CSPC: P!nk Popularity Analysis

Just Like A Pill

BIGGEST TRACKS – P!nk

The list of most successful songs is compiled in album equivalent sales generated by each of them. It includes the song’s own physical singles sales with a 0,3 weighting, its download and streaming sales, and with appropriate weighting too, plus its share among sales of all albums on which it is featured.

1 2002 – Just Like a Pill [Missundaztood] – 4,970,000
2 2001 – Get the Party Started [Missundaztood] – 4,850,000
3 2012 – Just Give Me a Reason [The Truth About Love] – 4,580,000
4 2008 – So What [Funhouse] – 4,420,000
5 2006 – Who Knew [I’m Not Dead] – 3,360,000
6 2002 – Family Portrait [Missundaztood] – 2,460,000
7 2002 – Don’t Let Me Get Me [Missundaztood] – 2,390,000
8 2008 – Sober [Funhouse] – 2,260,000
9 2012 – Try [The Truth About Love] – 2,240,000
10 2000 – There You Go [Can’t Take Me Home] – 2,170,000
11 2006 – U + Ur Hand [I’m Not Dead] – 2,050,000
12 2003 – Trouble [Try This] – 1,990,000
13 2008 – Please Don’t Leave Me [Funhouse] – 1,980,000
14 2010 – Raise Your Glass [Orphan] – 1,940,000
15 2006 – Dear Mr. President [I’m Not Dead] – 1,470,000
16 2010 – F**kin’ Perfect [Orphan] – 1,410,000
17 2006 – Stupid Girls [I’m Not Dead] – 1,390,000
18 2012 – Blow Me (One Last Kiss) [The Truth About Love] – 1,300,000
19 2008 – Funhouse [Funhouse] – 1,280,000
20 2000 – You Make Me Sick [Can’t Take Me Home] – 1,030,000

If you feel inspired by this list, we just created this CSPC P!nk playlist on Spotify!

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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