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Rock Hall Caves In, Finally Allows in Chicago, Deep Purple, Steve Miller, Plus Cheap Trick and NWA

Roger Friedman
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Rock Hall Caves In, Finally Allows in Chicago, Deep Purple, Steve Miller, Plus Cheap Trick and NWA

The Rock and Roll Hall of Fame is running out of choices. So they’ve finally caved in and selected Chicago, Deep Purple and Steve Miller as inductees for next April’s ceremony. The Hall of Fame, run by Rolling Stone magazine’s Jann Wenner, had bent over backwards to keep these groups out for years.

This year’s group of inductees will also includes American New Wave group Cheap Trick, and hip hop pioneers NWA. The latter was helped by the overwhelming success of “Straight outta Compton” this year at movie theatres. Without them, the RRHOF show would be all white.

As it is, it will be all male. This core group of inductees includes no females. It also so far has no early R&B or Blues acts, or any actual rock pioneers. At some point, Wenner and his cronies will choose a few people they like for honorary awards.

Last spring, Wenner chucked out about a third of the nominating committee, clearing out a lot of old timers who really knew the history of rock and roll. One of them told me recently they didn’t expect missing doo wop groups ever to get in now. The list of acts who deserve to be in the Rock Hall, but will never get in, is long.

There are also a bunch of people from the 70s going forward who have been overlooked. Nile Rodgers and Chic once again missed the boat. Sting, as a solo performer, and Bon Jovi, aren’t in. Bryan Ferry and Roxy Music, and many others are on that roster too, as well as Carly Simon, J Geils Band, Billy Preston, Todd Rundgren….et al.

These choices should be pretty interesting once they hit the stage at the Barclays Center in Brooklyn on April 8. Chicago has all kinds of factions within it. Steve Miller could care less about the music industry. NWA members Ice Cube and Dr. Dre may or may not be on good terms. Easy E is dead.

We’ll see who the Hall adds to this list. I would do a clean sweep of Early Influencers with Chubby Checker, Mary Wells (posthumous), Rufus and Carla Thomas, Billy Preston as a sideman, plus producers awards to Richard Perry, Phil Ramone (posthumous) and Richard Gottehrer. It’s time to clean up the mess they’ve made. But it’s not likely to happen…

Here’s what I consider Chicago’s classic song:

Luigi Creatore, 93, Was the Co-Producer of Many Cheesy Hits Like Van McCoy’s Beloved “The Hustle”

Roger Friedman
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Luigi Creatore, 93, Was the Co-Producer of Many Cheesy Hits Like Van McCoy’s Beloved “The Hustle”

Pop music wouldn’t be the same without the team of Luigi Creatore and Hugo Peretti. As Hugo and Luigi, they produced countless hits beginning in the early 60s. Their handiwork runs from some Sam Cooke Top 40 hits through Van McCoy’s disco classic, “The Hustle,” a bigger record in 1975 than Adele could hope for now. (Too big, some might say.)

Hugo and Luigi also ran Avco Records in the early 70s, where they gave the us the Stylistics. However, Thom Bell and Linda Creed wrote the hits. But Hugo and Luigi got them on the radio, from “Betcha By Golly Now” to “You Are Everything.”

They co-wrote Elvis Presley’s hit “Can’t Help Falling in Love” (‘wise men say’..) with George David Weiss.  They also recorded Della Reese, who if you listen to her now (the star of “Touched by an Angel” is still very much alive) sings the socks off of today’s divas.

The pair did write English lyrics for “The Lion Sleeps Tonight,” the doo wop hit that was stolen from an African songwriter named Solomon Linda. But they didn’t “write” the song, as the New York Times reports tonight. And eventually Linda’s estate got some money back from the long chain of events.

Still Hugo and Luigi were an unsung powerhouse whose work lingers on radio. I hope they made their money because pre-1972 recordings are played for free on the radio, and producers usually don’t reap royalties.

A moment of silence, and then, a disco ball:

Oscars: 112 Scores Are Eligible, But not Ryuichi Sakamoto’s from “The Revenant”

Roger Friedman
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Oscars: 112 Scores Are Eligible, But not Ryuichi Sakamoto’s from “The Revenant”

Un-bearable: Ryuichi Sakamoto’s gorgeous score from “The Revenant” is not eligible for an Academy Award, but over 100 films’ scores are including such musical accomplishments as “Alvin and the Chipmunks” and “Ted 2.” The reason? Sakamoto’s work was intertwined with that of two other composers. So he’s out.

My favorite scores, other than Sakamoto’s, came from Howard Shore for “Spotlight” and Ennio Morricone’s “Hateful Eight.” Carter Burwell always impresses, and his music for “Carol” was haunting. Dhani Harrison, son of the late George Harrison, wrote a beautiful score with Paul Hicks for “Learning to Drive.” Daniel Pemberton’s music for the maligned “Steve Jobs” was also nomination worthy. If that helps, those are five good nominees, as well as Michael Giacchino, Alexandre Desplat, and Harry Gregson Williams. A lot of these composers are factories by now, churning out work for several moves a year. (Do a match game below.) Keep in mind that Morricone’s music is just for Tarantino. My favorite song? Diane Warren’s “Til it Happens to You” from “The Hunting Ground,” sung by Lady Gaga. Hands down.

Eligible:

“Adult Beginners,” Marcelo Zarvos, composer
“The Age of Adaline,” Rob Simonsen, composer
“Altered Minds,” Edmund Choi, composer
“Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
“Anomalisa,” Carter Burwell, composer
“Ant-Man,” Christophe Beck, composer
“Beasts of No Nation,” Dan Romer, composer
“The Big Short,” Nicholas Britell, composer
“Black Mass,” Tom Holkenborg, composer
“Bridge of Spies,” Thomas Newman, composer
“Brooklyn,” Michael Brook, composer
“Burnt,” Rob Simonsen, composer
“By the Sea,” Gabriel Yared, composer
“Carol,” Carter Burwell, composer
“Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
“Chi-Raq,” Terence Blanchard, composer
“Cinderella,” Patrick Doyle, composer
“Coming Home,” Qigang Chen, composer
“Concussion,” James Newton Howard, composer
“Creed,” Ludwig Goransson, composer
“The Danish Girl,” Alexandre Desplat, composer
“The Divergent Series: Insurgent,” Joseph Trapanese, composer
“Dukhtar,” Peter Nashel, composer
“The End of the Tour,” Danny Elfman, composer
“Everest,” Dario Marianelli, composer
“Ex Machina,” Ben Salisbury and Geoff Barrow, composers
“Far from the Madding Crowd,” Craig Armstrong, composer
“Fifty Shades of Grey,” Danny Elfman, composer
“5 Flights Up,” David Newman, composer
“Frame by Frame,” Patrick Jonsson, composer
“Freedom,” James Lavino, composer
“Furious Seven,” Brian Tyler, composer
“The Good Dinosaur,” Mychael Danna and Jeff Danna, composers
“Goosebumps,” Danny Elfman, composer
“Grandma,” Joel P. West, composer
“The Hateful Eight,” Ennio Morricone, composer
“He Named Me Malala,” Thomas Newman, composer
“Hot Pursuit,” Christophe Beck, composer
“Hot Tub Time Machine 2,” Christophe Beck, composer
“The Hunger Games: Mockingjay – Part 2,” James Newton Howard, composer
“The Hunting Ground,” Miriam Cutler, composer
“I Smile Back,” Zack Ryan, composer
“I’ll See You in My Dreams,” Keegan DeWitt, composer
“In the Heart of the Sea,” Roque Baños, composer
“Inside Out,” Michael Giacchino, composer
“The Intern,” Theodore Shapiro, composer
“It Follows,” Disasterpeace, composer
“Jalam,” Ouesppachan, composer
“Jurassic World,” Michael Giacchino, composer
“Kahlil Gibran’s The Prophet,” Gabriel Yared, composer
“Kingsman: The Secret Service,” Henry Jackman and Matthew Margeson, composers
“Krampus,” Douglas Pipes, composer
“La Jaula de Oro,” Jacobo Lieberman and Leonardo Heiblum, composers
“The Lady in the Van,” George Fenton, composer
“The Last Witch Hunter,” Steve Jablonsky, composer
“Learning to Drive,” Dhani Harrison and Paul Hicks, composers
“Legend,” Carter Burwell, composer
“Little Accidents,” Marcelo Zarvos, composer
“The Longest Ride,” Mark Isham, composer
“Mad Max: Fury Road,” Tom Holkenborg, composer
“The Man from U.N.C.L.E.,” Daniel Pemberton, composer
“The Martian,” Harry Gregson-Williams, composer
“Max,” Trevor Rabin, composer
“Maze Runner: The Scorch Trials,” John Paesano, composer
“Meru,” J. Ralph, composer
“Minions,” Heitor Pereira, composer
“Mr. Holmes,” Carter Burwell, composer
“Mistress America,” Dean Wareham and Britta Phillips, composers
“My All American,” John Paesano, composer
“Nachom-ia Kumpasar,” Ronnie Monsorate, composer
“99 Homes,” Antony Partos and Matteo Zingales, composers
“Our Brand Is Crisis,” David Wingo, composer
“Pan,” John Powell, composer
“Paper Towns,” Son Lux, composer
“Paranoid Girls,” Javier del Santo, composer
“Pawn Sacrifice,” James Newton Howard, composer
“The Peanuts Movie,” Christophe Beck, composer
“Pixels,” Henry Jackman, composer
“Poached,” Mark Orton, composer
“Pod,” Giona Ostinelli, composer
“Poltergeist,” Marc Streitenfeld, composer
“Racing Extinction,” J. Ralph, composer
“Room,” Stephen Rennicks, composer
“Salt Bridge,” Marciano Telese, composer
“San Andreas,” Andrew Lockington, composer
“The Second Best Exotic Marigold Hotel,” Thomas Newman, composer
“Set Fire to the Stars,” Gruff Rhys, composer
“Shaun the Sheep Movie,” Ilan Eshkeri, composer
“Sicario,” Jóhann Jóhannsson, composer
“Southpaw,” James Horner, composer
“Spectre,” Thomas Newman, composer
“The SpongeBob Movie: Sponge out of Water,” John Debney, composer
“Spotlight,” Howard Shore, composer
“Spy,” Theodore Shapiro, composer
“Star Wars: The Force Awakens,” John Williams, composer
“Steve Jobs,” Daniel Pemberton, composer
“Steve McQueen: The Man & Le Mans,” Jim Copperthwaite, composer
“Stonewall,” Rob Simonsen, composer
“Suffragette,” Alexandre Desplat, composer
“Taken 3,” Nathaniel Mechaly, composer
“Ted 2,” Walter Murphy, composer
“Testament of Youth,” Max Richter, composer
“The 33,” James Horner, composer
“Tomorrowland,” Michael Giacchino, composer
“True Story,” Marco Beltrami, composer
“Trumbo,” Theodore Shapiro, composer
“Truth,” Brian Tyler, composer
“Victor Frankenstein,” Craig Armstrong, composer
“The Walk,” Alan Silvestri, composer
“The Water Diviner,” David Hirschfelder, composer
“Wolf Totem,” James Horner, composer

“Z for Zachariah,” Heather McIntosh, composer

 

Movies: AFI Top 10 Includes “Star Wars,” “Compton” Snubs “Danish Girl,” “Brooklyn,” “Revenant,” “Hateful Eight”

Roger Friedman
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Movies: AFI Top 10 Includes “Star Wars,” “Compton” Snubs “Danish Girl,” “Brooklyn,” “Revenant,” “Hateful Eight”

The American Film Institute top 10 lists are out for movies and TV. The films that didn’t make their cut included “Steve Jobs,” “The Hateful Eight,” “The Revenant,” “Creed,” “Joy,” “Concussion,” and “Anamolisa.” Also omitted: “The Danish Girl” and “Brooklyn.” No “Youth” either.

Of the 11 TV shows honored, only 2 came from network TV.  Even though the AFI hasn’t had much impact on the Oscars in years past, this would be a very good Best Picture list.

 

AFI MOVIES OF THE YEAR

THE BIG SHORT

BRIDGE OF SPIES
CAROL
INSIDE OUT
MAD MAX: FURY ROAD
THE MARTIAN
ROOM
SPOTLIGHT
STAR WARS: THE FORCE AWAKENS
STRAIGHT OUTTA COMPTON

AFI TV PROGRAMS OF THE YEAR

THE AMERICANS
BETTER CALL SAUL
BLACK-ISH
EMPIRE
FARGO
GAME OF THRONES
HOMELAND
MASTER OF NONE
MR. ROBOT

UNREAL

AFI SPECIAL AWARD

MAD MEN

Diane Ladd Gives “Joy” to the World as Jennifer Lawrence’s Movie Grandma

Leah Sydney
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Diane Ladd Gives “Joy” to the World as Jennifer Lawrence’s Movie Grandma

At a recent Fox Christmas party celebrating their films, proud daughter actress Laura Dern extolled her mother, the sensational actress Diane Ladd, who plays Jennifer Lawrence’s loving grandmother in David O. Russell’s wonderful comedy, Joy.

Laura told me: “My Mom truly put her heart and soul into this film. She’s done something that’s more important than any award.  She put her heart and soul from her lifetime to present unconditional love and to lift people up.” 

Diane said: “It’s the first time I had to use method acting for narrating, because I’ve never narrated a film before.  First of all, they finished the movie and then they called me to narrate, which was a great honor.  It took like 20 times for each time to do it, and each time I had to get myself in that place, and use something, method acting, to get into that place so that nothing could take me out of it, so that I could present in my voice, unconditional love.” 

Ladd– who’s never won an Oscar but has been nominated three times (Alice Doesn’t Live Here Anymore, Ramblin’ Rose, Wild at Heart)– explained that director Russell was key for her. “He guided me like a lighthouse, so I didn’t waver, like a steady ship on the water.  If I wavered that would kill it.  I was the only person who loved her who gave her strength.  I couldn’t be judgmental.  David made sure I wasn’t.”  

Sylvester Stallone and wife Jennifer Flavin were special guests at the Fox party, even though his movie Creed is at Warner Bros. Stallone is now in the running everywhere for best supporting actor as the character he created 40 years ago, Rocky Balboa.

Sly told me: “I was careful not to cross the line with Rocky.  I wanted him to be real, humble and true in all ways.  I’m really surprised at the reaction; I never thought it would be taking off like this. “ 

When I told him that the scenes of Rocky receiving chemotherapy got me, as I had just gone through it with a family member, Sly told me that, “so many people have been telling me that.  Everyone is seems has been affected by cancer, and people from all over tell me that again and again.  I’m really honored to be a part of this.”   

Review “Star Wars: The Force Awakens” Is the Adele of Movies: It’s Exactly What We Wanted, and Well Done

Roger Friedman
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Review “Star Wars: The Force Awakens” Is the Adele of Movies: It’s Exactly What We Wanted, and Well Done

The most anticipated movie of all time, “Star Wars: The Force Awakens” is exactly what we wanted. I can’t think of a movie sequel that so answered all of the desires and fantasies of the audience for which it was created. In that way, it’s to movies what Adele’s “25” album is to music– comforting, well executed, and with the right pointers to the future. What more can you want?

I was thinking tonight, I have new respect for people who made the three “Star Wars” prequels. How could they win? They couldn’t have Luke, Leia, or Han. Their hands were tied. No Mark Hamill, Carrie Fisher or Harrison Ford. Almost everything and everyone in those three films had to be new. That’s no small task, since fans were bound to be cold toward them. They were like grilled vegetables.

“The Force Awakens” is the first part of a three course dessert. (The main course was Episodes 4-6, as they are now known.) J.J. Abrams and Lawrence Kasdan just went into the kitchen and made the best, richest, most wonderful pastries and puddings they could imagine we would want to eat. To devour. And so we shall.

I don’t want t0– and can’t– give away too much here. I’m sure parts of the story will seep out after Friday. Suffice to say that Harrison Ford and Carrie Fisher seem rejuvenated in unexpected ways. Newcomers Daisy Ridley and John Boyega are super. Better known quantities Oscar Isaac and Adam Driver are perfectly cast, and shine in every respect. Isaac is really a bona fide movie star now.

A big spoiler is given away about halfway through the film, but it’s not for me to say. It explains to the audience that “The Force Awakens” really is a personal story of a family, not just a bunch of robots. What happens to that family will be relatable in so many ways to the audience. It may happen in a galaxy far, far away but you’ve experienced it yourself, or known plenty who have been down these roads.

There are riffs back to the earlier chapters of “Star Wars.” (Chess is still popular in bars, and it hasn’t changed much.) There’s at least one nod to “The Wizard of Oz,” actually maybe more. Suffice to say that Daisy Ridley as Rey is a modern Dorothy Gale. Boyega as Finn, Ford as Solo, and Peter Mayhew as Chewbacca are her Scarecrow, Tin Man, and Cowardly Lion. You’ll see what I mean.

What Abrams did with the “Star Trek” and “Mission: Impossible” reboots he accomplishes here in spades. His achievement in all three is that he moves the game forward while still touching on the past. But “Star Trek” was an origins story, and “Mission Impossible III” was a bit of a reboot. “The Force Awakens” is an actual sequel, the others were not. So it’s to Abrams’ credit (and Kasdan,  the house expert) that the story picks up in the right spot and never hits a false note– as far I could tell. I will leave the nitpicking to the fan boys.

Kasdan wrote the screenplay for “The Empire Strikes Back” (Episode 5 of the original trilogy) and “Raiders of the Lost Ark.” He knows his Spielberg-Lucas-Ford. Sometimes– particularly in what I’d call Act II here– “The Force Awakens” becomes Harrison Ford-centric. There are echoes of “Raiders.” But that’s okay. I would call it “Harrison Ford Awakens.” He looks so happy and comfortable in this role. It’s just a pleasure. Carrie Fisher, who became a humorist over the years, resumes acting without missing a step. Her General (not Princess Leia) is integral and forceful. I will not say yet what happens to Luke Skywalker (Mark Hamill). But I dare say we’ll be seeing a lot of him in the next chapter.

Oscar nods? All the below the line stuff, set design, costumes, make up, editing, special effects, cinematography, etc. are all going to be there. John Williams’ music is good as ever; I even stayed through the closing credits to hear it. Acting? I don’t expect any big surprises, although at one point I was really moved by Daisy Ridley and Carrie Fisher. It may be too late to spark anything for this episode. But there are two more to come.

A couple of addenda: Abrams usually uses composer Michael Giacchino but didn’t of course here because of John Williams. Giacchino has a credited small role instead. Other Abrams alumna include Ken Leung (from “Lost”) and Greg Grunberg (“Alias”)– J.J. Abrams’ own Easter eggs. There is terrific support work from Lupita Nyong’o, Andy Serkis, Max von Sydow, and naturally Kenny Baker as R2D2 and Anthony Daniels as C3PO.

 

Sting Gets Standing O at First Ever Proper Carnegie Hall Concert As Longtime Manager Retires

Roger Friedman
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Sting Gets Standing O at First Ever Proper Carnegie Hall Concert As Longtime Manager Retires

Sting dedicated his “Symphonicities” concert at Carnegie Hall last night to his manager, Kathy Schenker. He shocked some of the audience that after 38 years, the beloved Schenker was stepping aside. No, she’s not sick and she’s not old. But she wants to have her life back after hundreds of successes. Martin Kierszenbaum, who recently left Interscope Records at Interscope, will take over, with Schenker’s staff otherwise staying in place.

“Sting is bereft,” a friend said after the Carnegie Hall show. “He said Kathy leaving was like losing a limb.”

So it was a night of last and first: this was Sting’s first ever proper Carnegie Hall performance even though he’s done the Rainforest Foundation concert there 21 times, and appeared in various other charity events. His “Symphonicities” show was to benefit Carnegie Hall on its 125th birthday. Among the honored guests were Robert DeNiro and Grace Hightower. Mrs. Sting– Trudie Styler– wore a gorgeous green gown with a train. (She’s busy editing her directorial debut, “Freak Show.”)

Chris Botti joined Sting and the Orchestra of St. Luke’s for Frank Sinatra’s “In the Wee Small Hours.” Sting returned the favor by heading downtown to the Blue Note Jazz Club later and joining Chris for the first of his 26 dates at the famed Village nightclub.

Was the show a success? After ninety minutes of gorgeous singing and symphonic music floating through Carnegie Hall, the audience went crazy for an encore. They’d heard orchestral-jazzed up versions of “Roxanne” and “Every Breath You Take,” “The Last Ship,” “When We Dance,” and so on.

A planned encore of “Desert Rose” turned into such a rave, that when Sting said good night– and everyone left the stage– the audience didn’t move. What to do? Sting and co. improvised on an acoustic version of “Message in a Bottle.” The sold out room sang along to “sending out an SOS,” as the orchestra freelanced some back up. Quite a feat. Quite a night.

On a personal note, I’ve known Kathy Schenker since the Civil War or thereabouts. One of the great great people anywhere, she’s been such a great friend. How dare she try to have a real life! Everyone sends her a lot of love and luck on her Eat, Pray, Rock adventure!

 

photo c2015 Showbiz411

Adele Ratings: 11 Million Viewers Watch Special, Most in Decade for a Pop Star Special

Roger Friedman
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Adele Ratings: 11 Million Viewers Watch Special, Most in Decade for a Pop Star Special

“Adele: Live from New York City” scored 11 million viewers last night on NBC, the most for any pop star special in over a decade. That’s 9 million more than any of the current pop stars’ TV specials in recent years, as I wrote yesterday.

Still developing….Adele’s demo was 3.0 in the 18-49 age group. Good but not great. She has an older audience.

Ironically, the big ratings didn’t spur sales of any of her singles. “Hello” has been knocked to number 4 on iTunes by singles from “The Voice” finale which preceded Adele last night. Go figure.

PS Kudos to Lorne Michaels, who produced the show at Radio City. The edited program is perfect.

Quentin Tarantino Exclusive: “I Will Bring Hateful Eight to Broadway Sooner Rather Than Later”

Roger Friedman
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Quentin Tarantino Exclusive: “I Will Bring Hateful Eight to Broadway Sooner Rather Than Later”

Yes, last night was the official New York premiere of Quentin Tarantino’s “The Hateful Eight” complete with overture and intermission. Pretty much everyone was there at the Ziegfeld and later at the Rainbow Room except for Samuel L. Jackson, who was filming in Hawaii.

Everyone from Quentin to Jennifer Jason Leigh to Bruce Dern, Kurt Russell, Channing Tatum, Walt Goggins, Tim Roth, Zoe Bell, Demian Bichir, Dana Gourrier, Michael Madsen, whose date was actress sister Virginia. She’s also opening next week in David O. Russell’s “Joy” playing Jennifer Lawrence’s kooky mother. (It’s a great performance.)

Plenty of non -Tarantinians stopped by too including Goldie Hawn and Kate Hudson (supporting Kurt), Sam Rockwell and Nina Arianda from Broadway’s “Fool For Love,” Bill Paxton, director Paul Haggis, and Richard Kind among the notables. Alan Cumming came with JJL, and accepted kudos for his work on last night’s episode of “The Good Wife.” Why doesn’t he have any Emmy already????

Oscar winner Adrien Brody brought his parents, dad Elliot Brody and mom, famed photographer Sylvia Plachy. “This isn’t really a family film,” I said when I saw them. “It is if you’re a fearless family,” Plachy rebuked me. “We loved it.”

Anyway, Tarantino did tell me that he’s thinking of putting “The Hateful Eight” on Broadway as a legit stage play. “And like sooner rather than later, like later this year”– meaning 2016. “Don’t be surprised.”

I wouldn’t be. “The Hateful Eight” is like great theater in many ways. I wrote early that it reminded me of Eugene O’Neill. Tarantino said “The Iceman Cometh” influenced him. “I think this is my best screenplay,” he said proudly. “I think…” –he actually hesitated– “I’ve learned a lot.”

Earlier in the day the Weinstein Company announced that 44 cities will get the two road show of the long version of “Hateful Eight” in 70mm glory. But overlapping, on January 1st, a shorter version will go wide across the country. That version will be trimmed of the overture and intermission, but will be substantially the same. Gore will not be spared.

 

NBC Music Night: Adele Gets No Chart Bounce from TV Special, “The Voice” Lands 11 Tracks in iTunes Top 20

Roger Friedman
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NBC Music Night: Adele Gets No Chart Bounce from TV Special, “The Voice” Lands 11 Tracks in iTunes Top 20

Prime time is over on both coasts and in the middle of the country. What did we learn from NBC’s music night of the two hour “Voice” finale and the one hour Adele special?

Well, on iTunes, Adele’s “Hello” has fallen to number 4. The special gave her no bounce on the charts. None of her other tracks suddenly jumped. “When We Were Young” is still number 22. If the special got people to buy music, it must have been the “25” album. But nothing happened on the singles chart.

However, 11 tracks from “The Voice” are in the top 20 tonight following the finale. Three of them knocked Adele to number 4– three nobodies. Just people you saw on TV and liked. And then eight more. Wild.

Has Adele saturated her sales market? After all, no one sells 5 million copies of music anymore, and certainly not in three weeks. But maybe the lion’s share of Adele fans are worn out, and have everything they need?

On amazon.com, “25” is still number 1, and the prior two Adele albums are in the top 10.

We’ll see what happens by mid day Tuesday. But “The Voice” spurred immediate sales. Adele did not. It will be interesting to see the overnight ratings…

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