Not even comparisons to Marvin Gaye and King David can put Miguel over the line…
[Video][Website]
[6.90]
Alfred Soto: Showing his maturation as singer-writer-producer, Miguel unleashes a howl and croon as wet as the water drop sound effect. The extra minute added to this single version provides more bed and sheets. Relax and enjoy it.
[8]
Sabina Tang: Achieves warmth in its three-minute run, but no urgency. I would award it extra points for interesting sound design, except the bottom end anchor of the construct is a continual buzzy bass that I find headache-inducing, rather like the effect I get from a vanilla “drydown” in perfumery.
[6]
Brad Shoup: The bass just ruts away; I presume if it had been embellished in any way, the result would be too retrograde? Miguel’s throwing off sweat trying to carry this Marvin homage. That he partially succeeds speaks to his ability to render ecstasy. And he almost got the fist part past me!
[6]
Will Adams: The beauty is waiting for that growling bass to break from its one-note routine to join in the harmony, as if even something as gritty as itself cannot resist sighing along with those gorgeous backing vocals during the chorus. This makes me feel like I’m in love. I don’t even know with whom, but I’m in love, even with that strange “you” at the end threatening to break it down.
[8]
Ramzi Awn: Pared-down snap crackle ‘n pop like only Miguel can do. The result is a corner of sound that feels like discovering a secret Mario World level: it was always there, you just had to be in the right place at the right time to find it. The brevity of “Adorn” only illuminates the no-frills sensibility that signifies Miguel, highlighting his voice like a perfect pair of jeans. He makes it sound easy.
[8]
Jonathan Bogart: I mean, I guess he could probably do wrong. But I’ve yet to see any evidence of it.
[8]
Jer Fairall: The extra minute that differentiates this single version from the Art Dealer Chic original adds a not-unwelcome bridge that mostly serves to give it a more proper song-like form, but in either case the burps and twitches of the music remain at compelling odds with the sheer confidence of Miguel’s delivery, an uneasy seduction from a drop dead sexy seducer. If I’m still hotter for “Arch & Point” even after this, well, it’s usually hard to remember how and why the awkward part felt so awkward after you have moved so comfortably beyond it.
[8]
Colin Small: This is one of the most affectionate R&B tunes I heard in a long time, yet it somehow avoids the cheesy side of its “We Are the World”-style tone.
[7]
Anthony Easton: The angelic choir that rises almost past the church and the guttural bass percussion work as parentheses, bracketing feelings that are fairly stale, though “let my love adorn you” reminds me a bit of the Psalmist, so that’s a bit different.
[6]
Katherine St Asaph: Cool adornments. Where’s the song?
[4]