

      1. Gus, respect to P!nk for her longevity, but Britney’s imprint remains on P!nk and Avril Lavigne, two artists whose careers were propelled by being anti-Britney’s during the 2000s decade and it has no choice but to be acknowledged.

        1. Not sure why my comment was down-voted.

          P!nk, Amy Lee of Evanescence and Avril Lavigne (and perhaps others) became anti-Britney’s through either their own music or their marketing. They’re the ones who wrote about Britney. Not Britney. It’s already imprinted on their music.

          Same with all the literature of at the time from the critics. You can’t go back in time and change it.

          It’s worth being brought up as Pitchfork and other losers try to go back in time to pathetically overrate Destiny’s Child to boost Beyonce’s legacy.

  4. Great article as always! P!nk’s career consistency is amazing, although I’d disagree that “Try This” did decently. I feel like it was actually a huge bomb, I mean, selling 2.8 million pure/3.8 million CSPC in 2003 right after such a big era like “Missundaztood” was quite terrible. You recently mentioned that Britney’s “Blackout” was unsuccessful (despite having 4.4 million CSPC and being released during a weaker period for album sales), so you can imagine how much of a flop “Try This” was.

    Of course though, I’m not denying that she’s had a great career regardless. Most acts have a flop album/era every now and then, and it’s amazing that she managed to recover with “I’m Not Dead”, plus 3/4 other successful releases.

    Her greatest hits album did amazing numbers! I assume it must be the biggest greatest hits album of the 2010s decade?

    She’s not really a successful streaming act(which is fine considering not many pre-2005 acts are), but her digital sales are quite good.

  5. Regarding her overall career sales, it’s weird how she’s so massive in countries like the UK, Australia, New Zealand and Germany, where she has extraordinary results and completely overshadows her peers, but in other countries like Spain, Italy, Japan, Brazil, Finland, Norway, Belgium, Mexico, South Korea, Taiwan, Thailand etc she’s actually very, very weak! Dare I say, her sales in France are not that great either, but still good of course. I’d argue that her success is very Anglophone-based (with the exception of German speaking countries, as well as the Netherlands and France).

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