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Everybody's on the Run<br />Dream on<br />If I Had a Gun...<br />The Death of You and Me<br />(I <span class="scayt-misspell" data-scayt_word="Wanna" data-scaytid="1">Wanna</span> Live in a Dream in My) Record Machine<br />AKA... What a Life!<br />Soldier Boys and Jesus Freaks<br />AKA... Broken Arrow<br />(Stranded On) The Wrong Beach<br />Stop the Clocks

It's right there; on the cover, the spine, or illuminating from your iPod screen. But it's hard to corroborate it in your mind. London singer-songwriter Adele's debut album is titled 19 , referencing her age, and there are hints it's true--its themes are almost exclusively concerned with young love's highs and (mostly) lows and there's a clipped estuary English tide-mark to her voice, allying her with the fresh-faced modern female songwriting guard; Lily Allen, Kate Nash, et al. But the sheer weight of her maturity--vocally, emotionally and in overall poise—really reduces that all to circumstantial evidence. Adele is carrying something much bigger here, you can't help but be consumed by it on"Daydreamer" with it's jazzy tip-toeing guitar and elastic vocal range and"Hometown Glory" with its deep, lonely piano serving as a bed for the raw emotional undressing that takes place above it. Draw a line between timeless, powerful singers like Ella Fitzgerald and the modern standard of Amy Winehouse; Adele balances and pirouettes confidently along that tightrope. Winehouse particularly informs the likes of"Cold Shoulder" and double-bass heavy"Best for Last", and that's not an alignment that's ever going to be easy to realise credibly. Needless to say, she does, with ease. On future classic"Chasing Pavements" she also gives a nonsensical phrase a handful of heart in lieu of meaning and when you can pull that off convincingly you know you're in possession of something special. Who dares to dream what bigger numbers could bring. --James Berry