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Revision as of 09:57, 5 January 2012

Untitled

21 is the second studio album by English recording artist Adele. Released on 24 January 2011 in the United Kingdom and most of Europe, and on 22 February 2011 in North America, the album was named after the age of the singer at the time of its production. 21 shares the folk and Motown influences of Adele's debut album 19, also named after the singer's age, but was further shaped by the American country and southern blues music she encountered during her 2008–09 North American tour, An Evening with Adele. Composed in the aftermath of the singer's separation from an unnamed partner, the album typifies the near dormant tradition of the confessional singer-songwriter, and explores themes of anger, revenge, heartbreak, self-examination, and forgiveness.

After the completion of her first concert tour, Adele began composing material for a second album as early as 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, the singer had intended to craft a more upbeat and contemporary second album. 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 the composition of her songs. Although early reports suggested that Columbia Records co-president Rick Rubin would serve as the album's sole producer,[1] other collaborators such as Paul Epworth, Ryan Tedder and Dan Wilson were later announced. The album was met with critical acclaim for its vintage authenticity, lyrical depth, as well as Adele's vocal performance, and was commended as an artistic improvement over the singer's debut.

Preceded by lead single "Rolling in the Deep," 21 debuted at number one in the United Kingdom. A well-received performance of its second single "Someone Like You" at the 2011 BRIT Awards contributed to its 18-week tenure atop the UK Albums Chart. The album also debuted at the top of the U.S. Billboard 200 chart, and peaked at number one in a total of 24 countries. 21 surpassed many domestic and international chart records following its release, and appeared in the 2011 edition of the Guinness World Records. The album also spent 14 weeks atop the U.S. Billboard 200, 23 weeks atop the Australian ARIA Albums Chart, and set an all-time record of 26 weeks at number one in New Zealand and 29 weeks in Ireland. As of January 2012, worldwide sales for 21 have surpassed 13 million copies.[2] On 30 November 2011, the album garnered six nominations for the 54th Grammy Awards ceremony to be held in February 2012, including Song of the Year and Record of the Year for "Rolling in the Deep", and Album of the Year for 21.

Writing and production

Aborted early sessions

In 2009 20-year-old Adele, who had recently embarked on her first serious relationship with a man 10 years her senior,[3][4] set about composing songs for her highly anticipated follow-up to her debut album 19.[5] However, except for a few sporadic writing sessions with various producers, her year-long stint promoting 19 had provided little in the way of inspiration for the singer: "I was panicking, thinking what was I going to write my second album about: hotel rooms and air miles? No one can relate to that ... I write about my own experiences, [so] life has got to happen. You can’t hurry life."[6][7]

The nostalgic production and heartbroken pathos of Adele's debut had prompted the media to typecast the young singer as an "old soul",[8] and as a response, she decided that her second album would be more upbeat and contemporary.[5] In April of that year, she attempted additional writing sessions with her collaborators. However, two weeks in the studio yielded only one song that was recorded to the singer's satisfaction—the Jim Abbiss-produced "Take It All", a slow, sentimental piano ballad not unlike the songs featured on her debut.[5][9] Disillusioned with her lack of writing inspiration and the slow progress of the studio sessions, she cancelled the remaining recording dates.[6]

"Take It All", which Adele wrote as a response to feeling unloved and unappreciated by her boyfriend, was one of the first signs of a deteriorating relationship. More adept at communicating her emotions through music, the singer played the song for her partner. The ensuing arguments culminated in the termination of the 18-month relationship,[10] sending the singer into a state of alcoholism and depression.[11][4] Adele channelled her rush of emotions into her music, crafting songs that examined her failed relationship from the perspective of vengeful ex lover, wounded victim, heartbroken soul, and nostalgic old flame.[12][11][13]

Sessions with Epworth and Tedder

"Rolling in the Deep"
"Rolling in the Deep" was the first song to be conceived after Adele's separation from her ex-lover, written hours after the break-up, and is her response to being told by her ex-lover that her life without him would be "rubbish".
Problems playing this file? See media help.

Writing for the album began immediately after Adele separated from her lover. On the morning after the altercation that ended the relationship, Adele contacted Epworth, with whom she had cancelled her sessions, 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."[5] Although she had wanted to write a ballad, Epworth disagreed and told her to "be a bitch about it",[14] and to aim for a more aggressive sound.[15]"[16] The song that eventually became "Rolling in the Deep" had been partially composed during previous sessions with Epworth, and was shelved for over a year.[15] However, Adele restructured the song and tailored the lyrics to her recent experiences.[15] During its composition, the singer asked Epworth to feel her "racing heartbeat", inspiring the song's own martial backbeat.[15] She then proceeded to sing the first verse a capella, as Epworth improvised a melody on his guitar. The pair finished writing the song in three hours, and completed recording in two days.[5] Although the track went through many vocal iterations, the demo was used as the final version after subsequent takes failed to re-capture its raw emotion.[5]

Back in February 2009, Adele met Ryan Tedder at the Grammy Awards ceremony in Los Angeles and approached him about a possible collaboration on her upcoming album.[17] After her break-up, Adele contacted Tedder, who was in London at the time for a radio show. The singer got into another argument with her ex-lover shortly before she arrived at the scheduled session with Tedder. Agitated and unfocused, she yelled her frustration at 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.[17] "Rumour Has It" was composed soon after, when the singer directed her anger towards her own friends for participating in hurtful rumours about her relationship. Tedder aimed for a more retro-inspired sound on "Rumour Has It", and in addition to producing the track, received credits as arranger, programmer, musical engineer, bass player, drummer, guitarist and pianist.

Working with Rubin in Malibu, and Dan Wilson

American producer and co-president of Columbia Records Rick Rubin was at the helm of the album's production at Shangri-La Studio in Malibu, California.

An avid fan of the Red Hot Chili Peppers' Californication (1999), Adele had long expressed an interest in working with its producer Rick Rubin, whom she first met in 2008 through her appearance as the musical guest on the American sketch comedy show Saturday Night Live.[18] In February 2010, Epworth reported that Adele had completed most of the writing for the album, and that Rubin was slated as its sole producer. However, it was later revealed that Adele had rejected the original concept that Rubin envisioned and, after her break-up, proceeded to record many of the songs with her co-writers in London.[1] In April 2010, she headed to Rubin's Shangri-La Studio in Malibu, California to produce the bulk of the album.[9][15]

The instrumental and melodic arrangement of songs produced with Rubin were often the result of improvisational jam sessions.[19] Adele praised Rubin's free-form approach, which included isolating her in the studio and encouraging her to approach the production process with more spontaneity and unrestraint.[12][20] The team also took a more organic route in deciding against the use of music samples and electronic instruments.[20] Rubin stated that Adele possessed a better "live" sound and aimed to "capture her live show across on [her] record".[15] To achieve this end, the recording sessions were completed with a live band that Rubin assembled, which included drummer Chris Dave, guitarist Matt Sweeney, James Poyser on piano, and Pino Palladino on bass.[19][5] The sessions yielded "Don't You Remember", "He Won't Go", "One and Only", and the U.S. bonus track "I Found a Boy". Adele also covered INXS's "Never Tear Us Apart" and planned to include it on the album; however she was unsatisfied with her perceived lack of believability in the song after listening to the recording.[21] By coincidence, she came upon an unused demo of The Cure's "Lovesong", which Rubin had initially arranged for Barbra Streisand. The song was the last to be produced during her stay in Malibu. By this time, the singer's voice had grown fatigued, and she recorded the song in one take. She commented that her vocal imperfections suited the song, and that during its recording, the production team was moved to tears.[22]

In May 2010, Adele completed her stint with Rubin. Late one night, she received news about her ex-lover from a mutual friend; the news inspired the composition of the album's final song, "Someone Like You". Reaching for her acoustic guitar, the singer composed most of the lyrics to the song within minutes: "I wrote that song on the end of my bed. I had a cold. I was waiting for my bath to run. I'd found out that he'd got engaged to someone else." Days later, she approached musician Dan Wilson for the song's finishing touches. During their day-long session, the duo converged around the piano brainstorming melodies and lyrics, and ultimately decided to keep the musical production to a minimum. The song's composition was cathartic to the singer, who said she wrote it to "free herself."[23]

Titling

It's [21] 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 her personal blog, discussing the inspiration behind the name of her second album.[24]

Adele originally intended to title the album Rolling in the Deep,[7] 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.[25] The singer decided against the title because she deemed it too confusing for some of her audiences.[7] 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 also symbolized the personal maturity and artistic evolution from her debut.

Music and themes

Influence and sound

21 bears the marks of Adele's extended stay in the U.S., where her introduction to country music during the North American leg of her 2008–09 tour An Evening with Adele provided the conceptual framework for the album's sound.[19][26][27] Frequent smoke breaks with her tour bus driver,[18] a Nashville, Tennessee native, resulted in her exposure to such southern music styles as bluegrass and rockabilly,[18] and the music of Garth Brooks,[18] Wanda Jackson, Alison Krauss,[19] Lady Antebellum, Dolly Parton and Rascal Flatts.[28] Adele developed an appreciation for the genre, praising what she described as the immediacy of the themes and the straightforward narrative structure of many of the songs she listened to;[27] 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.[28][29] Allison Stewart of The Washington Times found it "slightly angled" toward country music and Americana, but even more toward R&B.[30][31] Instruments such as the saxophone, harp, banjo and the accordion contributed to its exploration of southern blues and soul music,[31][26] jazz and bossa nova,[32] as well as alternative pop[33] and gospel-tinged rock music.[34] The singer drew from the catalogues 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.[24] Its range of sounds and influences, according to the singer herself, is unified by her voice.[7]

Although branded by the media as a "soul album",[35][36] critics have disagreed with this characterisation. Mike Spies of Slate magazine as well as Sirius XM's Larry Flick noted that the album's traditional, "postmodern"[37] gestures, predicated chiefly on Adele's vocal aesthetics and the intensity of her performances, have resulted in the singer's precipitant designation as a "soul" singer.[37][8] However, Spies 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.[37] 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

"Set Fire to the Rain"
One of the more pop-influenced songs on the album, the "epic" power ballad[35] "Set Fire to the Rain" situates Adele's mournful vocal adlibs ("let it burn") around a dense strings arrangement as she alternatively affirms and laments the end of her relationship.
"Someone Like You"
On the album's closing song, "Someone Like You", which features spare, understated production, Adele wishes her former lover happiness on his new relationship and begs him to never forget her.
Problems playing these files? See media help.

The sequence of the album's tracks mirror the range of emotions Adele experienced after the break-up, progressing from anger and bitterness, to feelings of loneliness, heartbreak and regret, and finally, acceptance.[11][13] "Rolling in the Deep"—which the singer described as a "dark, bluesy, gospel, disco tune"—was written as a "fuck you" to Adele's exlover, who called her weak, and told her that her life without him would be "boring and lonely and rubbish".[34][38] The song opens a steady and understated guitar strum, which is later augmented by a thumping martial beat.[39] At the pre-chorus, the instrumentation is amplified by shuffling percussion,[39] tambourine, and piano,[29] building to a dramatic, multilayered chorus[39] where "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."[31] The song transitions to a broken down, hand-clapping bridge, reminiscent of soul music of the deep south,[40] and features background vocals by Epworth on its final chorus.

"Rumour Has It" is Adele's tongue-in-cheek retort to the rumours that surrounded her break-up. The song was aimed at the singer's own friends, who participated in the spread of these rumours.[41][42] Built on a piano melody, pounding kick drum, finger-snaps, and handclaps, the jazzy, percussion-driven song[41][43] finds the singer "channeling a '40s, piano-vixen lounge singer."[44] Cole of Slant Magazine noted the song's fusion of doo-wop and Tin Pan Alley blues,[45] and Jon Caramanica of The New York Times pointed out its "hollow counterpoint vocals" and the slow, "daringly morbid" bridge, which veers from the song's pounding rhythm before once again acceding to it.[46] In the slow piano ballad "Turning Tables", a song of domestic dispute,[47] the singer resolves to keeping her ex-lover at arm's length, justifying and reconciling herself with the termination of a contentious relationship. Channelling the spirit of Welsh rock singer Bonnie Tyler, the song is delivered with a mixture of anger, pain and pathos.[48][49] Towards each pre-chorus, as well as the climax, the instrumentation is augmented by cinematic strings that "serves as fitting counterpoint to its heartbroken, hollowed-out lyrics."[49]

The album's theme shifts from anger and defensiveness to reflection and heartbreak on the Rick Rubin-produced "Don't You Remember", co-written by Adele and Dan Wilson. A downtempo country music styled ballad,[12][26][34] the song was added late to the production of the album[27] after the singer grew ashamed of portraying her ex-lover as a "complete twat".[50] The song casts the singer in a more pensive state as she concedes her "fickle heart" and her "bitterness",[51] and finds solace in their initial love.[27] In the fifth track "Set Fire to the Rain", written with producer Fraser T. Smith, the singer ruminates on the contradictory elements of her past relationship.[52] One of the more pop-influenced songs on 21,[34] the midtempo power ballad contrasts with the otherwise understated production of the album, and utilizes the popular wall of sound technique.[53] Its dense instrumentation is accentuated by ornate orchestral flourishes and crescendos,[29][26] and dramatic vocal effects towards its climax.[26][53][54]

The Rick Rubin-produced "He Won't Go" explores hip hop and contemporary R&B.[45] Distinguished by a prominent bass and harp sound, it prompted comparisons to the 1990s works of Mary J. Blige[35] and Lauryn Hill.[55] "Take It All", another piano ballad written with Francis "Eg" White, incorporates a more soulful sound, and is accompanied by a gospel choir.[11][56][57] The upbeat "I’ll Be Waiting", the eight track, discusses the singer's resilience and the rekindling of a lost love.[58][59] Aamir Yaqub of Soul Culture magazine compared the song to the work of Aretha Franklin for its "huge vocal sound on the chorus, rolling piano and boxy snare",[55] and Tom Townshend of MSN Music described the song's brass section as a "barroom gospel" similar to the work of The Rolling Stones.[60] Exploring unrequited love, the ballad "One and Only" is not about Adele's previous partner, but is meant for a close friend whom she had always loved.[61] The piano ballad was described as having a "raw and dry vocal sound, organ and gospel choir".[55] "Lovesong", a bossa-nova style[13] remake of the song by The Cure, received generally positive critical reception. A homesick Adele dedicated the song to her mother and friends, in whom she found solace whenever she was lonely.[22]

The album closes with "Someone Like You", which Adele described as the summation of her present attitude towards the relationship.[62] A slow, understated ballad that pairs Adele's voice with a looping piano melody, "Someone Like You" finds the singer with added perspective, addressing her former partner after he has found happiness in a new relationship.[62] Sean Fennessey of The Village Voice commented that the singer's "nuanced" voice ascends "into a near-shrieked whisper" as she pleads with her exlover to never forget her.[63] However, she "rebounds and gathers herself", and her voice descends into its fuller and more melancholy state.[63] One of the more acclaimed songs on the album, "Someone Like You" was praised for its lyrics and Adele's maturity.[34][64]

Marketing and promotion

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, BBC Radio 1's Live Lounge on 27 January, and on the finale of reality singing competition The Voice of Holland, on 21 January 2011. 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.[65] Adele performed "Someone Like You" at the 2011 BRIT Awards ceremony was well-received, and resulted in an incremental sales increase for both 19 and 21.

For the 22 February North American release of 21, Columbia Records executives decided to use the "'long tail' sales theory"[65] in order 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."[65] 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.[65] In September to October 2010, Adel embarked on a mini-promotional tour of the U.S., which included stops in New York, Minneapolis, as well as an exclusive appearance at the famous Club Largo in Los Angeles.[66] Although she does not use twitter, Columbia opened an account that redirected followers to the singer's personal blog.[65] Throughout February Adele's personal site hosted a "21 Days of Adele"[65] promotion, which featured exclusive daily content, including a live chat and a video of the singer explaining the inspiration for each album track.[65] 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,[67] and The Ellen DeGeneres Show and Jimmy Kimmel Live! on 24 February.[65][27] "Rolling in the Deep", the album's first single, received heavy rotation on the Triple A radio format, and was featured in the trailer for the 2011 science fiction film I Am Number Four.[65]

Singles

21 yielded three singles. The lead single "Rolling in the Deep" was released on 29 November 2010 in the Netherlands, where it peaked at number one for seven non-consecutive weeks.[68] The song also topped the singles charts in Germany,[69] Belgium, Italy, the Netherlands, and Switzerland, and became a top-ten hit in Austria, Canada, Denmark, Ireland, New Zealand, and Norway. Released in the UK on 16 January 2011, it subsequently peaked at the runner-up spot.[70] In the U.S., according to Billboard, "Rolling in the Deep" became "the most widely crossed over song of the past twenty-five years",[71][72] appearing on a record twelve radio-based chart surveys including the Triple A chart (on which it peaked at number one for fourteen weeks), the Adult Top 40 (number one for eleven weeks), and even the Latin Pop Airplay and Hot Latin Songs (at number seventeen and forty-three respectively).[71][73] The song ascended to number one on Billboard's Hot 100 on 14 May 2011,[73][74] where spent seven non-consecutive weeks. "Rolling in the Deep" was the highest-selling song of 2011[75][76][77] and top song of the year on Billboard's year-end chart.

"Someone Like You" debuted at number thirty-six on the UK Singles Chart due to strong digital sales. Following a live performance of the song at the 2011 BRIT Awards, it leaped from its position of forty-seven to the top of the chart,[78] and maintained the position for a total of five weeks. It was certified Platinum by the British Phonographic Industry (BPI) on 1 April 2011.[79] As of October 2011, the song is the biggest selling single of 2011 in the UK, having sold 1 million copies by July 2011. The song also peaked at number one for seven consecutive weeks in Australia.[80] In the United States, the song spent five weeks at the top of the Hot 100 Chart, following its performance on the 2011 MTV Video Music Awards.

"Set Fire to the Rain"[81] was released as the third single across Europe. It topped the chart in the Netherlands for one week.[82] It has also peaked at number one in Belgium (Flanders),[83] at number three in Italy[84] and in the top ten in Ireland,[85] and the top twenty in several other countries. "Set Fire to the Rain" was released on 21 November 2011 as 21's third official single in the United States.

Adele: Live

Adele embarked on her second concert tour Adele: Live in support of 21, scheduling over sixty shows across Europe and North America. The setlist comprised all songs from 21, as well as selected songs from 19. 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.[86]

Recurring health and vocal problems led to numerous alterations to the tour itinerary. The first European leg of the tour was uninterrupted. However, for the first North American leg, which was originally scheduled from 12 May 2011 in Washington D.C. to 22 June in Minneapolis, Adele canceled the last nine dates of her tour after an Otolaryngology specialist diagnosed her with acute laryngitis.[87] Following her month-long hiatus, the singer resumed the tour with a newly revised schedule, which saw the addition of larger venues and extra dates to support the increased demand of the show.[88] In September 2011, "continuing problems with a serious cold and chest infection"[89] prompted the postponement of seven additional dates on the second leg of the European stop.[89] However, the tour was resumed on 13 September, and new dates for the missed shows were rescheduled.[90] In October 2011, the singer again cancelled the remaining dates of the second leg of her North American tour due to a vocal hemorrhage that caused "internal bleeding near her vocal chords".[91] In a statement on her website, the singer apologised to her fans for the tour's cancellation, writing, "please have faith in me that this is the only thing I can do to make sure I can always sing and always make music for you."[91]

Critical reception

Professional ratings
Review scores
SourceRating
AbsolutePunk(92%)[43]
Allmusic[56]
The A.V. Club(A-)[40]
The Daily Telegraph[92]
Entertainment Weekly(A-)[93]
The Guardian[94]
NME(6/10)[95]
The New York Times(favorable)[46]
Rolling Stone[32]
Slant Magazine[45]

After its release, 21 garnered general acclaim from music critics;[96] at Metacritic, which assigns a normalised rating out of 100 to reviews from selected mainstream critics, the album received a score of 76 based on 34 reviews, which indicates "generally positive reviews".[33] Reviews generally emphasised the album's artistic leap from her debut in both its production and songwriting.[44][95][97] Where 19 was vocally and lyrically subdued,[35][26][32] 21 "beefs up the rhythmic drive and the drama of the arrangements."[98]

In addition to the dramatic production, critics also praised the added depth and maturity of the album's songs.[26][99] Gary McGinley of No Ripcord called the album a "coming-of-age record",[26] while Simon Harper of Clash also 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."[100] 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",[35] and concluded his review by proclaiming 21 "one of the great 'break-up' albums, and the first truly impressive record of 2011."[35] Similarly, Sputnikmusic's Joseph Viney found that 21 combined the "best bits of Aretha Franklin's old-school soul with Lauryn Hill's sass and sense of cynical modern femininity."[101] Ian Walker of AbsolutePunk called the album a "pop masterpiece", although he criticised its uneven feel,[43] and Leah Greenblatt of Entertainment Weekly called the album "timeless".[93]

Adele received near unanimous praise for her vocal range and power.[97][102][103] Her expressive timber was said to belie the singer's young age, and was compared to such singers as Dusty Springfield, Petula Clark, and Annie Lennox.[104] Ryan Reed of Paste characterised her voice as "a raspy, aged-beyond-its-years thing of full-blooded beauty",[49] Allmusic's Matt Collar found her voice "spine-tingling".[56] Tom Townshend of MSN Music bestowed high praise on the singer, declaring her "the finest singer of [our] generation."[60] However, reviewers also conceded that Adele's vocal prowess was also a liability to the production, and that it masked the "blandness",[45] of some of the songs. Allison Stewart of The Washington Post wrote, "after a strong start, the disc yields to a forgettable midsection of mostly mid-tempo tracks that are remarkable only because Adele is singing them".[30]

Awards and accolades

The album was nominated for the 2011 Barclaycard Mercury Prize.[105] In November 2011, Adele won three American Music Awards including Favorite Pop/Rock Album for 21.[106] On 30 November Adele received Grammy Awards nominations for Album of the Year and Best Pop Vocal Album for 21, while "Rolling in the Deep" was nominated for Record and Song of the Year, as well as Best Music Video, Short Form; "Someone Like You" was also nominated for Best Pop Solo Performance.[107]

21 appeared on many year-end best-of lists. The album was ranked the best album of the year by The Associated Press,[108] Entertainment Weekly,[109] The Star Tribune,[110] and editors of USA Today.[111] Billboard magazine also ranked the album at number one, and commented on its appeal and popularity: "21 became one of those very rare moments in the music world where an album is as commercially successful as it is critically praised, not to mention beloved by fans across all demographics."[112] Digital Spy,[113] MSN Music,[114] and New York Daily News,[115] ranked the album at number-one, as did Rolling Stone ("Rolling in the Deep" was ranked Song of the Year),[116][117] TIME ("Rolling in the Deep" ranked number-two song of the year),[118][119] Scottish newspaper the Daily Record,[120] editors of Amazon.com ("Rolling in the Deep" ranked number-one song)[121][122] and the editors at Rhapsody.[123] The album appeared in the runner-up spot on MTV's list of the Best Albums of 2011[124] ("Rolling in the Deep" was ranked number one song), as well as lists produced by The Boston Globe,[125] The Hollywood Reporter,[126] Toronto Sun,[127] and HitFix.[128] American Songwriter[129] and Q magazine[130] ranked the album at number three, while Los Angeles Times[131] and the Vancouver Sun ranked it at number five. Filter listed 21 as the sixth best album of the year,[132] while Clash magazine[133] The Washington Post[134] and Yahoo Music ranked the album eighth. Spin magazine ranked "Rolling in the Deep" as the top song of 2011.[135] Music webzine PopMatters ranked Adele the Artist of the Year,[136] and "Rolling in the Deep" the second-best song of the year.[137]

Chart performance and accomplishments

United Kingdom

On 30 January 2011, 21 debuted at number one on the UK Albums Chart with first-week sales of 208,000 copies, the biggest-selling January release since the Arctic Monkeys' Whatever People Say I Am, That's What I'm Not sold 363,000 copies in 2006.[138][139][140] In the album's fourth week at number one, 21 and its two singles, as well as her debut album 19, experienced a sales surge of 890 percent on Amazon.co.uk within an hour Adele's performance at the 2011 BRIT Awards.[141] As 21 extended its reign at the top, 19 surged to number four on the UK Albums Chart;[142] in that same week, "Someone Like You" also leaped from number forty-seven to number-one, and "Rolling in the Deep" climbed five-to-four on the UK Singles Chart. Adele became the first living act since The Beatles in 1964 to have two UK top five albums and singles simultaneously.[142] In the album's fifth consecutive week at the top, 19 rose to the runner-up position in its 102nd week of release, which gave the singer the distinction of being the first act to occupy the chart's top two positions, since The Corrs' Talk On Corners and Forgiven, Not Forgotten landed at number one and two in 1999.[143][144] Adele occupied the top two positions for five non-consecutive weeks between February and May 2011.[145]

Weekly sales for 21 exceeded 100,000 copies until its twelfth week on the UK Albums Chart.[146] In its eleventh week, the album became the longest-running consecutive number-one album since Bob Marley and The Wailers' Legend in 1984, which spent twelve consecutive weeks at number one.[147][148][149] On 17 July, after its previous eleven-week stint at number-one between February and April 2011, followed by another five-week number-one spell between April and June,[150] 21 returned to the summit for a another two-week run, totalling eighteenth non-consecutive week at the top, as of 24 July.[150] This is the longest run at number one in the UK since The Bee Gees' Saturday Night Fever soundtrack spent as many weeks on top in 1978.[151] In September 2011, Adele was recognized by the Guinness World Records for becoming the first female artist to have two singles and two albums in the UK top five 5 simultaneously. 21 also became the first album in UK chart history to reach sales of three million in a calendar year, and set records for the most consecutive weeks with a UK number-one album (solo female) with eleven weeks (overtaking Madonna's 1990 compilation The Immaculate Collection[152]), and the most cumulative weeks at number one (solo female) in the UK, with eighteen weeks at the top.[153][154][155].

As of 17 December 2011, 21 has been certified fourteen-times platinum by the BPI for shipments of 4,200,000 units.[156] It also became the most downloaded album in UK history.[157] As of December 2011, 21 has sold over 3.7 million copies in the UK, and became the biggest-selling album of the 21st century, overtaking Amy Winehouse's Back to Black.[158][159][160] It also became the 10th biggest-selling album of all time in the UK.[161]

International

Outside of the UK, the album has also enjoyed commercial success, and topped the charts in over twenty four countries,[162][152] including the Belgian Albums Chart (Flanders),[163] the Danish Albums Chart,[164] the Dutch Albums Chart[165] and the New Zealand Albums Chart.[166] In the Netherlands, the album debuted at number one and topped the Dutch album chart for thirty weeks, the joint-longest number one of all time.[167] In Germany, it led the chart for four weeks.[168] The album spent a total of twenty-nine weeks at the top of the Irish Albums Chart and has also has become 12 times platinum, the biggest selling digital album in Ireland ever and also holds the record for the longest running album at No 1 in the Irish charts.[169] In Australia, it spent twenty-three weeks at number-one on the ARIA Top 50 Albums Chart,[170][171] ten of which were consecutive, while "Someone Like You" dominated the corresponding singles chart for seven consecutive weeks.[172] Both titles also led the album and singles charts simultaneously for seven consecutive weeks.[80] On 18 April, while "Someone Like You" and 21 reign at the top, both "Rolling in the Deep" and 19 ascended to number-three on their respective charts, giving Adele two entries in the top-five of both the album and singles charts concurrently.[80] On the New Zealand RIANZ Albums Chart, 21 debuted at number-one in January, and spent twenty-six weeks at the top, the longest running number-one of all time on that chart.[173][174] The album also spent ten non-consecutive weeks at number two, and achieved thirty-five weeks in the top three.[173]

21 was released 22 February in the U.S. and debuted at number one on the Billboard 200 with 352,000 copies sold in its first week.[175][176] The album remained in the top three for 23 weeks, and the top five for a record 39 weeks,[177] outlasting all albums released in the U.S. in 2011.[177][178] 21 is the first album by a British act since George Michael's Faith (1988) to spend at least twelve weeks at number one.[179][180] It is also the best-selling digital album of all time in the U.S., selling 1.02 million copies.[181] On the sales week ending 01 January 2012, 21 returned to the top of the Billboard 200 chart for its fourteenth nonconsecutive week at No. 1 and had sold a total of 5,824,000 copies in the United States since its release, making it the best-selling album of 2011.[182] It was also the biggest-selling album in a calendar year in the U.S. since 2004, when Usher's Confessions sold 7,979,000 copies.[182]

In Canada, 21 has been certified diamond as of November 2011, selling 800,000 copies.[183] This is the first studio album to be certified diamond in Canada by a female solo artist since Celine Dion's album These Are Special Times, which was certified diamond in October 2007.[184]

Impact and response

So why are 21 and Adele popular? I wish I could give one satisfying answer, but there probably isn't one ... Maybe transcendent pop success is unexplainable ... We’re facing the possibility that this decade's most smashing pop success will not be canonized, will not be on the cover of every single magazine, will not be covered on gossip blogs, and will not be appreciated by the blognoscenti, even ironically (like they do with Lady Gaga). In 10 years, the music blogs might not remember Adele, but your moms, sisters, grandmas, coworkers and dads will.
—Andrew Winistorfer of Prefix Magazine[185]

The album's success has been attributed to its cross-cultural appeal,[177][186] which has catered to fans of various genres of pop, adult contemporary and R&B,[177] as well as various generations and musical timelines.[97][185] 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."[187] According to critics, its traditional approach and relative lack of artifice stand out against the "bombastic theatrics" of the mainstream music industry. Ethan Smith of The Wall Street Journal noted that Adele's "deliberately unflashy" nature, full figure, and "everywoman" appeal gave her a lucrative niche in the market,[28][188] while her tendency to emphasise "substance over style" made her the "Anti-Lady Gaga".[28] Guy Adams of The Independent argued that 21's success also 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.[188]

Following the release of 21, critics have touted Adele as the 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 at the beginning of the 2000s decade incited the media to declare a "new wave of British invasion",[189] 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."[101] John Murphy of MusicOMH declared that "[21] is a timely reminder that British soul hasn't lost its mojo."[35] Indie label XL Recordings founder Richard Russel discussed what be believed to be the quasi-subversive nature of the 21's chart dominance. Characterising the success of 21 as "almost political and sort of radical",[190] 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.[190]

Track listing

The track listing was released through the UK iTunes Store on 30 November 2010.[191]

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[65]
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[192]
No.TitleLyricsProducer(s)Length
12."I Found a Boy"Adele AdkinsRick Rubin3:37
Japan bonus tracks[193]
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[194]
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 lifted from Allmusic[195] 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[193] 19 January 2011 CD, digital download Hostess
Australia[255] 24 January 2011 XL
Austria[256]
Germany[257]
Ireland
Netherlands[82]
Switzerland[220]
United Kingdom[191] CD, Limited edition
Poland[258]
France[259] CD, digital download, LP
United States[192][260] 22 February 2011 Columbia
Canada[261]
Mexico[262] 5 April 2011 CD, digital download Sony Music Mexico

Notes

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Cite error: A list-defined reference named "12 Weeks" is not used in the content (see the help page).

Cite error: A list-defined reference named "Second Album" is not used in the content (see the help page).

References

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