Adele smashes single-week US album sales record in four days

25 Nov 2015 | Author: | No comments yet »

‘You Can’t Prepare Yourself’: A Conversation With Adele.

The Brit passed the group’s 2.4 million sales mark with her new album “25” on Tuesday, and Lance Bass, Joey Fatone and JC Chasez were among the first celebrities to congratulate her. “Records were made to be broken,” Chasez says. “It was a flattering luxury knowing we sold more records than anyone in a week but it’s also nice seeing people continue to be passionate about music in the next generations.

Adele’s album “25” was set Monday to smash through the opening-week record in the United States, with at least 2.3 million copies sold in the first three days alone.After already breaking the single-week U.S. sales record for an album in slightly more than three days, 25 is now gunning to sell 3 million copies in its first week, according to industry forecasters. Adele proves that emotion and art are alive and well in music today.” His bandmate Bass took to social media to offer his thoughts, adding, “We officially say Bye Bye Bye as @Adele says Hello to the World Record of Most Albums Sold In a Single Week.

Nielsen Music said that “25,” released on Friday, would by late Monday match the record of 2.41 million sales in a first week set in 2000 by Justin Timberlake’s boy band NSYNC. Congratulations!!” “Records are always meant to be broken, but with technology and current music business model, I thought this one would be tough to beat,” Fatone told Billboard. “In all honesty, Adele is the truth – kinda excited a rare talent like hers is in the same breath as our group. I’m a huge fan… I even bought the damn album!” Adele’s “25” is projected to sell 2.9 million units in its debut week, with experts suggesting that 42 per cent of all U.S. record buyers have picked up a copy. ‘N SYNC’s second studio album, No Strings Attached, debuted in 2000, moving 2,416,000 units for the week ending March 26. It’s quaint to think that, before 25 was launched upon an adoring public, Adele was expressing concern that her fans might have forgotten about her in the nearly five years since 21, a record-breaker in its own right. In a sign of confidence in sales, “25” is a rare album that is not available through online streaming services, the booming sector that allows unlimited on-demand music.

Named for the age the singer was when she wrote its songs, 25 is full of ballads that track personal regrets, broken relationships and dashed expectations with the same crushing emotional power familiar to the 30 million fans worldwide who bought 21. She returns to the studio flanked by a mix of familiar names (like Paul Epworth, who produced her megahit “Rolling In The Deep”) and new collaborators (like Max Martin and Shellback, of nearly every song on pop radio for the past decade). “The reaction’s been ridiculous. Ari Shapiro: You’ve lived a life relatively out of the spotlight for the last few years, and so to suddenly be plunged back into this machine has got to be a bit bracing, I would imagine. I was saying the other day that doing it again with a kid this time, it’s making me more tired than normal, but on the other hand, he just brings me back down to earth.

Tell me about “Water Under the Bridge.” “Water Under The Bridge” is just about being strong enough in a relationship to overcome every obstacle that’s thrown in your way. It sounds like a lot of the feelings on this album resonate with the feelings that were on 21 — the nostalgia, the looking backward, the when-we-were-young — but it filters them through a very different lens. I think it’s really important that I’m very articulate with my feelings going forward, because he will read all about this one day, and I want him to know that I cared about how I was portrayed when he existed in my life, that I wasn’t flippant with those things. I was like, “Who did this?” I knew it was Taylor, and I’ve always loved her, but this is a totally other side — like, “I want to know who like brought that out in her.” And he said Max Martin.

The last time we talked to you on this show, a few years ago, you talked about listening to Etta James and Ella Fitzgerald and the way those voices influenced you. That’s what happens at school: The stuff that is massive and all over the radio, that’s the stuff you listen to with your friends, and how you make friendships early on. You’ve said that these three albums you named after ages — 19, 21 and 25 — are sort of a trilogy, and that 25 is going to be the last album that you name after an age. And then the experience of my relationship when I wrote 21, it felt like a coming-of-age record — but I feel like you always think that when you turn 21.

Artists and bands that I’ve grown up loving, they get a certain amount of success and they’re like, “Oh, this is easy.” And I’m like, “I don’t like you anymore. But also, you know when you go to a show of someone that you love, and they play a record that you absolutely love, but they play it so many different ways that you can’t even sing along? One of my favorite things about going to a gig and, doing a gig, is the singalongs — the crowd gets to sing with you and you get to sing with the artist. My experience of it was, whenever I was in our version of the projects, the river ran through it — so it ran through all my aunties’ houses, stuff like that.

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