Song of the Day #1,941: ‘First Love’ – Adele

adele_19Sometimes the iTunes “randomness” is downright creepy.

A week ago I wrote about the difference in quality between Adele’s first and second albums, and this week the Random iTunes Fairy serves up a track from her debut to either prove or refute my point.

I’d argue that this little ditty completely supports my description of the album, 19, as a “bore.”

The music box production and meandering melody exhibit none of the confidence or emotional muscularity of Adele’s 21. This song goes nowhere, slowly.

So little to say but so much time,
Despite my empty mouth the words are in my mind.
Please wear the face, the one where you smile,
Because you lighten up my heart when I start to cry.

Forgive me first love, but I’m tired.
I need to get away to feel again.
Try to understand why, don’t get so close to change my mind.
Please wipe that look out of your eyes, it’s bribing me to doubt myself
Simply, it’s tiring.

This love has dried up and stayed behind,
And if I stay I’ll be alive,
Then choke on words I’d always hide.
Excuse me first love, but we’re through.
I need to taste the kiss from someone new.

Forgive me first love, but I’m too tired.
I’m bored to say the least and I, I lack desire.
Forgive me first love, forgive me first love, forgive me first love,
Forgive me first love forgive me, forgive me first love, forgive me first love

2 thoughts on “Song of the Day #1,941: ‘First Love’ – Adele

  1. Dana says:

    And to my theory from last week, here is a perfect example of a song penned solely by Adele without the benefit of being punched up by a co-writer or producer.

    This song actually has potential. As recorded, it almost sounds like a demo. Take away the music box metronome-like keyboard and actually slow it down with a more bluesy soulful accompaniment (think Prince or Anita Baker) and I suspect you would have a much better song.

  2. Amy says:

    I have heard so little of Adele’s first album, so I thank the random iTunes fairy for giving me something more to go on. I agree with Dana’s observation that the bones of the song have potential – whether it’s a co-writer or a better, different production style, I’m not sure – but I can envision what Dana describes above, and I’d like it much, much more than the creepy music box thing that’s happening here. You still have that lush Adele voice at work, after all.

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