Some context: Adele Laurie Blue Adkins was born on 5 May 1988 in Tottenham, London, to an English mother, Penny Adkins, and a Welsh father, Marc Evans. Evans left when Adele was two, leaving her mother to raise her. She began singing at age four and asserts that she became obsessed with voices. Growing up, Adele spent most of her time singing rather than reading; the last book she read was Roald Dahl's Matilda when she was six years old.
Adele is a mezzo-soprano with a range spanning from C3 to B5. However Classic FM state she is often mistaken for a contralto due to the application of a tense chest mix to achieve her lower notes, whilst also noting that her voice becomes its clearest as she ascends the register, particularly from C4 to C5. Rolling Stone reported that following throat surgery her voice had become "palpably bigger and purer-toned", and that she had added a further four notes to the top of her range. Initially, critics suggested that her vocals were more developed and intriguing than her songwriting, a sentiment with which Adele agreed. She has stated: "I taught myself how to sing by listening to Ella Fitzgerald for acrobatics and scales, Etta James for passion and Roberta Flack for control." Her voice has received acclaim from critics. In a review of 19, The Observer said, "The way she stretched the vowels, her wonderful soulful phrasing, the sheer unadulterated pleasure of her voice, stood out all the more; little doubt that she's a rare singer". BBC Music wrote, "Her melodies exude warmth, her singing is occasionally stunning and, ...she has tracks that make Lily Allen and Kate Nash sound every bit as ordinary as they are." For their reviews of 21, The New York Times' chief music critic Jon Pareles commended Adele's emotive timbre, comparing her to Dusty Springfield, Petula Clark, and Annie Lennox: "[Adele] can seethe, sob, rasp, swoop, lilt and belt, in ways that draw more attention to the song than to the singer". Ryan Reed of Paste magazine regarded her voice as "a raspy, aged-beyond-its-years thing of full-blooded beauty", while MSN Music's Tom Townshend declared her "the finest singer of [our] generation".
What do critics say about her?
A: The New York Times' chief music critic Jon Pareles commended Adele's emotive timbre, comparing her to Dusty Springfield, Petula Clark, and Annie Lennox:

Some context: Badfinger were a British rock band that, in their most successful lineup, consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. The band evolved from an earlier group called The Iveys that was formed in 1961 by Ham, Ron Griffiths and David "Dai" Jenkins in Swansea, Wales. The Iveys were the first group signed by the Beatles' Apple label in 1968. The band renamed themselves Badfinger and in 1969 Griffiths left and was replaced by Molland.
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley, who signed Badfinger to a business management contract in November 1970. Polley established Badfinger Enterprises, Inc., with Stan Poses as vice-president. This signed the band members to various contracts dictating that receipts of touring, recording, publishing and even songwriter performance royalties would then go into holding companies controlled by Polley. This led to a salary arrangement for the band, which various members later complained was inadequate in comparison to their gross earnings. Gibbins: "My first impression was, Stan [Polley] is a powerful guy", while Molland thought that Polley seemed more of a father-figure. At the same time, Polley was also managing Al Kooper, of Blood, Sweat & Tears, and Lou Christie. Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall. A financial statement prepared by Polley's accountants, Sigmund Balaban & Co., for the period from 8 December 1970 to 31 October 1971, showed Polley's income from the band: "Salaries and advances to client, $8,339 (Joey Molland), $6,861 (Mike Gibbins), $6,211 (Tom Evans), $5,959 (Pete Ham). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)". Although it is not known if the band members saw the statement, Collins certainly had, as his handwriting was on the document. Badfinger toured the US for three months in late 1970, and were generally well received, although the band were already weary of persistent comparisons to the Beatles. "The thing that impressed me so much was how similar their voices were to The Beatles", Tony Visconti (producer, "Maybe Tomorrow") said; "I sometimes had to look over the control board down into the studio to make sure John and Paul weren't singing lead vocals ..." Rolling Stone critic Mike Saunders opined in a rave review of No Dice in 1970: "It's as if John, Paul, George, and Ringo had been reincarnated as Joey, Pete, Tom, and Mike of Badfinger". Media comparisons between them and the Beatles would continue throughout Badfinger's career.
What prompted this?
A:
In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,