Vinyl
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In January, three months before Reservoir Media put rap group De La Soul’s first six albums on streaming services for the first time, the company began taking pre-orders for reissues of classic albums like 3 Feet High and Rising and De La Soul is Dead, as well as De La Soul merchandise. The rap legends’ recordings came to Reservoir Media through its 2021 acquisition of Tommy Boy Music. Negotiations with Tommy Boy owner Tom Silverman over taking the albums to streaming services had stalled in 2019 over a royalty dispute — but not only did Reservoir quickly hash out a deal with De La Soul to reintroduce the world to its Tommy Boy catalog, it also planned a marketing campaign with the group to create exclusive merchandise and launch a slate of LPs, CDs and cassettes.
Selling directly to De La Soul’s biggest fans has meant 30% of its physical product sold worldwide has gone through the group’s website, wearedelasoul.com, says Rell Lafargue, Reservoir Media COO/president. In the process, Reservoir was able to tap into a consumer group of rising importance in today’s music business: superfans. “Twenty percent of wearedelasoul.com customers are repeat customers in just the first six months of the store opening,” says Lafargue, “and we see superfans fill their carts with multiple copies and color variants of vinyl, shirts, hoodies and more at check out.”
De La Soul fans are part of a trend shaping the U.S. music business in 2023: Superfans’ purchases of CDs, LPs and cassettes to help support their favorite artists helped drive increases in all physical formats in the first six months of the year, according to Luminate’s 2023 midyear report released Wednesday (July 12).
Luminate says 15% of the general population is made up of superfans — a group of passionate music consumers with a propensity for discovering new music, connecting with artists on a personal level and being part of a community, or “fandom,” that artists provide. They’re valuable, too: Superfans spend 80% more money on music each month than the average U.S. music listener.
While the average consumer may subscribe to a streaming service, stream for free or listen to the radio, superfans purchase physical formats like it’s 1999. Buyers of CDs, vinyl LPs and cassettes are 128% more likely to be super fans, according to Luminate. They also skew young. U.S. millennials and Gen Z music listeners spend 22% and 13% more on music than the average music listener.
The power of superfans helps explain why U.S. physical album sales improved drastically in the first half of the year. Vinyl LP sales were up 21.7% through June 30 — well above the 1% gain in the prior-year period — and CD album sales grew 3.8%, a huge improvement from the 10.7% decline a year earlier.
Direct-to-consumer sales increased 20% to 4.4 million units, with vinyl sales specifically improving 25% to 3.6 million units and CD sales growing 15% to 1.7 million. Over 60% of direct-to-consumer sales are current releases — defined as titles 18 months or younger. That number rises to 75% for direct-to-consumer sales for both CDs and cassettes.
Golda Bitterli, vp of sales at Revelator, maker of a technology platform for labels and distributors, attributes the trend to the fans’ access to artists online, particularly on social media. “Fans are becoming more active participants in the artist’s career, including involvement in the creative process like we see on TikTok, as well as direct access to artists through platforms like Telegram,” she says. “This gives the fan a greater sense of connection and stock in the artist’s career and leads to more consumption through streaming, downloads, ticket sales and more.”
K-pop superfans are in an entirely different category. According to Luminate, K-pop fans spend 75% more on music than the average U.S. music listener, with much of that spending going to physical products. K-pop fans are 46% more likely to have purchased a CD in the last 12 months, while almost a quarter have purchased a cassette in the past 12 months.
K-pop superfans are on a different level of fandom than the typical fan, organizing and supporting their favorite artists at levels rarely seen elsewhere in music. They buy multiple copies of albums, snap up merchandise and purchase the clothing artists are seen wearing on social media, says Kristine Kim, GM of Korea for business-to-business platform Surf Music. In Korea, fans will even rent out cafes to gather with other fans and purchase billboards to wish their favorite artists a happy birthday. “The investment, the time investment, the energy that they put in — emotionally, physically — and the money that they put in, it’s pretty incredible,” says Kim.
In the United States, superfans’ influence can be seen in the uptick in album sales in the first half of the year. K-pop albums, usually made available in multiple versions and formats so superfans can buy more than one copy, accounted for six of the top 10 physical albums and 16 of the top 50 physical albums, according to Luminate. The only artist to outsell K-pop artists Tomorrow X Together, Stray Kids, TWICE and Seventeen was Taylor Swift, who replicated the K-pop approach by offering over 20 different versions of her album Midnights.
For the upper strata of superfans, buying albums goes beyond merely collecting items or listening to music. “What drives these fandoms and CD sales is they just want to support the artists,” says Kim.
A small number of Swifties got a major surprise when they received their vinyl editions of Speak Now (Taylor’s Version), as the vinyls didn’t play Taylor Swift at all and treated listeners to British electronica music instead. Explore Explore See latest videos, charts and news See latest videos, charts and news The accidental mis-press of […]
D. Tobago Benito started his first brick-and-mortar record store in Atlanta in 1996. At the time, “there were about 400 to 500 Black-owned record stores around the country,” he recalls. “There were a lot of conferences. When I came in, senior store owners took me under their wing and showed me how the business operated.”
Benito’s still in physical retail 27 years later, running DBS Sounds. But the pool of Black-owned record stores has been decimated, falling to around 70, according to his count. (Some think it’s closer to 60.) Depending who you ask, there are between 1,800 and 2,100 independent record stores in the U.S., which means that Black-owned outlets now represent just a sliver of this market.
The decline is at odds with the popularity of Black music. R&B and hip-hop’s share of overall consumption was 26.8% in 2022, according to Luminate. While R&B and hip-hop doesn’t fare as well in the physical market, it still accounted for 14.3% of physical sales last year. Yet “we make up about 3% of the record stores out there,” Benito says. “It’s unacceptable. There are major markets around the country with no Black-owned stores: Birmingham, Nashville, Charlotte.”
“The numbers are astounding,” adds Sharod Bines, owner of Retrofit Records in Tallahassee, Florida. “A generation ago, it was not as uncommon to be a Black record store owner.”
While vinyl sales have been growing for 17 consecutive years, this rising tide hasn’t yet led to a major lift in the number of Black store owners. Benito is spearheading an effort he hopes will change that: In 2021, he joined with more than 20 other Black-owned stores to create the F.A.M.S. Coalition (Forever a Music Store). Some of the hurdles facing Black record stores are systemic — the racial wealth gap, gentrification, bias in the loan-application process. But for outlets that have overcome these obstacles, F.A.M.S. is intent on gaining more support from the music industry. This could be financial assistance as well as windowed exclusives, vinyl variants and release parties pegged to notable albums that might boost the presence of coalition members.
“We need people like Tobago to push to say, ‘we’re here, we’re growing, and we need equality,’” says Drew Mitchell, owner of 606 Records in Chicago. “We need to make sure there is equal opportunity for minority-owned stores — in the music business and in any business.”
In the early ’90s, “Black independent stores were really thriving, and they were an important part of the ecosystem when it came to breaking records,” adds Steve Corbin, Warner Music Group’s senior vice president of sales, counsel and culture. “We are in discussions with [F.A.M.S.] and working with them, whether it’s mentoring store owners or figuring out other ways to get involved with the community.”
One of the coalition’s biggest wins to date came when Beyoncé released the vinyl version of Renaissance in October 2022; F.AM.S. stores were given the chance to sell the LP a week before their peers. At the time, the coalition contained 26 stores — it’s now at 22 — which sold more than 1,000 copies of Renaissance combined. “That was huge for us,” says Marketta Rodriguez, a F.A.M.S. member from Houston who runs Serious Sounds. The first week of June, F.A.M.S. stores were able to boost their profile by hosting listening parties for Janelle Monae’s The Age of Pleasure three days before the album hit streaming services.
Some Black-owned stores serve up all styles of music — “I cover as many bases as possible,” Bines says — while others focus on historically Black genres. The latter camp faces a challenge as it tries to stabilize and ultimately grow. “There is a lack of new releases and catalog that are not available physically in rap and R&B,” explains Steve Harkins, vp of sales and marketing at Ingram Entertainment, the distributor that has been working closely with F.A.M.S. “It’s getting better with new releases, but these stores need more product in the marketplace. And this is also product that would benefit other independent stores as well.”
D. Tobago Benito
Raphael Simien
Rap was quick to embrace the digital economy — first through free download sites like Datpiff, which hosted copious amounts of mixtapes, and then through streaming, where hip-hop soared. But perhaps as a result of this success, the genre hasn’t paid much attention to the old-fashioned physical market. Harkins notes that “labels have said they’ve had challenges convincing artists and management to release their titles physically in some cases.”
While Tyler, the Creator and Kendrick Lamar have both sold heaps of vinyl, many major rappers still don’t release actual LPs. Often they would “rather put their money into music videos and digital marketing,” says Nima Nasseri, who manages the producer Hit-Boy. And vinyl still requires long lead times — it could be three to four months — which is a drawback in a genre that has thrived thanks in part to its relentless release pace. “By the time that a project is out, the majority of these artists are already working on the next project; they’re just over it,” says Aaron “Ace” Christian, who manages the rapper Cordae.
But around half of vinyl buyers don’t even own a turntable, according to Luminate, suggesting that fans want to support artists they favor through physical purchases even in cases when they can’t actually play the record they buy. And “especially when it comes to recouping, vinyl can put a huge dent in whatever you’re owing to these labels,” says Justin Lehmann, founder of Mischief Management. “It’s a missed opportunity for other artists if they’re not taking advantage of that,” he adds.
Lehmann has worked with his client Aminé to put out a vinyl version of every one of the rapper’s albums. Same goes for Cordae. “We sold out everything,” Christian says of his client’s LPs. “Fans like the memorabilia aspect of it.” “The popularity [of vinyl releases] is rising,” Nasseri adds. “Doing 1,000 copies for the diehard fans is a smart move.”
On the catalog front, some Black record store owners also worry about the “big void for ’90s R&B and hip-hop,” says Phillip Rollins, owner of Offbeat in Jackson, Mississippi. Labels are “re-pressing everything else, like 1,000 Grateful Dead live box sets,” he continues. “Where’s SWV and early Usher?” “It’s starting to look really weird when you can re-press 30 Rolling Stones records but not a core R&B title from the ’70s,” Rodriguez agrees.
Joe Lyle, owner of No Pulp Records in New Orleans, says F.A.M.S. has been working to make the labels aware of the demand for some of this classic material. Benito is starting to see some progress, pointing to represses of LPs from Mary J. Blige, Erykah Badu and Kingpin Skinny Pimp. In addition, Harkins helped secure a commitment from the manufacturer GZ North America to set aside capacity for both new hip-hop and R&B titles and represses.
There’s more to come: At the Music Biz conference in Nashville in May, members of F.A.M.S. met with Corbin to talk about the need for additional catalog releases. “What we agreed to is having them be somewhat of a curator — ‘we really think this Anita Baker record would be worth bringing out and repressing on vinyl,’” Corbin says. “Rather than us dictating and saying, ‘Hey, we’re gonna re-release these classic R&B records,’ we’re making it a collaborative effort,” and taking cues from the store-owners who are in touch with record buyers on the ground.
Benito’s dream is to grow the Black-owned sector of independent record stores to more than 5% of the total over the next five years. But for some owners, even just forming the coalition represents a victory. “We’re a minority within the minority of record store owners — it can feel like you’re kind of on an island out here,” Bines says. “It’s been nice to see there’s others out there trying to sustain the same thing that I am.”
Taylor Swift‘s Speak Now (Taylor’s Version) rollout has been nothing short of enchanting so far. The superstar’s official Taylor Nation Twitter page revealed on Thursday (May 18) that the vinyl for the upcoming re-recording of Swift’s 2010 album is available for pre-order at Target. The vinyl perfectly fits the Speak Now color scheme with a […]
Ed Sheeran scores his fifth No. 1 on Billboard’s Top Album Sales chart (dated May 20) as – (pronounced Subtract) debuts in the top slot. Further, it does so with his largest sales week since 2017 – thus bigger than any week posted by Sheeran’s last two albums (2021’s Equals and 2019’s No. 6 Collaborations Project).
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Subtract starts with 81,000 copies sold in the United States in the week ending May 11, according to Luminate. It’s the 10th-largest sales week of 2023 for any album, and the fifth-largest for a non-K-pop title.
Subtract’s sales were aided by its availability in both a standard 14-track and 18-track edition (digital download, CD and vinyl). The set was also available in nine vinyl variants (including exclusives for Amazon, Barnes & Noble, independent record stores, Target, Urban Outfitters and Walmart) and multiple CD iterations in collectible packages (including a signed CD, a version with a lenticular cover, a “textured sand” cover and a “Zine” CD package).
Also in the top 10 of the new Top Album Sales chart, LE SSERAFIM’s Unforgiven debuts at No. 2, the Guardians of the Galaxy, Vol. 3: Awesome Mix Vol. 3 soundtrack bows at, appropriately, No. 3, and The Smashing Pumpkins’ ATUM: A Rock Opera in Three Acts enters at No. 8.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new May 20, 2023-dated chart will be posted in full on Billboard‘s website on May 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Subtract’s 81,000 sold, physical sales comprise 59,000 (45,000 on CD, 14,000 on vinyl – Sheeran’s largest sales week on vinyl – and a couple hundred on cassette) and digital download sales comprise 22,000. Subtract also enters at No. 1 on the Vinyl Albums chart, his third leader on that list, as well as No. 1 on Tastemaker Albums and Top Current Album Sales. Vinyl Albums tallies the top-selling vinyl albums of the week. Tastemaker Albums lists the week’s top-selling albums at independent record stores. Top Current Album Sales lists the week’s best-selling current (not catalog, or older albums) albums by traditional album sales.
Korean pop girl group LE SSERAFIM debuts at No. 2 on Top Album Sales with Unforgiven, selling 38,500 copies in the week ending May 11. It’s the second top 10, highest charting effort, and best sales week for the act. The album was released to digital retail on May 1 and sold less than 500 copies in the week ending May 4. Its debut on Top Album Sales was prompted by its CD release on May 5.
Like many K-pop releases, the CD edition of Unforgiven was issued in collectible CD packages (11 total, including exclusives for Target, Walmart and the Weverse webstore), each containing a standard set of bonus items and randomized photocards. Effectively all of Unforgiven’s album sales in the week ending May 11 were CDs, with a negligible sum generated by digital download album sales. The set was not available in any other retail format (such as vinyl or cassette).
The Guardians of the Galaxy, Vol. 3: Awesome Mix Vol. 3 soundtrack bows at No. 3 on Top Album Sales, with 29,000 copies sold. Of that sum, vinyl sales comprise 11,000 (enabling its debut at No. 2 on the Vinyl Albums chart).
The multi-artist Guardians soundtrack (comprised entirely of previously released pop and rock songs) also debuts at No. 1 on Billboard’s Soundtracks chart and Top Rock Albums tally. All three of the Guardians theatrical film soundtracks have reached No. 1 on both the Soundtracks chart and the Top Rock Albums chart.
Soundtracks and Top Rock Albums ranks the week’s most popular soundtracks and rock releases, respectively, by equivalent album units.
A quartet of former No. 1s is next on Top Album Sales, as SEVENTEEN’s SEVENTEEN: 10th Mini Album: FML falls 1-4 in its second week (27,000; down 80%), Agust D’s D-Day dips 2-5 (14,000; down 46%), Taylor Swift’s Midnights is a non-mover at No. 6 (12,000; up 7%) and Metallica’s 72 Seasons descends 5-7 (10,000; down 20%).
The Smashing Pumpkins’ ATUM: A Rock Opera in Three Acts debuts at No. 8 on Top Album Sales, selling 9,000 copies. Of that sum, vinyl sales comprise 4,000 – and the set bows at No. 8 on the Vinyl Albums chart. On Top Album Sales, ATUM marks the eighth top 10-charting effort for the rock act, and first since 2012’s Oceania debuted and peaked at No. 4.
Rounding out the top 10 of the new Top Album Sales chart is Swift’s chart-topping Lover (13-9 with 7,000; up 17%) and Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd (12-10 with nearly 7,000; up 2%).
In the week ending May 11, there were 2.021 million albums sold in the U.S. (up 10.6% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.661 million (up 12%) and digital albums comprised 360,000 (up 4.5%).
There were 737,000 CD albums sold in the week ending May 11 (up 3.5% week-over-week) and 914,000 vinyl albums sold (up 19.8%). Year-to-date CD album sales stand at 12.673 million (up 5.7% compared to the same time frame a year ago) and year-to-date vinyl album sales total 17.972 million (up 27.9%).
Overall year-to-date album sales total 37.554 million (up 10.7% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 30.842 million (up 17.6%) and digital album sales total 6.713 million (down 12.7%).
A federal judge has approved a $25 million settlement struck by vinyl producer Mobile Fidelity to resolve accusations that the company’s pricey “all analog” records were secretly created using digital methods, overruling objections from some customers that the settlement was “tainted by the stink of collusion.”
Though the deal would allow tens of thousands of MoFi customers to secure full refunds, some consumers argued that the deal was unfair — claiming it had been reached through a “reverse auction” in which MoFi bargained with “ineffectual” plaintiff’s lawyers to find the cheapest settlement possible.
But in a ruling Tuesday (May 9), U.S. District Judge James L. Robart rejected those claims and preliminarily approved the settlement deal. He said the agreement would likely fairly compensate any MoFi buyers who had been misled, and that there was no concrete evidence of impropriety in how it had been reached.
“The undisputed facts demonstrate that proposed settlement is not the product of a reverse auction or otherwise the result of collusion,” the judge wrote, saying it appeared to have been reached via “arm’s length negotiations” between attorneys for MoFi and the plaintiffs.
Among other things, the challengers had argued that the settlement’s payouts were insufficient based on how much they might have won at trial. But Judge Robart said those arguments ignored key factual details about how MoFi’s records were produced — and that such claims were at times “nonsensical.”
In a statement to Billboard, MoFi lead counsel Joseph J. Madonia said: “We appreciate the court’s ruling, which supports all of our claims that there was no reverse auction or collusion. As always MoFi continues its commitment to provide the best-sounding records possible.”
Attorneys for the consumers who challenged the settlement did not immediately return a request for comment.
The scandal at MoFi first erupted last summer, after Phoenix-area record store owner Mike Esposito posted a pair of videos to YouTube alleging that the company’s “all-analog” and “triple analog” records were in fact partially created using so-called direct stream digital technology. In one of the videos, MoFi’s engineers appeared to confirm that some digital tech had in fact been used in production.
As reported by The Washington Post, the digital revelations created “something of an existential crisis” in the analog-obsessed vinyl community. In a statement in late July, MoFi apologized for using “vague language” and for “taking for granted the goodwill and trust” of its customers: “We recognize our conduct has resulted in both anger and confusion in the marketplace. Moving forward, we are adopting a policy of 100% transparency regarding the provenance of our audio products.”
But the apology wasn’t enough to avoid litigation. In early August, a pair MoFi customers named Stephen J. Tuttle and Dustin Collman filed a proposed class action in Washington federal court, claiming the company’s analog branding had been “deceptive and misleading” and had duped them into paying premium prices. Four more cases were later filed in other federal courts by other groups of buyers.
In January, MoFi decided to settle the case. Calling the deal “a fair compromise,” the company agreed to let consumers either secure a full refund or keep their albums and instead take a 5% cash refund or a 10% refund in credit. The agreement would cover all customers nationwide, and the total money that could be paid out was “expected to be over $25 million.”
But some of the consumers who filed those other lawsuits quickly threw up red flags about the deal. They said the settlement was insufficient, struck without their input by bad lawyers who simply wanted a payout: “Despite this clear abdication of their duties to class members, counsel … are now trying to ram an inadequate, collusive settlement through this court.”
In Wednesday’s ruling, however, Judge Robart said those allegations had little basis. He pointed out there was “no evidence” that MoFi had “shopped” the case in search of a settlement — and that the plaintiffs’ lawyers had actually capped their own fees lower than necessary.
“This is one of the lower proposed fee awards this court has encountered in a class action settlement,” the judge wrote.
Following this week’s ruling, the settlement must still be granted final approval; during the process, the aggrieved MoFi buyers will still have additional chances to object to the terms of the deal or to opt out of it entirely. A hearing on final approval is tentatively set for October.
In a statement to Billboard, Duncan C. Turner — lead counsel for the customers that settled with MoFi — praised the judge’s decision: “There was never any substance to the intervenors’ made-up collusion story. The settlement terms are sound and fair, so we will be turning our attention to executing the notice program and getting the class members their compensation.”
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One of Kendrick Lamar’s most revered works is about to get a special release. Interscope Records is selling a limited edition vinyl of To Pimp A Butterfly.
As spotted on Digital Music News, the Compton, California MC’s third studio album is being brought to life like never before. Kendrick Lamar’s record label is releasing the project as a collectible. This week, Interscope unveiled the To Pimp A Butterfly by Lauren Halsey Gallery Vinyl. This version features a 11.5 x 11.5 inch gallery quality giclée printed cover by Lauren Halsey, fixed to a tan custom dyed linen wrapped vinyl jacket.
And to up the ante, the packaging is designed by Gucci and bears the iconic logo from the Italian luxury fashion house. The To Pimp A Butterfly by Lauren Halsey Gallery Vinyl release is limited to only 100 pieces and sells for $2,500 a piece.
This co-branded effort is part of Interscope Records’ ongoing limited-edition vinyl series “Interscope Reimagined” via NTWRK. Both entities will donate all the proceeds to the Iovine and Young Foundation in South Los Angeles, which is founded by record executive Jimmy Lovine and Andre “Dr. Dre” Young.
Earlier this year, it was confirmed that his most recent The Big Steppers Tour is now the highest earning concert series ever headlined by a rapper. The 73 show run sold 929,056 tickets and generated a whopping $110.9 million dollars.
You can shop Kendrick Lamar’s To Pimp A Butterfly and more here.
Agust D (an alias of BTS’ Suga) sees his solo debut studio effort D-Day bow at No. 1 on Billboard’s Top Album Sales chart (dated May 6), selling 122,000 copies in the United States in the week ending April 27, according to Luminate. That marks the fourth-largest sales week for an album in 2023.
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D-Day is the first leader for Agust D, and he’s the second member of BTS to achieve a No. 1 on Top Album Sales. He follows Jimin, who bowed at No. 1 earlier this year with FACE (April 8-dated chart). BTS itself has notched six No. 1s on Top Albums Sales, most recently with the retrospective collection Proof in 2022.
Like many K-pop releases, the CD edition of D-Day was issued in collectible CD packages (seven total, including exclusives for Target, Walmart and the Weverse webstore) each containing a standard set of items and randomized elements (in this case, photo cards). It was also available as a standard digital download album, as well as three alternative cover digital download variants that were sold exclusively through the artist’s official webstore. Of D-Day’s first-week sales, 90% were CDs, while the remaining 10% were digital album downloads. The set was not available in any other retail format (such as vinyl or cassette).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Taylor Swift’s Record Store Day-exclusive vinyl release Folklore: The Long Pond Studio Sessions launches at No. 3 on Top Album Sales with 75,000 sold – all from sales of its vinyl LP. It’s the single-largest sales week for an album on vinyl in 2023. It’s the 15th top 10 for Swift on Top Album Sales.
The live acoustic album, which was previously available only as bonus tracks on a deluxe digital and streaming edition of her Folklore studio album (released in 2020), was issued on vinyl LP (its first physical release of any kind) for Record Store Day (RSD) (April 22) at participating independent record stores. It was previously announced that Long Pond’s production run for Record Store Day would be 75,000 copies in the United States, and the set sold out instantly. It’s typical for many albums and singles to garner unique and limited edition runs exclusively for the annual independent record store day celebration.
Typically, high-profile Record Store Day-exclusive titles might have a production run of 10,000-to-20,000 in the United States. For Record Store Day 2022, there were 10 titles that had pressings ranging from 10,000 to 18,000, but nothing larger. For Record Store Day 2023, Swift’s Long Pond title had by far the largest production run of any RSD title. Pearl Jam’s live concert album Give Way had the second-biggest production run, with 15,500 vinyl LPs pressed.
Metallica’s former leader 72 Seasons falls 1-3 in its second week on Top Album Sales with 25,000 sold (down 81%).
Pearl Jam’s Give Way starts at No. 4 with 22,000 copies sold – representing vinyl, CD and digital download sales combined. The set made its retail debut on both vinyl LP (one set available at indie retailers and one sold through the band’s fan club) and CD (exclusive to indie stores), as well as a digital download. The album was recorded in 1998 during the group’s Yield Tour. Give Way is the 17th top 10 effort on Top Album Sales for Pearl Jam.
Swift has a second title in the top 10, as her chart-topping Midnights dips 4-5 with a little over 15,000 sold (up 20%). Melanie Martinez’s former No. 1 Portals falls 3-6 with 14,000 (up 5%), Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd. is a non-mover at No. 7 with 11,000 sold (up 25%) and Boygenius’ The Record climbs 13-8 with 10,000 (up 47%).
Coming in at No. 9 is a re-entry from The Cure with its live album Show, and Stevie Nicks debuts at No. 10 with Bella Donna: Live 1981.
Show’s sales (just over 10,000) are driven almost entirely from a new picture disc vinyl release of the album for Record Store Day. The set was originally released widely in 1993 and initially peaked at No. 42. Show was recorded during The Cure’s 1992 Wish album tour.
For Nicks, Bella Donna: Live 1981 made its debut as stand-alone album for Record Store Day, and only on vinyl. It sold 10,000 copies. Its tracks were originally commercially released on an album as part of a deluxe edition of Nicks’ 1981 studio album Bella Donna, released in 2016. The Bella Donna: Live 1981 album was recorded during Nicks’ White Winged Dove Tour on Dec. 13, 1981.
In the week ending April 27, there were 2.927 million albums sold in the U.S. (up 44.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 2.583 million (up 54.3%) and digital albums comprised 339,000 (down 2.8%).
There were 760,000 CD albums sold in the week ending April 27 (up 9.6% week-over-week) and 1.809 vinyl albums sold (up 87.5%). Year-to-date CD album sales stand at 11.224 million (up 4.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 16.296 million (up 28.7%).
Overall year-to-date album sales total 33.707 million (up 10.9% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 27.699 million (up 17.8%) and digital album sales total 6.009 million (down 12.5%).
Record Store Day once again spurred big sales of music on vinyl and at independent record stores in the United States, according to data tracking firm Luminate – resulting in some eye-popping numbers.
This year’s edition of the indie record store celebration, held on April 22, helped sell 1.809 million vinyl albums in total across all retailers and sellers (not just indie stores) in the U.S. in the week ending April 27, according to Luminate. That sum marks a record number of vinyl albums sold in a Record Store Day (RSD) week (including Black Friday-related RSD celebrations), and the fourth-largest week for vinyl album sales since Luminate began tracking music sales in 1991.
RSD 2023 also drove a modern-era record of 1.426 million vinyl albums sold in the U.S. at independent record stores April 21-27. That is the largest week ever for the format at the indie sector in Luminate history, since the company began tracking sales in 1991. It surpasses the previous Luminate-era high for weekly vinyl album sales at indies, with 1.012 million sold in the week ending April 28, 2022 (during RSD 2022). (Vinyl was so big at indies – 79% of all vinyl albums sold that week, industry-wide, were sold through indie record stores.)
Further, independent record stores sold 1.673 million albums in total across all formats (vinyl, CD, cassette, etc.) in the week ending April 27 – marking the biggest album sales week at indie stores since at least before January 2008, when Luminate began archiving data specific to this sector. Fifty-seven percent of all albums sold in the U.S. (across all formats, both physical and digital) in the week ending April 27 were sold via independent record stores.
Traditionally, Record Store Day is held on one Saturday in the springtime, when hundreds of albums (and many singles) are released specifically for the event, and available only at participating independent record stores. (In 2020 and 2021, RSD celebrations were heavily altered and spread across multiple events [dubbed “Drops”] due to COVID-19, while the event was mostly back to its pre-pandemic self for the 2022 edition, and it was business as usual for the 2023 installment.)
Among the unique titles that hit shelves for Record Store Day 2023: the vinyl debut of Taylor Swift’s acoustic live set Folklore: The Long Pond Studio Sessions (pressed on grey-colored double vinyl, in a massive 75,000-production run in the U.S. – an unusually high quantity for a RSD title), the vinyl and CD debut of Pearl Jam’s 1998 concert recording Give Way, the vinyl premiere of Stevie Nicks’ Bella Donna: Live 1981 concert recording, Tori Amos’ Little Earthquakes: B-Sides on vinyl and a reissue of The Rolling Stones’ Beggars Banquet on grey, blue, black and white swirl-colored vinyl. All five releases are among the top-selling RSD-exclusive titles for the week (see lists, below).
The husband-and-wife team of Jason Isbell and Amanda Shires (Record Store Day Ambassadors for 2023) gifted RSD with two releases: a four-track EP from the duo (The Sound Emporium EP) and a four-track EP from Shires (Live at Columbia Studio A) that includes a guest appearance from Isbell.
Here are some facts on Record Store Day 2023’s impact, plus a look at the top-selling Record Store Day-exclusive albums and singles:
(All data is according to Luminate, for the week ending April 27, 2023, in the U.S, unless otherwise indicated. Luminate began tracking music sales in 1991. References to the Luminate era mean from 1991-onwards.)
Industry-wide total album sales in U.S. across all formats (physical [including CD, vinyl, cassettes, etc.] and digital downloads): 2.923 million – up 44.4% compared to the previous week (2.02 million). It’s the largest album sales week in 2023.
The last larger week was the week ending Dec. 22, 2022, when 3.897 million albums were sold. (Outside of the holiday shopping season – from the week containing Thanksgiving through the end of the year – the last larger week was the frame ending April 26, 2018, during RSD 2018, when 3.267 million albums were sold.)
Industry-wide total physical album sales in U.S. (CD, vinyl, cassette, etc.): 2.583 million – up 54.3% compared to the previous week (1.675 million). It’s the largest sales week for physical album sales in 2023.
The last bigger week was the week ending Dec. 22, 2022, when 3.526 million physical albums were sold. (Outside of the holiday shopping season – from the week containing Thanksgiving through the end of the year – the last larger week was the frame ending Feb. 18, 2016, when 2.710 million physical albums were sold.)
Industry-wide CD album sales in U.S.: 760,000 – up 9.6% compared to the previous week (693,000).
Industry-wide vinyl album sales in U.S.: 1.809 million – up 878.5% compared to the previous week (965,000).
That 1.809 million sum translates to a record number of vinyl albums sold in any Record Store Day-related week (including Black Friday-related RSD festivities) and the fourth-largest week for vinyl album sales since Luminate began tracking data in 1991. It’s also the biggest week outside of the holiday shopping season for vinyl album sales, in the Luminate era.
The largest week for vinyl album sales in the Luminate era occurred in the week ending Dec. 22, 2022, when 2.232 million vinyl albums were sold. The Nos. 2-5 largest weeks are: week ending Dec. 23, 2021 (2.115 million); Dec. 24, 2020 (1.842 million); April 27, 2023 (1.809 million; includes RSD 2023) and Dec. 29, 2022 (1.57 million).
62% of all albums sold in the U.S. in the week ending April 27 were vinyl albums (1.809 million of 2.922 million). For context, year-to-date, vinyl albums comprise 48% of all album sales (16.296 million of 33.707 million).
70% of all physical albums sold in the U.S. in the week ending April 27 were vinyl albums (1.809 million of 2.583 million). Year-to-date, vinyl albums represent 59% of all physical album sales (16.296 million of 27.699 million).
Independent store album sales in U.S.: 1.673 million – up 112% compared to the previous week (789,000). That marks the biggest album sales week at indie stores since at least before January 2008, when Luminate began archiving data specific to this sector.
Independent store CD album sales in U.S.: 238,000 – up 11% compared to the previous week (216,000). It’s the largest sales week for CD album sales at indie stores in 2023. The last bigger week was the week ending Dec. 22, 2022, when 268,000 CD albums were sold at indies. (Outside of the holiday shopping season, the last bigger week for CD album sales at indies was in the frame ending March 12, 2020, when 239,000 CD albums were sold in the indie sector.)
Independent store vinyl album sales in U.S.: 1.426 million – up 152% compared to the previous week (566,000). That marks the largest week ever for the format at the indie sector since Luminate began tracking music sales in 1991. It surpasses the previous Luminate-era high for weekly vinyl album sales at indies, with 1.012 sold in the week ending April 28, 2022 (during the week of Record Store Day 2022).
57% of all albums sold in the U.S. in the week ending April 27 were sold via independent record stores (1.672 million of 2.922 million). For context, year-to-date, indie store album sales comprise 37% of all album sales (12.459 million of 33.707 million).
65% of all physical albums sold in the U.S. in the week ending April 27 were sold via independent record stores (1.672 million of 2.583 million). Year-to-date, 45% of all physical albums sold in the U.S. were sold via indie stores (12.459 million of 27.699 million).
79% of all vinyl albums sold in the U.S. in the week ending April 27 were sold via independent record stores (1.426 million of 1.809 million). Year-to-date, 57% of all vinyl albums were sold via indie record stores (9.317 million of 16.296 million).
49% of all albums sold in the U.S. in the week ending April 27 were vinyl albums sold via independent record stores (1.426 million of 2.922 million). Year-to-date, 28% of all albums sold in the U.S. have been vinyl albums via indie record stores (9.317 million of 33.707 million).
55% of all physical albums sold in the U.S. in the week ending April 27 were vinyl albums sold via independent record stores (1.426 million of 2.583 million). Year-to-date, 34% of all physical albums sold in the U.S. have been vinyl albums sold via indie record stores (9.317 million of 27.699 million).
57% of vinyl albums sold via independent record stores in the U.S. in the week ending April 27 were of the rock genre (814,723 of 1.426 million). Fifty-six percent of all vinyl albums sold industry wide in the U.S. were rock titles (1,013,297 of 1,809,301 million). Year-to-date, the rock genre comprises 57% of vinyl albums sold through indie record stores (5,353,048 million of 9.317 million). While rock holds 54% of all vinyl albums sold industry wide (8.722 million of 16.296 million).
Top-Selling Record Store Day 2023 Exclusive Albums at Independent Record Stores in U.S.Rank, Artist, Title
1. Taylor Swift, Folklore: The Long Pond Studio Sessions (grey colored double vinyl)2. Pearl Jam, Give Way (double vinyl)3 (TIE). The Cure, Show (double vinyl picture disc)3 (TIE). Stevie Nicks, Bella Donna: Live 1981 (double vinyl)5 (TIE). Grateful Dead, Boston Garden, Boston, MA 5.7.77 (five vinyl LP box set)5 (TIE). The Rolling Stones, Beggars Banquet (swirl-colored vinyl)7. Tori Amos, Little Earthquakes: B-Sides (vinyl)8. Jason Isbell & Amanda Shires, The Sound Emporium EP (vinyl)9. Larry Lovestein & The Velvet Revival, You (gold-colored 10-inch vinyl)10. The Ramones, Pleasant Dreams (vinyl)11. Beach House, Become (crystal clear-colored vinyl)12. Billy Joel, Live at the Great American Music Hall, 1975 (double vinyl)13. The Allman Brothers Band, Syria Mosque Pittsburgh, PA January 17, 1971 (steel grey-colored double vinyl)14. Van Halen, Live: Right Here, Right Now (four vinyl LP set)15. Jerry Garcia Band, How Sweet It Is… (double vinyl)16. Madonna, American Life: Mixshow Mix (Honoring Peter Rauhofer) (180 gram vinyl)17. Ol’ Dirty Bastard, Return to the 36 Chambers (double vinyl picture disc)18. Miles Davis, Turnaround: Rare Miles From the Complete On the Corner Sessions (sky blue-colored vinyl)19. Dolly Parton, The Monument Singles Collection: 1964-1968 (vinyl)20. Chet Baker, Chet (180 gram vinyl)21 (TIE). The Black Keys, Live at Beachland Tavern March 31, 2002 (tangerine-colored vinyl)22 (TIE). Paul McCartney and Wings, Red Rose Speedway (half-speed vinyl)23. Blur, Blur Present the Special Collectors Edition (colored double vinyl)24. Tom Tom Club, Tom Tom Club (Expanded Edition) (double vinyl)25 (TIE). Sisters of Mercy, The Reptile House E.P. (smoky-colored vinyl)25 (TIE). Various Artists, Jazz Dispensary: Hotel Jolie Dame (psych-sunset orange marble-colored vinyl)25 (TIE). Wilco, Crosseyed Strangers: An Alternate Yankee Hotel Foxtrot (vinyl)
Top-Selling Record Store Day 2023 Exclusive Singles at Independent Record Stores in U.S.Rank, Artist, Title1. The Mars Volta, Frances the Mute / The Widow (12-inch vinyl)2. U2, Two Hearts Beat as One / Sunday Bloody Sunday (180-gram 12-inch white-colored vinyl)3. Motley Crue, Helter Skelter (12-inch picture disc vinyl)4. Post Malone, Waiting for Never / Hateful (12-inch translucent red-colored vinyl)5. Fleetwood Mac, Albatross / Jigsaw Puzzle Blues (12-inch vinyl)6. Bjork, The Fossora Remixes (12-inch vinyl)7 (TIE). Maya Hawke, To Love a Boy / Stay Open (7-inch vinyl)7 (TIE). Sam Smith & Kim Petras, Unholy (colored 7-inch vinyl)9. The Doors, Break on Through (3-inch vinyl)10. The Doors, Love Her Madly (3-inch vinyl)
Source: Luminate, for the week ending April 27, 2023
Record Store Day already has a magnificent track record of bringing music fans out to stores, but this year, the event received an added boost from Taylor Swift’s folklore, the long pond studio sessions — a double LP that resulted in longer-than-usual lines at retailers.
While the spread of Record Store Day (RSD) releases is now a major draw unto itself, the Swift release, which enjoyed a 75,000-unit distribution to stores across the U.S., was the best-selling title by far. Or as Stu Goldberg, owner of Mr. Cheapo CD & Record Exchange on Long Island, N.Y., put it: “Today, it was all about Taylor Swift.”
An assessment of Record Store Day wouldn’t be complete without a call to its administrator and co-founder, Michael Kurtz, who noted that RSD is on course to break the sales record for the most vinyl sold in a single day. When RSD “began 16 years ago, we had 30 releases that sold about 80,000 copies,” Kurtz says. “On Saturday, we had one record, Taylor Swift, selling 75,000 or almost that amount, and plenty of sales from other releases.” It’s likely that her release could be a Top 5 record on next next week’s Billboard 200.
Likewise, Rough Trade store manager George Flanagan said the store’s line was “informed by Taylor Swift fans,” while Newbury Comics store manager Therrien Dolby says the Swift release was the “big draw.” And In Patchogue, NY, Jeff Berg, the owner of Record Stop, says there were so many Swift fans, the store had to create two lines: one for fans seeking her release and one for everybody else. The Swift line had its own dedicated cash register too.
In acknowledgement of the day’s impact, Alliance Entertainment, the largest music wholesaler, says that more than 800,000 units of vinyl were created and shipped for RSD, with retail sales expected to surpass $32 million. “Record Store Day has been a long-time partner to Alliance Entertainment, always collaborating to benefit the independent record store community,” Alliance senior vp of sales Ken Glaser said in a statement.
RSD In NYC
Billboard began its New York City-area Record Store Day trek by driving out to Newbury Comics at Roosevelt Field Mall on Long Island. Upon arrival at 9 a.m., about 40 people were lined up outside. Like other stores later in the day, store manager Dolby positioned himself at the front door, regulating entry to make sure the store didn’t get too crowded and overwhelm the staff. At the 8 a.m. opening time, about 150 people were waiting, Dolby reported, including one customer who arrived at 1 a.m. (Dolby added that mall management, the Simon Property Group, was very helpful and accommodating to the store for the event.)
A common sight on RSD.
Ed Christman
Inside the store, a quick scan revealed that roughly 25% of its bin floor space is devoted to music, with 17 bins dedicated to vinyl and two dedicated to CDs. The store also carries a healthy stock of music merch, mainly artists-t-shirts, and music titles also enjoy a prominent position in front-of-the-store end caps.
Upon leaving Newbury Comics, Billboard headed to Mr. Cheapo CD & Record Exchange in Mineola (the store has a second location in Commack, Long Island). When co-owner Goldberg arrived at the store on Saturday morning, he found a line around the block due in large part to the Swift record, though he admitted that the store underbought the title and quickly ran out of it as a result. That was the store’s number one title for the day, he says, and “if we had more, it would have been the biggest by a mile.”
Fortunately for Goldberg, most people stayed in line after learning the Swift release had sold out. The other big sellers on Saturday were Billy Joel‘s Live at the Great American Music Hall, 1975 and Eric Carr’s Rockology, because “Kiss is always a great seller here,” he adds. Behind the counter, store staffer Jessica commanded the cash register and bagged purchases while touting her band T.O.Y.S.’ next gig with a bag-stuffer flyer for their set supporting hardcore punk band Urban Waste at the Amityville Music Hall on May 5.
Beyond the vinyl explosion, Goldberg noted that CDs are again becoming a big deal because young fans “want something tangible” from their favorite artists.
While at Mr. Cheapo, Billboard ran into respected sales/commerce executive Ken Gullic, who was doing his best to support RSD by picking up Soul Asylum‘s MTV Unplugged 1993 and Tori Amos‘ Little Earthquakes – The B-Sides. Most recently with MNRK, Gullic is entertaining freelance options; entertainment suppliers can reach him at kengullic@gmail.com.
After Long Island, Billboard decided to hit record stores in Ridgewood, Queens and then Bushwick, Brooklyn, on the way to Rough Trade Records on Sixth Avenue near 49th Street in Manhattan. Trying Google for Ridgewood, Billboard hit Scorpio Records and then Deep Cut Records, but things didn’t work out so well. At 11:30 a.m., Scorpio Records was closed and, as it turns out, generally doesn’t open until 2 p.m.
While Deep Cut Records was open and had about 20 people in line, the owner effectively told Billboard to get lost by slamming the door after being asked what his best-selling title was.
Onward Octopus Records in Bushwick. While Octopus didn’t stock any RSD titles, Nigel, who identified himself as the store owner, says it wasn’t for a lack of trying. He explained that his store is relatively new, having opened last summer and that an e-mail to the Record Store Day website was never returned. Nevertheless, the store advertised a 10%-off sale for RSD on a sign placed outside to celebrate the event. Nigel says Octopus Records has a deep selection of electronica music and is now building out other genres.
Down the block from Octopus, Brooklyn Vintage, a clothing store that also sells other merchandise, including records, was getting some Record Store Day action too, with crates of vinyl set outside the door (where a DJ was spinning tunes) and a bin of vinyl inside.
Finally, Billboard headed to Rough Trade in Manhattan, where things were still swinging at 2 p.m. Upon arrival, at least 150 people were still in line, which ran to the corner of 6th Avenue and then a third of the way down 49th Street. The size of the line held steady throughout most of the day, as security never let more than eight or so customers in the store at one time to allow staff to handle sales in an orderly manner.
Store manager Flanagan reports that the first customer lined up sometime before 8 p.m. on Friday night and that the same customer has been the first person in line for at Rough Trade on RSD for at least five years. Meanwhile, beyond the hundreds of copies of the Swift record sold by the store, The 1975’s Dirty Hit release, Live With The BBC Philharmonic Orchestra, was its second most popular, having sold out by 3 p.m.
After Rough Trade, Billboard called it a day but is sorry to have bypassed Record Stop in Patchogue on Long Island, as that store put on an old-school Record Store Day bash reminiscent of the early days when stores threw parties for the annual event. “The town of Patchogue is very pro-business, so we did a block party, getting permits and had the street closed off from cars,” Record Stop owner Berg reports. “We had a food truck and the nearby Burgerology restaurant was hawking Blue Point beer, while we had five bands and a DJ.” According to a Record Stop flyer, the bands were Thee Unsung, the Detonators, Bang For Your Buc and War Pigs, while the DJ set was supplied by Vinyl Guy Tom.
Berg says he decided to make this year special because he wanted to thank his customers as well as his staff. “Record Store Day is about a celebration of what we do,” he says.