Income split, royalties, etc.

[BurtReynolds]

I need a racket like that.

[noneofyabidness]

In a similiar line of thinking what about covers performed on Pearl Jam bootlegs? Does Neil Young get something for every Rockin' in the Free World and Victoria Williams something for every Crazy Mary? Don't they have to pay something to get to perform them anyway?
No doubt there's well established legacy musicians living well off past success. I thinking more of newer acts from the past few years or bands just getting established as viable.

They do.

Even better, every time Pearl Jam performs in a foreign country, they get royalties for their own songs.

[Strat]

I haven't read through the entire thread so forgive me if this has been mentioned or whatever.

I know for most local music clubs, they have to pay some sort of fee so that bands playing at their club can play cover songs. Its not up to the band but up to the venue to handle this. A lump sum of sorts or something, no?

[Mine]

It's similar in Europe and technically the organiser of the event handles it not the venue itself.

[noneofyabidness]

I haven't read through the entire thread so forgive me if this has been mentioned or whatever.
I know for most local music clubs, they have to pay some sort of fee so that bands playing at their club can play cover songs. Its not up to the band but up to the venue to handle this. A lump sum of sorts or something, no?

The bar I used to work at had to pay ASCAP, BMI, and SESAC. We also had to pay a separate license for our jukebox. Luckily that thing went away. Interestingly, SESAC demanded the most amount of money, despite having a smaller list of artists. We told SESAC to go fuck themselves and removed all of their artists from the jukebox and computer. Fuck SESAC

[Jessica Fletcher]

I haven't read through the entire thread so forgive me if this has been mentioned or whatever.
I know for most local music clubs, they have to pay some sort of fee so that bands playing at their club can play cover songs. Its not up to the band but up to the venue to handle this. A lump sum of sorts or something, no?

The bar I used to work at had to pay ASCAP, BMI, and SESAC. We also had to pay a separate license for our jukebox. Luckily that thing went away. Interestingly, SESAC demanded the most amount of money, despite having a smaller list of artists. We told SESAC to go fuck themselves and removed all of their artists from the jukebox and computer. Fuck SESAC

The last thing you want to have to worry about when using art to sell alcohol is making sure the artists are fairly compensated.

[noneofyabidness]

I'm all about fairly compensating bands, but SESAC is truly terrible. The Jukebox had a SESAC license that was part of the deal for the jukebox from the jukebox outfitter. The SESAC rep came in and claimed we didn't have a SESAC license of the jukebox and demanded that we pay a sum that was more of less double what we were paying to ASCAP and BMI combined. I think the jukebox had one SESAC artist (Dylan) and the computer had maybe three.

Never had a problem with ASCAP or BMI

[Jessica Fletcher]

Hmm, interesting. Doing a bit more reading (Wikipedia) I see that SESAC is a private company (vs. ASCAP and BMI non-profits, if that matters) that "retains an undisclosed amount of performance royalty income". I take your point.

[tragabigzanda]

pearl jam sucks now

[spike]

Aight, I was all high and mighty before, but the tryptophan and liquor have since put me in my place...

There is "publishing," and "publishing." The first sort includes both publishing and writing credits, so every song's royalties are immediately split and administered right down the middle, 50% to the writers, and 50% to the publishers. A typical 1990s record deal would let the band embers divy up the writers portion as they saw fit, with the publishers portion being split according to their unique contract -- though the label's publishing arm (in PJ's case, Sony/ATV) would most often control 100% of the publishing (or 50% of the total publishing...See how the language makes this unnecessarily complicated?).

I remember reading in the Kim Neely book that sometime around Vs, the band decided to give Ed 40% of the "publishing," which I took to mean 40% of the writing -- meaning the other members would get 15% each, with 50% of all publishing royalties still going to the label. As someone stated earlier, the band likely recouped their advances against writing royalties after the first record, so I would assume that subsequently, every dollar made from a song broke down thusly:

50¢ to Sony/ATV from publishing
20¢ to EV from writing
7.5¢ for each other band members' writing share

To make it all more confusing, every song also has an administrative owner of the master tapes (meaning the physical master copy they is housed somewhere in the sony archives). This would be Sony Music, and a friend of mine who works at said company claims that they still own the masters (hence the Sony imprint on all the reissue stuff). But of course everything from S/T onward is different, with PJ owning their masters from then on.

Now consider that the CD used to cost the company about 9-13¢ to manufacture, and could retail for $10-20. Hand over fist, right? But the decline in CD sales, and PJ's move towards independence, have both certainly had an enormous impact on their bottom line, necessitating the need for steady touring, marketable songs ("Hear the sirens..."), and merch. Also consider that given the changes in the industry, as well as the addition of Boom, and there's really no telling what sort of breakdown they're dealing with now. A few facts remain: their music is less challenging, though it allows them to place their music in Gray's Anatomy, thereby bankrolling not only their dedicated staff, but also their pet projects (Vitalogy Foundation, etc). CD sales continue to decline, vinyl sales are increasing but not enough to support their lifestyle, and Spotify, etc are paying shit to artists. I think that ultimately, history will look back very kindly on this band for their commitment to independence, good causes, and mostly passionate music. But that doesn't negate the fact that their albums have become increasingly predictable, and Ed has a fire pole in his house.

i wish more long winded RM posts ended with a bit of humor like this

[Alex]

Aight, I was all high and mighty before, but the tryptophan and liquor have since put me in my place...

There is "publishing," and "publishing." The first sort includes both publishing and writing credits, so every song's royalties are immediately split and administered right down the middle, 50% to the writers, and 50% to the publishers. A typical 1990s record deal would let the band embers divy up the writers portion as they saw fit, with the publishers portion being split according to their unique contract -- though the label's publishing arm (in PJ's case, Sony/ATV) would most often control 100% of the publishing (or 50% of the total publishing...See how the language makes this unnecessarily complicated?).

I remember reading in the Kim Neely book that sometime around Vs, the band decided to give Ed 40% of the "publishing," which I took to mean 40% of the writing -- meaning the other members would get 15% each, with 50% of all publishing royalties still going to the label. As someone stated earlier, the band likely recouped their advances against writing royalties after the first record, so I would assume that subsequently, every dollar made from a song broke down thusly:

50¢ to Sony/ATV from publishing
20¢ to EV from writing
7.5¢ for each other band members' writing share

To make it all more confusing, every song also has an administrative owner of the master tapes (meaning the physical master copy they is housed somewhere in the sony archives). This would be Sony Music, and a friend of mine who works at said company claims that they still own the masters (hence the Sony imprint on all the reissue stuff). But of course everything from S/T onward is different, with PJ owning their masters from then on.

Now consider that the CD used to cost the company about 9-13¢ to manufacture, and could retail for $10-20. Hand over fist, right? But the decline in CD sales, and PJ's move towards independence, have both certainly had an enormous impact on their bottom line, necessitating the need for steady touring, marketable songs ("Hear the sirens..."), and merch. Also consider that given the changes in the industry, as well as the addition of Boom, and there's really no telling what sort of breakdown they're dealing with now. A few facts remain: their music is less challenging, though it allows them to place their music in Gray's Anatomy, thereby bankrolling not only their dedicated staff, but also their pet projects (Vitalogy Foundation, etc). CD sales continue to decline, vinyl sales are increasing but not enough to support their lifestyle, and Spotify, etc are paying shit to artists. I think that ultimately, history will look back very kindly on this band for their commitment to independence, good causes, and mostly passionate music. But that doesn't negate the fact that their albums have become increasingly predictable, and Ed has a fire pole in his house.

i wish more long winded RM posts ended with a bit of humor like this

a lot of mcparadigm posts end with a "fire pole in the house"

[spike]

Aight, I was all high and mighty before, but the tryptophan and liquor have since put me in my place...

There is "publishing," and "publishing." The first sort includes both publishing and writing credits, so every song's royalties are immediately split and administered right down the middle, 50% to the writers, and 50% to the publishers. A typical 1990s record deal would let the band embers divy up the writers portion as they saw fit, with the publishers portion being split according to their unique contract -- though the label's publishing arm (in PJ's case, Sony/ATV) would most often control 100% of the publishing (or 50% of the total publishing...See how the language makes this unnecessarily complicated?).

I remember reading in the Kim Neely book that sometime around Vs, the band decided to give Ed 40% of the "publishing," which I took to mean 40% of the writing -- meaning the other members would get 15% each, with 50% of all publishing royalties still going to the label. As someone stated earlier, the band likely recouped their advances against writing royalties after the first record, so I would assume that subsequently, every dollar made from a song broke down thusly:

50¢ to Sony/ATV from publishing
20¢ to EV from writing
7.5¢ for each other band members' writing share

To make it all more confusing, every song also has an administrative owner of the master tapes (meaning the physical master copy they is housed somewhere in the sony archives). This would be Sony Music, and a friend of mine who works at said company claims that they still own the masters (hence the Sony imprint on all the reissue stuff). But of course everything from S/T onward is different, with PJ owning their masters from then on.

Now consider that the CD used to cost the company about 9-13¢ to manufacture, and could retail for $10-20. Hand over fist, right? But the decline in CD sales, and PJ's move towards independence, have both certainly had an enormous impact on their bottom line, necessitating the need for steady touring, marketable songs ("Hear the sirens..."), and merch. Also consider that given the changes in the industry, as well as the addition of Boom, and there's really no telling what sort of breakdown they're dealing with now. A few facts remain: their music is less challenging, though it allows them to place their music in Gray's Anatomy, thereby bankrolling not only their dedicated staff, but also their pet projects (Vitalogy Foundation, etc). CD sales continue to decline, vinyl sales are increasing but not enough to support their lifestyle, and Spotify, etc are paying shit to artists. I think that ultimately, history will look back very kindly on this band for their commitment to independence, good causes, and mostly passionate music. But that doesn't negate the fact that their albums have become increasingly predictable, and Ed has a fire pole in his house.

i wish more long winded RM posts ended with a bit of humor like this

a lot of mcparadigm posts end with a "fire pole in the house"

yeah, mcp has this skilll down. especially the long winded part.

[Sgt. Crackpot]

Aight, I was all high and mighty before, but the tryptophan and liquor have since put me in my place...

There is "publishing," and "publishing." The first sort includes both publishing and writing credits, so every song's royalties are immediately split and administered right down the middle, 50% to the writers, and 50% to the publishers. A typical 1990s record deal would let the band embers divy up the writers portion as they saw fit, with the publishers portion being split according to their unique contract -- though the label's publishing arm (in PJ's case, Sony/ATV) would most often control 100% of the publishing (or 50% of the total publishing...See how the language makes this unnecessarily complicated?).

I remember reading in the Kim Neely book that sometime around Vs, the band decided to give Ed 40% of the "publishing," which I took to mean 40% of the writing -- meaning the other members would get 15% each, with 50% of all publishing royalties still going to the label. As someone stated earlier, the band likely recouped their advances against writing royalties after the first record, so I would assume that subsequently, every dollar made from a song broke down thusly:

50¢ to Sony/ATV from publishing
20¢ to EV from writing
7.5¢ for each other band members' writing share

To make it all more confusing, every song also has an administrative owner of the master tapes (meaning the physical master copy they is housed somewhere in the sony archives). This would be Sony Music, and a friend of mine who works at said company claims that they still own the masters (hence the Sony imprint on all the reissue stuff). But of course everything from S/T onward is different, with PJ owning their masters from then on.

Now consider that the CD used to cost the company about 9-13¢ to manufacture, and could retail for $10-20. Hand over fist, right? But the decline in CD sales, and PJ's move towards independence, have both certainly had an enormous impact on their bottom line, necessitating the need for steady touring, marketable songs ("Hear the sirens..."), and merch. Also consider that given the changes in the industry, as well as the addition of Boom, and there's really no telling what sort of breakdown they're dealing with now. A few facts remain: their music is less challenging, though it allows them to place their music in Gray's Anatomy, thereby bankrolling not only their dedicated staff, but also their pet projects (Vitalogy Foundation, etc). CD sales continue to decline, vinyl sales are increasing but not enough to support their lifestyle, and Spotify, etc are paying shit to artists. I think that ultimately, history will look back very kindly on this band for their commitment to independence, good causes, and mostly passionate music. But that doesn't negate the fact that their albums have become increasingly predictable, and Ed has a fire pole in his house.

i wish more long winded RM posts ended with a bit of humor like this

a lot of mcparadigm posts end with a "fire pole in the house"

yeah, mcp has this skilll down. especially the long winded part.

Last night I was exhausted from walking around and drinking beers all day, so I decided to take a little nap in my hotel room before going out. The nap turned out to be like four hours long and I woke up at 2 AM, really hungry. There's not much open at 2 AM in Mar del Plata, so I prowled the deserted streets until I found this run-down burger joint named "Fast and Funny". Without thinking much, I order the "Fast and Funny burger", thinking if it bears the restaurant's name it's gotta be decent.

No such luck. It was a four-story misshapen monstrosity, begging for a mercy kill. The beef tasted like ground-up death. And charcoal. And something that used to be food. The plasticky cheddar tasted like a slab of someone's wallet. I thought I could power through it by applying some mustard, but it only made it worse. Got about 35% through before giving up.

I walked to the beach and watched the waves surging forward and collapsing upon the rocks. I dreamt about black sludge all night.

I wouldn't say it is a "closeness" as much as it is a very unique mutual respect. It is a type of respect I do not share with anyone else in my different social circles.

It is very much a team mentality, but different in that progress comes as much from within as it does from the external forces of your training partners. Steel sharpens steel, but one must forge and then wield their sword individually.

Jiujitsu first submits the ego. After an unknown length of time, which varies per individual, it calms the nerves and sharpens awareness. Eventually it elevates confidence and one begins to evolve not just into a better fighter, but a better human.

Personally, nothing else has really compared to the wide range of feelings it has given me. I feel that I owe a lot of gratitude to the art, so I've installed a fire pole in the house.

[McParadigm]

I keep waiting for that gif to move, sarge, but it's still just words.

[McParadigm]

This seems like a reasonable place to put this.

Billboard Magazine: 300 Best Selling Albums Worldwide, 2009

Spoiler: show

1. Michael Jackson Thriller 72,400,000
2. Pink Floyd Dark Side Of The Moon 41,800,000
3. Soundtrack Grease 40,400,000
4. Whitney Houston Bodyguard 39,600,000
5. Bee Gees Saturday Night Fever 37,200,000
6. 7Eagles Their Greatest Hits 1971-1975 36,700,000
7. Led Zeppelin IV 35,900,000
8. Shania Twain Come On Over 35,400,000
9. Michael Jackson Bad 33,200,000
10. Fleetwood Mac Rumours 32,700,000
11. Dire Straits Brother In Arms 32,600,000
12. Alanis Morissette Jagged Little Pill 32,200,000
13. AC/DC Back In Black 32,100,000
14. Bob Marley Legend 31,300,000
15. Beatles One 30,800,000
16. Pink Floyd The Wall 30,700,000
17. Mariah Carey Music Box 30,300,000
18. Celine Dion Let's Talk About Love 30,300,000
19. Celine Dion Falling Into You 30,200,000
20. Michael Jackson Dangerous 30,000,000
21. Guns N' Roses Appetite For Destruction 29,800,000
22. Eagles Hotel California 29,200,000
23. Soundtrack Dirty Dancing 29,000,000
24. Bruce Springsteen Born In The USA 28,900,000
25. ABBA Gold 28,800,000
26. Meat Loaf Bat Out Of Hell 28,700,000
27. Simon & Garfunkel Greatest Hits 28,600,000
28. U2 The Joshua Tree 28,300,000
29. Whitney Houston Whitney Houston 27,900,000
30. Queen Greatest Hits 27,600,000
31. Soundtrack Titanic 27,300,000
32. Beatles Abbey Road 26,400,000
33. Madonna The Immaculate Collection 26,300,000
34. Beatles Sgt. Pepper's Lonely Hearts Club Band 26,200,000
35. Santana Supernatural 26,100,000
36. Backstreet Boys Millenium 25,900,000
37. Metallica Metallica 25,600,000
38. Mariah Carey Daydream 24,900,000
39. Beatles 1962-1966 24,600,000
40. Beatles 1967-1970 24,600,000
41. Nirvana Nevermind 24,600,000
42. Whitney Houston Whitney 24,300,000
43. Eric Clapton Unplugged 24,300,000
44. Phil Collins No Jacket Required 24,000,000
45. Britney Spears Baby One More Time 23,800,000
46. Spice Girls Spice 23,800,000
47. Elton John Elton John's Greatest Hits 23,200,000
48. Bon Jovi Slippery When Wet 23,200,000
49. Madonna True Blue 22,700,000
50. Backstreet Boys Backstreet Boys 22,600,000
51. Queen Greatest Hits II 22,300,000
52. Norah Jones Come Away With Me 22,300,000
53. Phil Collins But Seriously 22,200,000
54. Simon & Garfunkel Bridge Over Trouble Water 22,100,000
55. Boston Boston 21,800,000
56. Eminem The Marshall Mathers LP 21,800,000
57. Celine Dion All The Way… A Decade Of Song 21,700,000
59. Lionel Richie Can't Slow Down 21,600,000
60. Madonna Like A Virgin 21,400,000
61. Prince Purple Rain 21,400,000
62. Pink Floyd Wish You Were Here 21,300,000
63. Ace Of Base The Sign/Happy Nation 21,000,000
64. Britney Spears Oops! I Did It Again 20,800,000
65. Tracy Chapman Tracy Chapman 20,400,000
66. Led Zeppelin II 20,200,000
67. Bon Jovi Cross Road 20,200,000
68. Eminem The Eminem Show 20,100,000
69. Carole King Tapestry 19,700,000
70. Soundtrack Top Gun 19,600,000
71. Michael Jackson History 19,600,000
72. George Michael Faith 19,200,000
73. Beatles White Album 19,100,000
74. Def Leppard Hysteria 19,100,000
75. Michael Jackson Off The Wall 19,000,000
76. Hootie & The Blowfish Cracked Rear View Mirror 19,000,000
77. MC Hammer Please Hammer Don't Hurt 'em 18,700,000
78. Janet Jackson Janet 18,600,000
79. Guns N' Roses Use Your Illusion II 18,600,000
80. Billy Joel Greatest Hits I & II 18,500,000
81. U2 Best Of 1980-1990 18,500,000
82. Garth Brooks No Fences 18,400,000
83. Green Day Dookie 18,400,000
84. Tim Landen The Hits 18,300,000
85. Supertramp Breakfast In America 18,200,000
86. Guns N' Roses Use Your Illusion I 17,800,000
87. ZZ Top Eliminator 17,700,000
88. U2 Achtung Baby 17,600,000
89. Pearl Jam Ten 17,600,000
90. The Cranberries No Need To Argue 17,600,000
91. Linkin Park Hybryd Theory 17,600,000
92. Soundtrack Le Roi Lion 17,400,000
93. Andrea Bocelli Romanza 17,100,000
94. Led Zeppelin Houses Of the Holy 17,000,000
95. Soundtrack Footloose 16,900,000
96. James Taylor Greatest Hits 16,800,000
97. Journey Greatest Hits 16,800,000
98. Avril Lavigne Let Go 16,800,000
99. Fleetwood Mac Greatest Hits 1988 16,400,000
100. REM Out Of Time 16,400,000
101. The Police Synchronicity 16,300,000
102. Celine Dion The Colour Of My Love 16,300,000
103. Van Halen 1984 16,200,000
104. Oasis (What's The Story) Morning Glory? 16,100,000
105. Ricky Martin Ricky Martin 16,100,000
106. Bryan Adams So Far So Good 15,900,000
107. Shania Twain The Woman In Me 15,900,000
108. No Doubt Tragic Kingdom 15,900,000
109. Garth Brooks Ropin' In The Wind 15,800,000
110. Mariah Carey #1's 15,800,000
111. N Sync No String Attached 15,800,000
112. Christina Aguilera Christina Aguilera 15,700,000
113. Genesis We Can't Dance 15,700,000
114. Sade Promise 15,600,000
115. Kenny Rogers Greatest Hits 15,600,000
116. Phil Collins Face Value 15,600,000
117. Lauryn Hill The Miseducation Of Lauryn Hill 15,600,000
118. Kenny G Breathless 15,500,000
119. Boyz II Men II 15,500,000
120. Spice Girls Spice World 15,400,000
121. Steve Miller Band Greatest Hits 74-78 15,400,000
122. Sade Diamond Life 15,400,000
123. Beastie Boys License to Ill 15,400,000
124. Paul Simon Graceland 15,400,000
125. Jewel Pieces Of You 15,400,000
126. Red Hot Chili Peppers Californication 15,400,000
127. Janet Jackson Rhythm Nation 1814 15,300,000
128. New Kids On The Block Hangin' Tough 15,200,000
129. The Fugees The Score 15,100,000
130. Matchbox 20 Yourself Or Someone Like You 15,100,000
131. Madonna Ray Of Light 15,100,000
132. Bruce Springsteen Greatest Hits 14,900,000
133. Evanescence Fallen 14,900,000
134. Van Halen Van Halen 14,800,000
135. Tom Petty Greatest Hits 14,800,000
136. TLC CrazySexyCool 14,800,000
137. Dido No Angel 14,800,000
138. Billy Joel The Stranger 14,700,000
139. U2 Rattle & Hum 14,600,000
140. Usher Confessions 14,600,000
141. Elvis Presley Christmas Album 14,500,000
142. Bee Gees Spirits Having Flown 14,300,000
143. Whitney Houston I'm Your Baby Tonight 14,200,000
144. Meat Loaf Bat Out Of Hell II 14,200,000
145. Nirvana MTV Unplugged In New York 14,200,000
146. Enya A Day Without Rain 14,200,000
147. Madonna Like A Prayer 14,100,000
148. Mariah Carey Mariah Carey 14,100,000
149. Phil Collins Serious Hits Live 14,100,000
150. Backstreet Boys Black & Blue 14,100,000
151. Dixie Chicks Wide Open Spaces 14,000,000
152. Green Day American Idiot 14,000,000
153. Beatles Rubber Soul 13,900,000
154. Eagles Greatest Hits Vol 2 13,900,000
155. REM Automatic For The People 13,900,000
156. Creed Human Clay 13,900,000
157. Aerosmith Aerosmith's Greatest Hits 13,800,000
158. Red Hot Chili Peppers Blood Sugar *** Magic 13,800,000
159. Led Zeppelin I 13,700,000
160. Genesis Invisible Touch 13,700,000
161. Aerosmith Get A Trip 13,700,000
162. The Police Every Breath You Take 13,600,000
163. Enya Watermark 13,600,000
164. Janet Jackson Control 13,500,000
165. Crosby, Stills, Nash & Young Déjà Vu 13,500,000
166. Eric Clapton Time Pieces 13,400,000
167. Tina Turner Private Dancer 13,400,000
168. Metallica And Justice For All 13,400,000
169. Doobie Brothers Best Of 13,300,000
170. Toni Braxton Secrets 13,300,000
171. Elton John Goodbye Yellow Brick Road 13,200,000
172. Led Zeppelin Physical Graffiti 13,200,000
173. Billy Joel An Innocent Man 13,200,000
174. Bryan Adams Waking Up The Neighbours 13,200,000
175. Mariah Carey Merry Christmas 13,200,000
176. Will Smith Big Willie *** 13,200,000
177. Alicia Keys Songs In A Minor 13,200,000
178. Barbra Streisand Guilty 13,100,000
179. Michael Bolton Time, Love & Tenderness 13,100,000
180. Enya Paint The Sky With Stars 13,100,000
181. Bon Jovi New Jersey 13,000,000
182. Def Leppard Pyromania 12,900,000
183. Enya Shepherd Moons 12,900,000
184. Kid Rock Devil Without A Cause 12,900,000
185. Neil Young Harvest 12,800,000
186. Sade The Best Of 12,700,000
187. Santana Greatest Hits 12,600,000
188. AC/DC Highway To Hell 12,600,000
189. REO Speedwagon Hi Infidelity 12,600,000
190. Mariah Carey Butterfly 12,600,000
191. Janis Joplin Greatest Hits 12,500,000
192. The Doors Best Of The Doors 12,500,000
193. N Sync N Sync 12,500,000
194. The Doors The Doors 12,400,000
195. Peter Frampton Comes Alive 12,400,000
196. Pink Floyd Animals 12,400,000
197. Shakira Laundry Service 12,400,000
198. James Blunt Back To Bedlam 12,400,000
199. Destiny's Child The Writing's On The Wall 12,300,000
200. Led Zeppelin III 12,200,000
201. Shania Twain Up! 12,200,000
202. Coldplay A Rush Of Blood To The Head 12,200,000
203. 50 Cent Get Rich Or Die Tryin' 12,200,000
204. Eagles The Long Run 12,100,000
205. Barbra Streisand Memories 12,100,000
206. Journey Escape 12,100,000
207. U2 All That You Can't Leave Behind 12,100,000
208. Billy Joel 52nd Street 12,000,000
209. Offspring Smash 12,000,000
210. Billy Ray Cyrus Some Gave All 11,900,000
211. Backstreet Boys Backstreet's Back 11,900,000
212. Creedence Clearwater Revival Chronicle 11,800,000
213. Britney Spears Britney 11,800,000
214. Boyz II Men CooleyHighHarmony 11,800,000
215. Toni Braxton Toni Braxton 11,800,000
216. Dixie Chicks Fly 11,800,000
217. Bob Dylan Greatest Hits 11,700,000
218. Bryan Adams Reckless 11,700,000
219. Whitney Houston Waiting To Exhale 11,700,000
220. Simply Red Stars 11,700,000
221. Eagles Hell Freezes Over 11,700,000
222. Foreigner 4 11,600,000
223. Fleetwood Mac Tango In The Night 11,600,000
224. Offspring Americana 11,600,000
225. Garth Brooks Double Live 11,600,000
226. Celine Dion These Are Special Times 11,400,000
227. Phil Collins Hits 11,500,000
228. Dire Straits Money For Nothing 11,400,000
229. Aerosmith Pump 11,400,000
230. Cher Believe 11,400,000
231. Pink Missundazstood 11,400,000
232. Christina Aguilera Stripped 11,300,000
233. Beatles Revolver 11,300,000
234. Pink Floyd The Division Bell 11,300,000
235. TLC Fanmail 11,300,000
236. Linkin Park Meteora 11,300,000
237. John Denver Greatest Hits 11,200,000
238. Billy Joel Glass Houses 11,200,000
239. Elton John The Very Best Of 11,200,000
240. Lionel Richie Back To Front 11,200,000
241. Enya The Memory Of Trees 11,200,000
242. Garth Brooks Sevens 11,200,000
243. Elvis Presley 30 #1 Hits 11,200,000
244. Santana Abraxas 11,100,000
245. Dr Dre 2001 11,100,000
246. Soundtrack Pulp Fiction 11,000,000
247. Maroon 5 Songs About Jane 11,000,000
248. Patsy Cline Greatest Hits 10,900,000
249. AC/DC Live 10,900,000
250. Stevie Wonder Songs In The Key Of Life 10,800,000
251. Cyndi Lauper She's So Unusual 10,800,000
252. Garth Brooks Garth Brooks 10,800,000
253. Nirvana In Utero 10,800,000
254. Bob Seger Greatest Hits 10,800,000
255. Madonna Music 10,800,000
256. Kelly Clarkson Breakaway 10,800,000
257. Eminem Encore 10,800,000
258. Black Eyed Peas Monkey Business 10,800,000
259. David Bowie Let's Dance 10,700,000
260. Elton John Love Songs 10,700,000
261. Coldplay X&Y 10,700,000
262. ABBA Greatest Hits 10,600,000
263. Pearl Jam Vs 10,600,000
264. Nelly Country Grammar 10,600,000
265. Norah Jones Feels Like Home 10,600,000
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
267. ABBA Arrival 10,500,000
268. Metallica Master Of Puppets 10,500,000
269. Neil Diamond The Jazz Singer 10,400,000
270. Whitney Houston My Love Is Your Love 11,400,000
271. Lenny Kravitz Greatest Hits 10,400,000
272. Nickelback All The Right Reasons 10,400,000
273. Beatles Help! 10,300,000
274. Aerosmith Toys In The Attic 10,300,000
275. Boston Don't Look Back 10,300,000
275. Boston Don't Look Back 10,300,000
276. Dire Straits On Every Street 10,300,000
277. Phil Collins Hello, I Must Be Going! 10,300,000
278. Metallica Load 10,300,000
279. Soundtrack O Brother, Where Art Thou? 10,300,000
280. Nickelback Silver Side Up 10,300,000
281. Dido Life For Rent 10,300,000
282. Beatles A Hard Day's Night 10,200,000
283. Beatles Let It Be 10,200,000
284. Crosby, Stills, Nash & Young So Far 10,200,000
285. Led Zeppelin In Through The Out Door 10,200,000
286. U2 War 10,200,000
287. Genesis Genesis 10,200,000
288. Michael Bolton Soul Provider 10,200,000
289. REM Monster 10,200,000
290. U2 How To Dismantle An Atomic Bomb 10,200,000
291. Mariah Carey The Emancipation of Mimi 10,200,000
292. Bruce Springsteen Born To Run 10,200,000
293. Dire Straits Dire Straits 10,200,000
294. Sting The Dream Of The Blue Turtles 10,100,000
295. Lionel Richie Dancing On The Ceiling 10,100,000
296. Guns N' Roses GNR Lies 10,100,000
297. Garth Brooks The Chase 10,100,000
298. Destiny's Child Survivor 10,100,000
299. Bruce Springsteen The River 10,000,000
300. Janet Jackson The Velvet Rope 10,000,000

[E.H. Ruddock]

sad that the highest Beatles' album is "One".

[evenslow]

Through 2009 is the nearest year they have?

If they did it through 2015 I'm sure Backspacer would be top 10.

[swan]

Evanescence??? 14 million????

[Strat]

Kind of surprised by that list. I had always thought VS and TEn outsold most of Nirvana albums.

Michael Jackson really is the king.

[McParadigm]

Kind of surprised by that list. I had always thought VS and TEn outsold most of Nirvana albums.

Michael Jackson really is the king.

US sales usually account for 33-45% of an album's total. For PJ's early records, it's closer to 60-70%. After Vitalogy, their popularity drop in the US put it closer to 50% (Yield sold 1.4 million in the US in its first year, and 3 million world wide). So they do top Nirvana in the US.

Also, all Nirvana records saw massive sales jumps after Kurt died. In Utero had sold less than 4 world wide at the time of his death. Now it's over 10 million.