Update on the statistics data from the primary source. Again not included are Soundcloud downloads (some tracks there are already down due to limited space) and mirrors like Archive.org which would add (in some cases substantially) to the numbers.

  Releasedate Hits Traffic
www001: Mefjus – “Fugly Habits” 2009-09-10 15,756 32,251,670
www002: Acid Lab – “Fallen Angel” 2009-11-04 15,476 26,477,349
www002: Acid Lab – “Nuclear War” 2009-11-04 13,899 26,150,153
www003: Kaiza + Shots – “Starkstrom” 2009-12-07 16,683 34,786,027
www004: Paul Saint Jack – “Timeless” (Mefjus + Bowser Remix) 2010-02-21 23,579 50,422,010
www004: Paul SG – “Grey Skin” (Mefjus + Bowser Remix) 2010-02-21 11,507 31,053,770
www004 .zip 2010-02-21 2,806 14,517,044
www005: Arje – “Something Better” 2010-04-29 16,042 36,035,612
www666: Zardonic + Replicator – “Ten Commandments” 2010-10-27 14,083 28,688,735
www007: kr4y – “Boodshed” 2010-11-07 13,585 22,933,624
www007: kr4y – “Gritual” 2010-11-07 13,655 28,683,104
www008: Synode + Hench – “Sulaco” 2011-06-02 7,578 4,024,996
www009: El Haijn – “Surface Of The Sun” 2011-07-07 5,841 4,553,336
www009: Apotheist – “The Darkness Inside El Haijn Remix” 2011-07-07 4,918 3,203,177
www010: Sublimator – “Snore” 2011-09-12 7,098 3,926,877
www010: Sublimator – “2nd Try” 2011-09-12 7,070 3,983,785
www010: Sublimator – “Understand” 2011-09-12 4,910 2,604,570
www011: Acid Lab – “Quadrant Delta” 2011-09-27 4,386 4,726,390
www011: Acid Lab – “Fear Of The Dark” 2011-09-27 4,648 4,302,837
www012: Benou – “Born Ready” 2012-03-15 3,086 2,427,875
www013: Budoka – “Yellow Cake” 2012-05-28 2,909 3,986,467
www014: Jumpat – “Newskull” 2012-12-06 2,285 3,313,048
www014: Jumpat – “Skeletor” 2012-12-06 2,242 1,854,183
www015: Hoob – “Pug On Extacy” (Radio Version) 2013-02-07 1,970 1,638,191
www015: Hoob – “Pug On Extacy” (DJ-Version) 2013-02-07 1,540 1,894,765
Hoob Promomix (with www015) 2013-02-07 1,207 1,635,901
www016: kr4y / Willem B – “b-sides LP” .zip 2013-02-27 875 44,482,701
www016: kray-zie – “Breaking Glas” 2013-02-27 2,328 1,237,141
www016: kr4y – “Turbo Encabulator” 2013-02-27 867 1,020,507
www016: Willem B – untitled 177f 2013-02-27 883 1,076,170
www017: JOIX – “Feuchter Traum” 2013-02-27 2,026 3,043,426
www017: JOIX – “Schlummernde Kraft” 2013-03-12 1,385 2,655,657
www017: JOIX – “Strange City” 2013-03-12 1,538 2,129,332
www018: Acid_Lab pres. Kodama – “Radius” 2013-03-27 1,408 2,618,828
www018: Acid_Lab – “Warpath” 2013-03-27 1,766 2,329,292
www018: Acid_Lab – “Autumn Days” 2013-03-27 1,774 2,655,577
www018: Acid_Lab – “Insider” 2013-03-27 2,283 1,798,483
www019: Noya – “Nine Six” 2013-04-29 1,908 3,925,988
www020: Jimix – “Ubiquitous Sun” 2014-01-03 627 1,532,575
www021: johannesvanbebber feat. loom – “maulwurfkolonie” 2014-03-11 52,380 95,562,270
www021: jvb – “das prinzip sirup oder die utopie des sozialistischen staates” 2014-03-11 563 1,299,428
www021: loom feat. johannesvanbebber – “maulwurfkolonie” (loom Remix) 2014-03-11 2,435 9,989,472
www022: Vector Burn – “Ghost Maps” LP Sampler .zip 2014-04-09 860 34,579,919
www022: Vector Burn – “Spider Garden” 2014-04-09 645 1,481,459
www022: Vector Burn – “JamOnIt” 2014-04-09 5,618 13,149,802
www022: Vector Burn – “Seven Thorns” 2014-04-09 2,593 10,651,607
www023: Vector Burn – “Ghost Maps” LP Vol. I .zip 2014-05-09 2,266 150,902,648
www023: Vector Burn – “Ghost Maps” LP Vol. II .zip 2014-05-09 1,794 119,481,135
      GB, MB, KB
Total 2014-11   307,581 887,678,913


“According to Nielsen, from data provided by managers at Nielsen SoundScan, which collects recorded-music sales information, of the eight million unique digital tracks sold in 2011 (the large majority for $0.99 or $1.29 through the iTunes Store), 94 percent – 7.5 million tracks – sold fewer than one hundred units, and an astonishing 32 percent sold only one copy. Yes, that’s right: of all the tracks that sold at least one copy, about a third sold EXACTLY one copy. (One has to wonder how many of those songs were purchased by the artists themselves, just to test the technology, or perhaps by their moms out of a sense of loyalty.) And the trend is the opposite of what Anderson (Chris Anderson, author of ‘The Long Tail’) predicted: the recorded music tail is getting thinner and thinner over time. Two years earlier, in 2009, 6.4 million unique tracks were sold; of those, 93 percent sold fewer than one hundred copies and 27 percent sold only one copy. Two years earlier still, of the 3.9 million tracks that were sold, 91 percent sold fewer than one hundred units and 24 percent sold only one copy. The trend is clear: as the market for digital tracks grow, the share of titles that sell far too few copies to be lucrative investments is growing as well. More and more tracks sell next to nothing.

Equally remarkable is what is happening in the head of industry’s demand curve. In 2011, 102 tracks sold more than a million units each, accounting for 15 percent of total sales. That is not a typo: 0.00001 percent of the eight million tracks sold that year generated almost a sixth of all sales. It is hard to overstate the importance of those few blockbusters in the head of the curve. And the trend suggests that hits are gaining in relevance. In 2007, 36 tracks each sold more than a million copies, together these tracks accounted for 7 percent of total market volume. In 2009, 79 tracks reached that milestone; together they make up 12 percent of the sales volume.

The level of concentration in these markets is so astounding, in fact, that it is nearly impossible to depict the demand curve: it disappears entirely into the axes… It is staggering to see how few titles at the top contribute to a significant portion of sales, and how many titles at the bottom fail to do the same. Those are the realities of digital markets. Assortments may become more and more expansive, but the importance of the few titles at the very top keeps growing, while average sales for the lowest sellers are going down.

The same patterns are visible in album sales. …out of a total of 870,000 albums that sold at least one copy in 2011, 13 album titles sold more than a million copies each, together accounting for 19 million copies sold. That’s 0.001 percent of all titles accounting for 7 percent of sales. The top 1,000 albums generated about half of all the sales, and the top 10,000 albums around 80 percent of sales. Deep in the tail, 513,000 titles or nearly 60 percent of the assortment, sold fewer than 10 copies each, together making up half a percent of total sales.

The numbers certainly do not come close to the trusted ’80/20 rule’ that many managers live by, which supposes that 80 percent of the sales tend to come from 20 percent of the products on offer. For music albums, it is close to an 80/1 rule – if we can speak about a rule at all. Even if we take a conservative estimate of what would be on offer in a bricks-and-mortar store at any given point in time, Anderson’s predictions that long-tail sales will rival those in the head are far off.

Of course the goods in the long tail include not just true niche content but former hits as well. Sales of a blockbuster – even one on the scale of Lady Gaga’s ‘The Fame’ or Maroon 5’s ‘Songs About Jane’ – will eventually dwindle. Such products can now live forever online, even if they have long been cleared from the physical shelves. For old hits, then, digital channels may present a real opportunity. But the large majority of products in the tail were not very successful to begin with. Most of them, in fact, never met the bar for a release through traditional distribution channels. Or, in the case of individual music tracks, they are orphans of unbundling activity: now that online consumers can cherry-pick the most popular tracks on an album, the rest shoot quickly into the long tail.”

Chart 1:

“In the recorded-music industry in 2011, more than 8 million unique digital-track titles together sold 1.271 billion copies… For instance, nearly 6 million titles – 74 percent of all unique titles – each sold fewer than 10 copies, accounting for only 1 percent of sales.

102 titles selling 1,000,000 copies or more/189,758,000 copies sold/15%

1,412 titles selling 100,000-999,999 copies/318,473,000 sold/25%

13,492 titles selling 10,000-99,999 copies/374,827,000 copies sold/29%

74,246 titles selling 1,000-9,999 copies/212,571,000 copies sold/17%

382,720 titles selling 100-999 copies/111,117,000 copies sold/9%

1,620,959 titles selling 10-99 copies/48,687,000 copies sold/4%

5,927,729 titles selling fewer than 10 copies/15,722,000 sold/1%”

Chart 2:

“In the recorded music industry in 2011, more than 800,000 unique album titles together sold more than 330 million copies (including both physical and digital copies)… For instance, 513,000 titles – 58% of all unique titles – each sold fewer than 10 copies, accounting for only 0.5 percent of sales.

13 titles selling 1,000,000 copies or more/23,287,000 copies sold/7%

387 titles selling 100,000-999,999 copies/93,992,000 copies sold/28%

4,229 titles selling 10,000-99,999 copies/114,949,000 copies sold/35%

21,042 titles selling 1,000-9,999 copies/61,493,000 copies sold/19%

87,986 titles selling 100-999 copies/27,032,000 copies sold/8%

251,566 titles selling 10-99 copies/8,261,000 copies sold/2%

513,146 titles selling fewer than 10 copies/1,558,000 copies sold/0.5%”

From Harvard Business School professor Anita Elberse’s book Blockbusters: Hit-Making, Risk-Taking, And The Big Business Of Entertainment”