The Numbers Game: Kendrick Lamar is #1

Kendrick Numbers

Kendrick Lamar‘s sophomore album To Pimp A Butterfly dropped last week and to no one’s surprise, it’s the #1 album in the country. It sold 363,000 copies in it’s first week and is the first time K.Dot has had an album on top of the charts:

To put things in perspective, let’s compare Kendrick’s first week sales to the first week sales of his peers and thier latest projects:

I will point out of the ones listed, Kendrick Lamar is the only one that had a record label that fumbled the album release. Still, this is a win for Kendrick because besides sales, he dropped a very dope album.

Now if you haven’t , go on over and read our review of To Pimp A Butterfly. Some have even said it’s the best review nappyafro has ever produced.


#1 Kendrick Lamar – To Pimp A Butterfly (Last Week: N/A) – 363,000; Total: N/A [Debut]
#2 Empire Cast – Original Soundtrack from Season 1 of Empire (Last Week: #1) – 110,000; Total: 199,000 [2 Weeks]
#6 Drake – If You’re Reading This It’s Too Late (Last Week: #7) – 52,200; Total: 774,400 (Gold) [6 Weeks]
#16 Big Sean – Dark Sky Paradise (Last Week: #10) – 33,900; Total: 213,600 [4 Weeks]
#19 Nicki Minaj – The Pinkprint (Last Week: #13) – 30,400; Total: 572,300 (Gold) [14 Weeks]
#28 J. Cole – 2014 Forest Hills Drive (Last Week: #22) – 18,500; Total: 838,200 (Gold) [15 Weeks]
#33 Chris Brown & Tyga – Fan Of A Fan: The Album (Last Week: #25) – 13,100; Total: 78,500 [4 Weeks]
#34 Rae Sremmurd – SremmLife (Last Week: #24) – 12,600; Total: 101,200 [11 Weeks]


Hip-Hop + R&B album sales for the week of March 17th (Top 50 & New Releases)

Founder
  1. How does Cole not have a single album that’s platinum? Incredible to think that in a country of 319 million people, that albums can’t even go platinum in 2015. It would mean that .003% of the country bought a copy. It’s insanity that artists still aren’t going platinum and that only the big names, like Jay or Em, or the big rock bands, can go platinum these days.

    Another way to put that 1 million in perspective. NYC has a population of 8.4 million. That’s just under 12% of the population.

    1. With the increase of accessibility of media (mp3, DVDrips, etc.) I’d assume that sales have been majorly affected. I’m sure someone has documented it but fuck research. I agree with you still though, it’s fucked up.

      1. Oh no, I know that sales have been majorly affected by the spread of piracy and eas(ier) access. But at the same time, single sales have not drastically increased at the same rate. Neither has touring revenue. Touring revenue is mainly in the artist’s pocket, so that’s great, but single sales still mainly go to the record companies. That’s not a good thing, because if the record companies are struggling to stay in the black, then they’re going to go for what’s going to make them a lot of money in a short period of time.

        AKA, more Bobby Shmurdas and less J. Cole’s, Kendrick’s, and K.R.I.T.’s. That’s a problem.

        Put it this way. Nappyafro has given 4 albums a perfect 5 rating. Out of those 4, *only* GKMC has gone platinum. Here’s the kicker:

        GKMC was released 22 October 2012. “On August 21, 2013, the album was certified platinum by the Recording Industry Association of America (RIAA), having shipped and sold one million copies in the United States.[86] As of October 29, 2014, the album had sold 1,324,000 copies, according to Nielsen SoundScan.[87]”

        How did it take almost a year for GKMC to go platinum? 2014 Forest Hills Drive is arguably a perfect album. If it had gotten the 5 rating, it would be the second highest sales wise.

        1. Because respect for the craft has faded because it’s too accessible, that’s what I was getting at. I think the accessibility to media and it’s creation has devalued the art in music and I’d suspect it’s the same for movies and other media that can be created by other means. I’m not disagreeing with you at all. I’m just trying to provide a reason to the insanity of artists not going platinum.

          1. I understand your point. I think I’m more wondering what can be done to fix the situation or at least slow it down, so that it can be reversed. It’s easy for some to say, oh well, just buy more copies of said album. But that’s not available for everyone. At the same time, most of these recent albums that have done well, did well by using the Beyonce surprise model (2014FHD, If You’re Read This, To Pimp a Butterfly). That’s a gimmick that won’t last too long, I think.

            The marketing plans don’t have much room for innovation.

        2. Hip-hop also isn’t as popular as it used to be. Not even eight years ago, Kanye and 50 Cent sold a combined 1.5 million albums in the same week. Ask Taylor Swift, Adele, Beyonce, even Lana Del Rey: Pop music still reigns supreme.

          As far as single sales go, I think that’s a case of opportunity cost. Most people will steal an album no problem, because why pay $10-15 for something you can get free? You’re more likely to throw the $1-2 for a song than you are for an album; it also gives you the feeling that you’re supporting artistry, even if you’re not doing what you could.

          A record label would probably very much prefer 5 J. Coles to 5 Bobby Shmurdas; Shmurda has 1 platinum single while Cole has 2 plat singles, 2 gold singles, and can actually sell albums. You’d have to keep finding Bobby Shmurdas to stay in business, but you could probably retire off one J. Cole contract.

          One final note: most new industry contracts are 360 deals, which, among other things, take a percentage of touring revenue. So now that that’s not even safe, do you still want to invest in Chief Keef? Or would you rather get a Drake and then milk the contract for 4-5 albums?

          1. I wouldn’t compared Cole’s entire career to Shmurda’s. Cole has been releasing music for about 5 years. Shmurda’s main single has only been out for less than 1 year.

            Hip Hop may not be as popular as it once was, but it’s still one of the dominant genres of music. I’d put it at the second currently overall, taking singles, albums, tours, and cultural impact into consideration.

            If the album sales had gone down, but the single sales had gone up, then your point about opportunity cost would be extremely valid.

            From a Forbes article published 16 Oct 2014: Comparatively, 60 songs have sold one million (or more) copies, something not unusual in a world where loving a single no longer means having to purchase an entire album. While 60 is surely better than…one…when it comes to million-plus sellers, it’s not all good news. Last year, 83 songs went platinum, so digital single sales are sliding as well, but not as quickly.

            A record label would love to have more J.Cole’s than Bobby Shmurda’s. The artistry alone means that the A&R department doesn’t have to work as hard. The problem is that it’s cheaper to sit back and let the viral hits come (which are based around more consumable hip hop than actually inspiring work), than to be hitting the indie markets and go to the small clubs in NYC to see who’s popping, or to Miami and see what’s going on there.

          2. I know sales are down overall, but the fact that single sales are sliding less than album sales supports the point I made. It’s obvious to me that few people will buy what they can get for free, but some will still make the purchase if it’s not that much more than free and they see value in it.

            I only chose Shmurda and Cole because you put them side-by-side in your second comment. Either way, I really can’t see Shmurda lasting five years in the game (charges pending against him notwithstanding). What you said about the acquisition cost is true. I think you’re right about labels jumping on trending artists a bit too soon (*cough* Trinidad James *cough*).

            But I also think the demand for crossover artists is higher than ever, and I don’t see Kendrick/Cole/Drake as a capital “A” artists so much as I see them as artists who have crossed over; artists who can hop on an Imagine Dragons song and then make To Pimp a Butterfly. In general, though, I see your point: a label will take what they can get at the moment rather than dropping everything to look for The Next Big Thing.

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