Forum
Esto no esta actualizado y algunos datos son incorrectos Light Years vendio 5.000.000 de copias en todo el mundo y muchos otros datos están mal
Álbumes: 25.000.000
Recopilatorios: 3.000.000
Sencillos: 63.000.000
Canciones fuera de álbumes y canciones promocionales: 500.000
Total: 91.500.000 ventas entre todo su material
Y la cifra sigue creciendo con Golden y su último recopilatorio y sin contar las colaboraciones que hizo con Nick Cave y otros artistas... Estimadamente para 2025 Kylie ya habrá superado las 100.000.000 y si lanza mas material lo hará en menos tiempo.
Hi Esneyder!
The article was updated 1 year ago only and album sales are correct. Do not believe everything you read. A figure of 5 million for Light Years for example is completely delusional. There is no need to throw out figures based on nothing, claiming she is on her way to reach 100 million when she did a bit more than half of that only!
And Janet is considered a flop in Europe by some people here... that’s what I was thinking she did great here with the music She made way more difficult to sell globally
"A la Janet Jackson"? Janet has sold twice as much albums as Beyonce. Actually Beyonce does not have one at least one 10 million seller while Janet has 3 or 4. What the hell are you talking about?
I think you are both right in your own way. I have followed Kylie from the very beginning and although I stopped buying her releases (or anyone else's for this matter) a long time ago, I am a supporter of hers.. There's no doubt she made a difference with Kylie & Fever releases that we can categorized as an impact to an extent but apart from that, I don't think she qualifies for one of the biggest selling artists.... Yes she's had a few top 10s singles and yes she's had a few #1 albums (uk & Oz) but that's really it. Bearing in mind you don't need to sell a vast amount of items to be #1 anymore she is definitely backed up by her loyal fans... Now, what's questionable is how she is rated a superstar. Based on sales, don't think so... Based on relevance, contribution to business, tours attendance, industry role model, then I guess she hits the mark
Absolutely agree. Kylie Minogue's fans are the most delusional ones, to be honest.
There is no proof whatsoever that she has sold "90 million". 40 million is a more accurate figure.
While in comparison to the remaining of Minogue tracks, this looks impressive, the figure is rather disappointing. It is below other 2001 songs like It’s Been A While by Staind, U Remind Me by Usher, Family Affair by Mary J Blige, Hero by Enrique Iglesias and many more which were nowhere near as big as Minogue‘s smash in first place.
3 years later, Can't Get You Out Of My Head has 224.5M stream on spotify while It’s Been A While has 181.6M stream, U Remind Me has 233.3M, Family Affair has 195.5M and Hero has 219.6M. Aside from Usher, Kylie already surpassed all other mentioned songs. Now, that was funny to read back
I've always heard that the Princess of Pop is Britney Spears and not Kylie.
Congrats on your survey and its display (I'm refering to all artists you've worked on). But I cannot but detect a slight (to say the least) empathy towards Kylie. I'm not questioning the sales data, but I really think that restricting her appeal to UK and Australia does not do justice to her. I'm referring to comments like "We all remember her early teen pop hits as well as the ground-breaking comeback Can’t Get You Out Of My Head, but apart from these two periods her career seems much more obscure", or that she tries to maximize her sales by continuously offering live and compilation albums (Madonna also does it, and don't get me wrong - I love Madonna), or the innuendo that the duet with Taio Cruz (awfully boring) was really succesful for her, but also unmatching Taio's previous bigger hits (Why don't you do a CSPC for Taio then?).
Anyway my point is that Kylie was and still is quite huge in Europe judging from her charting in the Paneuropean chart (for which, as far as I know, getting a no1 hit in UK isn't enough to get a respectable placement in it).
In the following list one can find the placement each Kylie single gained in the paneuropean chart from 1988 to 2010, meaning during 11 eras (albums).
Locomotion 1
I should be so lucky 1
Got to be certain 2
Je ne sais pas pourquoi 8
Especially for you 1
Hand on your heart 3
Wouldn't change a thing 11
Never too late 11
Tears on my pillow 2
Better the devil you know 6
Step back in time 12
What do I have to do 24
Shocked 15
If you were with me now 18
Give me just a little more time 9
Finer feelings 38
Confide in me 9
Put yourself in my place 46
Where is the feeling 41
Where the wild roses grow 8
Did it again 58
Breathe 70
Spinning around 7
On a night like this 11
Kids 11
Please stay 42
Can't get you out of my head 1
In your eyes 7
Love at first sight 6
Come into my world 20
Slow 2
Red blooded woman 8
Chocolate 17
I believe in you 2
Giving you up 13
2 hearts 3
In my arms 15
Wow 100 (in the year end chart - i'm guessing top 10 in weekly chart)
All the lovers 4
Get outta my way 25
In other words 4 no1s, 11 top 5, 21 top 10 and 32 top 20 out of 46 released singles, of which only 6 did not get any placement at the chart (i.e. the following: Word is out, what kind of fool, Celebration, Some kind of bliss, The one, Better than today). The only album (era) without a top 10 placement of any of its singles is Impossible Princess.
I could say that claiming she's successful only in UK and Australia or that her worldwide success is restricted to a couple of eras (albums) is misleading. My claim would be that she's successful in all relevant markets bare USA, which is the biggest, and which is the reason of her low worldwide sales. And to be more precise one could claim that she's the only artist with such enduring worldwide success, but with very limited success in North America. I really wonder if there is any other artist with three decades chart longevity in Europe, Asia, South America, Australia, and even Africa, but with only 2 top 10 singles in USA.
I believe statements like "Although a relatively low seller by his personal standards, Taio Cruz's Higher is far and away the top selling song on which Minogue participated with 2,5 million sales", "his [Kylie's] catalog is milked over and over in order to sell the same songs to the same fans various times", "the heavy exploitation of Minogue's catalog also includes tons of remix albums", or "Live albums of Minogue have exactly the same role as remix albums: milking her fans. Since it works, why would they stop" fuel the sense of empathy towards her. Especially the last ones could easily imply that Kylie plunders her fans for her financial gain [I think she has always showed enormous respect towards her fans (and not only her fans) and has always expressed her gratitude for their support] and that her fans are so blinded or even stupid not to see it, ending up questioning Kylie's morals and her fans' intelligence.
Also the fact that Never too late ended up in front of Got to be certain, Shocked, What do I have to do, Step back in time, Love at first sight, Better the devil you know, Spinning around, Slow, I believe in you, Where the wild roses grow, Hand on your heart, Confide in me (My God!!!, by far her very best song in my opinion, really successful, and one most people remember and appreciate), On a night like this, All the lovers and many more is beyond me (and don't get me wrong - I love it). People hardly remember its existence, it was not even that succesful when it was released (in comparison with both previous and subsequent releases) and it is hardly ever included in tour set list (I think it was only included in Kiss me once tour from 1997 and on). I should check your data to see what boosted it to the top 5.
Hi Dimitris!
Facts are facts, I can't change them to tell another story.
The European chart you mention (a very bad one by the way) is very UK/Ireland-driven. For example, 'Shocked' looks like a good success in Europe with this #15 peak. In truth, it was #2 in Ireland, #6 in the UK, but elsewhere, the best it did was #18 in Belgium, completely failing to chart in every other European country. Tears On My Pillow went to #2 in 'Europe' while peaking at 31 in Germany and failing to chart in France, Sweden, Norway, Switzerland, Austria, Italy, etc. Spinning Around may be the best reflection of this situation, #1/2 in each OZ/NZ+UK/IR, elsewhere it couldn't get a top 25 placing, which is definitely not "successful everywhere but in the US", but in fact strong in Australia/UK and much less popular elsewhere.
Also, Kylie enjoys a lot of peaks which overstate the organic success of her songs thanks to collectors, many of the songs listed as top 10 European hits here not only performed very poorly in most of Europe, they also had very short runs where they peaked high.
About Taio Cruz, here too I can't change facts to please an artist or his fanbase. Preceeding singles to Higher (Dynamite and Break Your Heart) performed much, much better. In the US, they topped 10m sales combined, while Higher took a year to hit a million. In Australia, they are 6xP combined while Higher is Gold. In the UK, Higher is Silver and the other two are 2xP and P. If I ever do his CSPC, Dynamite and BYH will clearly appear as much bigger sellers than Higher.
Hi Dimitris!
You are over-processing all of it, I get that you are a fan and feel concerned by everything said about Kylie, but let's not take things out of context or portray what's said in a wrong way.
During several parts of her career, Kylie has got a much larger core following than widespread popularity, the way to go in this case is to sell as many products as possible. That's what was done with Kylie's catalog, just like Bieber's, Elvis', Taylor's and so many more artists. The amount of lives/remixes released and the amount of different physical products available speak by themselves. It's not good nor bad, it's just how the catalog was handled.
About Never Too Late, it's very dubious to me too, especially since it is shown with more streams on the article than it has today. So unless a former version of the track was removed from Spotify, which seems unlikely, the most realistic scenario is that we've put a 0 too much on its streaming count, which instantly multiplied by 10 the share of album sales it is in that were allocated to it!
First of all I respect that you take time to answer all our queries.
As far as Kylie is concerned I'm not trying to boost her success status, but I do not agree on limiting her appeal to two countries.
According to wikipedia "The [European singles] chart was based on national singles sales charts in seventeen European countries: Austria, Belgium (separately for Flanders and Wallonia), Denmark, Finland, France, West Germany, Greece, Ireland, Italy, Netherlands, Norway, Portugal, Spain, Sweden, Switzerland, and the United Kingdom. This chart was accumulated by taking the chart positions in each country combined with the national sales percentage of records in that particular country."
As I understand, each country is taken into account equally, without taking into consideration that a country may have ten times the population of another or that in one country the singles sold may be ten times more than in another. But I don't think it's UK/IR driven or any country driven for that matter.
For example I remember songs popular only in UK (at least in the first week of their release, when they reached no1 in UK, as Robson & Jerome singles) were nowhere to be found in the European chart. Or songs reaching no1 in the European chart had not yet charted in UK (as Alors on danse).
So I believe Kylie reaching the placements I've mentioned shows that she was quite successful all over Europe. Especially if one takes into consideration that Mariah Carey's placements in that chart, who is no doubt much more successful than Kylie all over the world, are really lower than Kylie's (VOL 14, LTT 75, Som 75, Emo 32, CnLG 69, MIH 44, IlBT 8, Dre 15, Her 19, WY 1, AYNAF 19, EL 7, AIWFCIY 4, Fan 4, OSD 6, OA 39, ABMB 19, Hon 16, But 61, MA 9, Swe 63, WYB 2, ISB 30, Hea 4, TGIFY 17, AAD 3, Lov 28, TTR 1, IKWYW 1, BINY 44, IsLT 8, WBT 4, SIO 31, GYN 31, DnFAU 38, SS 60, TMB 3, BB 84, Obs 28, IWTKWLI 16, 2 no1 - Kylie 4, 9 top5 - Kylie 11, 14 top10 - Kylie 21, 23 top20 - Kylie 32, and 31 Top40 - Kylie 36).
Also according to Wikipedia Tears on my pillow reached 9 in Belgium, 5 in Finland, 19 in Netherlands, 14 in Spain, 2 in Ireland, 1 in UK and 31 in West Germany.
Spinning around reached 2 in Croatia, 4 in Czech Republic, 20 in Denmark, 1 in Hungary, 7 in Iceland, 4 in Ireland, 1 in UK, and lower top 50 placements in 5 more countries.
Anyway much too much said. Looking forward to your new surveys. Thanks for your work.
Hi again Dimitris!
2 strong points to consider:
- the European chart was massively UK-driven, without the need of a special weighting. The addition of Ireland already 'doubles' the points, and then what you need to consider is that hits from Germany, France, Greece, etc, weren't charting elsewhere. Since it was a pretty flat point system, English songs doing well in the UK were automatically taking over the top 10 spots in Europe as floating around the top 50 in a few more countries was enough to off-set all the local hits from the remaining countries.
- Wikipedia lists equally sales charts with random airplay (at times of 1 station only) and foreign-only charts, you should be very careful when looking at these tables as they compare apples with oranges.
Using our concrete examples, you can instantly forget about charts from Croatia, Czech Republic, Hungary. These were cheap airplay lists with no detailed methodology whatsoever. When we see the songs that chart high on the Czech list for example, mainly British pop music in a market massively dominated by local music, it's easy to see how unreflective it is of real hits there. These 'charts' weren't used for the European listings by the way.
The same is true for Spain, while the chart you refer to is based on sales, by the 90s they had got rid of buying singles there, so the list is basically the top selling Dance Maxi singles, a chart similar to that famous Billboard Dance chart where Madonna or Kylie are #1 every week. Finland and Iceland too have not been buying singles for very, very long.
Out of the markets you list, not much is left. Spinning Around went to 20 in Denmark (my bad I overlooked that one as online archives of danishcharts start in 2001), and then outside of the top 20 everywhere else. Tears went to 9 in Belgium, 19 in NL and outside of the top 30 elsewhere. As I said to know if a song was a European hit you need to check charts from real sales markets, France, Germany, Sweden, Switzerland, etc.
From Especially for you / Hand on your heart to CGYOOMH, when she issued 30 singles, in France + Germany + Italy + Switzerland, she got a total of 1 top 10 hit (Confide In Me #10 in France). In Sweden/Norway and the Netherlands, the Nick Cave duet made the top 10 and that's it. In the same years, she got 25 top 10 hits in UK + Ireland. It's very clear that she was nowhere near as popular in Europe as she has been in the UK (and Australia of course). We are left with this conclusion that she had 2 eras where she broke over the main audience everywhere (her debut and with Fever), and then she had modest showings the remaining years/eras outside of her two strong places.
I think Kylie Minogue can be compared to Linda Ronstadt, a diva who was extremely popular in the USA but only occasionally was able to cross over in other countries. However I can agree that the introduction seems a bit too harsh on her. She's nowhere near other historical divas but, among australian divas I think that only Olivia Newton John tops her. So being the second most popular female singer of your own country is already a huge achievement even if she was able to obtain global popularity only a couple of times. Everything depends on the angle you see things
Hi Johnny be Good!
Actually, it's an interesting case / observation. I started ChartMasters because I was bored to read nonsense / lies online. I wanted a place where anyone can get accurate data easily - and accurate data isn't only copy/pasting what we see here and there.
From this starting point, my angle when writing the articles was to balance out what we were used to read elsewhere. The phrasing can be seen as an answer to the usual media storytelling. As Kylie is very often presented like a superstar, while she's not on that top / prime league of female singers, it feels like the tone puts her down. There have been other comments about other articles with similar observations, like Christina's article which was written with that Christina vs Britney media perspective, where I said that the comparison isn't too good when looking at the numbers.
I can't tell the trigger of the change, but I haven't got this angle in mind for quite some time. Maybe it's because ChartMasters.org is well installed now, or because I got kids, which changes our views on so many things, no idea but what's safe is that now I portray what an artist did, without caring of what's usually said about him. And the truth is that I, personally, consider all artists that we ever treated as immensely successful in absolute terms. Millions of people would dream to be in their shoes, yet there are like 500 artists tops who did it, artists from a near 100 years history from all around the globe. As I already said, we won't be calling Jeff Bezos a flop just because Elon Musk has a larger net worth.
Wow terrible stats for someone who is called big celebrity in non american markets. She is Australian selena gomez without us market. And her sales in europe as a whole are average at best.
Kylie Minogue sold over 80 million albums worldwide.
Yet you get to the number 25 million?
This site is a big CON.
Really?
I can't believe that Kylie is so popular in UK, but her sales are very average
Well, it looks like Kylie is mounting an unexpected comeback with "Padam Padam" on track to become a sleeper hit
Would it be possible for Tension to be added as a streaming auto update row?
