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Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Wednesday, July 27, 2011

Back to Black by Amy Winehouse

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Amazon Review

Platinum selling and five time Grammy winning singer Amy Winehouse has died at the age of 27. Well known for her soulful voice, Winehouse's numerous hits include "Stronger Than Me," "Love is a Losing Game," and "Rehab." Her platinum selling album, Back to Black, helped usher in a new era for female vocalists from Adele to Lady Gaga.

From Amazon.co.uk

Amy Winehouse's second album, Back to Black, is one of the finest soul albums, British or otherwise, to come out for years. Frank, her first album, was a sparse and stripped-down affair; Back to Black, meanwhile, is neither of these things. This time around, she's taken her inspiration from some of the classic 1960's girl groups like the Supremes and the Shangri-Las, a sound particularly suited to her textured vocal delivery, while adding a contemporary songwriting sensibility. With the help of producers Mark Ronson and Salaam Remi, "Rehab" becomes a gospel-tinged stomp, while the title track (and album highlight) is a heartbreaking musical tribute to Phil Spector, with it's echoey bass drum, rhythmic piano, chimes, saxophone and close harmonies. Best of all, though, is the fact that Back to Black bucks the current trend in R&B by being unabashedly grown-up in both style and content. Winehouse's lyrics deal with relationships from a grown-up perspective, and are honest, direct and, often, complicated: on "You Know I'm No Good", she's unapologetic about her unfaithfulness. But she can also be witty, as on "Me & Mrs Jones" when she berates a boyfriend with "You made me miss the Slick Rick gig". Back to Black is a refreshingly mature soul album, the best of its kind for years. --Ted Kord

Product Description

Hailed by Newsweek Magazine as a cross between Billie Holiday and Lauryn Hill, British soul singer Amy Winehouse's U.S. debut, Back To Black hits the US amid a flurry of accolades, radio and TV buzz unprecedented in recent years for a young siren.

Her brassy mix of emotive vocals tinged with 60's girl-group stylings, sly funk, and anguished jazz, sparked the New York Daily News to crown Back To Black a "marvelous debut that would do Etta James proud" while New Yorker Magazine called her "a fierce English performer whose voice combines the smoky depths of a jazz chanteuse with the heated passion of a soul singer," and Spin Magazine affirming "there's never been A British star quite like her."

Back To Black smolders with a bristling fusion of old school doo-wop/soul inflected uprisings, (the charismatic singer/songwriter wrote or co-wrote all of the songs on the album) brewing instant classics such as the Shirley Ellis influenced "Rehab," the Supremes tinged title song "Back To Black," the aching "Wake Up Alone," and the album's closer, "Addicted."

Customer Review
by Amskeating

In U.K. Amy Winehouse has been a tabloid regular recently with tales of anoxeria, addiction, and drunken TV appearances, but she really should let her music speak for itself . . . especially when it's as good as this.

Her debut, "Frank", was sometimes stodgy and definitely over praised, but no praise is too high for this unashamedly retro, but beautifully observed and realised take on classic girl group pop and Motown soul.

The 11 songs all sound like great lost classics from the 60s, snappily written with a mix of bitterly caustic lyrics and finger popping tunes, then delivered in a voice that alternates sexy smouldering with dismissive contempt.

She started last year amid criticism from all corners over her dramatic weight loss and ended it heralded as the new queen of UK cool; with hair messier than a sleepover with Pete Doherty, a mouth like a drunken fish wife and an album swelling with the kind of lump-in-throat emotional soul last heard sometime in the late 70s, somewhere in Detroit

Hence it was somewhat of a surprise when it reared its sultry head again in 2006. With near genius production from hip pop mainstay Mark Ronson (who also had a finger in the tasty pie that was Lily Allen's debut), stomping, romping punk-rock-jazz was the order of the day as Ms Winehouse showed everyone what being a real lady is all about.

Keywords:
amy winehouse
retro soul
soul
blue eyed soul
vintage
music
fresh
1960s
winehouse
blues

Monday, April 25, 2011

Etta James : The Essential Modern Records Collection

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Amazon Review

Capitol/EMI has compiled Etta James' earliest recordings for a new salute to the American music icon, titled The Essential Modern Records Collection. The collection spotlights 15 of James' first singles and b-sides, including the singer's debut, 1955's "The Wallflower" (aka "Roll With Me Henry"), which launched her legendary, decades-spanning career.

Etta James began her professional recording career in 1954, auditioning at the age of 14 for bandleader Johnny Otis before recording her first singles for Modern Records in Los Angeles with her vocal group, The Peaches. Her first single, "The Wallflower" (aka "Roll With Me Henry"), an answer song to Hank Ballard's 1954 #1 R&B hit "Work With Me Annie," hit #1 on Billboard's R&B chart in 1955, and "Good Rockin' Daddy" reached #6 on the chart the same year. James shot into fame and was soon invited to tour with Little Richard and Johnny "Guitar" Watson, established artists of the day who would bear significant influence on her career.

Other standout singles on the new Modern collection include "Tough Lover," recorded in New Orleans and featuring Lee Allen on saxophone, "W-O-M-A-N," an answer to Bo Diddley's "I'm A Man," and "The Pick-Up," in which Ms. James shares a sultry conversation with saxman Plas Johnson.

Modern Records was founded in 1945 in Los Angeles by brothers Saul and Jules Bihari, and, with its RPM and other label divisions, became a leading source of blues and R&B music in the 1950s. The label's A&R team included Ike Turner, and artists who recorded for the label, in addition to Etta James, included Howlin' Wolf, John Lee Hooker, B.B. King, Elmore James, Lightnin' Hopkins, and Little Richard.

Etta James has been inducted into the Rock and Roll Hall of Fame, the Blues Hall of Fame, and the GRAMMY Hall of Fame, and she has been honored with the GRAMMY Lifetime Achievement Award and four GRAMMY Awards.

Customer Review

Great sides - but no liner notes? Why?

James was an early icon of the R&B scene and her #1 hit "The Wallflower" - better known as "Roll With Me Henry" - was recorded when she was just 15. Another single on Modern - " Good Rockin' Daddy"- hit #6. Both of these show up near the beginning of this 15-track compilation from EMI. But there are other tracks that are just as neat. The sound is just fine. The problem, for me, is in the packaging. There are no notes of any kind - surely they could have provided something from one of their freelance writers - just a list of the songs, composer and chart position. and YEAR of release. James deserves a bit more respect than that and additional info would allow a new generation of listeners to learn about James and her Modern Years.

Steve Ramm
"Anything Phonographic"

Keywords:
blues
etta james
classic female vocal blues
soul
rhythm and blues
blues - etta james
soul blues
quintessential
southern soul
the definitive collection

Monday, April 4, 2011

Sigh No More

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Amazon Review

Mumford & Sons, West London indie rock quartet, have created a gutsy, old-time sound that marries the magic of Crosby, Stills & Nash with the might of Kings of Leon and the harmonies of Fleet Foxes. Sigh No More was recorded at Eastcoast Studios, where Arctic Monkeys, Brian Eno, Tindersticks and Laura Marling have honored their sound. The band teamed with producer Markus Dravs who has worked with such superstar acts as Arcade Fire, Bjork and Peter Gabriel. Sigh No More was recently released in the UK to critical accolades. The album debut in the UK iTunes Top 10 recently and is being lauded by tastemaker publications. The first single, Little Lion Man , is already being boasted as The Hottest Record in the World by Radio 1's Zane Lowe, and the band has been long listed for the BBC Sounds of 2008 Pool, which features the most promising new music talent.

Formed in 2007, that band's goal since day one has been to make music that matters. Before recording their debut, Mumford & Sons self produced three EP's and toured the UK extensively, bringing their rootsy rock across the country. The band recently wrapped a handful of well-received performances during the annual CMJ Music Marathon in New York, which left Time Out NY to comment, The Brit combo has a spine-tingling way to harmony.

Customer Review
by CollegiateGrief (Stillwater, OK)

Those of us who have been anxiously awaiting the U.S. release of Sigh No More are rejoicing! This truly amazing album is finally here.

Having come out in October in the U.K. and most everywhere else, Mumford & Son's debut album Sigh No More is without a doubt one of the best albums I've ever had the pleasure of hearing. The London-based quartet will sweep you off your feet with their stunning harmonies and musical craftsmanship.

For fans of "new-folk" or "indie-folk" or whatever you want to call it, this album will soon be set to repeat on your MP3 player. If you're new to the genre, this album might seem just a tad to "folky," but I would definitely give it a listen (or a dozen).

The album starts with the title track, Sigh No More. The song starts slow with sparse instrumentation, swelling into something you'd expect to hear at a full on hoedown (in London) and serves as a wonderful introduction to Marcus Mumford's voice; not pretty or soothing, but strong and with the ability to evoke powerful emotion.

This album flows really well, changing pace from roaring, slamming on the banjo fast to soft, slow, sitting in front of a window as it rains and you sip a cup of earl grey. Every song on this album is a masterpiece and truly unique. The first single, of course, Little Lion Man, possibly stands out as the best. I certainly love it. As far as the slower tempo songs, I'd say I Gave You All stands out with a raw, gripping, sadness stirred rage.

Already one of my favorite albums of all time, from an amazing band. Superb. Do your ears a favor and click the "Purchase" button.

Keywords:
folk rock
folk
alternative
bluegrass
beautiful music
english
deep
great
country rock
mumford

Femme Fatale Deluxe

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Amazon Review

Britney Spears announces her seventh studio album is titled Femme Fatale. The iconic global superstar’s title Femme Fatale is a tribute to bold, empowered, confident, elusive, fun, flirty women and men. It’s not a conceptual album, Spears is letting the music speak for itself. She’s worked hard on it for two years and she considers it to be her “best album to date,” true to where she is now personally and professionally. Femme Fatale (Jive Records) is executive produced by Max Martin and Dr. Luke. Few artists have earned the distinction of having five No.1 debut albums, and 24 Top 40 hits. She most recently set a new one-day precedent for single sales with her current No. 1 hit song, “Hold It Against Me.”. Jonas Åkerlaund shot the video for the song. Spears is peerless among her contemporaries. Throughout the years, Britney has consistently released hit after hit for over a decade, selling close to 70 million albums cumulatively worldwide. During her 12-year career, Britney has had five albums debut in the No. 1 position on Billboard 's Top 200 Albums chart and she's had 24 Top 40 hits on Billboard’s Mainstream Top 40 chart. Globally, Britney Spears is one of the top-selling artists of the past decade, dominating charts with her albums, selling an astonishing 67 million albums worldwide. Her previous albums include: …Baby One More Time (1999); Oops!... I Did It Again (2000); Britney (2001); In The Zone (2003); Blackout (2007); Circus (2008); and The Singles Collection (2009).

Customer Review
by A. Gooding

The short version of this review? Femme Fatale (especially the Deluxe Edition) is simply Britney Spears' best album to date. It's everything a Britney fan could ask for. And for those who aren't fans, they will most likely become fans if they like catchy electro dance music.

Now for the (very) long version. Femme Fatale is an electro-pop masterpiece that melds pop, techno, and even dubstep together. Every song has fantastic production, creative lyrics, and a star quality that only Britney can pull off. This album is one you will want to listen to whenever and wherever, in the car, at the club, at home, at parties. Britney really put her heart and soul into this album, and it shows through her vocal performance throughout the album as well. Yes, there is a fair amount of production and editing that goes on, but as far as the energy in her vocals (which is something autotune cannot induce),she really has put her best foot forward to make tantalizing dance music.

Is Femme Fatale better than Blackout? That is up for you to judge. Femme Fatale is definitely sex-driven, just like Blackout. Every song on this album is different and unique sounding, but there are definitely a lot of similarities toBlackout. Femme Fatale is more like the Blackout 2.0, it's definitely far from the sound of Circus.

"Till The World Ends" and "Hold It Against Me" are the singles so far for this album. "Hold It Against Me" is a fantastic song that has a thrusting beat, and the double-entendre is very clever. The album begins with the high-energy "Till The World Ends", written by Ke$ha. It's an amazing dance anthem complete with chants of "woah oh oh oh ohhh" and the vocals are fierce and catchy. These two songs are already an amazing start to the album.

The next song is a mid-tempo breakup sex jam called "Inside Out". This is probably one of Britney's best mid-tempos and the lyrics are instantly catchy. We heard dubstep influences in "Hold It Against Me", and "Inside Out" is no exception, it takes the influence to the next level. Next "I Wanna Go" kicks in, and this song is pure fire. The song features some clever whistling, and classic Britney stuttering "I I wanna go go all the way way". This is definitely a highlight of the album, and you won't be able to get it out of your head.

The album stays uptempo with the bubbly "How I Roll", which is one of the album's most unique song. Produced by Bloodshy & Avant, Britney sings some jazzy vocals over electronic bubble pops and a beat made out of her own panting. It's a weird description, but the R&B/Techno-vibe song is very fun and Britney owns it. My favorite lyrics are "I wanna go downtown where my posse's at, because I got nine lives like a kitty cat". Also she pulls an "If U Seek Amy" with the lyrics of "You can be my thug tonight", but it really sounds like "You can be my f**k tonight" (which after many listens, I am convinced it's the real lyric).

"(Drop Dead) Beautiful [Featuring Sabi]" has an infectious beat and chorus, featuring a new female rapper named Sabi. The beat is so sick, and Britney delivers some sassy lines. The song is definitely great with some lyrics that make me chuckle, but Sabi's part is just kind of generic and overly auto-tuned. Next is "Seal It With A Kiss", probably the most hardcore dubstep song on the album, with a hard breakdown in the middle of the song. This song is another one of my favorites as Britney declares her secret love for someone at a party. It also has an identifiable "Oooo Oooo Ooo" throughout that makes it fun.

Will.I.Am features in "Big Fat Bass" (pronounced base, mind you) which is one of those tracks that has to grow on you, some will like it, others won't. It's basically a Black Eyed Peas song made just for Britney, as the lyrics are pretty straightforward. She coos in her lower register "I can be your treble baby, you can be my bass" and she says this over and over until the point where "treble" sounds more like "trouble". The beat on this song is very good, it swells and includes some flourishing piano in it. Will.I.Am's rap is nothing special either, but I have to give him credit for the practically flawless production. This "Womanizer" like song is also the longest on the album, clocking in at 4:45.

At this point, you are halfway through the album (or more than halfway if you just have the standard edition) and you would expect things to get boring right? Well that's where you're wrong; the last half of the album is just as exciting as the first. The track "Trouble For Me" is a R&B influenced track with a dirty electro beat molded into it. It's here where Britney's vocals sound the most confident and fierce. She sings about a lover who is trouble for her, but a party must-have for everyone else. This song has a great bridge too, and keeps bumpin' till the inevitable end of the song.

"Trip To Your Heart" is an effervescent, gorgeous, ballad style electro song. It reminds me of "Heaven On Earth" from Blackout, and a little bit of "Breathe On Me" from In The Zone. Britney's vocals sound soft and pretty here almost like "Everytime" from In The Zone. The lyrics are absolutely beautiful "Spread my wings out into the dark, I'll fly away on a trip to your heart / Break these chains that keep us apart, I'll fly away on a trip to your heart".

"Gasoline" picks the pace back up with addicting and clever lyrics like "Spark and it's like gasoline / I start pumping like a machine / My heart only runs on supreme / So hot / Give me your gasoline". The standard length album comes to an end with the incredible "Criminal" which is another ballad like electro song. The song features a cool flute, and Britney sings about loving a bad boy. The song's lyrics make you to wonder if she is talking about her ex: Kevin Federline. Either way, this is a pretty and entertaining song that ends the standard album on a good note.

The bonus tracks bring the deluxe album back to party mode with the electric, addictive "Up `N Down". This song is so good and dirty with an amazing bridge, and this song definitely should have been included on the standard edition track listing. "Selfish" is equally amazing, with classic Britney pronunciation of the word "selfish", which sounds more like "seyylfesh".
My favorite lyrics from the chorus are "Boom boom baby, pick you up in my Mercedes".

"He About To Lose Me" has guitars that remind me of P!nk song, and features Britney's most raw vocals. That is until you get to the chorus, which doesn't sound anything like her. Still, this song is catchy and emotional, probably the only other song not talking about sex. Then the last song is a complete oddball (but really a hidden gem) song, it's a rock/pop song called "Don't Keep Me Waiting" which doesn't fit the electro sound of the rest of the album. What's great about this song is how unique it is, I don't think I can remember the last time Britney sang a rock song. The vocals are very confident and I can totally imagine her rocking out while recording it.

As far as the title, her involvement, and concept goes, I would say all these songs fit the concept in a sort of effortless way. Britney doesn't need to try hard to be seductive with her music, she just is seductive with her music. Would it be safe to say she is a femme fatale? Definitely. Seven albums in to her career and she can still captivate us with her image, style and vocal presence. The very fact that Britney didn't write even one song on this album just proves how she easily makes ANY song that she is willing to record her own, and she does it with her undeniable spirit and a voice more unique than any other pop artist on the scene. She doesn't need to be a fantastic songwriter to make amazing music that is exclusively all her own, and neither did some of the greats like Frank Sinatra or Elvis Presley. Even the contemporaries of today don't write much of their own music, take Rihanna's Loud for example. Britney has a had a lot of creative involvement throughout the years, whether it be coming up with a music video idea, choosing album pictures, or co-writing some of her biggest hits ("Me Against The Music" and "Everytime"). I would hope that seven albums into her career that we would stop questioning her talent, voice, creative drive, and rather be accepting of it. The best thing Britney has done for a decade now is sing, dance, and deliver fantastic pop music. If anything, Britney has earned her Ph.D in the art of seduction via music.

Overall Femme Fatale is an amazing record, Britney's best if I dare say so. Or at the very least a flawless equal match to the magnificent Blackout. It has all types of songs, and really nothing on it disappoints me. The vocals are amazing (she experiments every part of her range, from the high notes in "Trip To Your Heart" to the lows of "Big Fat Bass"), the production is consistently flawless, the beats and lyrics are top-notch, and the album stands alone as a gorgeous, one-of-a-kind, dance record. This album is where Britney is completely in her zone; giving her fans the best music she's ever made. This album is far better than anything the other Pop divas of today (Katy Perry, Ke$ha, Beyonce, Rihanna) have put out in the past year or so. Only Britney can pull an album like this off anyways. I would very highly recommend this album to any and all Britney fans, but also to anyone who is looking for amazing, feel-good, dance, avant-garde, pop music. I am so proud of and thankful to Britney and her producers for making this album; it really is a pop masterpiece for 2011.

Rating: 5/5 Stars or an A+

Keywords:
britney spears
pop
dance
princess
queen of pop
club
fierce
pumping
amazing
automotive

The King Of Limbs

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Amazon Review

Radiohead is Colin Greenwood, Jonny Greenwood, Ed O'Brien, Philip Selway and Thom Y orke.

Radiohead's previous recordings have included 1993's Pablo Honey, 1995's The Bends, 1997's OK Computer (the tour for which was documented by the 1998 film Meeting People Is Easy), 2000's Kid A, 2001's Amnesiac, 2003's Hail To The Thief and In Rainbows, which was self-released via Radiohead.com on October

Customer Review
by Bardwire777 (Los Angeles, CA)

Yes it is atmospheric. This in no way resembles OK Computer or the Bends or any of their proper "rock" albums - but then Radiohead told us not to expect he same approach after Hail To The Thief. And what is the result of this new phase? I'd say it's better music to paint to than blasting in your car with the windows down (yet I do suggest blasting it loud or with so you can hear all of the subtle shifts and changes - it will kill you with a whisper) Most of these songs are centered around loops like Everything in It's Right Place, and from those initial loops other loops are borne, layers are added, drum loops become live drums, chanting begins and the record indeed ends up sounding both innovative as well as ancient as the King of Limbs' namesake - with different limbs of musical ideas twisting out into different directions. Clearly a bold thrust in a direction that they had only been tinkered with before (except if you don't count Yorke's the Eraser.)

This album feels like the follow up to the Eraser more than In Rainbows. The tracks on this album also has the feel of Radiohead's more interesting B-sides, which usually was the arena where they put their more experimental efforts and let themselves hand loose. In the case of this album, all the tracks feel like honest innovations, like the band is seeking new territory, and so in a way it feels like an album of b-sides which in my book is an excellent thing.

This review was originally written only after a few listens, however, after living with this album for a week here are my *personal* thoughts on the individual tracks;)

Bloom - a sonic welcome mat, with some surprises - the Yes-like synths over-arching like the Northern Lights are a nice effect. These are definitely sounds we've never heard from them. Thom's voice swells in an attempt to swallow the cosmos, like the song says, "Open you mouth wide" he could be asking us to think larger, to take in more...

Morning Mr. Magpie - Here we're catching a hint of the muted guitar swagger that began on Amnesiac with I Might Be Wrong and went on to be more apparent in Hail To the Thief. Like strutting through a haunted house. Sexy. Twisted groove.

Little By Little - As with the rest of the album, this song plays with your expectations of what the beat should be. The guitars stand out but are never overstated, feels very Kid A to me, especially with the sounds that lace the last minute of the track, very Everything in its Right Place. This song goes on a tad long for me, but it's so interesting the relationship between the guitar, vocals and beat that it is hypnotic as heck.

Feral - this is SO Amnesiac it kills me, raw and expansive. It feels like digital drums but THESE ARE LIVE DRUMS that go back into digital again! Amazing. Colin's bass work which is especially fascinating on this album weaves in an out of focus. Thom Yorke meanwhile paints us a sonic tapestry with his vocals, sounding like a creature that has been infected by technology but (like well...a feral) is returning to a primal state, a forest where words are not necessary.

Lotus Flower - is the re-invention of the pop song. Tom Yorke released a video for this on his website where he's dancing around like Prince, enjoying the dancability of his music...YES HE INVENTED A LOTUS FLOWER DANCE. Its an amazing video with just him dancing on an empty stage, black and white, that could be construed as part piss take but is certainly celebration of Radiohead's new sound and direction. He has so much hip swinging swagger! The song is so bad ash, he hangs on notes like a junky, addicted. And when he goes to the chorus your heart wants to burst from your chest. Very Idiotech. I also love the sincere. This song is surely about addiction (hence the Odyssey reference) but the lyrics here as well as the other songs are so sincere and poetic. I'm in awe.

Codex - The most devastatingly beautiful track. I can't even find words. The first listen was a holy moment. Even the nay-sayers will have to give that one to the band. Like the dragonflies Thom Yorke mentions here, the horns section swoons over the top of the songs promising the divine. As for the theme of the album, (and I realize I may be overreaching) this song proves that the technology-addicted human can still return to raw beauty of our natural world, enjoy it and hopefully even save it. I also love how the album's beginning wanders into a blippy bloopy forest of darker more mysterious songs but after Codex the final two songs lead us to closure, and reconcilement with the artist's more experimental methods.

Give Up the Ghost - "Don't haunt me...Don't hurt me" chant the boys as if they were five year olds facing down their Boogymen. The song could be seen as a person-to-person plea from one lover to another, but like many songs on this album the romance of this song feels connected to a greater love for the endangered enviroment..... Like the best of Radiohead's work it is hard to nail down, which is wonderful. As for the sound, this is a perfect accoustic Radiohead track akin to the B-side 4 Minute Warning as if they band is all sitting around a circle beating on their acoustic guitars....The song's bridge here is soaring and stupidly beautiful. (The sonic noises at the end sound like insects in the night.)

Separator - What an uplift! The way the other tracks grow in a thoughtful way, this song lifts like an R&B track off the ground, swagger intact. It manages to showcase Phil's drumming, Thom's lyrical genius....by the time the guitars come in with their up-beat lilts, you will be in heaven and that's when Thom promises, "If you think this is over then you're wrong". The final layer is Johnny's spooky reverb guitar that comes out of the 1980s and wipes the plate clean.

---I gave this album 5 stars because, even now having heard it 100 or more times, the album keeps revealing itself to me and is such a potent personification of the new direction the band talks about.

To the naysayers I only suggest listening to it again. Though not using such drastic changes as Paranoid Android, the album will surprise you with its different levels and subtle shifts. They have built a solid world here and it is full of secrets and and sincere beauty for the patient ear. These guys know what they are doing and they are delivering on levels that I have only begun to uncover here. Thank you Radiohead.

Keywords:
radiohead
download
beats
the king of limbs
can
faust
amazing
awesome
beautiful
cold

21 : Adele

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Amazon Review

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.”

Customer Review
by Madeline (USA)

Adele's 19 was strong. 21 is simply timeless.

In the past two years, Adele has refined and reinvented her unique sound that always puts her aching yet powerful vocals and lyrics at the forefront. These are songs that could have been released in the 60s as easily as 30 years from now. Adele has injected her trademark piano ballads with the best from several different musical genres including Americana roots and country, r&b, blues and gospel. The music is exciting and simply is. It lives, breathes.

There are a few tracks towards the middle that are remarkable only because Adele sings them-- and while they aren't quite filler, they aren't as memorable as standout tracks like "Rolling in the Deep," "Set Fire to the Rain," "Someone Like You," and "Turning Tables." Adele set the bar so high with these songs that anything else short of magic, is sort of a letdown. However, as a whole--this album so involves you that you can feel these stories as your own.

I played a couple songs for my mom, who at forty years older than I, generally criticizes my music taste, and the first thing she said was "Wow, this girl really knows how to write a story--those songs are beautiful."

21 is haunting, pulsing, soaring and very intimate. It's music that will be remembered.

Keywords:
adele
21
soul
british singer
pop
must own
19
music
folk rock
soulful

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