Adele is making records and breaking records. Hitsdailydouble reports that pre-orders for “25” are at 500,000, with 100,000 of those coming from Amazon. Sure enough, “25” is number 1 on the Amazon album chart. It’s number 2 on iTunes, but that will change on Friday at 12:01 am.

Last night at Radio City Music Hall, a friend of mine from Sony proposed that Adele could sell upwards of 1 million copies in her first week of sales for “25.” This person then said, “Maybe 2 million, we don’t know.” Wow. This after Justin Bieber and One Direction combined sold 1 million albums this past week. The record biz is back! For now!

Adele currently has all three of her albums on the iTunes top 10, quite a feat. And clips from last night’s show are all over YouTube. Still, I expect the December 3rd NBC special to be highly rated. You want to see the whole hour cut together properly.

Adele’s “25” is a 10. Well, we knew that. “Hello” already has its fans and it’s number 1 everywhere. But “When We Were Young” is so deliciously constructed with a gorgeous hook that we’ll be hearing it every day for the the next ten years. I imagine Tobias Jesso’s stock will rise on Friday like on Apple’s on the day of a new iPhone release. This is maybe the best new song by anyone in years.

While “21” became a touchstone, and sold millions of copies, the songs on “21” are unexpectedly great. Their selection reminds me of how Clive Davis curated records for Whitney Houston. What a beautiful job Adele and her team have done finalizing the 11 main songs (I don’t yet have the extra songs on the Target edition.)

Somewhere in heaven, Dusty Springfield is smiling. Somewhere in England, Alison Moyet isn’t getting credit for laying this groundwork. But here goes– “25” ranges from startling and new to comfortable as a warm slipper. With this album you can drink Champagne, then switch to hot cider.

“Send My Love (to Your New Lover)”– a Max Martin special with a tropical feel. Someone has to study this man’s brain. How can he write in so many genres? And successfully? A good second track following “Hello” heavy and light at the same time.

“I Miss You” brings in Paul Epworth, Adele’s main collaborator through her career. It’s just the two of them– he’s playing everything.  An odd choice for the 3rd track. A bit of a speed bump. The only song on the album that needs time. Someone listened to Joni Mitchell’s “Hissing of Summer Lawns” album a lot.

“Remedy” is spare and also full of hooks, co-written with Ryan Tedder. This guy is one of our great songwriters, like John Legend, or Rob Thomas. Someone needs to record a cover album of his songs. OneRepublic is fun but it doesn’t do him justice, it sort of hides him.

“Water Under the Bridge” shows that “Hell0” co-writer Greg Kurstin does know how to make a song move– there will be dance remixes. This is a catchy song, an understatement. You don’t want it to end. A potential number 1 single.

“River Lea” is a modern gospel number from Danger Mouse that mines Adele’s lower register and finds her blissfully in an R&B groove.

“Love in the Dark” — is a big soap opera, and you can already imagine the hardcore fans singing along in darkened theaters and weeping

“Million Years Ago” — also spare, accompanied by guitar, co-written with Greg Kurstin again, recalls a lot of Sixties ballads from “Yesterday When I Was Young” to “Windmills of Your Mind.”

“All I Ask” — the Bruno Mars track. Another ballad, rich with piano, a nice hook, and ready for hankies. Greg Phillinganes’ piano is memorable.

“Sweetest Devotion” — written with Paul Epworth, ends the album proper with a big old fashioned album track (remember those?)– it’s grand and epic, and moves (thank goodness, since we’ve just had a couple of ballads). This is the way to close, on a high note, singing along. Perfect. This song could be three minutes longer, by the way. Bring it on in a special edition.

Adele rocked Radio City music Hall tonight in her first concert in four years. She performed for a sold out crowd that included Donald Trump, Chris Christie, Daniel Day Lewis with son Gabriel Kane, Bradley Cooper and date Irina Shayk, Tina Fey, Amy Poehler, Colin Jost of “Saturday Night Live”  and David Schwimmer.

Lorne Michaels, whom Adele credits with breaking her on “Saturday Night Live,” produced the show for NBC. It will air December 14th. Jimmy Fallon warmed up the audience for a couple of minutes, and then Adele took the stage.

Her set lasted a little over an hour. She was funny and sweet, and her voice soared. She is now the greatest singer of her generation and this generation, with an instrument that still needs to be tested on ballads and standards. But her set was fine, starting with her current hit “Hello” and including past hits like “Chasing Pavements,” “Set Fire to the Rain,” “Someone Like You,” and the theme from “Skyfall,” which was magnificent.

As earthy and salty as she is, Adele excels at melodramatic songs. She knows a good soap opera, and is sort of a contemporary Mary J. Blige. But she also knows melody, and her newest hit, “When We Were Young,” is poised to be tremendous. Considering that she hadn’t sung in public in years, and is just breaking in the new songs, that’s saying a lot.

“I’ve been dying to do a f—ing show,” she said in one of her many Eliza Doolittle moments of the evening. Even in a glittering gown, there is no changing Adele. Some of the show will have to be bleeped. “This is for TV,” she advised the audience, “don’t pick your nose.” She called Bruno Mars, who wrote a song with her, “cool as f-ck.”

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Maybe she needs the humor to keep herself from getting too bowled over by what’s going on. We haven’t had a singer like this since Whitney Houston or Barbra Streisand. As Adele has progressed from “19” to “21” to “25,” she’s making a legend in her own time. And now we know what happened to “23”– she said that “Skyfall” was Bond 23, and she was 23 at the time, so that project fulfilled that missing number for her.

Just a word on the video projection: Adele, you see, cannot be confined to a video screen. So Michaels and his staff just projected her over the entire Radio City proscenium, using the video screen as an insert. The effect was mesmerizing.

I did run into a friend of mine from Sony before the show. Apparently, “25” is on track to sell more than a million copies in its first week– maybe closer to 2 million. Extraordinary in a time when the music business seethes apathy toward most artists. But Adele is real, and the audience knows it. There is no artifice. When she plays the guitar, she makes excuses in advance– and then plays it very well. She’s connecting on a very basic level, unlike almost all the female performers of her age group whose shows seem like they were scripted within an inch of their lives.

So, onto the album release this week and “Saturday Night Live” and record setting sales. Brava!

P.F. (Phil) Sloan, the singer songwriter responsible for songs like Barry McGuire’s “Eve of Destruction” and Johnny Rivers’ “Secret Agent Man,” has died at age 70. He had had pancreatic cancer.

Sloan was a popular figure in Nashville, and a legendary figure in the Phil Spector world as part of the famed and legendary Wrecking Crew. He also wrote the guitar into for the Mamas and the Papas’s “California Dreamin’.”

Sloan also wrote the original singles for the Grass Roots pre-“Midnight Confessions.” Jimmy Webb also wrote a song called “PF Sloan” inspired by Sloan, and covered by many artists including Jackson Browne, Jennifer Warnes, and the Association. Sloan and Steve Barri were inducted into the Songwriters Hall of Fame in 2014.

In the hours before Adele appears at Radio City Music Hall, she has dropped her second single from “25.” The video for “When We Were Young” is below. And this one, like “Hello,” should go right to the top of the charts. Welcome to Adele week.