Saturday, November 21, 2015

MUSIC NEWS: Adele’s ’25′ Set to Break One-Week U.S. Album Sales Record; Sold Over 900K at iTunes First Day / Kandi Burruss: People don’t recognize the size of Atlanta’s music industry, By @PhilWHudson

After a day on sale, forecasters say ’25′ could sell at least 2.5 million in its first week in the U.S.

After one day on sale, Adele‘s 25 appears set to break *NSYNC‘s long-standing one-week Nielsen-era U.S. album sales record of 2.42 million sold, according to industry forecasters. Sources say the set is on track to sell at least 2.5 million in pure album sales in its first week, and sold more than 900,000 copies alone through the iTunes Store on its first day of release.
The 10 Most Heartbreaking Lyrics From Adele’s ’25′
25 was released on Nov. 20 through XL/Columbia Records. It’s Adele’s third studio album.
*NSYNC currently owns the single largest sales week for an album since Nielsen Music began tracking point-of-sale music purchases in 1991. (Prior to 1991, there was no authoritative music sales tracking service in the U.S. and thus, it was mostly unknown how many copies of an album or song/single were sold in a single week.)
*NSYNC’s No Strings Attached debuted with 2,416,000 sold in the week ending March 26, 2000. No Strings Attached has since remained the only album to sell 2 million copies in the U.S. in a single week.
Adele’s ’25′ Won’t Be On Streaming Services
Nielsen Music’s tracking week runs Friday through Thursday each week, so 25‘s first week will conclude on Nov. 26. Billboard is scheduled to report 25‘s debut week sales on Nov. 29, once Nielsen has finished processing its weekly data.
Before 25‘s release, it was reported that the album shipped 3.6 million physical copies to retailers. In addition, sources were forecasting 25‘s CD configuration to sell 1.5 million in its first week, while its digital edition could move another 1 million (meaning, its first week might be at least 2.5 million in total).
Now perhaps the question is: How much bigger can 25 get? Will it blow past the 2.5 million threshold? Can it hit 3 million? And what will 25 sell in its second and third week? Could it become the first album to sell a million copies in more than one week?
Adele Powers Through Lifetime of Regret on ’25′: Album Review
If 25 sells as expected, it will become the 20th album to sell at least a million copies in a single week in the Nielsen era. It would also instantly be the largest selling album of 2015 in total, surpassing the sales of Taylor Swift’s 1989, which has sold 1.74 million this year (through Nov. 12).
25 is also on course to debut at No. 1 on the Billboard 200 albums chart (dated Dec. 12), which would give the diva her second No. 1. She first led the list with her last album, 21, which spent 24 nonconsecutive weeks atop the list — most weeks at No. 1 for an album by a woman. 21 has sold 11.23 million copies in the U.S., and is the tenth-largest selling album of the Nielsen era.
On Nov. 19, Atlanta Business Chronicle’s Phil W. Hudson sat down with Kandi Burruss at her studio dubbed “The Kandi Factory” for the relaunch of her music label Kandi Koated Entertainment. Burruss is a former member of the Atlanta-based platinum-selling group Xscape and a Grammy award-winning singer/songwriter who penned songs such as “No Scrubs” for TLC and “Bills, Bills, Bills” for Destiny’s Child. In addition to her musical career, the music, film and play producer has been featured on television shows including The Real Housewives of AtlantaThe Kandi FactoryKandi’s Wedding and Kandi’s Ski Trip.
Atlanta Business Chronicle: What can Georgia’s music industry do to capitalize on the momentum of its film industry?

Kandi Burruss: The film industry is doing great things in Georgia right now. But, the thing about the music industry that a lot of people don’t recognize is music has been doing a lot in the entertainment businesses since the 90s. Our group, Xscape came out in the 90s and it was a huge era [for Atlanta music because] all of the major producers, songwriters, and a lot of the hit artists were coming out of Atlanta and Georgia. We had TLC, Toni Braxton, LaFace Records, So So Def and you had Dallas Austin’s label. I don’t feel like people recognize how big the music industry has been here in Atlanta for a very long time. Even with the rap era being so big, you have so many of the hits with people like Rich Homie Quan, K Kamp, Future and 2 Chainz, who are coming out of Atlanta. We represent the majority of the people who are on the charts right now. And a lot of the people who are making the hits [who are] behind the scenes like the writers and producers are right here in Atlanta too. But people don’t recognize that. I know the Grammy association (National Academy of Recording Arts and Sciences) and ASCAP (American Society of Composers, Authors and Publishers) have been talking about trying to do more and figure out a way to make it make sense. They used to call Atlanta the “Little Motown of the South.”
ABC: How much does it cost to get a music label off the ground?
KB: We just started with two new groups. You have to pay them money up front to sign them. Then, we pay money to get their images right. Then, we have to get a PR person. It can be very costly. If you put out a record on your own without any distribution, you have to use your own money to do it. It’s $20,000 just to have a rep push a song on a radio for six weeks in just a few markets. It can get very expensive depending on your approach. Right now, we have a PR person for them. We have people doing their social media and photo shoots. It adds up. I can’t give you one set fee because you do different things with different groups, but I’m sure before I get to even trying to get to a label, I’m going to be around $50,000.
ABC: What are the artists’ obligations when you sign them to your label?
KB: When I sign an artist, I give myself 18 months to get a distribution [deal] in place. Basically, they have to make themselves available for any press; they have to be there for recording, artist development or rehearsals, photo shoots, everything that they are supposed to do. They have to always be available for those types of things. If they are songwriters, they have to be in the studio constantly — writing and recording until I think that the songs are on point to be able to shop. They basically just have to make themselves available because in the beginning with us locking in distribution, I have to take in so many meetings where I have them perform live and be seen before we lock that in.
ABC: What is the process of getting a distribution deal?
KB: Getting distribution right now, because we are in a world where a lot of major record labels jump off of hype, they want to see high social media numbers. You have to have a following of your own before you can get to them because they have to invest so much money into the project. Basically, you have to take meetings with whomever the head of A&R ( artists and repertoire) with whatever label you’re meeting with and try to impress them with the group. Sometimes you don’t have to take the group in front of them, sometimes you can just impress them with the media kit and the actual songs without them even having to see the group perform live or if you think it’s more impressive for them to perform live you might fly them out. A lot of the major companies are in New York or L.A. so you have to fly your artist there to perform and do a showcase in front of a major label.
ABC: Financially speaking, what is the biggest different between owning a label and being an artist?
KB: As a label, you’re taking all of the risk. Like right now, for me, I have so many months that I have to lock in distribution unless I decided to put it out myself, which is costly. With that being said, if I don’t lock in what I need to lock in in that time period, then they get to talk away free and clear, and I’ve already invested all of this money. But, if I do lock in my distribution, they’re signed for so many years or so many albums. That’s when you see so many artists say, “It’s not fair,” because after then if they blow up they’re only getting a small percentage. Well, the only reason you’re getting a small percentage is because the label took all of the risk in the beginning when nobody knew you.
ABC: Why did the label go on hiatus?
KB: Once I became a part of The Real Housewives of Atlanta, I’ll just be honest and say it: I lost focus on the music. You get so caught up in the TV world and you’re making good money doing that. I used to be a studio rat. It’s all I wanted to do. But, when you’re taping all of the time and you’re only getting a day off, it’s like, “I’m tired, I don’t want to be in the studio.” It just went on the backburner and wasn’t a priority like I should have continued to make it.
ABC: Are your groups making money yet?
KB: They’re starting to do shows. It’s not on the level we’re about to take it, but they are bringing in revenue.
ABC: What is here at The Kandi Factory?
KB: It’s a full entertainment center. We have music production, television production and artist development here. You can record your music and we can tape TV shows in this building.
ABC: What TV shows are you currently shooting here?
KB: Right now, we are shooting stuff for our website Kandi Koated Nights is one of the shows and we have a few more. We also develop ideas and TV shows that we pitch to networks.
ABC: What’s it like being a woman in a male-dominated industry?
KB: It’s great. Anytime you’re the first to be able to break through and be able to open the door for other women to be able to come in and do their thing, it feels good. I was the first woman to win the ASCAP Songwriter of the Year for the Rhythm & Soul awards. That’s a major accomplishment. To be able to be amongst my peers of mainly men and have them respect me and want to work for me, it feels good.
ABC: What has changed most in the music industry since you began?
KB: For one, when I came up, R&B was killing the charts. We were No. 1. Top 10. Girl groups were big in the 90s. But now, rap has taken over and there aren’t are many vocal groups. The other thing is that it’s an independent world. If you have the money, you can put out your record independently and you can really blow up. But back then, you felt like you had to sign to a major [label]. That’s why if I chose to go to a major for distribution, I have to get it done in 18 months. I can actually put it out myself If I wanted to and wanted to financially take all of the risks. People can blow up off of social media now. Social media wasn’t even around back then. You have to think you have all of these people blowing up from YouTube. YouTube didn’t even exist back in the early 90s. It’s a whole new world. You have so many new ways to promote and market yourself, but you have to have the right team to do that and make it happen.
ABC: Why did you decide to sign Loud and Glamour to your label?
KB: Loud are from ages 14 to 16. I really love them because it’s girls and guys and they’re multicultural. What’s so dope about that is right now everybody is going crazy over race. There are so many negative things out there. It’s good to promote these young kids who get together and are like sisters and brothers where color isn’t an issue to them. The whole race issue is still a problem because you still have older people hanging onto the past. The younger people are changing things and I feel like that’s a beautiful thing to see. We also have our girl group Glamour and they are super dope. I love them because I was in a girl group and I was a teenager when I signed to Jermaine [Dupri] and So So Def. I definitely was excited to see two groups around the same age that I was when I started who I can help grow.
ABC: How did you meet Jermaine Dupri when you were young?
KB: When we first met Jermaine, Kris Kross hadn’t come out yet. He was still working on them. We sang at his 19th birthday party and he was like “I want to work with you guys, but I have to finish this group that I’m doing.” We were like, “Yeah, Yeah. OK” because we kept hearing that from so many people. We didn’t know he was going to get his own label because Kris Kross made it so big. But, he was a man of his word and came back and signed up and we blew up right off the rip. As soon as he signed us, he finished our album in like a week, our record was out in less than a month and we went straight to No. 1.
ABC: Is it true you’re opening a new restaurant?
KB: Yes. We are doing a restaurant that is close to the stadium in Castleberry Hill. It’s going to be called OLGs –Old Lady Gang’s. It’s Southern cuisine. On The Housewives, people had a chance to see my mother and her sisters and they call them the Old Lady Gang. People hashtag it. They cook very well. I come from a family where we have a lot of great cooks and a lot of the some of their recipes are going to influence the things on the menu. Since it’s a family restaurant with Southern cuisine, I was thinking when you think of an old lady, you think they can cook well. (Laughs)

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