Send "Adele " Ringtones to your Cell 
| Bbc |
 One of the few real beneficiaries of The X Factor effect – her version of Dylan’s Make You Feel My Love has been darting about the top 40 since the audition rounds, showing more staying power than poor Joe McElderry’s last two singles combined – Adele’s stock has risen significantly since becoming the first recipient of the Brits Critics’ Choice award. Since then she’s picked up Grammys and broken the States as a bonus, so the pressure was clearly on for her next move to deliver big. And, oh my, with 21 doesn’t she just.The last few years have seen those who started strongly become mightily unstuck on their sophomore efforts. For every Lily Allen there’s been a Kate Nash or a Duffy – the latter’s comeback, Endlessly, seems to have fallen on significantly fewer ears than the 2.8 million who liked her debut – so it’s a treat to hear that no such problems beset 21. It really is so marvellous, you’re almost compelled to stand up and applaud it after the first listen. With a top-notch production team behind the album, including Rick Rubin and Paul Epworth, every track is a highlight. Current single, Rolling in the Deep, is a modern soul stomper about an errant ex; the literally banging Rumour Has It channels the avenging rock‘n’roll soul of Wanda Jackson; there’s a fine, mellow, acoustic bossa nova-y take on The Cure’s Lovesong. Don’t You Remember is a classically styled ballad, which feels like the sort of tune you’ve known all your life – many are certain to bawl along to it the next time their hearts are broken; and the blues-bruised I’ll Be Waiting could’ve come from any Willie Mitchell-produced southern soul session. Final track Someone Like You, just voice and piano, is an actual thing of beauty, placing the listener in one of those moments where you feel you’re in the presence of a future standard. You can imagine it being both honked through by talent show contestants and transcended by veterans alike. 21 is simply stunning. After only a handful of plays, it feels like you’ve always known it. It will see Adele become an even greater award magnet come the end of the year, leaving her contemporaries for dust. Genuinely brilliant....full text |
| Holymoly |
| When we first heard Adele she was an unsigned BRIT School grad attempting to make her extraordinary voice and better-than-anyone-her-age-should-be-able-to-write songs heard above the din of a disinterested Camden pub crowd. At the end of her set we stomped out, disgusted with our fellow man's inability to hear what we could hear, and the bouncer on the door stopped us and said, "She's going to be very successful, isn't she?" We don't mind admitting we shed a bit of a tear. Mr. Holy Moly holymoly Should sky Atlantic be showing up on the epg yet? 10 hours ago · reply @simonlowe kind of. yesterday · reply @LonelyVillein Hhmmm! yesterday · reply @kswatkinson Bada bing! yesterday · reply @ejmorton if only yesterday · reply @RuthCheeseman ATV in the olden days yesterday · reply @sean_piggott hmm... yesterday · reply @ToonBird101 nope yesterday · reply @oomyekim yup yesterday · reply @Bentwelly correct yesterday · reply Join the conversation Five years later and we're moist of eye once more thanks to the now very successful Adele having produced a second album that's far better than we ever expected or even needed it to be. Having been erroneously attributed as the author of Bob Dylan's 'Make You Feel My Love' by numerous X Factor auditionees and YouTube karaoke-ists, Adele's comeback was assured. She could easily have coasted to number one with a retread of the MOR prettiness and breezy soul pop that padded out the majority of debut album '19'. Providing she could write at least one more song as prodigious and moving as London hymn 'Hometown Glory' and turn in another performance as devastatingly resigned as her cover of the aforementioned Bob tune, we'd be happy. '21' is not that record. In terms of steps up, '21' is to '19' what that fella in '127 Hours' who had to cut his own arm off is to our breathless jog to the top floor of TK Maxx this lunchtime (only without the arm cutting. And we bought a stripy jumper, if you're interested). This is a serious and frequently astonishing album. There are three types of song on '21': 1. Big fuck-off (and "fuck you") monsters as characterised by jaw-dropping first single 'Rolling In The Deep', the Ryan 'Bleeding Love' Tedder co-write 'Rumour Has It' and the barnstorming power ballad 'Set Fire To The Rain'. 2. Mid-tempo smoulderers such as the country soul imploring of 'Don't You Remember', the pure, live-band, soul groove of 'He Won't Go' (reminiscent of 'No More Drama' era Mary J. Blige. Yes, that good) and the Rick Rubin produced and deeply personal interpretation of The Cure's 'Lovesong'. 3. The saddest, most heartache ridden ballads of modern times. '21' is dominated by Adele's reflections on a recently shipwrecked relationship. And while we wish her future happiness we selfishly dread the day she has to write happy family songs, or fake the heartbreak. She's just so very good at why-don't-you-love-me-well-screw-you-dickhead type songs. On '21' she delivers two truly extraordinary and award-deserving examples of that particular genre with 'Turning Tables' and 'Someone Like You' (featured here in demo form since they apparently couldn't replicate the intensity in the studio). On the latter, Adele imagines a future in which the love she's just lost is living a happy life, married with kids, while she remains alone and most definitely not over it. We've all been there. Dear god, we've all been there....full text |
| Sputnikmusic |
| A week is a long time in politics and two years in the music industry nowadays can be akin to something Buck Rogers would have experienced. Since the release and subsequent peals of acclaim from critics and consumers alike of her debut LP 19 her contemporaries have fallen away. Amy Winehouse disappeared in a haze of smoke, Lily Allen took the money and ran whilst Kate Nash and Duffy dropped off the radar after two poorly received second albums. Adele has been given a clear runway and the chance to stake her claim as the UK’s leading solo female artist. Can the girl whose songs became the background music to myriad dinner parties allow the lightning to strike twice? Adele has stuck to the numerical theme in the naming of her albums and delivered 21, an at times boisterous, intimate, soulful and rocking album. Its ability to switch between various styles is a testament to the talent already at her disposal and there is plenty to be excited about on this record. Showing an alarming sense of maturity far beyond her 22 years on this Earth, Adele has combined the best bits of Aretha Franklin’s old-school soul with Lauryn Hill’s sass and sense of cynical modern femininity. Not only that, but she has mixed them in a musical blender with the aid of an all-star cast of producers and boffins-for-hire that includes Rick Rubin, Ryan Tedder and Paul Epworth. Adele’s most powerful weapon is her faultless voice. It can veer from soft and achingly tender to an over the top but tuneful bellow. Opener “Rolling In The Deep” is a fine demonstration of her vocal abilities. The voice that belies her tender age takes a standard progression and kicks the song up to a different level. “Don’t underestimate the things I will do” she tells us, and it’s unclear whether that is a threat or a promise. The following track “Rumour Has It” is by far the best song on offer here. Pounding drums, sweet vocal harmonies and a tale of love both won and lost with some alacrity. Elsewhere there are similar lyrical admonishments to a former lover and words of warning to any of her potential new suitors. “Turning Tables” is a delicate ballad that possesses an astonishing beauty, “He Won’t Go” should get even the most miserable of music fans snapping their fingers and “Someone Like You”, an ode to stalking with a perverse attitude that lies underneath the fragile composition, looks set to become the soundtrack to a million messy break-ups. There’s even time for a smooth bossa nova cover of The Cure’s “Lovesong”, somehow adding another layer of maudlin introspection onto the lyrics of Mr. Sunshine himself, Robert Smith....full text |
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