this could go in Blues/Jazz
finally got to here the whole album
what a voice, but sometimes the music gets in the way
still good, tied for best of month
the live Letterman clip is excellent
Grade - 2.0
released Feb 22nd, 2011
from the album - Rolling In The Deep - 2.5
Bio from all music
When the U.K. press began dubbing Adele "the next Amy Winehouse" in late 2007, the hype didn't touch upon the heavy singer/songwriter influence found in the Londoner's music. Influenced by Suzanne Vega as much as Jill Scott, Adele first made an impression in 2006 when she toured as an opening act for Jack Penate. She had graduated to headlining status by the end of 2007, thanks to BBC Radio 1 playing her single "Daydreamer;" another song, "Hometown Glory," was also released as a single on Jamie T.'s label, Pacemaker. An appearance alongside Paul McCartney and Björk on the BBC 2 television show Later with Jools Holland came next, and a recording contract with XL Recordings was finalized soon after. Early 2008 brought similar luck as Adele found herself atop the BBC's new music talent list, which was compiled from the votes of 150 music critics. That same January, XL issued a new single, "Chasing Pavements," along with her debut album, 19. The title reflected Adele's age at the time of the album's release, and its popularity resulted in the release of several bonus editions throughout the year. Also in 2009, Adele won Grammy Awards for Best New Artist and Best Female Pop Vocal Performance. Her sophomore album, 21 featuring the gospel and disco infused single "Rolling in the Deep" was released in February of 2011.
Album Review from guardian.uk
Such was the appeal of her debut album – 2008's 19 – that it was easy to forget Tottenham-born, Brixton-raised diva Adele Adkins wasn't just a teenager blessed with a big voice (and cursed with a punchbag for a heart), but an alumna of the Brit school. So persuasive was 19 – a cocktail of hormones, heartbreak and London pride – that you forgave its author for being Leona Lewis's classmate. Adele's carnivorous voice cracked in ways that didn't feel pre-assigned. Despite the presence of hit-makers such as Eg White, 19 felt like a direct message from a spurned lover in a strop, sung by the most characterful London blueswoman after you-know-who.
Its follow-up, however, bears the hallmarks of a successful artist with serious traction in the States. If you take the girl out of Brixton, do you take the grit out of the girl? Perhaps. To her credit, Adele resisted any number of cloth-eared, A-list, cliche-mongers, and instead spent time in Malibu with Yoda-like producer Rick Rubin, responsible for some of the most entertainingly pugnacious music of the past century (Beastie Boys, Slayer) and Johnny Cash. But the last time Rubin tried to work his magic on a woman, it didn't go so well. Witness the Gossip's last, underwhelming album.
"Don't You Remember", the first of Rubin's four tracks, transposes Adele into the country vernacular. The singer became smitten with country while touring the south, dangling the promise of a second album consisting of a series of hickory-smoked two-fingers to her most recent ex. That record never materialises and "Don't You Remember" soon swells into a ghastly, mid-paced ballad. It's all the more of a let-down because Adele's thumping comeback single, "Rolling in the Deep", boded so well. She hooted, she hollered; she came mob-handed with a host of avenging backing doppelgangers.
"Rumour Has it" is another shot of rhythm'n'sass so good you want to forget it was co-written by the author of Leona Lewis's "Bleeding Love". It out-Duffies Duffy, whose own comeback has been selling like cold cakes. Indeed, you can see 21 stealing quite a march on Duffy's Endlessly.
Disappointingly, though, Adele's bevy of producers (Fraser T Smith, Paul Epworth) seems to have been working with a sign saying: "More than two million albums sold; don't screw this up" taped on the mixing desk. Too many songs start promisingly, then swell to a predictable, overdramatic billow (that's you, "He Won't Go"). The vibrant crackle of Adele's voice can be lost in the inevitable tsunami of instrumentation (that's you, "Set Fire to the Rain").
Somewhere in 21, there is an honest, direct, sonically mature record fighting to get out with personality intact. You never would have guessed that a quirky bossa nova cover of the Cure's "Lovesong" would work, but it does.
Album closer "Someone Like You", meanwhile, finds a torch-holding Adele stalking a married man with a piano hidden under her coat. "I hate to turn up out of the blue uninvited," she purrs. Adele says she wishes him well. But more of this bunny-boiling intensity wouldn't go amiss on an album where the shivers don't come as often as they should.
1 Rolling in the Deep Atkins, Epworth 3:48
2 Rumour Has It Atkins, Tedder 3:43
3 Turning Tables Atkins, Tedder 4:10
4 Don't You Remember Atkins, Wilson 4:03
5 Set Fire to the Rain Atkins, Fraser T. Smith 4:01
6 He Won't Go Atkins, Epworth 4:37
7 Take It All Atkins, White 3:48
8 I'll Be Waiting Atkins, Epworth 4:01
9 One and Only Atkins, Wells, Wilson 5:48
10 Lovesong Gallup, O'Donnell, Smith, Thompson… 5:16
11 Someone Like You Atkins, Wilson 4:45