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19

by

Adele

 
19
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Avg: 4.5 (318 ratings)

One of 2008's most lauded debuts.

  • We Say...

    Review by Andrew Perry

    As with Amy Winehouse, the sheer power of Adele’s voice naturally attracts comparisons with ’60s soul greats like Dusty Springfield, but what makes her exciting is a rawness that was impossible in that era. Like Wimbledon’s Jamie T and, in fact, Amy Winehouse, Adele’s Tottenham heritage is instantly obvious to the native listener, from her gor-blimey, glottal-stopping enunciation to her street (or: Streets, as in Mike Skinner) vernacular. In a country where Queen’s English has dominated culture for centuries (including pop, oddly), her regional colour feels fresh, too.

    In a broader sense, though, she "speaks" for a promiscuous, binge-drinking young generation, who have no recollection of Britpop, let alone War-time values. In a superbly poignant image, Adele was spotted throwing up out of a cab window after a 2007 Spice Girls reunion gig.

    Vomit aside, 19 is a terrific pop record, brilliantly sequenced and fresh-sounding. For this listener, the only misfire is "Cold Shoulder," produced by the ubiquitous Mark Ronson, with his now rather jaded-sounding shuffling beat. For all its thrilling execution, the main reason that 19 will surely go the commercial distance is the quality of Adkins’ songs. Her lyrics, mostly about the lows (and very occasional highs) of romance, have a disarmingly direct impact. You’re in no doubt that she has lived these tunes.

    "Daydreamer" offers a startling introduction to her world, as she lays bare a relationship with a bisexual guy who prefers his gay fella. "Best for Last" is a fantastically savvy (but moving) analysis of a casual liaison, where each partner is too cool to commit, acting out a charade of intimacy, but secretly longing for more. "Right as Rain" celebrates of the sweet agony of emotional ruin.

    A minority chunk of 19 is dispatched by Adkins solo, sometimes armed with an acoustic, others on bass, or, as on "First Love," celeste. There, the one-on-one force of her voice is quite staggering, at times swooping and soaring, at others intricate and agile. Amid these moments of intimacy, other tracks begin minimally, as does her almost-chart-topping first single, "Chasing Pavements," only to erupt into orchestral splendour of epic proportions.

    There's probably no finer compliment, however, to offer Adele than this: Bob Dylan’s "Make You Feel My Love," beautiful covered midway through, anything but towers over the rest of 19, songwriting-wise. For once, Britain’s next big thing has the talent to warrant such attention. Let’s just hope that fame now provides her with an ongoing supply of crap boyfriends...

  • They Say...

    Review by Matthew Chisling, All Music Guide

    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.

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