Adele is rolling with Grammy hardware to spare.
The singer made her post-surgery comeback by winning all six of her nominations at the 2012 Grammy Awards, topping the ceremony with Album of the Year for "21" and taking home both Song and Record of the Year for "Rolling in the Deep." She teared up as she took the stage for the final award, crediting the album's inspiration to a "rubbish relationship."
The first award of the broadcast, Best Pop Solo Performance, went to the Brit's "Someone Like You," the singer's second win of the evening. "21" picked up Best Pop Vocal Album during the afternoon pre-telecast portion of the awards, while her "Rolling in the Deep" producer Paul Epworth picked up Producer of the Year.
"My life changed when I wrote this song, before anyone even heard it," she said, looking into the crowd for "Someone Like You" co-writer Dan Wilson.
"Since this is a vocal award, I want to thank my doctors, they brought my voice back," she added, showing no signs of the strain that caused her to undergo vocal cord surgery.
If there were any lingering doubts about her recovery, Adele opened her performance of "Rolling in the Deep" a cappella, showcasing the instrument that made her "21" 2011's best-selling album. She drew the night's longest round of applause as the audience took its feet.
Beyond Adele's success, it was a night full of celebrations and tributes, with the sudden passing of Whitney Houston adding a sober note to the enthusiastic show.
Bruce Springsteen opened the evening with a high-energy performance of "We Take Care of Our Own," the politically charged new single from his upcoming album "Wrecking Ball". The performance, aided by a string section, had Paul McCartney clapping along.
And Bruno Mars, a six-time nominee, lit up the stage with a gold jacket and choreographed dance moves.
"Get off your rich asses and let's have some fun, y'all!" he shouted during his performance.
In between the exuberance, the show addressed the death of Houston, who died just a day before the ceremony at age 48.
We've had a death in our family," host LL Cool J said moments after he took the stage. "For me, the only thing that feels right is to open with a prayer… Heavenly father, we thank you for sharing our sister Whitney with us," he said, drawing bowed heads among the audience's array of stars.
Video of Houston's Grammy performance of signature hit "I Will Always Love You" followed, as did a standing ovation.
Shortly thereafter, Alicia Keys and Bonnie Raitt, performing as a duo, paid tribute to another loss, jazz great Etta James.
The performances also included a notable return. Three years after his assault of then-girlfriend Rihanna caused both to miss the ceremony, Chris Brown made his Grammy comeback with the electronic-inspired "Turn Up the Music," showcasing his dance moves atop a shimmering tower of brightly colored blocks.
Later, Brown's "F.A.M.E." won Best R&B Album. He kept his speech short: "I just gotta thank God for this opportunity, and the Grammys for letting me get on this stage… Team Breezy, man, it's all for you, we all won. Thank you."
In one of the evening's most anticipated performances, the Beach Boys reunited for their 50th anniversary -- preceded by tributes by Maroon 5, who took on the '60s band's "Surfer Girl," and "Pumped Up Kicks" singers Foster the People, who turned in a faithful version of "Wouldn't It Be Nice."
After an introduction by Ryan Seacrest, the Beach Boys themselves launched into "Good Vibrations," with Brian Wilson at the piano and singing lead on the legendary song. Mark Foster and Maroon 5's Adam Levine joined the group after the bridge to add to the plethora of harmonies.
Friday, 17 February 2012
'I Will Always Love You' sees 6,723 percent increase in digital sales and forces Billboard to adapt rules on 'catalog' tracks.Spurred on by a massive uptick in digital sales and radio airplay following her death this past weekend, Whitney Houston's "I Will Always Love You" re-entered Billboard's Hot 100 singles chart this week, landing at #7. And, in the process, it forced the magazine to adjust the way it handles so-called "catalog" tracks on the chart. Historically, catalog songs — tracks still frequently aired on contemporary radio months or years after their initial debut — were ineligible for the Hot 100 (Billboard moves them to several "recurrent" charts once they've spent 20 weeks on the chart and have fallen below position number 50), though, in a statement, Billboard director of charts Silvio Pietroluongo said that will now officially change.
"Going forward, we feel that it is the proper move to allow older titles posting enough activity to return to the Hot 100 if ranking in the chart's upper half," he said.