On the Charts: Taylor Swift Reigns As Plant & Krauss Ride Big Grammy Sales Wave

The Big News: As expected, the Grammys boosted sales for award winners, most significantly Album of the Year recipients Robert Plant & Alison Krauss' Raising Sand, which sold 715 percent more than its haul the week prior to leap from 69 to Number Two. Keeping Plant & Krauss off the top of the charts is current Rolling Stone cover girl Taylor Swift, whose Fearless sold 91,000 more copies to return to the one spot after letting Springsteen and the Fray borrow it for two weeks. The Fray's self-titled album dropped from One to Four, and a pair of albums debuted in the Top Five: India.Arie's Testimony: Vol.2, Love & Politics and Lily Allen's It's Not Me It's You at Three and Five respectively.

Debuts: Other newbies on the chart include Bobby Valentino's Rebirth at Seven thanks to 56,000 copies sold in its debut week. The Lonely Island of SNL fame scored the 13 slot with Incredibad, R&B producer Ryan Leslie grabbed 35 with his debut album and somehow NCIS: The Official TV Soundtrack was deemed purchase-worthy to 9,400 viewers, helping it win 82nd place.

Last Week's Heroes: Other recipients of the Grammy-induced sales jump were Coldplay's triple-Grammy-winning Viva la Vida, which jumped from 31 to eight on a 271 percent increase and 62,000 copies sold. Other albums that had a triple-digit percentage increase over last week: Adele's 19 (27 to 10), Jennifer Hudson's self-titled album (47 to 30) and Radiohead's In Rainbows (129 to 70). With no big releases due out this week or next, it looks like Swift will remain Number One until U2's No Line on the Horizon comes out March 3rd.

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Song Stories

“Is It True”

Brenda Lee | 1964

As the British Invasion reached its peak in 1964, Brenda Lee went from Nashville to London to record one of her hardest-rocking hits, her perky vocal backed by a stuttering, squalling guitar. That guitar was played by session musician Jimmy Page, yet to skyrocket to fame with first the Yardbirds and then Led Zeppelin. "She said to me, 'I've come here to make a record with the British sound,'" remembered producer Mickie Most. "She felt she wouldn't get the same sound in Nashville because they're only just catching up on the British beat group sound of about six months ago."

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