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Adele: 25

 A l b u m   D e t a i l s


Label: XL Records
Released: 2015.11.20
Time:
 48:25
Category: Pop, R&B, Soul
Producer(s): See Artists ...
Rating:
Media type: CD
Web address: www.adele.tv
Appears with:
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Hello (Adele Adkins/Greg Kurstin) - 4:55
[2] Send My Love [To Your New Lover] (Adele Adkins/Max Martin/Shellback) - 3:43
[3] I Miss You (Adele Adkins/Paul Epworth) - 5:49
[4] When We Were Young (Adele Adkins/Tobias Jesso, Jr.) - 4:51
[5] Remedy (Adele Adkins/Ryan Tedder) - 4:05
[6] Water Under the Bridge (Adele Adkins/Greg Kurstin) - 4:00
[7] River Lea (Adele Adkins/Brian Burton) - 3:45
[8] Love in the Dark (Adele Adkins/Samuel Dixon) - 4:46
[9] Million Years Ago (Adele Adkins/Greg Kurstin) - 3:47
[10] All I Ask (Adele Adkins/Bruno Mars/Philip Lawrence/Christopher Brody Brown) - 4:32
[11] Sweetest Devotion (Adele Adkins/Paul Epworth) - 4:12

 A r t i s t s ,   P e r s o n n e l


Adele - Vocals, Drums on [1], Backing Vocals on [2], Guitar on [2], Piano on [11], Art Direction, Design

Greg Kurstin - Bass on [1,6,9], Drums on [1,6], Guitar on [1,6], Acoustic Guitar on [9], Piano on [1,6], Keyboards on [1,6], Engineer on [1,6,9], Producer on [1,6,9]
Max Martin - Backing Vocals on [2], Producer on [2]
Shellback - Programmeing on [2], Percussion on [2], Producer on [2]
Paul Epworth - Drums on [3], Bass on [3], Piano on [3], Organ on [3], Guitar on [3], Percussion on [3,11], Programming on [3,11], Producer on [3]
Ariel Rechtshaid - Engineer on [4], Programming on [4], Organ on [4], Glockenspiel on [4], Synthesizer on [4], Percussion on [4], Backing Vocals on [4], Producer on [4]
Ryan Tedder  - Piano on [5], Producer on [5]
Danger Mouse - Piano on [7], Electric Guitar on [7], Organ on [7], Programming on [7], Producer on [7]
Samuel Dixon - Piano on [8], Synthesizer on [8], Engineer on [8], Producer on [8]
Declan Gaffney - Bass on [7], Percussion on [7], Recording on [7], Engineer on [7]

Tobias Jesso Jr. - Piano on [4], Backing Vocals on [4]
Gus Seyffert - Bass on [4]
Joey Waronker - Drums on [4]
Benji Lysaght - Guitar on [4]
Greg Phillinganes - Piano on [10]
Brody Brown - Piano on [10]
Tom Herbert - Bass on [11]
Leo Taylor - Drums on [11]
Pablo Tato - Guitar on [11]
Nikolaj Thorp Larsen - Piano on [11]

The Smeezingtons - Producer on [10]
Alex Pasco - Engineer on [1,6,9]
Julian Burg - Engineer on [1,6,9]
Liam Nolan - Engineer on [1,6,9]
Michael Ilbert - Engineer on [2]
Matt Wiggins - Engineer on [3,11]
Mike Piersante - Engineer on [5]
Cameron Craig - Engineer on [8]
Jan Holzner - Engineer on [8]
Charles Moniz - Engineer on [10]
Joe Hartwell Jones - Additional Engineer on [3]
Oliver Kraus - String Arrangements on [8]
Emile Haynie - Additional Instrumentation on [1]
Randy Merrill - Mastering
Tom Coyne - Mastering
Serban Ghenea - Mixing on  [2,6]
Tom Elmhirst - Mixing on [1,3,4,5,7-11]
Phil Lee - Art Direction, Design
Alexandra Waespi - Booklet Photography
Alasdair McLellan  - Front & Back Cover Photography

 C o m m e n t s ,   N o t e s


It’s all about the River Lea. Anyone wanting 25 to pack as much of a punch as 21 did – or, for that matter, 19, Adele’s debut – should skip past the wobbly-lower-lipped piano ballads and the one kiss-off, and head straight to River Lea, track seven of this most anticipated of post-hit comebacks. Nestled among all the oaky, wistful songs in which Adele is elegantly conflicted about the past, is a gospel-tinged ode to a canalised east London rivulet. The River Lea is a Thames tributary full of stolen mopeds; a niche environmental group called Love The Lea try to stop it being poisoned by run-off from the road where Mark Duggan got shot.

When push comes to shove, the mark of emotionally effective pop music is not melisma, or string sections, but finding the universals in specifics, in granular detail. It’s in Amy Winehouse’s “lickle carpet burns”, in the “famous blue raincoat” that was “torn at the shoulder” (Leonard Cohen), it’s in Adele turning up out of the blue, uninvited, and it’s here too. Much roots music is written about rivers; here, Adele’s heart is the humble Lea Navigation – “a valley”, “so shallow, and manmade”, she sings.

Here, the woman who sold 31m copies of one album in a bear market is racked by self-doubt, frightened of being unmasked as a fake – that most x-chromosomal of afflictions; later she’s even apologising in advance to a lover for some as-yet-uncommitted sin. She can’t go back, Adele notes in a measured husk that swings on the chorus, but she can feel the reeds growing out of her fingers. You’ll want to press repeat on this nicely-coiffed international superstar’s dingiest London song since Chasing Pavements, one that shines, like petrol on stagnant water.
Adele: ‘I can finally reach out a hand to my ex. Let him know I’m over it’
Read more

The rest? The bulk of 25 is more mindful of using the correct knife and fork, with piano chords dialled up and crunchy specifics dialled down. It is startling every now and again – returnee producer Paul Epworth going all Florence Welch with the drums on I Miss You, say – but overall, conservative compared to what Adele could get away with.

Pop magi Max Martin and Shellback provide a sassy diversion from all the heartache with Send My Love (To Your New Lover): it’s no Rolling in the Deep, but it’s a hoot. There are two odes to Adele’s men. Remedy, a big, overly blowsy Ryan Tedder co-write, is, roughly, The One About Angelo, her son, and the 80s-ish Water Under the Bridge, a Greg Kurstin co-write, is, roughly, The One About Simon, her partner.
Watch Adele perform When We Were Young.

“We both know we ain’t kids no more,” Adele sings, pointing up another key theme: the passage of time. The author of 25 is now 27, and reflecting on a youth that seems a Million Years Ago (recalls Don’t Cry for Me, Argentina). Nostalgia featured on 21; even at 19, Adele could access the bittersweetness of an older artist. But even as she fulfils the brief here – not disappointing, revealing how fame heals some things, but not others – you want to wrench the woman away from the ivories and order her a jug of margarita.

Kitty Empire - 22 November 2015
© 2015 Guardian News and Media



After one day on sale, Adele's 25 appears set to break *NSYNC's long-standing one-week Nielsen-era U.S. album sales record of 2.42 million sold, according to industry forecasters. Sources say the set is on track to sell at least 2.5 million in pure album sales in its first week, and sold more than 900,000 copies alone through the iTunes Store on its first day of release.

The 10 Most Heartbreaking Lyrics From Adele's '25'

25 was released on Nov. 20 through XL/Columbia Records. It's Adele's third studio album.

*NSYNC currently owns the single largest sales week for an album since Nielsen Music began tracking point-of-sale music purchases in 1991. (Prior to 1991, there was no authoritative music sales tracking service in the U.S. and thus, it was mostly unknown how many copies of an album or song/single were sold in a single week.)

*NSYNC's No Strings Attached debuted with 2,416,000 sold in the week ending March 26, 2000. No Strings Attached has since remained the only album to sell 2 million copies in the U.S. in a single week.

Nielsen Music's tracking week runs Friday through Thursday each week, so 25's first week will conclude on Nov. 26. Billboard is scheduled to report 25's debut week sales on Nov. 29, once Nielsen has finished processing its weekly data.

Before 25's release, it was reported that the album shipped 3.6 million physical copies to retailers. In addition, sources were forecasting 25's CD configuration to sell 1.5 million in its first week, while its digital edition could move another 1 million (meaning, its first week might be at least 2.5 million in total).

Now perhaps the question is: How much bigger can 25 get? Will it blow past the 2.5 million threshold? Can it hit 3 million? And what will 25 sell in its second and third week? Could it become the first album to sell a million copies in more than one week?

If 25 sells as expected, it will become the 20th album to sell at least a million copies in a single week in the Nielsen era. It would also instantly be the largest selling album of 2015 in total, surpassing the sales of Taylor Swift's 1989, which has sold 1.74 million this year (through Nov. 12).

25 is also on course to debut at No. 1 on the Billboard 200 albums chart (dated Dec. 12), which would give the diva her second No. 1. She first led the list with her last album, 21, which spent 24 nonconsecutive weeks atop the list -- most weeks at No. 1 for an album by a woman. 21 has sold 11.23 million copies in the U.S., and is the tenth-largest selling album of the Nielsen era.

© 2015 Billboard




25 is the third studio album recorded by British singer and songwriter Adele. It was released on 20 November 2015, through XL Recordings. Following the release and international success of her second studio album 21 (2011), Adele considered quitting the music industry and going out on a positive note. However, Adele decided to take a hiatus instead and raise her son. During her sabbatical, she suffered with writer's block and rescheduled the album's studio sessions fearing she had lost her ability to write songs. In 2013, Adele had a breakthrough and the material that eventually became 25 manifested, with writing and recording continuing through to 2015. Titled as a reflection of her when she was 25 and the frame of mind she was in during that age, 25 is a "make-up record". The album's lyrical content features themes of Adele yearning for her old self, her nostalgia, and melancholy about the passage of time as well as themes of motherhood and regret. In contrast to Adele's previous work, the production of 25 incorporated the use of electronic elements and creative rhythmic patterns, with elements of 80's R&B and organ haze's. Like 21, Adele collaborated with producer and songwriter Paul Epworth and Ryan Tedder, along with new collaborations with Max Martin and Shellback, Greg Kurstin, Danger Mouse, The Smeezingtons, and Tobias Jesso, Jr. The lead single, "Hello", was a critical and commercial success, topping the charts in 28 countries including the United Kingdom and the United States, where "Hello" became the first single ever to sell one million downloads in a release week.

Following the release of 21 (2011), Adele was considering quitting the music industry all together, stating she thought it was better to "go out on a high". However, in early 2012 she announced she was simply taking a hiatus from music in order to "take time and live a little bit". Her hiatus from music came to an end after the birth of her first child in October 2012, with Adele stating her son inspired her to start recording music again in order for him to "know what I do". Before the album's recording came under way, Adele made a conscious decision not to try and create another 21 and would not make another "heartbreak record". Prior to the album's release, 25 was listed as one of the most anticipated albums of 2015. Billboard, Fuse, The Sydney Morning Herald and numerous others placed the album at number one on their most anticipated list, with the latter stating "if Adele releases her third album in 2015, she could dominate the year." Prior to the album's official announcement, music journalists and fans speculated that the album would be titled 25 continuing the age theme from Adele's previous releases 19 and 21. On the eve of her 26th birthday in May 2014, Adele posted a message via her Twitter account which prompted media discussion about her next album. The message, "Bye bye 25... See you again later in the year", was interpreted by outlets including Billboard and Capital FM as meaning that her next album would be titled 25 and released later in the year.

Consisting of eleven tracks, Adele aimed to depart from the "young-fogey" sound of her sophomore album 21 and added synths and drum pads in order to modernize 25's musical style. The album's production incorporated the use of electronic elements and creative rhythmic patterns, unlike its predecessor, with elements of 80's R&B and organ haze's. Described as a collection of "panoramic ballads and prettily executed detours", Leah GreenBlatt of Entertainment Weekly noted the album's "stately production" characterizing is as being built over minor-key melancholy, stylistic flourishes and simplicity. Leonie Cooper of the NME summed the album's production up as changing from "moody balladeering to smoky jazz bar grooves" whilst a reviewer from Us Weekly stated the album was built upon piano ballads, R&B grooves, minimalistic arrangements, gospel, blues and acoustic guitars.

Adele's vocals on 25 were described as being capable of conveying emotion. Her vocals were noted by Samantha O'Connor of The 405 as ranging from "thunderous roars and rib-cracking falsettos over large dramatic piano swells to fuzzy, warm lower-register rumblings", and were characterised as having a raw delivery, with minimal engineering, leaving "her vocal idiosyncrasies to crackle, croak and coo, bringing more depth" to the album. Bruce Handy of Vanity Fair stated the Adele's throat surgery had not impacted her voice, continuing to say her voice still contained character and power: "brassy yet husky, smoky yet clarion, she still sounds like the result of a genetic experiment fusing Amy Winehouse’s vocal chords with Céline Dion’s lungs, or even Tom Jones’."

Described by Adele as a "make-up album", she attempted to move away from the theme of break-ups that dominated 21‍ '​s lyrical content. Adele stated that 25‍ '​s lyrics focuses on themes of her "trying to clear out the past," and moving on. She continued to say that the albums lyrics are a reflection of the frame of mind she was in during that age, describing the time as a "turning point" where she was in the centre of adolescence and adulthood and the start of a time where she would "go into becoming who I’m going to be forever without a removal van full of my old junk." Lyrically, the album touches upon various themes including the singers fear of getting older, her childhood, regrets, longing for her family, nostalgia and her role as a mother. Mark Savage of the BBC, noted the album's themes were a departure from the anger and heartbroken themes that dominated 21, stating that the lyrics were "reflective" allowing the singer "to re-examine her past relationships". Savage continued to state that songs such as "When We Were Young" introduce the album's key theme of Adele's "uneasy acceptance of adulthood."

During its first day of release, 25 sold over 300,000 copies in the UK, becoming the fastest selling album of the century and second fastest of all time, behind Oasis's Be Here Now, which sold 424,000 copies on its first day in 1997. On November 18, Billboard reported that Columbia Records shipped 3.6 million physical copies of 25 in the United States, the largest number since NSYNC's No Strings Attached, which shipped 2.4 million units in 2000. The day after its release, Billboard published that 25 is the fastest selling album on the US iTunes Store, with over 900,000 sales. 500,000 of the 900,000 downloads came from pre orders.

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