Pop i Różności

Adele - 25 (2015)

2018-04-21T13:10:46Z

Adele - 25 (2015)


1 	Hello 	4:55
2 	Send My Love (To Your New Lover) 	3:43
3 	I Miss You 	5:49
4 	When We Were Young 	4:51
5 	Remedy 	4:05
6 	Water Under The Bridge 	4:00
7 	River Lea 	3:45
8 	Love In The Dark 	4:46
9 	Million Years Ago 	3:47
10 	All I Ask 	4:32
11 	Sweetest Devotion 	4:12
+
12 	Can't Let Go 	3:18
13 	Lay Me Down 	4:30
14 	Why Do You Love Me 	3:59

A star-studded list of impressive credits provide the backbone of Adele Adkins’ third album: Tobias Jesso Jr, Max Martin, Paul Epworth, Ryan Tedder, Bruno Mars, Greg Kurstin…it’s almost an embarrassment of (pop) riches. Add no less than twelve different recording studios to the mix and you have very much the quintessential DNA of what a 21st-century pop record is.

In many ways 25 is the sound of Adele crystalising her talent and appeal in line with her audience. It's a generous record that's clearly taken time and picks up more where “Someone Like You” left off (rather than “Rolling in the Deep”). She’s usually best when she’s stripped back, with nothing more than a piano for accompaniment. This is the Adele that dominates 25. This is the Adele we know and love.

Channelling torch song sentiments across much of the record, it’s business as usual lyrically speaking. Adele goes where you expect Adele to go: nostalgia, regret, loves and memories lost and remembered. "Hello" remains the strongest track on the album but the Ryan Tedder co-write “Remedy” has one of the best vocals we've ever heard from her.

“Love in the Dark”, co-written with Sia-collaborator Samuel Dixon, is probably the album’s best sounding song with some incredible orchestration. On the other hand, the Max Martin/Shellback-produced “Send My Love (To Your New Lover)” is very obviously a Max Martin/Shellback production and (somewhat sadly for this huge Max Martin fan) a jarring inclusion on the record. The album’s OTT closer “Sweetest Devotion” doesn’t really provide the conclusion you want either.

Despite that, there’s a very good record in here, propped up by a some incredible modern classics (“Hello”, “Remedy”, “When Were Young”, “Love in the Dark”). While it never really gels musically in quite the way you want it to - something that can also be said for 19 and 21 - it still has Adele at the heart of everything. Her voice remains a vehicle for her personality and is immune to the album’s few low points. It's so good to have her back. ---Paul Bridgewater, thelineofbestfit.com

Płytą Adele bardzo łatwo się rozczarować. Powszechnej kontestacji bezwzględnie sprzyjają doniesienia o milionowych nakładach krążka i wszechobecność promującego album „Hello”. Można więc bez przeszkód i ku powszechnemu zrozumieniu nazywać Adele nudną, przewidywalną czy właśnie rozczarowującą. Ale paradoksalnie o rozczarowaniu trudno mówić — Adele pozostała sobą, zrobiła kolejną po 19 i przełomowej 21 płytę, którą można bez problemu zmierzyć tą samą miarą. Krytycy mogą marudzić, ale 25 uszczęśliwi niejednego fana.

I nawet jeśli 11 piosenek zawartych na krążku przy pierwszym odsłuchu zabrzmi cokolwiek generycznie, stoi za tym pewna historia. Otóż oczywiście najnowszy album Adele jest rasowym owocem popkultury — musi być, jeśli inspiracją piosenkarki było Ray of Light Madonny, a wśród współtwórców płyty znajdziemy nazwiska Paula Epwortha, Ryana Teddera, Brunona Marsa czy Maxa Martina — ale już nazywanie go jej produktem byłoby sporym nadużyciem. Adele jest współautorką wszystkich utworów na krążku, to jej osobiste zmagania z brakiem weny opóźniły wydanie albumu, to jej mniej lub bardziej świadome muzyczne wybory doprowadziły do takiego, a nie innego kształtu 25. Pierwszą rzeczą, która podczas odsłuchu przykuwa uwagę, nie jest jednak songwriting Adele, a znacząca zmiana produkcyjna. Choć 21 także miało wielu ojców, jego największym powabem była ciągłość brzmienia, które było w dużej mierze organiczne, inspirowane soulem i bluesem, jeśli trzeba podparte wyrazistym bitem. Melodie były współczesne, ale aranże ponadczasowe. Dlatego też w pewnym okresie mówiono o Adele jako o następczyni czy młodszej muzycznej siostrze, zwał jak zwał, Amy Winehouse. Przy 25 nikt takiego porównania nie zastosuje. Nie tylko dlatego, że Adele, dzięki jak dotąd najlepiej sprzedającej się płycie XXI wieku, jest już marką samą w sobie, ale przede wszystkim dlatego, że byłoby to zupełnie bezzasadne. Adele poszła drogą wielkoformatowego popu.

Najlepiej różnicę ilustruje siódme na płycie „River Lea”, które Adele zrealizowała wspólnie z Danger Mouse’m. Zaraanżowany na organy i gospelowy chór wstęp, który na 21 rozwinąłby się najpewniej w osadzony w południowej stylistyce numer na dynamicznym hip-hopowym bicie, na 25 przeobraża się w popularny ostatnimi czasy hymniczny pop o stadionowym potencjale w stylu nagrań Florence + the Machine. Brakuje tu jedynie elektrohouse’owego dropu, który dopełniłby radiowe przeznaczenie numeru, ale takich rozwiązań na szczęście w dalszym ciągu u Adele nie znajdziemy. Znajdziemy natomiast kilka potencjalnych przebojów — pierwszym z nich jest „Send My Love (To Your New Lover)” — upbeatowy wakacyjny jam produkcji Maxa Martina zbudowany wokół gitary akustycznej i bitu żywcem wyciągniętego z katalogu Beyoncé. Drugi, „Water Under the Bridge” od Grega Kurstina, producenta „Hello”, to kolejna propozycja, która, jak się wydaje, została nagrana w hołdzie brzmieniu Florence + the Machine.

Ale na krążku znajdziemy też sporo balladowej Adele w rozmaitych konfiguracjach — przy fortepianie z orkiestrą smyczkową w „Love in the Dark” czy z towarzyszeniem hiszpańskiej gitary w latynoskiej canzonie „Million Years Ago”. I faktycznie piosenkarka najlepiej wypada w prostszych aranżacyjnie utworach — ewidentnym hajlajtem krążka jest najbardziej kameralne na płycie „All I Ask”. To w wymowie i charakterze klasyczna sentymentalna miłosna ballada skoncentrowana wokół silnego wokalu Adele, która doskonale wie, kiedy stonować, a kiedy zagrzmić. Tu powinszowania należą się także Brunonowi Marsowi i jego grupie współpracowników The Smeezingtons, którzy stworzyli numer wspólnie z wokalistką. W większości utworów na krążku Adele skupia się na upływie czasu. Nadal ma złamane serce — nawet jeśli sama deklaruje, że jest szczęśliwa, można zrozumieć, że komuś z jej głosem i dyskografią trudniej byłoby napisać wesołą piosenkę, która porwałaby tłumy. Album kończy się jednak optymistycznie, jak można się było spodziewać, inspirowanym macierzyństwem „Sweetest Devotion”, które z początku przywodzi na myśl „Keep on Singin’ My Song” Christiny Aguilery, ale zaklęte gdzieś pomiędzy inspiracją amerykańskim country a zapoczątkowaną przez Alicię Keys tendencją do siłowych refrenów, w przeciwieństwie do numeru Aguilery nie jest w stanie wywołać emocji, w jakie celuje.

Koniec końców można mówić o niewykorzystanym potencjale, ale można też argumentować, że Adele nie mogła lepiej spożytkować ostatnich 4 lat. I w jednym, i w drugim stwierdzeniu zawarte jest trochę prawdy. Jak już pisałem, płytą Adele bardzo łatwo się rozczarować, ale paradoksalnie trudno mówić o rozczarowaniu. ---Kurtetk, soulbowl.pl

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Adele - Chasing Pavements Live at La Cigale Paris (2011)

2011-12-15T09:15:24Z

Adele - Chasing Pavements Live at La Cigale Paris 2011


01 Hometown glory
02 I'll be waiting
03 Don't you remember
04 Turning tables
05 Set fire to the rain
06 Daydreamer
07 If It Hadn't Been for Love (Still Driver cover)		play
08 My Same												play
09 Take it all
10 Rumor has it all
11 Right as rain
12 One and only
13 Lovesong (The Cure cover)
14 Chasing pavements
15 Make you feel my love (Dylan cover)
16 Someone like you
17 Rolling in the deep

La Cigale 120, Bd Rochechouart 75018 Paris, France. 04 Apr 2011

Adele Laurie Blue Adkins, (born 5 May 1988), is a Grammy Award-Winning English singer-songwriter from Enfield, North London. Her debut album, 19, was released in January 2008 and entered the UK album chart at #1. The album has since received four-times Platinum certification for domestic sales exceeding 1,200,000 units. The album included the hugely popular song, Chasing Pavements. 19 earned Adele two Grammy Awards in February 2009 for Best New Artist and Best Female Pop Vocal Performance.

Her second album, 21, was released on January 24th 2011 in the UK where it has since been certified ten-times Platinum for shipments in excess of 3,000,000 copies. 21 has also achieved multi-platinum status in the US, with shipments of over 3,000,000 copies. The album has spawned two global chart-topping singles thus far including Rolling In The Deep, Adele’s first US number one single, and Someone Like You, her first UK number one single. A third single, Set Fire To The Rain, has gone on to achieve success across numerous European territories. As of September 2011, 21 has sold an estimated ten million copies worldwide, with sales projections as high as thirteen million by the end of the year.

Adele graduated from BRIT School in Croydon in May 2006, where she was classmates with Leona Lewis. Adele credits the school with nurturing her talent. In school, she was more interested in going into A&R, and hoped to launch other people’s careers. Four months later, she published two songs on the fourth issue of the online arts publication PlatformsMagazine.com. She had recorded a three-song demo for a class project and gave it to a friend who posted it on Myspace where it became very successful and led to a phone call from music label XL Recordings. She doubted if the offer was real because the only record company she knew was Virgin Records, and she took a friend with her to the meeting. Nick Huggett at XL Recordings recommended Adele to manager Jonathan Dickins at September Management and in June 2006 Dickins became her official representative. September was managing Jamie T at the time and this proved a major attraction for Adele who was a big fan of the English singer-songwriter. Huggett then signed Adele to XL Recordings in September 2006.

Adele’s breakthrough song, Hometown Glory, was released in October 2007. Adele provided vocals for Jack Peñate’s song, My Yvonne, from his debut album. Adele became the first recipient of the BRIT Awards Critics’ Choice and was named the number-one predicted breakthrough act of 2008 in an annual BBC poll of music critics, Sound of 2008. She released her second single Chasing Pavements on 14 January 2008, two weeks ahead of her debut album, 19. Chasing Pavements reached number two on the UK Chart, and stayed there for four weeks, finally remaining in the Top 40 14 weeks after its release. The album itself entered the British charts at number one. The Times Encyclopedia of Modern Music would name 19 an “essential” Blue Eyed Soul recording. ---last.fm

Adele Laurie Blue Adkins (urodzona 5 maja 1988 w Londynie), angielska piosenkarka soulowa i jazzowa. Adele ukończyła szkołę BRIT School w Croydon w maju 2006 roku. Pierwszy singel „Hometown Glory” ukazał się 22 października 2007 roku. Później zaczęła śpiewać dla XL Recordings, gdzie w styczniu 2008 roku ukazał się singel „Chasing Pavements”. 20-letnia wokalistka została uznana przez stację BBC za nadzieję na rok 2008. Adele zabłysła w październiku 2007 roku, wydając debiutancki singel „Hometown Glory”. 8 lutego 2009 roku otrzymała nagrodę Grammy za najlepszy debiut 2008 roku i najlepszą piosenkę w kategorii Best Female Pop Vocal Performance za „Chasing Pavements”. ---last.fm

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Adele - Greatest Hits (2012)

2015-10-21T16:04:13Z

Adele - Greatest Hits (2012)


1 	Skyfall 	04:45
2 	Rolling In The Deep 	03:49
3 	I'll Be Waiting 	04:02
4 	Chasing Pavements 	03:31
5 	Someone Like You 	04:44
6 	Many Shades Of Black 	04:27
7 	Set Fire To The Rain 	04:02
8 	Make You Feel My Love 	03:32
9 	Love Song 	05:16
10 	Hometown Glory 	04:26
11 	Rumor Has It 	03:43
12 	Right As Rain 	03:17
13 	Turnng Tables 	04:09
14 	Melt My Heart To Stone 	03:24
15 	One And Only 	05:47
16 	Cold Shoulder 	03:12
17 	My Same 	03:14
18 	Don't You Remember 	04:00
19 	If It Hadn't Been For Love (Live At The Royal Albert Hall) 	03:07
20 	I Can't Make You Love Me (Live At The Royal Albert Hall) 	03:29

What kind of diva throws around liberal “f” bombs, flips the finger at an old boyfriend and dredges up an obscure country song from The Steeldrivers, all during her headlining debut at England’s prestigious Royal Albert Hall?

Welcome to the Adele you probably didn’t expect to see. Sure, her riveting torch songs of heartbreak are here, performed with sincerity and requisite intensity for the sold out (in 30 minutes) hometown fans and captured in high def, multi-camera, surround audio perfection. But it’s the between song banter, much of it seemingly improvised, that tactfully knocks Adele off whatever pedestal her handlers might have once wanted, showing her as just one of the scarred but feisty girls, albeit one with better hair and makeup. A slightly less bawdy (and funny) Bette Midler.

To further put a dent in your expectations, a short pre-show doc, in black and white, shows Adele in her bathrobe and curlers the morning of the gig. Even the usually unfettered Dolly Parton wouldn’t agree to that, let alone any official members of the diva club, to which Adele might once have been included.

Musically, she’s in superb voice, either with just solo piano accompaniment as on the opening “Hometown Glory, ” a breathtaking version of Bonnie Raitt’s “I Can’t Make You Love Me,” and a stunning “Take It All,” or with full band, backing vocalists and a string section sawing away to add extra drama.

All the hits are here in this stop-gap release to keep the Adele dollars flowing and her fans satiated before a new album, which likely won’t be until 2013. The staging, lighting and sound are pristine and while the high definition video is professionally shot, there are far too many quick cuts for this style of music. The cycle of Adele in close-up to a visual of the band, to one from the roof of the venue and finally of an enraptured audience member mouthing the lyrics is repeated so often it becomes cliché pretty quickly. Still, the star is in rollicking, strong voice and the closing “Rolling in the Deep” with the audience trading vocals is spine tingling entertainment sure to make believers out of those still on the Adele fence.

The CD chops out the voluminous chatter, which is one of the strengths of the 1 ¾ hour DVD, but works just fine for on-the-go playback of a dynamic concert that proves Adele has the talent, vision and the no BS personality to be a star for a very long time.

Just don’t call her a diva. --- americansongwriter.com

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Adele - Morning Becomes Eclectic (2011)

2011-11-23T09:47:41Z

Adele - Morning Becomes Eclectic 2011


01 - Intro
02 - Hometown Glory				play
03 - Banter
04 - Don't You Remember
05 - Banter
06 - Turning Tables
07 - Banter 
08 - Chasing Pavements
09 - Interview
10 - Banter 
11 - Take It All
12 - Banter
13 - Someone Like You
14 - Banter 
15 - Rolling In The Deep		play
16 – Outro

KCRW Studios; Santa Monica, CA [2.25.11]
Radio Broadcast

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. ---David Jeffries, Rovi

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Adele – 19 (Inspiron) [2008]

2012-02-17T09:34:24Z

Adele – 19 (Inspiron) [2008]


1. Daydreamer
2. Best for Last
3. Chasing Pavements
4. Cold Shoulder
5. Crazy For You		play
6. Melt My Heart to Stone	play
7. First Love
8. Right as Rain
9. Make You Feel My Love
10. My Same
11. Tired
12. Hometown Glory

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the...much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements. As the album opens with "Daydreamer," Adele's illusionary instrument -- over minimal sounds -- engulfs the listener with a gorgeous feeling of awe and wonderment. On "Melt My Heart to Stone" and the bona fide hit "Chasing Pavements," Adele allows herself to soar over the strings and power her way through these incredible songs. The upbeat "Right as Rain" is just wonderful, with clear Ashford & Simpson influences speckled all over it in an upbeat set. Nearly all the tracks seem to have been nurtured to glory over months as labors of love. What's simply awesome on 19 is its capability to capture the listener through mere teasing; Adele doesn't shout for attention, and doesn't rely on anyone but herself to prove she's worth it, in the same vein as Sara Bareilles, another heavily praised artist of 2007. The jazzy "Best for Last" is as retro as the tunes get on the album, yet it still manages to steer away from being boring or old-fashioned. The only awkwardness throughout all of 19 is the overly poppy galactic "Tired," which sounds as though it might have fallen off a Lily Allen track list, something that doesn't suit Adele as a musician. As far as artistic drive goes, it seems as though Adele is hoping to capitalize on the sounds of 2007 by borrowing elements of Feist, Regina Spektor, Norah Jones, and even, yes, Amy Winehouse; yet Adele blends all the artistic pizzazz of all those ladies into her own set of manipulative, glamorous wonder. Plus, as a terrific songwriter at merely 20 years of age, the Brit has so much room to expand her artistic dimensions into a full-fledged artist that it's no wonder most critics see her as the top new talent of 2008. This debut isn't an empty promise of a great career; 19 is a fleshed-out stunning portrayal of a young woman with a talent beyond her years who deserves immense credit for a unique style that never fails. A beyond stellar debut in both quality and originality. --- Matthew Chisling, allmusic.com

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Adele – 21 (2011)

2011-03-25T19:31:13Z

Adele – 21 (2011)


01. Rolling in the Deep            play
02. Rumour Has It
03. Turning Tables
04. Don't You Remember
05. Set Fire to the Rain
06. He Won't Go
07. Take It All
08. I'll Be Waiting
09. One and Only
10. Lovesong
11. Someone Like You
Bonus tracks
12. If It Hadn't Been For Love     play
13. Hiding My Hart

21 is the eagerly awaited sophomore album from British singer-songwriter Adele. It’s the follow up to Adele’s critically acclaimed, Grammy award winning debut album 19 (both named after her age at the time the songs were written). Recorded in Malibu and London, 21 offered Adele the opportunity to work with such luminary producers and songwriters as Rick Rubin, Paul Epworth, Ryan Tedder, Dan Wilson and Fraser T. Smith, as well as continuing to work with Francis “Eg” White and Jim Abbiss.

This new collection of songs showcases the growth of this incredible artist, who at the very young age of twenty two, exhibits the poise of a seasoned veteran. Adele’s music takes some new direction while staying true to her signature style. “I discovered lots of artists I'd never heard of, particularly Wanda Jackson, Allison Krauss, Yvonne Fair, Andrew Bird, Neko Case, Lady Antebellum and Steel Drivers who I fell in love with. Then I delved in to more from artists I've loved forever - Mary J. Blige, Kanye West, Elbow, Mos Def, Alanis Morissette, Tom Waits and Sinead O'Connor. There's something in every single one of these artists that have really really inspired 21.” ---amazon.com

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Adele – iTunes Festival London 2011

2011-07-22T10:13:55Z

Adele – iTunes Festival London 2011


01 – One and Only (Live)
02 – Don’t You Remember (Live)
03 – Rumour Has It (Live)
04 – Take It All (Live)			play
05 – I Can’t Make You Love Me (Live)
06 – Rolling In The Deep (Live)

There is no substitute for talent. Nothing excites like the real deal, and Adele is all that and then some.

Indeed the British songstress has captivated the masses like few other contemporary artists could hope to these days, consistently shattering music-industry records — this past week her sophomore LP, 21, became the most-downloaded album ever — and with a just-released EP highlighting her recent performance at the iTunes Festival in London, she keeps right on thrilling.

“Rumour Has It” and "Rolling in the Deep" are both delivered with fresh, mischievous intensity — at times on the latter Adele hands off the vocal to an already euphoric audience, which comes through like a megachurch choir — her voice commanding its way through these tribal-thumping powerhouses.

Then with a ballad like “Take It All” she breaks your heart in half, mustering emotions so raw and with such naked vulnerability that by the end of it you feel like you’ve been run through the mill. To just piano accompaniment she breathes new life into Bonnie Raitt’s “I Can’t Make You Love Me,” as well, with similar intimacy and conviction. This above all is why Adele resonates with so many listeners. She sounds like she feels it, like she means it. And with a much-anticipated North American tour slated to start on August 9, this brief set offers a fine preview of what they can expect from her in person. --- blogcritics.org

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