Still, some reviewers have suggested that her songwriting isn't nearly as intriguing and fully developed as her voice[...]She concurs. "I agree with that," she declares[...]"I think I know my voice better than I know my writing skills so far. I think that's a good thing. I'm twenty, and hopefully my progression as a songwriter and as a musician — as a guitar player and a bass player — will get better. And it's good to have progression as you write more albums. So I completely agree with that. I think it's constructive criticism."
Female pop stars using ‘faux porn’ to sell records are ‘boring, crass and unoriginal’, a leading music executive said yesterday.
The entertainment industry is too reliant on promoting female singers such as Rihanna with overly sexualised videos, according to record label boss Richard Russell.
Mr Russell, whose label XL represents chart-topper Adele, suggested the 23-year-old could change attitudes because she focuses on music instead of sexuality.
He told the Guardian: ‘The whole message with [Adele] is that it’s just music, it’s just really good music.
‘There are no gimmicks, no selling of sexuality … What a great thing, how amazing.’
Nonetheless, there is no doubt that pop music is the area where retromania really runs rampant. There is something peculiar, even eerie, about pop's vulnerability to its own history, the way the past accumulates behind it and hampers it, both as an actual sonic presence (on oldies radio, as reissues, through nostalgia tours and now via YouTube) and as an overpowering influence. If you want further proof, there is no better evidence than the record that at the time of writing enjoys its 16th week at No 1 in the UK album chart: Adele's 21. In the US, her success (No 1 album for nine weeks, No 1 single with Rolling in the Deep) is so unusual for a British artist these days, it's tempting to see it as a flashback to the glory days when the Beatles and Stones sold black American music to white America. Except that those bands were doing it with contemporary rhythm-and-blues. Adele is literally flashing back to black styles that date from the same era as the Beatles and the Stones.
Adele is not quite as retro-fetishistic about it as Amy Winehouse, with her beehive, or Duffy, with her black-and-white video for Rockferry, her sample of Ben E King's Stand By Me in Mercy, and her name's echo of Dusty Springfield. But there is no doubt that her "anti-Gaga" appeal is based around the return to bygone values of gritty soulfulness. Adele's 21 consists of "timeless" songcraft influenced by Motown, southern soul and country, framed by "organic" arrangements featuring horns, banjos and accordions, with the whole package given just the slightest lick of modern slickness. The production involvement of Rick Rubin almost proposes Adele as somehow already an iconic veteran like Johnny Cash, in need of reverent rescue in the form of a "stripped down" sound.
Why are you denying something I know to be true?
The only way you can SELL this message and make people believe it, is if you go with what LOOKS like the anti-thesis of what you're complaining about. And then, it's still about the image. You couldn't do it with your average girl-next-door who might have a better voice and better songs.
Stred is a good example because he's not the first person I've heard that same statement from. It's all in the marketing, that perception is EXACTLY what they are trying to sell, because even though it might be a naive and/or bigoted opinion, it gives people faith that the system isn't one way and one way only, and that in a world of reality TV stars, talent still means something even if you don't look like everyone else. Unfortunately that's still a false notion, no matter how many Adele's or Susan Boyles you might see.