Diana Ross: A Concert Review: It’s Her House

When it comes to defining superstar look no further than Diana Ross. From the elegance of her smile to her ageless vocals, she is the entire package.

Recently, I saw Ms. Ross’ during her mini-residency at New York City Center. Her final night was Saturday. This was my fourth time seeing Ms. Ross in concert and although my pocket-book feels pain, I feel completely blessed.

Ms. Ross started the concert out with her iconic 1980’s anthem “I’m Coming Out.” The energy in the room was magnetic, drawing all eyes to the stage as one began to hear her fragile, yet demanding voice. The atmosphere turned electric when she stepped on stage.

She quickly followed with a near chronological order of some of her biggest hits and fan favorites. She started out with the timeless tunes from her tenure with the Supremes. These songs have lost none of their splendor with Ms. Ross. It’s nearly impossible not to sing along with her with the likes of “Baby Love,” “You Can’t Hurry Love,” and “Stop! In The Name of Love.” I don’t think she has aged a day since The Supremes 1962 debut.

It wasn’t soon that Ms. Ross turned to her everlasting solo career with some of her top dance/disco hits, “The Boss,” “Upside Down,” and “Love Hangover.” There are no words for the energy she produced in the room. A few lucky fans were even lucky enough to be chosen by Ms. Ross to come dance alongside her during “Upside Down.”

Although Ms. Ross knows how to throw a party with a song, some of my favorite moments of the concert were when she slowed it down and simply sang. “Touch Me In The Morning” and “Theme From Mahogany (Do You Know Where You’re Going Too)” are always amongst my favorite moments from each show I have seen of hers. For this concert, my favorite moment was when she embarked on Billie Holiday’s “Don’t Explain.” No one will ever be able to sing a song like Holiday, but Ross also proved that no one can sing a song like her.

Then Ms. Ross began to close the show. This is a process at one of her concerts. It’s hard to come off the high of Ross. She begins with her first solo hit “Ain’t No Mountain High Enough.” This song immediately had me on my feet. And yes, she can hit all the same notes she could when the song was released.

Then comes her cover of Gloria Gaynor’s “I Will Survive.” Again, it’s impossible to sit as she walks the stage in her 5th gown of the evening belting a number everybody relates too. This is her closing number, but there is always room for an encore if the audience properly requests it (I’ve been to shows where she hasn’t returned). She closed the night with another one of her early hits “Reach Out and Touch (Somebody’s Hand).”

With each show I see of Ms. Ross’ I have always walked away amazed, not only from her pure musical talent, but the atmosphere she creates for an audience. When the music begins and her smile comes to the stage there is immediately a feeling of acceptance. When Ms. Ross sings she immediately erases your background, race, age, sexual orientation, or political affiliation. Her music and presence bring people together. This atmosphere is created through the love she portrays for every fan. It’s seen in the halls of the auditorium and the random dance partners found all over the concert hall.

I had two thoughts as I walked away from this show. First, entertainers just aren’t constructed the same as they once were. Ms. Ross comes from a land where autotune didn’t exist and dancers were not a necessity. She is the fully rounded performer.

My last thought walking away was, “When’s the next show?” I think I could see her a dozen more times and still want to see her again. Not many artists do this for me, and I’m often a tough critic, but it’s not just the music that brings me back. It’s the memories and love that I have wrapped up in her music and celebrity and how she brings this element together amongst everybody in the room. That is what keeps me returning.

Basically, when Ms. Ross enters a room, she makes it her house.

What I Learned at Rydell High

Before there was tween boy bands, glee clubs, and Justin Bieber there was Bobby Rydell.  To be honest there really isn’t much of a comparison, but that puts him in modern language.

I stumbled upon Rydell on YouTube. I was searching the song “My Coloring Book” and he was the only male version of the song I could find. This is one of my favorite songs and Rydell’s version is often overlooked, but it is one of the best. After this encounter I immediately began searching for his records at all my vinyl stops.

FullSizeRender 7One of my first finds was Bobby Rydell…Salutes The “Great Ones.” Rydell was only 19  years old when he released this album. As the liner notes state, he was already a staple on such TV shows as the Perry Como TV shows and Red Skeleton shows as well as a sought after act at The Copa and The Sahara. Not to mention he had already garnered 4 top ten hits.

This album by Rydell takes an interesting turn in his small yet accomplished catalog. Saluting the greats that came before you is not just honorable, but it is quite daring. He was setting himself up for failure. He was singing songs that only the greats, like Frank Sinatra and Judy Garland sang with Broadway standards sprinkled in. How could he compare?

Rydell decided to play by his own rules, translating these songs into a “1961” vibe.

He opens the album with Al Jolson’s “Mammy.” A song that has been adapted in many different compositions. This is essentially a melted down version of “Rockabye Your Baby With a Dixie Melody.” He gives this song a boyish charm with a more modest aura.

He then goes into Sinatra’s “That Old Black Magic.” There is never another Sinatra, but Rydell again accomplishes this song with ease accompanied by a more rhythmic backing. He concludes side A with the Gypsy anthem “Everything’s Coming Up Roses.” Taking on Ethel Merman is like teetering off a cliff, but he did it with debonair and classic charm instead of Merman’s usually brashness.

FullSizeRender 6Side B contains some real gems starting with the Steve Allen penned “This Could Be The Start of Something New.” Again, Rydell’s arrangers placed the song at a speeder tempo. Instead of the gentler and special aura that only Ella Fitzgerald could give this song, Rydell gives this tune a remix worthy of American Bandstand or Shindig. The same concept can be found in his renditions of “So Rare” and “There’s A Rainbow ‘Round My Shoulder.”

By the end of the album, Rydell easily wrapped all the ladies around his finger with “The Birth of The Blues.” This song demands answers with its perfectly timed pauses and the way Rydell places the lyrics in a “questionable” phrase. I think there were a few girls fainting at the foot of the stage.

This album is a perfect reflection of what was happening in music culture in 1961. Rockabilly was starting to hit and all the churches were worried about this new “rhythmic” music. The classic pop style of the greats was being placed on the back burner for this new rock and roll experiment.

Rydell attempts to touch both these audiences with this album. His crooning singing style fit in perfectly with the Dean Martins and Jack Jones’ of the time, yet he knew there was something else on the horizon. Although this album may not have been a huge success it is reflection of the development of music and the confusion that both artists and record companies were going through in this transitional time.

This album proposes an idea. It was experimental at the time when experiments were shunned. Rydell’s album not only serves as listening pleasure, but as an artifact of the evolution of modern music. Basically he gave the Great American Songbook and a light, but daring, Rockabilly twist.

Until Then We Have Steve and Eydie

Before there was Kim and Kanye or Beyonce and Jay-z, there was Stevie and Eydie.

FullSizeRenderI discovered Eydie Gorme a few years ago when my mom stumbled upon her solo album, Don’t Go to Strangers. I was immediately hooked to Gormé’s vocals. Her vocals go every where, moving from high to low and then side to side. I’m pretty sure they reach uncharted terriotory. She can equally convey humor as easy as she can strike you with a ballad. Gormé is easily one of the greatest vocalist of the 21st century.

Next, I first learned of Steve Lawrence through a few Steve and Eydie albums, until the day I found his 1962 solo album, Winners! I became a fan almost instantly when I heard his renditions of “Who’s Sorry Now?” and “Moon River.” It was a different side of Lawrence that I had not picked up on in his duets with Gormé.

Together they were an anomoly. When listening to Steve and Eydie it is easy to tell that they are the pinnacle of celebrity, musical duos. Gormé and Lawrence remained married until Gormé’s death in 2013. One can sense the love they had for each other when listening to their recordings. The songs they sing don’t even need words. They could simply speak gibberish and still convey the love they had for each other.

FullSizeRender 2This love is evident on a compilation album I found at a thrift store on Sunday. This album, The Longines Symphonette Society Proudly Presents Steve Lawrence and Eydie Gormé Together, gives the listener the tip of their heart-shaped iceberg. The album begins with the budding love song, “This Could Be The Start of Something” and quickly turns to their humorous sides with “I Remember it Well” (my personnel favorite) and “I’ve Got a Gal in Kalamazoo.”

Side B keeps the love alive with their Grammy award-winning song, “We Got Us.” The duo then shows off their acting chops with the semi-breakup, 50’s do wop inspired “You Can’t Be True, Dear.” This showed their talent of delivering a song regardless of content. The album concludes with the Christmas staple “Baby, It’s Cold Outside,” which is easily one of the best renditions of this song recorded.

Looking through my collection I realized that I have many of Steve and Eydie’s duet albums, but this one gives the best summary of their performances. Hopefully one day we can all experience a love like theirs. Until then, we have their recordings to give us a glimpse of what’s to come.

 

A Spring Record Haul…In January

Today I went out to a few record shops here in Oklahoma City, where it is 74 degrees! I haven’t taken a look at these stores in at least a month or more. I have been striving to save money and listen to what I have, yet that never satisfies us vinyl collectors does it?

I mean food, rent, or vinyl? I think the obvious answer is vinyl

I did sacrifice today though. Instead of keeping the vinyl I don’t like I took it back for trade in. I didn’t get nearly the amount I paid for them in the first place, but I’d rather somebody enjoy them then collect dust on my shelf.

IMG_1789I made my first stop at Guestroom Records. This is where I found the Tina Turner 1980’s compilation. It’s clearly an 80’s press trying to capitalize off of her Private Dancer success. I can never resist a Turner album I don’t have, even if it is merely a compilation.

Next I made a stop by Monkey Feet Music. They are a newer store here in the OKC metro, but I am quickly finding them a force to be reckoned with. I always find nice clean vinyl there and Chris, the owner, is always looking out for my favorites and suggesting new favorites. This is where I found my nearly mint David Bowie Let’s Dance, Cher’s disco infused Take Me Home, and The Judd’s first mini LP.

Sadly there is so much music and so little time. Out of my 1100 records I did not anything by David Bowie, but I have been listening to him constantly on Spotify at work. I think I have committed a music and vinyl sin not listening to him until now. May he rest in peace and his music live forever.

Lastly, I made a stop at my always favorite Trolley Stop CQYNQG0VAAAWC98Record Shop. I have been frequenting this store for a few years now and the owner, John, is a record genius. When you shop in there you find great records and get a great conversation. He is nearly an expert in musicians from Oklahoma. This is Where I found Dusty Springfield’s Custom Deluxe (A Japanese Import!) and Oklahoma’s own Lee Hazlewood’s, Houston.

Now I just have one problem. I have a friend’s birthday party tonight. Now I know I should be looking forward to this, but I really just want to sit at home and listen to all my new music. The struggle is real.

I guess I need to be a normal 25-year-old for a little while. Have a great day vinyl world and please let me know what you are spinning!

A Journey, The Brush and The Canvas

Life is full of journeys through family and friends, through your career, and through different life experiences. Everyday we wake up to embark on a new excursion, yet we are losing a subtle and contributive art form that has long been a companion through these journeys…the album.

imagesThe music album is being lost in-between gigabytes and a microwave society. In today’s time we want things quick and perfect. We don’t have time to sit and wait. We need it now and if it’s not supplied, we move on. This is clearly seen in the evolution of music and how it is now being produced. No longer do we buy full albums of artists, but instead we purchase the individually well-produced singles. The rest of the album has turned into perceivable waste.

Oddly, this evolution finds its root in the once archaic distribution of music. In the 1940’s and 1950’s, music began to be widely distributed by 10” vinyl records often called 78’s. These 78 RPMs (rounds per minute) often contained one song on each side of the vinyl disc. Although due to movie soundtracks and artists who recorded more than two songs at a time, these discs began to be provided in a book with individual sleeves for each vinyl.They would range from 10-20 pages, essentially creating an “album” of vinyl records.

$_1Artists began to embrace this concept and the 33 RPMs, 12” record was born. It could
now contain anywhere from 8-13 songs or more depending on the manufacturing of the disc. Artists were now given a larger canvas to paint their recordings on. One or two songs per release was not any longer a restriction. As time kept rolling and thousands of albums were being made, a new art form started to appear on these 12” discs, the concept album.

Concept albums began with the great American songbook musicians, including Frank Sinatra and Billie Holiday. They would record an album with one general theme. Each song was a new stroke of the paintbrush and by the end you had a full picture.

Towards the mid 1960’s into the 1970’s, concept albums took another turn. Instead of creating an over all theme, they began to create a story. Picture a pure audio movie. This is seen distinctively in The Beach Boys Pet Sounds and The Beatles Sgt. Pepper’s Lonely Heart Clubs Band and later in albums such as Pink Floyd’s The Wall and David Bowie’s Aladdin Sane.

Similarly, this trend then carried on to the idea of recording concerts live and releasing them on vinyl discs. In this regard, people who were unable to attend a concert of a particular artist were able to experience the sensation and aura of a live performance. Each recording was “one of a kind”, providing listeners with a more candor approach to artists. Peter Frampton’s Frampton Comes Alive and Aretha Franklin’s Aretha in Paris are perfect examples of this impression.

digital-music-converter-1Today, this art form is being lost in the array of music distribution and format. This began with the creation of file sharing sites Napster and Limewire. Once those were deemed illegal, the creation of the iTunes store and the purchase of individual tracks on sites like Amazon now provided this service. No longer did you have to buy an album for a particular song. One was not automatically forced to listen to the rest of the artist’s picture, but one could now create their own image of artists by downloading songs fitting their prerogative. This movement has forced record companies and artists to focus all their energies in a select few tracks of an album. These tracks are the singles and the others just become mediocre fillers that barely see the light of day.

Incidentally, this has resulted in the degradation of the album, which has also resulted in the simplification of individual artists. It is not often we find the overall performer who can sing and touch on every kind of song to create any concept.

Now there are still artists and albums that champion this idea, such as Adele’s 21 and Eminem’s Relapse, but these are few and far between. Yet, the music industry is going to continue to follow down the path of dumbed down albums at the price of genius singles.

$T2eC16V,!zEFIfKbzlz-BSYQl55-MQ~~60_12Although artists are beginning to take back this art form with the resurgence of the 12 “,
33 RPM, vinyl record. Nevertheless, the sales of these records are not enough to save the album. In the larger picture, these are appreciated by a few, while the majority are simply satisfied with the iTunes top songs chart or Spotify’s “Today’s Top Hits” play list.

In the end, the concept album evolved to take listeners on journeys essential to life. Music is the one intangible object that occupies nearly every part of your brain. This gives music the power to channel emotion like no other medium, providing every set of feelings imaginable. This is the essence of what is being lost through an ever-evolving negligent and impatient society. We want quick music to give us a quick high, yet we are robbing artists of their full potential and our own solace in the art of the full, concept album.

Most importantly, we are erasing creativity for the sake of time. We now lose ourselves in data and work, while neglecting how we can take part in art and its many forms. The album and its concepts provide the escape, relaxation, and comfort desperately needed in today’s society. Albums and their concepts provide journeys and escapes that everyone needs, but we just simply don’t have the time. Society no longer gives the artist the brush to paint the full picture. We barely get finger paintings.

Dolly Parton, “New Harvest…First Gathering:” Live Thanksgiving

Thanksgiving is a bittersweet holiday for me. At one time I had a tight-knit family that willfully and joyously spent the day together. Unfortunately, that family has dispersed and disappeared. Cousins start having their own kids, grandparents start going downhill, and bonds break. Sadly nobody has acknowledged what has been left behind.

I have come to a realization in my life that Thanksgiving is more than just turkey, stuffing, and Grandma’s peach cobbler. Instead I am chosing this time to focus on the life I live. It’s easy to ignore the good things in life, things we should thank God for everyday.

600x600srThe other night I came home and was extremely angry and upset. It’s never easy fighting with someone you are close with. So I did what I always do, I threw on a record. I’m not sure what prompted my choice, but I decided to give Dolly Parton’s 1977 album, New Harvest-First Gathering a spin.

The album opens with “Light of a Clear Blue Morning.” This was the only single from this album and it climbed its way to eleven on the Hot Country Charts. The message of this song immediately impacted my emotions. Parton sings, “Cause I can see the light of a clear blue morning. I can see the light of a brand new day….It’s gonna be ok.”

The lyrics resonated with my exact situation and how I was feeling. Parton showed me that there was still tomorrow and she assured me through her brisk and sweet, yet potent voice, that it was all going to be ok, even if I could not see it now. With its gospel infringed instrumentation and backing vocals, this song is nothing but inspiring.

Following this hit comes “Applejack.” A classic Parton story tune where she tells stories of a man who was once called Applejack. He also happened to make the best applejack in town, but he could play the banjo too. We all know Parton can’t give good strumming of a banjo. The song ends with her remembrance of good ol’Applejack and how she is thankful for the lessons she learned on his porch. I cannot count the number of people who fit this exact impact Parton speaks of in my life.

Dolly-Parton-1970s-4Parton then gives Motown a twist with Smokey Robinson’s “My Girl.” She changes the
lyrics to “my love” while giving this song a complete new image. She sings this song almost as a whisper which chimes of her own story and romance. Parton’s husband is much more reclusive then Parton, and there is barely ever a sighting of him. She has a quiet, but strong love, and she doesn’t need to scream that into the world to validate what she has. She was simply contemplating her thanks.

She ends side A with a ballad she wrote both the music and words to, “You Are.” She expressed her love for her husband by stated that he is her inspiration, what makes her happy, and everything she would ever want. If you take this song and mix it with “My Love,” I am convinced that if clouds could sing this is what they would sound like. Her voice is heavenly.

She opens side B with “How Does it Feel.” I was expecting a heart wrenching break up Parton song that she can so generously write, but instead she simply had one question. How does it feel knowing that there’s someone who loves you? It made me think and identify those I am thankful for in my life.

This song is followed by “Where Beauty Lies in Memory.” The song tells the story of a woman that remembers her life as it once was in which Parton concludes “When beauty lives in memory, it lives forevermore.” That’s where my Thanksgiving is. My memories will always live in my mind. I have just not decided exactly what to do with them yet.

Parton then turns “(Your Love Is Taking Me Higher) Higher and Higher,” a number one for Jackie Wilson in 1967, into a gospel medley that you can see any choir swaying to. A good song never dies and ten years later when this album was made, it was resurrected into a new being. This sentiment ties right into Parton’s closing song “There.”

b7569341a49066f8b4179e8af8f97b17“There” is a song of hope that ensures us of a clear blue morning. She sings of what is to become when push comes to shove, when weapons are set down, and peace is resonated among God’s people. She wants to be taken where “lambs lie with lions,” “the meadows grow greener,” and “where there is complete love.” She incases this in a powerful composition that will leave you in goosebumps. The song’s beginnings are chilling, but you can’t utter any other word but Hallelujah when it ends.

She gives the message everybody wants to hear and be a part of, an eternity of love. There is no damnation in her voice; she is simply reminding everybody of God’s promise of eternal life and love.

So in the end there is no need for Thanksgiving, or this time of year, to be bittersweet for me. I am thankful for the memories I have, the people who have impacted my life, and a God that promises me eternal love. I will eventually live a life of Thanksgiving with Him, but for now I must make the best of it on this earth.

It amazes me that Parton nearly wrote the lyrics and music to every song on this album. This record is a testament of her love for family, friends, and Savior. For me it was not just a collection of tunes, it was a reminder.

A reminder of blessings and a God of love that has a place for me. I will see the light of a clear blue morning. I will remember all the blessings in my life and give thanks for what was then and now. I will be taken there.

This album also reminded me that everybody needs to listen to a Dolly Parton album every now and then. I highly suggest it. It’s rejuvenating. As I approach this Thanksgiving, I plan to live it, and I am prepared for a new harvest and who knows what its first gathering will provide.

main

Thanks Dolly.

 

Adele’s 25: Nevermind, I’ve Found Something Like Hope

One lone morning around a month or so ago, I opened my Vevo app to much jubilation. There was a new Adele song and video! It was love at first listen. At first I was a little taken aback. I thought she was going to do a remake of Lionel Richie’s classic song and the beginning almost had me fooled.

So Adele is back. I was met with excitement and hesitation. I had been a huge fan of her record-breaking album 21. The Grammys that year were like the Superbowl for me. I nearly screamed at the top of my lungs when she won album of the year. If she had not won, I was prepared to organize a campaign to boycott the Grammys. I had a Facebook page ready to go live at any moment.

81q0mwIoc0L._SX522_But I couldn’t help being nervous and hesitant over new music from Adele. I didn’t know how she could ever top 21 or come close. I was afraid she was going to have gone “commercial” and that the songs would not be sung or written from her heart and soul like the rest. I had faith in Adele. The Adele of 21 would always be there, but I have also witnessed record companies ruin artists.

I was met with the complete opposite. As Adele has stated, “if 21 was a break-up album, then 25 is a make up album.” This is essential in understanding the themes and concepts of this album as a whole. She truly makes up with past and who she is within the walls of this album

When I first heard “Hello,” I knew we were in for another extraordinary album. I love the build up of this song. It starts out with just Adele’s vocals and simple piano chords. The song steadily goes up a mountain of trials and regrets. Then you have the chorus and climax that take this song off the cliff. This song proves that true belters still exist. This is a perfect first single as it promises Adele’s loyal fans that she has not lost her center.

“Send My Love (To Your New Lover)” is an outlier in this album. It does not fit into the album musically, but the song adheres to the concept of the “make up” album. As I was looking over the liner notes, I noticed that this song was produced by the famed Max Martin. That explains the extreme rhythmic dance feel to this song, as well as the slight over production. He is the man behind such classics as “…Baby One More Time” and more recently “Shake it Off.” In the end, it’s rhythmic, almost reggae feel is addicting, but I just don’t find this truly Adele. The words get lost in translation.

adele-hello-video-xavier-dolan-tristan-wildsNext we have “I Miss You.” The opening percussion of this song sets the song for a
dramatic console for Adele’s vocals. She contemplates on how she misses someone even though they are gone. She also gives us a taste of her beautiful head voice in the lines leading up to the chorus. I like how this song is stripped of heavy piano elements like much of her music. The percussion gives Adele’s vocals a new back drop that they thrive under.

The next stand out of the album and now the apparent second single, “When We Were Young” is the sequel to “Someone Like You.” Whereas “Someone Like You” hinged on the immediate emotions of the breakup and the finding of someone new, this song focus on an encounter years later. The song returns with strong piano riffs and melodies, and also mirrors “”One and Only” in its gospel vibe. Then there is that one note…..everybody who has heard this knows what I’m talking about. I won’t ruin it for you.

The piano keeps coming with “Remedy.” Adele’s vocals effortlessly combine with the piano into a stand alone instrument. The repetition of the piano riffs mirrors “Turning Tables,” which is due to Ryan Tedder (an Okie!) being the cowriter on this song as well. This song has many more highs and lows. Adele offers herself like she never has before in a song. She wants to comfort the one she loves by being her partner’s remedy. She is offering her love with no regret. This is something new we haven’t seen from her lyrically.

Adele-adele-29997410-500-375The first song on side B is “Water Under The Bridge.” This song now shows a strong Adele, basically asking what the hell? She asked to be let down gently, because the love she feels isn’t over, yet he still seems to be playing her on with different actions and emotions. The song again ventures off Adele’s typical style with more percussion and replacing the piano with more synthesiser vibes. Lyrically, this song is the prequel to “Set Fire to The Rain.” She still wants to rescue what her and her partner have, but needs to know the direction. She does not have anymore time to waste.

One of my favorite things I love about Adele is the way she intertwines themes in her albums over time. You watch her mature with her music. “River Lea” is today’s “Hometown Glory.” The River Lea is a real place located next to where Adele grew up in the United Kingdom. In “Hometown Glory,” Adele talks about the strength of a small town and what she learned from it, but in “River Lea” she is showing how that story now finds itself in her relationships. She is simply an extension of her roots. This song has a strong bass beat that really flavors up Adele’s vocals into something mystical. “River Lea” is a collaboration of Adele and the producer, Danger Mouse. An odd pairing that created a stirring art work.

“Love in The Dark” finds Adele with a full-scale orchestra. This is a song of strength. It can almost be the levelheaded, mature answer to the full album 21. She explains how she can’t act anymore within a relationship, but she can’t deny that it has had a profound impact on her life. She shows strength with heart. She is not coming from just her own borken heart, yet she wants to end any future or current pain for her partner as well. This song’s orchestral arrangement lifts Adele’s vocals into a hard, yet sentimental place.

photoNext there is “Million Years Ago.” Instrumentally this song is simple, consisting of an
acoustic guitar and bass. The song gives off a folk vibe with a tip of a Spanish tango and some eerie chanting. This song personifies a soul lost. She is trying to put the pieces of her life back together by returning to her roots, yet she seems to be ashamed of what she’s become.

“All I Ask” is a stirring and contemplative piano ballad. Although many of Adele’s songs may be considered ballads, I find this to be the true stripped down, full on emotional ballad of the entire album. She is simply asking that if this has to be the last night she is with someone, she wants to end it romantically just in case she never loves again. This song clearly shows a heart deep in the ocean of love and she does not see herself finding air again.

“Sweetest Devotion” ties the whole album together and is the perfect conclusion. In the previous songs, you find happiness, regret, strength, hardness, vulnerability, and pure heartache, yet this song isn’t about any of that. She explains how she finally has found the face she has been looking for all her life and it is that of her son. This song shows how love  can overcome anything. Although she reminds us, the journey matters. Adele’s vocals take on another image. You can sense the journey of life within her vocals, yet more prominently, she sounds full of contentment and happiness.

adele_2013-650-430d-1That is the message I walk away from this album with, hope. That torn up man, who was comforted by the lyrics from 21, is still here and there is no denying that Adele still deals with her own hurtful past. That hurt person is still inside her, but she is surviving and overcoming. She’s made up with life.

Since 21 Adele has gained a new title, mother. I feel terrible saying this, but I was almost afraid we would have an album of “Because You Loved Me” moments. I was wrong in every sense of the word. She is a different person, yet she is still in tune to where she is from, where she has been, and now where she is going.

Adele leaves her audience with hope in 25. She reminds me to never forget my origins and to learn from my past. She also reminds me that life is not going to be easy, it will continue to ebb and flow, but that my best days are ahead of me. Through strength, ambition, and courage, I will never be defeated.

This album is what happens when you truly set fire to the rain.