Ready To Die Album Sales
Illmatic, which was released April 19, 1994, has seen an 844 percent increase in sales. In 1994, the album sold 14,987 copies during it’s first week. Ready to Die is B.I.G.’s only album release during his lifetime; his sophomore project Life After Death was released days after his death in March 1997.
New York City doesn’t sell drugs anymore. Sure, there are bike messengers that peddle weed packed in plastic jars and Russian mobsters who launder money through Coney Island auto-shops, but the kind of trap-house, dope-boy, Robin Hood archetype that still carries in cities like Atlanta has been wiped clean from tri-state folklore. This is undoubtedly a good thing—entrepreneurial city teens today hustle fashion trends to ogling editors instead of baggies to scraggly addicts. But the shift has fossilized a certain kind of rap album, like ’s debut Ready to Die, released in 1994. The lawlessness it describes—robberies at gunpoint on the A train, open-air hand-to-hand crack deals on Fulton St., shootouts with the NYPD—land unfathomably to most New Yorkers today. Young transplants and natives alike would rather hear old tall tales than experience anything near it firsthand; distinct from nostalgia, it's more like moving into a home where a murder occurred.
The thrill is a combination of fear and gall, rooted in the security that the scene will likely never repeat itself. But there may be something habitual in New York’s craned gaze backward. Note that B.I.G. Opened Ready to Die by complaining about changes in the city around him over 20 years ago. Even then, the album was a reflection: an over-the-top, fisheye union address of the city’s waning crack era, and a reeling admission that something must have gone terribly wrong for it to have happened. Its intro maps B.I.G’s life against the sounds of various eras—’70s “Superfly,” ‘80s “Top Billin’,” and ‘90s Doggystyle—before the 21-year-old launches into “Things Done Changed,” an opening monologue that sets the chaotic scene.
Life After Death Album Sales
Life used to be about funny hairstyles, curbside games, and lounging at barbecues, he says, but “Turn your pagers to 1993,” and the story has taken an inexplicably dark turn. It goes unmentioned here, but hip-hop’s region of choice had changed too: New York’s first generation of rap inventors had given way to the West Coast, so it’s ’s voice we hear between verses, dispatching from Compton. “Things done changed on this side,” the sample declares, a savvy appropriation that characterized a rise in violence across coasts, and a shift in sound that B.I.G.
Hoped to correct. In 1992, “a whole lot of niggas wanted Big to make a demo tape.” He’d been battling around Fulton St since he was 13, and was known in Bedford-Stuyvesant as a force, in music and otherwise. The demo he recorded, “Microphone Murderer,” along with a few other cuts, made it’s way to The Source’s Unsigned Hype column, then influential in hip-hop’s walled off media environment, and then to Bad Boy, where would sign him. But as the demo’s opening line specified, it was only at the nudging of his close friends that he pursued music—B.I.G. Was splitting time between Brooklyn and Raleigh, where he’d set up a profitable drug operation. When his record advance didn’t land quickly enough, he went back to N.C. To pick up the slack, and Puffy called him, alternately begging and demanding the rapper stop hustling and return to New York, devoted to music for good.
The day that he left, the Raleigh house he’d operated out of was raided by police officers. What made Christopher Wallace pop-palatable amid such a gruesome backdrop was his humor, personality, and wit. He was a gruff, neurotic alternative to the ice-cool: if Snoop had bitches in the living room till six in the morning, B.I.G.
Was getting paged at 5:46, wiping cold out his eye. If Cali crossed over with low-rider funk from Parliament, New York would ride on block-party boogie from Mtume. And if taut flows were giving way to languid hooks, B.I.G. Would tighten everyone back up. Was the antithesis of a love-letter to underground rap radio shows like Stretch & Bobbito, and to anyone with an oversized Land Cruiser (another change to consider—New Yorkers used to drive). “Those that rushes my clutches get put on crutches, get smoked like dutches, from the master”; you can hear the roots of “punchline rap” forming in Big’s puns and internal rhyme, and the ironic turns of phrase that kids like would intensify years later: “‘I thought he was wack!’—Oh come, come, now, why y’all so dumb now?” At the time, the album was praised for its honest portrayal of the drug dealer’s internal conflicts, as opposed to sunny glorification of gang violence imported from L.A.
Songs like “Everyday Struggle” and “Suicidal Thoughts” showed Big’s depth, frequent references to his mother showed his rearing, and casual dropping of words like “placenta” showed his coy love of language. Was a smart kid that had (or liked) to do dumb things, the record suggested, itself a comment on the how genius gets sharpened when faced with obstacles, and an affirmation of rap as a platform for such genius to be realized, and monetized.
Ready To Die Album Free Download
Despite its author’s youth,.Ready To Die.shows its age with its production. The beats already paled in comparison to the high-definition score of Life After Death, B.I.G.’s follow up album, and the tinny drums and swampy samples on tracks like “Me and My Bitch” and “Respect” probably played better on cassette than they do on Apple Music. At the time of the album’s release, more nimble producers were doing interesting work on neighboring albums—one could say dried everyone in New York up of their best material.
The major tracks on Ready to Die had to be heavy-handed, and the filler was just an excuse to hear Big keep rapping. Was inseparable from Ron Isley’s “Between the Sheets” and snuck in a trendy, post-regional synth line that would perk up West Coast ears.
The “One More Chance” remix became a smash crossover hit; the original included on the album is expectedly disposable. Even strong exhibitions of songwriting like “The What” or “Gimme the Loot”—one a duet with Method Man, the other with himself—are weighed down by loops from Easy Mo Bee, a dated producer who Puffy might’ve been smart to have axed shortly after.
Which brings us to the true triumph in Ready to Die—Sean Combs, who’s been able to spot a dollar hidden in the most unlikely places ever since, finds proof-of-concept for New York hip-pop that can carry from street corners to school dances, with the right sonic contexts, visual branding, and occasional ad-libs, a formula he’d apply to Mase, Shyne, and his own material thereafter. The sounds may have shifted, but the thesis remains: drug dealers have stories for days, and Americans want to hear them. We revere the salesman more than the politician, and B.I.G. Could sell the hell out of the life he lived. Maybe not all that much has changed after all.
Platinum record for 's (1982), the best-selling album of all time This is a list of the world's best-selling albums of recorded music. To appear on the list, the figure must have been published by a reliable source and the at least 20 million copies. This list can contain any types of album, including, various artists,. The figures given do not take into account the of albums.
All albums included on this list have their available claimed figures supported by at least 30% in certified copies. The percentage amount of certified sales needed increases the newer the album is, so albums released before 1975 are only expected to have their claimed figures supported by at least 30% in certified copies. However, newer albums, such as and, are expected to have their claimed figures supported by at least 70% in certified copies.
Certified copies are sourced from available online databases of local associations. This is the reason why albums that would otherwise make the list, such as, and, have not been included. As a result of the methodology that the American and Canadian certification-awarding bodies (the and respectively) use, each disc in a multi-disc set is counted as one unit toward certification, leading to many double albums on the list—such as 's and ' —being certified with a number double the number of copies sold there. Such albums have the certifications for the number of copies (not discs) shipped indicated. Conversely, the American certification level for double albums that fit onto one, such as the reflect the actual number of copies sold. In 2016, RIAA included streaming in addition to track sales and album sales based on the concept of for certification purposes, and certification therefore no longer reflects shipment alone. For example, in the update of the certification for by the in August 2018, the album was certified 38× Platinum (increasing from the previous 29× Platinum certification in 2006) based on the new criteria, making it then the album with the highest certification in the United States.
's, estimated to have sold 66 million copies worldwide, is the best-selling album. Although sales estimates for Thriller have been as high as 120 million copies, these sales figures are unreliable. Jackson also currently has the highest number of albums on the list with five, while, and each have three. Groupings are based on different sales benchmarks, the highest being for claims of at least 40 million copies, and the lowest being for claims of 20–29 million copies.
Biggie Smalls Total Album Sales
Albums are listed in order of number of copies sold and thereafter by the artist's first name. Markets' order within the table is based on the number of compact discs sold in each market, largest market at the top and smallest at the bottom. The inclusion or exclusion of items from this list or length of this list is disputed.
Please discuss this issue on the. ( July 2013) Timeline of the highest-selling album record Year record set Artist Album Record setting sales (millions) Total sales (millions) Ref(s) 1945 Various Artists (78 rpm album) 0.5 1.0 1956 Various Artists (LP album) 1.75 2.5 1956/1957 Various Artists 2 5 1960 Various Artists 2.25 3 1963 4 7.5 1968 Various Artists 8 1973 10+ 1975/1976 Various Artists 13.5 25 1979 /Various Artists 25– 35 66 Notes. WWIt is unclear whether this sales figure refers to worldwide sales or US sales. SM-TThe exact year in which Tapestry regained the title of 'best-selling album of all-time', if it ever regained it at all, is unclear. The album's 1976 sales claim is therefore only listed to be inclusive, as it is plausible that Tapestry had overtaken The Sound of Music in sales during this time period. Best-selling album by year worldwide The charts of the best-selling albums by year in the world are compiled by the annually since 2001.
These charts are published in their two annual reports, the Digital Music Report and the Recording Industry in Numbers. Both the Digital Music Report and the Recording Industry in Numbers were replaced in 2016 by the Global Music Report. Units sold include.
Year Album Artist(s) Sales (millions) Ref(s) 2001 8.5 2002 13.9 2003 18.0 2004 12.0 2005 8.3 2006 Various Artists 7.0 2007 6.0 2008 6.8 2009 8.3 2010 5.7 2011 18.1 2012 8.3 2013 4.0 2014 Various Artists 9.0 2015 17.4 2016 2.5 2017 6.1 See also. Notes. To be on this list, albums released:. before 1975 are required to have their claimed sales figures supported by 30% in certified units. between 1975 and 1990 are required to have their claimed figures supported by 30–50% in certified units. (That is 1.33% for each additional year after 1975.).
between 1990 and 2000 are required to have their claimed figures supported by 50–60% in certified units. (That is 1% for each additional year after 1990.). in 2000 and onwards are required to have their claimed figures supported by 60–80% in certified units. (That is 1.33% for each additional year after 2000.) References.
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