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The demo was integral to the finished song.<ref name="Writing and R" /> Epworth decided to develop the instrumentation over Adele's single-[[take]] vocal demo after subsequent recordings, while technically superior, failed to recapture its raw emotion. The track, as it appears on the album, still includes the faint audio of Epworth counting off the singer in the [[vocal booth]] immediately before she begins to sing.
The demo was integral to the finished song.<ref name="Writing and R" /> Epworth decided to develop the instrumentation over Adele's single-[[take]] vocal demo after subsequent recordings, while technically superior, failed to recapture its raw emotion. The track, as it appears on the album, still includes the faint audio of Epworth counting off the singer in the [[vocal booth]] immediately before she begins to sing.


British songwriter and producer [[Fraser T. Smith]] recalled following a similar trajectory when he teamed up with Adele to compose subsequent third single "[[Set Fire to the Rain]]" at his MyAudiotonic Studios in London.<ref name="Writing and R" /> After the two had created the demo, Adele revisited her co-writer to record the song with him, instead of the intended producer Rick Rubin. Smith felt that Adele's original take "could not be bettered" and decided to use it on the final version of the song, adding live drums and an elaborate strings section (arranged by famed British musician Rosie Danvers) to the production.<ref name="Writing and R" /><ref name="Backing" />
British songwriter and producer [[Fraser T. Smith]] recalled following a similar trajectory when he teamed up with Adele to compose subsequent third single "[[Set Fire to the Rain]]" at his MyAudiotonic Studios in London.<ref name="Writing and R" /> After the two had created the demo, Adele revisited her co-writer to record the song with him, instead of the intended producer Rick Rubin. Smith felt that Adele's original take "could not be bettered" and decided to use it on the final version of the song, adding live drums and an elaborate strings section to the production.<ref name="Writing and R" /><ref name="Backing" />


With the demos to two songs now completed, Adele approached American musician and [[OneRepublic]] frontman [[Ryan Tedder]], who was in London at the time for a radio show. Tedder had expressed interest in collaborating with the singer after they met at the [[51st Grammy Awards|2009 Grammy Awards ceremony]] in February,<ref name=Adkins2011locTurningTables>{{harvnb|Adkins|2011|loc=Interview: "Turning Tables"}}</ref> and he arrived four hours early to their first studio session, buying time to better familiarise himself with some of her previous work.<ref name="Writing and R" /> Although unaware of Adele's personal predicament, he composed the opening piano sequence and first few lines to what became the lovelorn ballad "[[Turning Tables]]": "Close enough to start a war/All that I have is on the floor".<ref name="Writing and R" /> Coincidentally, it perfectly captured the experience of the singer, who arrived at the studio moments after another altercation with her former lover. Angry and unfocused, she denounced her ex-lover's tendency to "turn the tables" on her during their arguments, an expression that Tedder decided he would reference in the song's lyrics.<ref name="Adkins2011locTurningTables"/> Adele recorded the demo with Jim Abbis the next day.
With the demos to two songs now completed, Adele approached American musician and [[OneRepublic]] frontman [[Ryan Tedder]], who was in London at the time for a radio show. Tedder had expressed interest in collaborating with the singer after they met at the [[51st Grammy Awards|2009 Grammy Awards ceremony]] in February,<ref name=Adkins2011locTurningTables>{{harvnb|Adkins|2011|loc=Interview: "Turning Tables"}}</ref> and he arrived four hours early to their first studio session, buying time to better familiarise himself with some of her previous work.<ref name="Writing and R" /> Although unaware of Adele's personal predicament, he composed the opening piano sequence and first few lines to what became the lovelorn ballad "[[Turning Tables]]": "Close enough to start a war/All that I have is on the floor".<ref name="Writing and R" /> Coincidentally, it perfectly captured the experience of the singer, who arrived at the studio moments after another altercation with her former lover. Angry and unfocused, she denounced her ex-lover's tendency to "turn the tables" on her during their arguments, an expression that Tedder decided he would reference in the song's lyrics.<ref name="Adkins2011locTurningTables"/> Adele recorded the demo with Jim Abbis the next day.

Revision as of 02:31, 20 February 2012

Untitled

21 is the second studio album by English recording artist Adele. Released on 24 January 2011 in most of Europe, and on 22 February 2011 in North America, it was named after the age of the singer during production. The album shares the folk and Motown influences of her debut album 19, but was further shaped by the American country and Southern blues music to which she had been exposed during her 2008–2009 North American tour An Evening with Adele. Composed in the aftermath of the singer's separation from her partner, the album explores themes of anger, revenge, heartbreak, self-examination, and forgiveness.

Adele began writing 21 in April 2009, while still involved in the relationship that subsequently inspired the record. Dissatisfied with once again portraying herself as the musical tragedian of her debut, she had intended to compose a more upbeat and contemporary follow-up. However, studio sessions ended prematurely due to a lack of inspiration. She resumed production immediately after the breakdown of her relationship, channeling her heartbreak and depression into her songs. Adele collaborated with an eclectic team of songwriters and producers, which included Columbia Records co-president Rick Rubin, Paul Epworth, Ryan Tedder, Jim Abbiss, and Dan Wilson.

Critically praised for its understated production, vintage authenticity, and Adele's vocal performance, 21 defied the modest commercial expectations of her indie record label XL Recordings and became a sleeper hit in 2011. It topped the album charts in more than 26 countries and appeared in the 2012 edition of the Guinness World Records. The UK's best-selling album of the 21st century in less than a year after its release, its 20-week tenure atop the UK Albums Chart is the longest by a solo artist. 21 set all-time records in various countries, and its three singles "Rolling in the Deep", "Someone Like You", and "Set Fire to the Rain" became worldwide number-one hits. With global sales of 17 million copies through January 2012,[2] 21 was the best-selling musical release of 2011, and helped revitalise lagging sales of the U.S. and UK music industry.[3][4][5] Critics speculated on the nature of its success with audiences across the world and viewed its reception in the U.S. as a shift away from the overtly sexual and sonically bombastic status quo. In 2012, 21 won the Grammy Award for Album of the Year.

Writing and production

Early writing sessions

In April 2009, 20-year-old Adele, who had recently embarked on her first serious relationship with a man 10 years her senior,[6] began composing the follow-up to her 2008 hit debut album 19.[7] In response to the media typecasting her as an "old soul" due to the vintage production and sentimental nature of her songs,[8] Adele decided on a more upbeat and contemporary second album.[7] However, studio sessions were generally unproductive and after two weeks yielded only one song recorded to the singer's satisfaction—the Jim Abbiss-produced "Take It All", a lovelorn piano ballad not unlike the songs on 19.[7][9] Disillusioned with her lack of inspiration and the slow progress of the studio sessions, she cancelled the remaining recording dates.[10]

Adele had written "Take It All" during a rough patch in her relationship. When she played the song for her boyfriend, the two got into a bitter argument that culminated in the end of their 18-month relationship.[11] Heartbroken but musically stimulated, the singer channelled her rush of emotions into her music, crafting songs that examined her failed relationship from the perspectives of vengeful ex-lover, heartbroken victim, and nostalgic old flame.[12][13][14]

Sessions with Epworth, Smith, and Tedder

"Rolling in the Deep"
The revenge song "Rolling in the Deep" was conceived only hours after Adele's separation from her ex-lover. A "dark, bluesy, gospel, disco tune" in the singer's own words, it was written in response to disparaging comments he made towards her during an argument.[15][16]
Problems playing this file? See media help.

Writing for the album began immediately after Adele separated from her lover. Within a day of her break-up, she contacted producer Paul Epworth, intent on capturing her emotion in a song: "We'd had a fuming argument the night before ... I'd been bubbling. Then I went into the studio and screamed."[7] Although she had initially planned on completing a ballad that she had begun writing with Epworth more than a year ago, the producer suggested that she aim for a more aggressive sound.[17][18] Together, they restructured the song, tweaking the lyrics to reflect Adele's recent experience, and decided on the title "Rolling in the Deep".[17] The instrumentation evolved organically—after trying out various jazz riffs, Adele attempted the first verse a capella, inspiring Epworth to improvise a melody on his acoustic guitar. A thumping drum beat was set to mimic her racing heartbeat.[17] In two days, a demo was recorded to be produced by Columbia Records co-president Rick Rubin later that year. However, Adele re-approached Epworth months later to complete production of the song with him.

The demo was integral to the finished song.[19] Epworth decided to develop the instrumentation over Adele's single-take vocal demo after subsequent recordings, while technically superior, failed to recapture its raw emotion. The track, as it appears on the album, still includes the faint audio of Epworth counting off the singer in the vocal booth immediately before she begins to sing.

British songwriter and producer Fraser T. Smith recalled following a similar trajectory when he teamed up with Adele to compose subsequent third single "Set Fire to the Rain" at his MyAudiotonic Studios in London.[19] After the two had created the demo, Adele revisited her co-writer to record the song with him, instead of the intended producer Rick Rubin. Smith felt that Adele's original take "could not be bettered" and decided to use it on the final version of the song, adding live drums and an elaborate strings section to the production.[19][20]

With the demos to two songs now completed, Adele approached American musician and OneRepublic frontman Ryan Tedder, who was in London at the time for a radio show. Tedder had expressed interest in collaborating with the singer after they met at the 2009 Grammy Awards ceremony in February,[21] and he arrived four hours early to their first studio session, buying time to better familiarise himself with some of her previous work.[19] Although unaware of Adele's personal predicament, he composed the opening piano sequence and first few lines to what became the lovelorn ballad "Turning Tables": "Close enough to start a war/All that I have is on the floor".[19] Coincidentally, it perfectly captured the experience of the singer, who arrived at the studio moments after another altercation with her former lover. Angry and unfocused, she denounced her ex-lover's tendency to "turn the tables" on her during their arguments, an expression that Tedder decided he would reference in the song's lyrics.[21] Adele recorded the demo with Jim Abbis the next day.

Adele and Tedder arranged a second meeting and reconvened at Serenity West Studios in Los Angeles weeks later to write and record "Rumour Has It". In an interview, Tedder recalled his astonishment at the singer's musicality and vocal prowess after she completed the main vocals to the song in 10 minutes: "She sang it once top to bottom, pitch perfect, she didn't miss a note. I looked at the engineer then at her and said, 'Adele I don't know what to tell you but I have never had anyone do that in ten years'."[19]

Sessions with Rubin, Wells, and Wilson

After working with Epworth, Smith, and Tedder, Adele travelled to the U.S. for the remainder of the album's production. At the suggestion of Columbia Records group president Ashley Newton, she met with American songwriter Greg Wells at his studio in Culver City, Los Angeles, where they co-wrote the gospel-tinged ballad "One and Only".[22] The song evolved from a four-chord piano progression in a 6/8 metre, which Wells had conceived prior to meeting with the singer.[19] The lyrics, aimed at the singer's new love interest, came together quickly and were later completed with Dan Wilson, with whom she also composed "Someone Like You".[22]

Columbia Records co-president Rick Rubin, known for his "stripped-down" sound and unorthodox approach in the studio, handled production for the album.

In 2008, Adele's appearance on the American sketch comedy show Saturday Night Live[23] caught the attention of legendary producer Rick Rubin, who later signed on as the album's sole producer after her success at the 2009 Grammy Awards. The singer had originally planned on collaborating with various musicians (including Epworth, Smith, and Tedder) to compose songs to be recorded with Rubin at a later date. However, confidence in the original demos contributed to her decision to record many of these songs (including "Rolling in the Deep" and "Set Fire to the Rain") in London.[24] In April 2010, she travelled to Rubin's Shangri-La Studio in Malibu, California to record the rest of the album.[9][17]

Notorious for his unorthodox production style, Rubin pushed the singer beyond her comfort zone, and despite being drawn to his unconventional methods, Adele described working with the producer as daunting.[13][25] Rubin had attended many of her shows throughout 2008–2009, and after a particular Hollywood Bowl performance, approached her to compliment the dissimilarity between her live and recorded sound. When they met in Malibu, he attempted to "capture her live show across on [her] record",[17] assembling a team of musicians—including drummer Chris Dave, guitarist Matt Sweeney, James Poyser on piano, and Pino Palladino on bass—to contribute live instrumentation to the recording sessions.[7][26] He also decided against the use of music samples and electronic instruments.[25] An advocate of a more free-form approach to music-making, Rubin relied on the moods and feelings behind the music itself to guide the instrumental and melodic arrangement of the songs.[27] He isolated the singer in the studio and encouraged her, as well as his team of musicians, to approach the production process with more spontaneity and less restraint.[13][25] In an interview, he commented on the nature of the recording sessions:

Her singing was so strong and heartbreaking in the studio, it was clear something very special was happening ... The musicians were inspired as they rarely get to play with the artist present, much less singing ... Today, most things are recorded as overdubs on track. This was truly an interactive moment where none of the musicians knew exactly what they were going to play and all were listening so, so, deeply and completely to figure out where they fitted in ... all of the playing was keying off the emotion on Adele's outrageous vocal performance.[19]

Adele recorded five songs with Rubin: "Don't You Remember", "He Won't Go", "One and Only", and the U.S. bonus track "I Found a Boy". A cover of INXS's "Never Tear Us Apart" was scrapped in favour of a bossa nova-styled interpretation of The Cure's "Lovesong",[28] which moved the musicians and production team to tears.[29]

After completing her stint with Rubin, Adele learned from a mutual friend of her ex-lover's engagement to someone else. In 10 minutes she composed most of the lyrics to the album's final track "Someone Like You", which she later completed with Dan Wilson. Adele's record label was initially dissatisfied with the song and requested that it be re-recorded with musical backing from a band, but the singer refused. The song's composition was cathartic to the singer, who said she wrote it to "free herself."[30]

Titling

"[21]'s different from 19, it's about the same things but in a different light. I deal with things differently now. I'm more patient ... more forgiving and more aware of my own flaws ... Something that comes with age I think. So fittingly this record is called 21 ... Like a photo album you see [my] progression and change ... throughout the years. I tried to think of other album titles but couldn't come up with anything that represented the album properly".

—Adele, on the inspiration behind the album title[31]

Adele originally intended to title the album Rolling in the Deep,[32] her adaptation of a slang phrase "roll deep", which summarised how she felt about her relationship; in her loose translation, the phrase refers to always having someone "that has your back", who will always support you.[33] The singer decided against the title because she deemed it too confusing for some of her audiences.[32] Although she had wanted to avoid the number motif of her debut, Adele considered "21" the most fitting title as it represented her age at the time of the album's composition, serving as an autobiographical period piece, and it also symbolised the personal maturity and artistic evolution from her debut.

Music and themes

Influence and sound

21 bears the marks of Adele's extended exposure to the music of the American South during the North American leg of her 2008–2009 tour An Evening with Adele.[26][34][35] Frequent smoke breaks with her tour bus driver,[23] a Nashville, Tennessee native, resulted in her introduction to bluegrass and rockabilly,[23] and the music of Garth Brooks,[23] Wanda Jackson, Alison Krauss,[26] Lady Antebellum, Dolly Parton and Rascal Flatts.[36] Adele developed an appreciation for the country genre, praising what she described as the immediacy of the themes and the straightforward narrative structure of many of the songs she listened to;[35] she also expressed her enthusiasm at simply learning a new style of music. Although steeped in the timeless influence of country music and Southern blues, the album remains faithful to the pop-infused Motown soul of the singer's debut.[36][37][38] Instruments such as the saxophone, harp, banjo and the accordion contributed to its exploration of blues and soul,[34][38] jazz and bossa nova,[39] as well as alternative pop[40] and gospel-tinged rock music.[15] The singer drew from the music of Mary J Blige, Kanye West, Elbow, Mos Def, Alanis Morissette, Tom Waits and Sinéad O'Connor in the cultivation of the album's sound, and further credited Yvonne Fair, Andrew Bird, Neko Case and The Steel Drivers with its musical direction.[31]

Although branded by the media as a "soul album",[41][42] critics have disagreed with this characterisation. Mike Spies of Slate magazine argued that "soul" is inextricably linked to the political, historical, and cultural experience of African Americans, and that Adele and her contemporaries, far removed from this socio-cultural milieu, can offer only a mere duplicate of actual "soul", despite a capacity to convincingly channel the sound.[43] Sirius XM's Larry Flick added that the album's adherence to a more vintage production does not denote a "soul" album, but rather a pop album imbued with "soul leanings."[8]

Song structure and lyrical themes

A deeply autobiographical album, the sequence of the tracks correlate to the range of emotions Adele experienced after the break-up, progressing from themes of anger and bitterness, to feelings of loneliness, heartbreak and regret, and finally acceptance.[12][14] The revenge song "Rolling in the Deep", a "dark, bluesy, gospel, disco tune" in the singer's own words, was written as a "fuck you" to her ex-lover after his disparaging remarks that she was weak and that her life without him would be "boring and lonely and rubbish".[15][16] Opening with an understated acoustic guitar strum, the song's first lines set the foreboding tone of the album.[44] Pounding martial beats, shuffling percussion, and piano[37] coalesce into a dramatic, multilayered chorus[44] over which "Adele's voice ranges, dramatizing her search for just the right tone and words to express her dismay that a man would dare break her heart."[38] The first single from 21, "Rolling in the Deep" is one of the more apparent influences of the bluesy Americana music that framed the album's sound.[45]

"Rumour Has It", the singer's tongue-in-cheek retort to the hurtful gossip that surrounded her break-up, was aimed at her own friends for their part in spreading these rumours.[46][47] Fusing elements of doo-wop and Tin Pan Alley blues,[48] the percussion-driven song is built on girl-group harmonies, piano chords, pounding kick drum and handclaps,[46][49] and finds the singer "channeling a '40s, piano-vixen lounge singer".[50] Jon Caramanica of The New York Times pointed out the song's "hollow counterpoint vocals" and slow, "daringly morbid" bridge that veers from the pounding rhythm before once again acceding to it.[51] In the studio, Tedder experimented with a riff inspired by Radiohead's "I Might Be Wrong", crediting the song's Drop D tuning and American blues vibe as impetus for "Rumour Has It".[19] In "Turning Tables", a song of domestic dispute,[52] its narrator assumes a defensive stance against a manipulative ex-lover. Reconciling herself with the termination of a contentious relationship, she vows emotional distance to shield herself from future heartbreak. Bryan Boyd of The Irish Times likened the singer to 1980s Welsh rocker Bonnie Tyler in delivering the vocals with a mixture of anger, pain and pathos.[53][54] According to Paste magazine, cinematic strings "serve as fitting counterpoint to [the song's] heartbroken, hollowed-out lyrics."[54]

"Don't You Remember"
On "Don't You Remember", the singer implores her ex-lover to overlook her past mistakes and to remember her at her best. With bluesy guitar riffs and instrumental backing from the banjo and the accordion, the Rick Rubin-produced song is one of the more potent examples of the country music influences that permeate the album.
"Set Fire to the Rain"
One of the more pop-influenced songs on the album, the "epic" power ballad[41] "Set Fire to the Rain" situates Adele's mournful vocal ad-libs ("let it burn") around a swirling strings arrangement as she alternatively affirms and laments the end of her relationship.
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The Rick Rubin-produced fourth track "Don't You Remember", co-penned by Adele and Dan Wilson, marks a shift in the album's theme, from anger and defensiveness to reflection and heartbreak. A downtempo country music-styled ballad,[13][15] the song was added late to the production of the album after the singer grew ashamed of her continued negative portrayal of her ex-lover throughout the album.[35][55] Its lyrics entreat a past lover to remember the happier moments at the beginning of a now broken relationship.[35] In "Set Fire to the Rain" the singer delineates the conflicting stages of a troubled union and wrestles with her inability to fully let go.[56] Accentuated by ornate orchestral flourishes, swirling strings, crescendos,[37] and dramatic vocal effects towards its climactic end,[34] the song stands in stark contrast to the otherwise understated production of the album, and in reviews, was characterised by critics as a pop rock power ballad.[37] To achieve a fuller sound, producer Fraser T. Smith incorporated the popular "wall of sound" reverberative technique in framing the song's dense instrumentation.[34][57]

"Take It All", the seventh track, written and recorded with Francis "Eg" White and Jim Abbis prior to the breakdown of the relationship, is a piano and vocal ballad that borrows heavily from pop, soul and gospel.[9][58][59] In his review of 21, Allmusic's Matt Collar called the song the album's centrepiece, "an instant-classic" in the same vein as "And I Am Telling You I'm Not Going," and "All by Myself", and a "cathartic moment for fans who identify with their idol's Pyrrhic lovelorn persona."[58] The track precedes "I'll Be Waiting", the second of two songs produced by Epworth, which diverges from the scathing "Rolling in the Deep" in its optimistic tone and brisk, lilted melody.[49] A protagonist's mea culpa for a relationship gone wrong, she declares to wait patiently for her lover's inevitable return.[60][61] The song was compared to the work of Aretha Franklin for its "huge vocal sound on the chorus, rolling piano and boxy snare",[62] while Tom Townshend of MSN Music described its brass section as a Rolling Stones-esque "barroom gospel".[63]

Although the album predominantly explores the singer's failed relationship, not all songs were geared towards her ex-lover. "He Won't Go", a nod to hip hop and contemporary R&B,[48] was a tribute to a friend who battled heroin addiction.[13] The ninth track "One and Only", noted for its gospel-tinged vocals, organ, and choir,[62] was directed at a close friend for whom Adele shared romantic feelings.[64] And "Lovesong" was dedicated to Adele's mother and friends, in whom she found solace when she grew homesick and lonely while recording in Malibu.[29]

The album closes with the "heartbreak adagio"[65] "Someone Like You", a soft piano ballad that pairs Adele's vocals with a looping piano melody. In interviews, the singer described it as the summation of her attitude towards her ex-lover by the end of the album's production.[66] The song's lyrics describe a protagonist's attempt at dealing deal with her heartbreak after she learns of her ex-lover's recent marriage and happy new life.[66] Sean Fennessey of The Village Voice praised the singer's nuanced vocal performance in the song, which ascends "into a near-shrieked whisper" during parts of the chorus, after which she once again regains composure.[67] One of the more commended songs on the album, "Someone Like You" was praised for its lyrical depth and understated simplicity.[15][65]

Promotion and release

Adele performing "Someone Like You" in 2011 during a concert in Seattle, Washington.

In the months leading up to the European release of 21, Adele embarked on a promotional tour across Europe, performing on Britain's Royal Variety Performance on 9 December 2010, the finale of reality singing competition The Voice of Holland on 21 January 2011, and on BBC Radio 1's Live Lounge on six days later. On 24 January 2011, during the week of the album's UK release, she performed an acoustic set of selected songs from 21 at London's Tabernacle music hall, which was screened live on her personal website.[68] Adele performed "Someone Like You" at the 2011 BRIT Awards ceremony, which was well-received and resulted in an incremental sales increase for both 19 and 21.

For the North American release of 21 on 22 February, Columbia Records executives decided to use the "'long tail' sales theory"[68] to shape its marketing campaign, which, according to Columbia senior VP of marketing Scott Greer, entailed "building a critical mass throughout February in order to reach all those people who bought 19."[68] Key to this was the record company approaching internet and media partners Vevo, AOL and VH1 to begin promoting Adele's old and new songs.[68] From September to October 2010, Adele embarked on a mini-promotional tour of the U.S., which included stops in New York and Minneapolis, as well as an exclusive appearance at the famous Club Largo in Los Angeles.[69] Although she does not use Twitter, Columbia opened an account that redirected followers to the singer's personal blog.[68] Throughout February Adele's personal site hosted a "21 Days of Adele"[68] promotion, which featured exclusive daily content, including a live chat and a video of the singer explaining the inspiration for each album track.[68] The week of release was also accompanied by a spate of television appearances on many American daytime and late-night talk shows, such as the Today Show on 18 February, Late Show With David Letterman on 21 February,[70] and The Ellen DeGeneres Show and Jimmy Kimmel Live! on 24 February.[35][68]

Adele embarked on her second concert tour Adele: Live in support of 21, scheduling more than 60 shows across Europe and North America. The shows garnered positive critical reviews, many of which emphasised the show's understated nature, as well as the singer's vocal performance and accessible persona.[71] However, recurring health and vocal problems led to numerous alterations to the tour itinerary. The cancellation of the North American leg of the tour was due to a vocal hemorrhage on her vocal chords.[72] The singer underwent corrective vocal surgery in November 2011 and cancelled all public appearances until February 2012.

Singles

21 yielded four singles. The lead single "Rolling in the Deep" was released in November 2010, and peaked at the top of the charts in the Netherlands,[73] Germany,[74] Belgium,[75] Italy, and Switzerland.[76] It became a top-ten hit in Austria, Canada, Denmark, Ireland, New Zealand,[77] and Norway. Released in the UK on 16 January 2011, it peaked at number two.[78] In the U.S., the song became "the most widely crossed over song of the past twenty-five years",[79][80] appearing on a record 12 different Billboard charts (including the Rock Songs chart, R&B/Hip-Hop Songs, and Hot Latin Songs charts).[79][81] The song spent seven consecutive weeks at the top of the Hot 100,[81][82] and was ranked the top song and the best-selling song of the year.[83][84][85] "Someone Like You" debuted at number 36 on the UK Singles Chart due to strong digital sales, and after falling to number 47, it ascended to number one when the singer performed it at the 2011 BRIT Awards.[86][87] It peaked at number one in Australia,[88] New Zealand,[77] Italy, Finland, France, Switzerlandand,[76] and the U.S. "Set Fire to the Rain",[89] the third single, topped the singles chart in the U.S., the Netherlands[90] and Belgium (Flanders),[91] and reached the top five in Switzerland,[76] Italy[92] and Austria. "Rumour Has It" has been confirmed as the fourth single off the album, and will be released in March 2012. [93][94]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic76/100[40]
Review scores
SourceRating
Allmusic[58]
The A.V. ClubA−[95]
BBC Musicfavourable[96]
The Daily Telegraph[97]
The Guardian[98]
NME6/10[99]
Q[100]
Rolling Stone[39]
Spin8/10[101]
The Village Voicefavourable[67]

21 was well-received by music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from selected mainstream critics, the album received an average score of 76 based on 34 reviews, which indicates "generally favorable reviews".[40] Critics emphasised the album's artistic leap from Adele's debut in both its production and songwriting.[50][99][102] Whereas 19 was criticised for its lyrical and musical restraint,[34][39][41] Greg Kot of Chicago Tribune argued that, in comparison to her debut, 21 "beefs up the rhythmic drive and the drama of the arrangements."[103]

In addition to the dramatic production, reviewers commended the added depth and Adele's maturity on the tracks.[34][101] Gary McGinley of No Ripcord called the album a "coming-of-age record",[34] while Simon Harper of Clash wrote, "[In] two years ... she's clearly seen the world. Where 19 marked the turbulent swan song to a teenage life, 21 introduces the realities of adult life, where grown-up responsibilities collide with heartache and emotional scars run deep."[104] In a positive review of the album, John Murphy of MusicOMH explored its thematic correlation to Amy Winehouse's Back to Black, identifying their pervading themes of "pain, sadness and anger".[41] He proclaimed that 21 is "one of the great 'break-up' albums, and the first truly impressive record of 2011."[41] Likewise, Sputnikmusic's Joseph Viney stated that 21 combined the "best bits of Aretha Franklin's old-school soul with Lauryn Hill's sass and sense of cynical modern femininity."[105] Sean Fennessey of The Village Voice wrote that the album "has a diva’s stride and a diva’s purpose. With a touch of sass and lots of grandeur, it’s an often magical thing that insists on its importance."[67] He commented on its musical significance, stating "the line here between melodrama and pathos is wafer-thin, and Adele toes it deftly. It’s what separates her from her contemporaries in the mid-’00s wave of British white-girl r&b-dom."[67] Ian Walker of AbsolutePunk called the album a "pop masterpiece", although he criticised its uneven feel,[49] and Leah Greenblatt of Entertainment Weekly listed it as "timeless".[106]

Adele's vocal performance was received favourably.[102][96][107] The New York Times' chief music critic Jon Pareles commended the singer's emotive timbre, comparing her to Dusty Springfield, Petula Clark, and Annie Lennox, and wrote, "[Adele] can seethe, sob, rasp, swoop, lilt and belt, in ways that draw more attention to the song than to the singer".[108] Ryan Reed of Paste regarded her voice as "a raspy, aged-beyond-its-years thing of full-blooded beauty",[54] while Tom Townshend of MSN Music declared her "the finest singer of [our] generation".[63] However, some reviewers conceded Adele's vocal prowess as a liability to the album's production. Matthew Cole of Slant Magazine found that her singing masked the "blandness" of many of the songs, a fault that he believed would have been more apparent had they been performed by a lesser talent,[48] while Allison Stewart of The Washington Post claimed that many tracks were remarkable "only because Adele is singing them."[109] Despite noting a "slightly scattershot quality", Q commented that "greatness is tantalizingly within reach".[100]

Awards and accolades

The album was nominated for the 2011 Barclaycard Mercury Prize.[110] In November 2011, Adele won three American Music Awards including Favorite Pop/Rock Album for 21.[111] In February 2012, Adele won the Grammy Awards for Album of the Year and Best Pop Vocal Album for 21, Record of the Year, Song of the Year and Best Music Video, Short Form for "Rolling in the Deep", and Best Pop Solo Performance for "Someone Like You".[112] Her producer, Paul Epworth won Producer of the Year, Non-Classical.

21 appeared on many year-end best-of lists. The album was ranked the best album of the year by The Associated Press,[113] The Austin Chronicle, Entertainment Weekly,[114] The Star Tribune,[115] Digital Spy,[116] MSN Music,[117] New York Daily News,[118] Rolling Stone,[119] TIME magazine,[120] and editors of USA Today.[121] Critics at Billboard voted the album number-one of the year,[122] while Scottish newspaper the Daily Record,[123] editors of Amazon[124] and the editors at Rhapsody[125] also ranked the album at number one. The album appeared in the runner-up spot on MTV's list of the Best Albums of 2011[126] as well as lists produced by The Boston Globe,[127] The Hollywood Reporter[128] and Toronto Sun.[129] It placed within the top 10 on lists produced by American Songwriter,[130] Q,[131] Los Angeles Times,[132] Clash,[133] and The Washington Post.[134] "Rolling in the Deep" consistently placed high on various year-end critics' list, and was ranked the best song of the year in The Village Voice's Pazz and Jop mass critics' poll.[135]

Chart performance

21 debuted at number one on the UK Albums Chart on 30 January 2011 with first-week sales of 208,000 copies.[136] While in its fourth consecutive week at number one, Adele performed "Someone Like You" at the 2011 BRIT Awards, resulting in a sales surge of 890 percent on Amazon.co.uk within an hour of the show's broadcast.[137] 19 surged to number four on the UK Albums Chart, while on the singles chart, "Someone Like You" leaped from 47 to number one, and "Rolling in the Deep" climbed from five to four. Adele became the first living act since The Beatles in 1964 to have two UK top five albums and singles simultaneously.[138] A week later, when 19 rose to the runner-up position in its 102nd week of release, the singer became the first act to occupy the chart's top two spots since The Corrs in 1999.[139][140]

21 achieved separate consecutive number-one spells during its 2011 chart run on the UK Albums Chart, claiming the top spot for 11 straight weeks between February and April 2011, then for five consecutive weeks between April and June,[141] and then for another two weeks in July 2011.[141] In January 2012, a year after its release, the album reclaimed the top spot for two non-consecutive weeks, amassing 20 aggregate weeks at number one.[142] In September 2011, Adele claimed Guinness World Records for becoming the first female artist to have two singles and two albums in the UK top five simultaneously. 21 also became the first album in UK chart history to reach sales of three million copies in a calendar year, and set records for the most consecutive weeks with a UK number-one album (solo female) with 11 weeks (overtaking Madonna's 1990 compilation The Immaculate Collection[143]), and the most cumulative weeks at number one (solo female) in the UK.[144][145] Certified 14-times platinum by the British Phonographic Industry for shipments of 4,200,000 units, it sold 4 million copies by February 2012.[146][142] It is most downloaded album in UK history,[147] and the biggest-selling album of the 21st century in the UK.[148]

21 topped the charts in more than 26 countries.[143][149] It debuted at number two on the Belgian Albums Chart (Flanders) on 29 January 2011 and ascended to the top the following week, where it spent 35 nonconsecutive weeks and, as of February 2012, has yet to chart lower than number four.[75] It led the Switzerland Schweizer Hitparade Top 100 Albums chart for 12 weeks,[76] and the French Chart for 18 weeks.[150] In the Netherlands, 21 debuted at number one on 29 January 2011, and topped the chart for 30 weeks. It remained in the top 10 as of February 2012.[151] In Germany, it led the chart for six weeks.[152] The album lodged 33 weeks atop the Irish Albums Chart, the longest in the chart's history,[153] and was certified 12-times platinum.[153] Its 250,000 copies sold in a 52-week chart run is the fastest-selling of all time in Ireland.[154] 21 spent 29 weeks at number-one on the Australian ARIA Top 50 Albums Chart, 10 of which were consecutive. Adele also replicated her UK chart record when she achieved two titles in the top five of the ARIA Album and Singles chart simultaneously: in the week ending 17 July 2011, "Someone Like You" and "Rolling in the Deep" occupied positions one and four respectively on the Singles Chart, while 21 and 19 held at number one and three on the Albums Charts.[155] On the New Zealand RIANZ Albums Chart, 21 debuted at number-one in January 2011, and spent 28 weeks at the summit in 2011.[156][157] It reclaimed the top of the chart in January 2012, and spent the anniversary of its release at number one.[77] Except for a single week at number six on the week ending 21 November 2011, the album remained in the top five for its entire chart run of 54 weeks. Its 31 accumulated weeks at the top is the longest in New Zealand chart history.[77]

Released 22 February in the U.S., 21 debuted at number one on the Billboard 200 with first-week sales of 352,000 copies.[158][159] The album remained in the top three for 23 weeks, and the top five for a record 39 consecutive weeks,[160] falling out of the top five for a solitary week in December 2011.[161] As of January 2012, it has spent 50 of its 51 weeks in the top five. 21 claimed the number-one spot on the Billboard Year-End chart and was also the best-selling album of the year by a considerable margin; it sold 5.82 million copies in 2011 to top Michael Bublé's Christmas, which sold 2.5 million copies. 21 also became the best-selling digital album of all time in the U.S., selling 2 million copies as of January 2012.[162][163][164] The album spent 20 non-consecutive weeks atop the Billboard 200, the longest-running number-one by a UK studio album (excluding soundtracks and group acts),[165] and the longest-running on the chart in two decades.[163] As of February 2012, the album has sold 6.63 million copies.[163][164] In Canada, 21 spent 28 weeks at number one, and sold one million copies. It was certified diamond as of January 2012.[166][167]

Impact and response

"[21] appealed to Baby Boomers nostalgic for Etta James, Carole King and 'Dusty in Memphis.' It also appealed to teens struggling with the first sting of heartbreak, hipsters who missed Amy Winehouse, traditionalists weary of synthesizers and vocal effects, and non-pop fans who simply found it refreshing to hear a singer belt out her blues with conviction. By singing almost exclusively about a relationship gone wrong, Adele made songs that anyone could identify with ... 21 wasn't niche-marketed. It was made for everyone and ... everyone listened."

—Tris McCall of The Star-Ledger[168]

The album's success has been attributed to its cross-cultural appeal,[160][169] which has catered to fans of various genres of pop, adult contemporary and R&B,[160] as well as various generations and musical timelines.[102][170] According to Sasha Frere-Jones of The New Yorker the album's success in the U.S. can be attributed to its target audience—that is, "middle-aged moms ... the demographic that decides American elections."[171] Critics also suggest that the album's understated musical production and relative lack of artifice are striking deviations from the "bombastic theatrics" of the mainstream music industry.[170][172] Ethan Smith of The Wall Street Journal found that Adele's "deliberately unflashy" nature, full figure, and "everywoman" appeal gave her a lucrative niche in the market,[36][173] while her tendency to emphasise "substance over style" made her the "Anti-Lady Gaga".[36] Guy Adams of The Independent argued that 21's success signals the reemergence of the more traditional approach to commercial success:

There are two approaches to the business of being noticed by today's record-buying public. The first ... revolves around oodles of hype and ever-more preposterous wardrobe selections. The second, adopted by Adele at this year's BRITs, ... requires a simple black dress and the confidence to let your music do the talking... Amazingly, given preconceived notions about America's supposed preference for style over substance, it is the second of these two sales techniques which appears to be working better.[173]

With the release of 21, critics began to tout Adele as the new torchbearer for the British soul music that ascended to the American mainstream via Joss Stone, Amy Winehouse and Lily Allen. Although the initial popularity of these artists in the early 2000s incited the media to declare a "new wave of British invasion",[174] Joseph Viney of Sputnikmusic saw their subsequent commercial decline as an opportunity for Adele to "stake her claim as the UK’s leading solo female artist."[105] John Murphy of MusicOMH declared the album "a timely reminder that British soul hasn't lost its mojo."[41] Indie label XL Recordings founder Richard Russell discussed what be believed to be the quasi-subversive nature of 21's chart dominance. Characterising the success of 21 as "almost political and sort of radical",[175] Russell stated that the lack of gimmicks in Adele's music undermined the widespread perception that female performers have to conform to specific body-types, or imbue their music with gratuitous sexual imagery, in order attain success.[175]

Track listing

The track listing was released through the UK iTunes Store on 30 November 2010.[176]

No.TitleWriter(s)Producer(s)Length
1."Rolling in the Deep"Adele Adkins, Paul EpworthEpworth3:48
2."Rumour Has It"Adkins, Ryan TedderTedder3:43
3."Turning Tables"Adkins, TedderJim Abbiss4:10
4."Don't You Remember"Adkins, Dan WilsonRick Rubin4:03
5."Set Fire to the Rain"Adkins, Fraser T. SmithSmith4:02
6."He Won't Go"Adkins, EpworthRubin4:38
7."Take It All"Adkins, Francis WhiteAbbiss3:48
8."I'll Be Waiting"Adkins, EpworthEpworth4:01
9."One and Only"Adkins, Wilson, Greg WellsRubin5:48
10."Lovesong"Robert Smith, Simon Gallup, Roger O'Donnell, Porl Thompson, Lol Tolhurst, Boris WilliamsRubin5:16
11."Someone Like You"Adkins, WilsonWilson, Adkins4:45
Deluxe edition bonus tracks[68]
No.TitleLyricsProducer(s)Length
1."Need You Now"Dave Haywood, Charles Kelley, Hillary Scott, Josh Kear 3:40
2."Someone Like You" (live acoustic)Adele Adkins, Dan WilsonDan Wilson, Adele Adkins5:14
3."Turning Tables" (live acoustic)Adele Adkins, Ryan TedderJim Abbiss4:20
4."Don't You Remember" (live acoustic)Adele Adkins, Dan WilsonRick Rubin4:18
iTunes bonus track[177]
No.TitleLyricsProducer(s)Length
12."I Found a Boy"Adele AdkinsRick Rubin3:37
Japan bonus tracks[178]
No.TitleLyricsProducer(s)Length
12."I Found a Boy"Adele AdkinsRick Rubin3:37
13."Turning Tables" (live acoustic)Adele Adkins, Ryan TedderJim Abbiss4:20
14."Don't You Remember" (live acoustic)Adele Adkins, Dan WilsonRick Rubin4:18
15."Someone Like You" (live acoustic)Adele Adkins, Dan WilsonDan Wilson, Adele Adkins5:14
UK limited edition[179]
No.TitleLyricsProducer(s)Length
12."If It Hadn't Been For Love"Michael Henderson, Christopher StapletonRodaidh McDonald3:08
13."Hiding My Heart"Tim HanserothRodaidh McDonald3:28

Personnel

(Credits taken from Allmusic[180] and 21's liner notes.)

Production credits
  • Jim Abbiss – mixing, producer
  • Adele – design, producer
  • Philip Allen – engineer
  • Beatriz Artola – engineer
  • Phillip Broussard Jr. – assistant
  • Lindsay Chase – production coordination
  • AJ Clark – assistant
  • Tom Coyne – mastering
  • Ian Dowling – mixing
  • Lauren Dukoff – photography
  • Tom Elmhirst – mixing
  • Greg Fidelman – engineer
  • Fraser T. Smith – mixing
  • Sara Lyn Killion – assistant
  • Phil Lee – design
  • Dana Nielsen – editing, Pro Tools
  • Dan Parry – assistant, vocal engineer
  • Steve Price – engineer (strings)
  • Mark Rankin – engineer
  • Andrew Scheps – mixing
  • Isabel Seeliger-Morley – assistant engineer
  • Ryan Tedder – engineer, programming
Music credits
  • Adele Adkins – vocals, composer, producer
  • Jo Allen – violin
  • Stephanie Bennett – harp
  • Jerrod Bettis – drums, acoustic guitar
  • Rachel Stephanie Bolt – strings
  • Natalie Bonner – violin
  • Harry Brown – horn arrangements, trombone
  • David Campbell – string arrangements
  • Ray Carless – sax (tenor)
  • Carmen Carter – choir, chorus
  • Lenny Castro – percussion
  • Neil Cowley – piano
  • Caroline Dale – strings
  • David Daniels – strings
  • Rosie Danvers – string arrangements, violin
  • Chris Dave – drums
  • Chris Elliot – string arrangements
  • Paul Epworth – bass, composer, guitar (acoustic), guitar (electric), percussion, producer, vocals (background)
  • Fraser T. Smith – composer, guitar (bass), mixing, piano, producer
  • Simon Gallup – composer
  • Jim Gilstrap – choir, chorus
  • David Hidalgo – accordion, banjo
  • Smokey Hormel – guitar
  • Patrick Kiernan – strings
  • Boguslaw Kostecki – strings
  • Peter Lale – strings
  • Noel Langley – trumpet
  • Chris Laurence – strings
  • Julian Leaper – strings
  • Rita Manning – strings
  • Eleanor Mathieson – violin
  • Stephen Morris – strings
  • Roger O'Donnell – composer
  • Pino Palladino – bass
  • Tom Pigott-Smith – strings
  • Ruston Pomeroy – violin
  • Hayley Pomfrett – violin
  • Josef Powell – choir, chorus
  • James Poyser – piano
  • Rick Rubin – producer
  • Jenny Sacha – violin
  • Kotono Sato – violin
  • Jackie Shave – strings
  • Emlyn Singleton – strings
  • Robert Smith – composer
  • Ash Soan – drums
  • Matt Sweeney – guitar
  • Leo Taylor – drums
  • Ryan Tedder – arranger, bass, composer, drums, engineer, guitar (electric), hammond B3, piano, producer, programming, string arrangements
  • Ben Thomas – guitar (acoustic), guitar (electric)
  • Cathy Thompson – strings
  • Porl Thompson – composer
  • Julia Tillman Waters – choir, chorus
  • Laurence Tolhurst – composer
  • Carmen Twillie – choir, chorus
  • Lorna Maxine Waters – choir, chorus
  • Oren Waters – choir director
  • Greg Wells – composer
  • Bruce White – strings
  • Francis White – composer
  • Boris Williams – composer
  • Dan Wilson – composer, piano, producer
  • The Wired Strings – strings
  • Chris Worsey – strings
  • Terry Young – choir, chorus
  • Warren Zielinski – strings

Charts and certifications

Release history

Region Release date Format Label
Japan[178] 19 January 2011 CD, digital download Hostess
Australia[247] 24 January 2011 XL
Austria[248]
Germany[249]
Ireland[250]
Netherlands[90]
Switzerland[76]
United Kingdom[176] CD, Limited edition
Poland[251]
France[252] CD, digital download, LP
United States[177][253] 22 February 2011 Columbia
Canada[254]
Mexico[255] 5 April 2011 CD, digital download Sony Music Mexico

Notes

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References

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