Posts Tagged ‘chart’

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Rihanna – Talk That Talk (album review)

November 19, 2011

Rihanna’s new album Talk That Talk sits somewhere between Rated R – her creative and musical zenith, and Loud – her hit-laden album that couldn’t stop releasing catchy, radio-friendly #1 singles. This is very much a good thing – although the album is not quite as emotionally deep or jagged as Rated R, it has more edge to it than Loud did – think of it as Loud² with the lights turned down.

Lead singles “We Found Love” and “You Da One” are excellent examples of this. The former is a hands-up-in-the-air bittersweet love anthem that incorporates basic 4-to-the-floor dance just as previous lead single “Only Girl (In The World)” did. However, “We Found Love” is lyrically much more sparse and perhaps more potent as a result – the simple refrain of “We found love in a hopeless place” carries more weight. The excellent, vibrant and startling video further brought this song to life, emphasising the exhilarating highs (the high-energy production courtesy of Calvin Harris) and destructive lows (the simple, spare lyrics) of being in an all-consuming love. The album’s opening song “You Da One” is a sticky-sweet treat in the vein of mega-hit “What’s My Name”; it’s a shame that this didn’t come out in the summer, as it is a song to play in the car when you are riding with your boyfriend or girlfriend.

The first half of Talk That Talk is relentless; after “You Da One”, “Where Have You Been” turns the BPM up to ‘insane’, adds an irresistible call to arms in “Wheeeeeeere have you beeeeeeeeeen all my liiiiiiiiiiiiife”, and quickly becomes Rihanna’s best dance single since “Don’t Stop The Music”.  The album’s title track boasts a predatory rap from Jay-Z just like “Umbrella”, and Rihanna adopts a swagger which suggests that she is at once nonchalant and aggressively icy. It’s a curious dichotomy that defines Rihanna’s appeal – sometimes she is effortlessly stylish and seems to throw out hits that succeed in spite of their singer’s lackadaisical approach; and yet, there is some fierce and determined artistry in Rihanna’s heart to make her records work consistently, and to imbue them with heart and a range of emotions that has come through in her best material. At this point in her career, she commands respect.

According to “Cockiness” and its subsequent interlude “Birthday Cake”, Rihanna also commands the bedroom. “Suck my cockiness, lick my persuasion” / “I love it, I love it, I love it when you eat it” are lyrics so aggressively sexual and yet so explicitly chosen for their shock factor that you can’t help but admire Rihanna’s chutzpah. The cherry on top is that she delivers all of these lines as if she couldn’t care less. “Cockiness” is aided by some top-notch production from Bangladesh, while “Birthday Cake” gets dark and dirty thanks to The-Dream. (This song would have been the album highlight did it not inexplicably fade out after 1:18 – possibly the album’s most glaring fault! But fear not – Rihanna is apparently recording a full version, perhaps for a repackage? I am a cynic.)

Of course, in case you were in doubt, Rihanna has a heart too – ballad “We All Want Love” attempts and fails to recreate the epicness of Rated R‘s closer “The Last Song”, and is possibly an album low-point, although Rihanna sings earnestly. “Drunk On Love” is more successful – with a chunkier beat behind her, Rihanna sings about being intoxicated to the point that “nothing can sober me up”, and the desperation in her vocal is palpable.  After this, we’re back to the template of previous Rihanna songs, and “Roc Me Out” is a retread of “Rude Boy” that is perfectly acceptable, if hardly groundbreaking. The song is fine, but it would sound a lot better if “Rude Boy” hadn’t existed. “Watch n’ Learn” incorporates reggae flavour (which was one of the best and most welcome aspects of Loud) and improves upon Loud‘s “It’s Raining Men”. “Watch n’ Learn” is raunchy, as is much of the album, but it’s also laid-back, chilled and bouncy all at once. The closing ballad “Farewell” is somewhat overwrought, but Rihanna’s vocals are impressive and the lyrics speak about wishing a close friend / lover well, and selflessly not holding them back despite wanting to – which is a unique song topic. “Somebody’s gonna miss you / Somebody’s gonna wish that you were here” is a tender lyric that succeeds where “We All Want Love” fell a little bit flat.

Talk That Talk‘s bonus tracks are all decent. “Red Lipstick” reunites Rihanna with Chase & Status for some grimy dubstep; “Do Ya Thing” is another upbeat urban pop song; “Fool In Love” is a muted, electro-ballad that would have fit nicely in the main body of the album. In summary, Talk That Talk does not take the title of Rihanna’s best album; but given the circumstances under which Rated R was produced, that album is pretty special and unique and I wouldn’t wish her to go through that again. Talk That Talk perhaps ties with Good Girl Gone Bad for second place. It’s an album of contradictions – relentlessly sexual and yet unwittingly heartfelt in places; startlingly aggressive and yet disarmingly laissez-faire; there’s a bunch of hit songs on this record that nobody else could have delivered quite as well as Rihanna, and yet a lot of these songs are clearly inspired by earlier Rihanna hits. I believe that Talk That Talk is a calculated album designed for maximum chart success, but at the same time it sounds exactly like who Rihanna is and precisely what kind of music she personally wants to release. It’s a win-win situation for all concerned, including the listener – Talk That Talk is an irresistible ride.

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lady gaga & beyoncé – telephone. (video review)

March 14, 2010

At the end of 2009, I rated The Fame Monster at #18 on my year-end album chart.  Although I do stand by that chart and I don’t think I would really change any of the albums that are on there, in hindsight Lady GaGa would actually be somewhere in the Top 10 (possibly quite high up).  I didn’t think so at the time, but the funny thing about The Fame Monster is that it has hidden depths and its songs are actually really enduring.  What’s more, unlike The Fame, the songs are actually about deep topics such as domestic violence (“Dance In The Dark”), intoxication (“So Happy I Could Die”) and poisonous relationships (“Bad Romance”). I find it ironic that I’ve lambasted Lady GaGa for pandering to radio too much with her repetitive nonsense hooks (“p-p-p-poker face / papa-paparazzi / eh eh / ooh la la ga ga ro ma ma” and so on), but now I find myself appreciating her songwriting craft and finding her songs becoming more solid (although The Fame Monster is streets ahead of The Fame, so in a way I’m just acknowledging her artistic progression).  So I apologise somewhat for kinda turning off Lady GaGa and not giving her her due (although her fans / “monsters” are quite off-putting and need to be less militant), although if she could keep off the repetition of nonsensical syllables that would be good.  Because she doesn’t need to do that.

And so we come to “Telephone”.  The song is about suffocating relationships, and Lady GaGa herself has said that it doesn’t just have to be a romantic situation, but could also symbolise the fact that when her telephone rings, it’s always because she has to get back to work in the studio and she can’t escape that.  The song itself is pretty strong, although it’s not as progressive as some of the other songs on The Fame Monster and resorts to the 4/4 beat that has completely oversaturated popular music (and did so about a year and a half ago).  Beyoncé’s feature is a rapid-fire verse over double-time beats and keeps the song interesting.

The video for “Telephone” was released on Friday, and it has become something of a Pop Event.  The hype the video received even before its premiere was immense, and now it’s being hailed by some as the successor to Michael Jackson’s “Thriller”.  Others however are lambasting it for its apparent sexism and overt lesbianism.  I read in one place that you will remember exactly where you were when you first saw it, and that much is true (at least for me).  I had just returned home from work, it was about 3:30 and after keeping track of the video reviews on Twitter, I decided to give into my curiosity.  Upon the first viewing, I was a tiny bit underwhelmed but could still see the video’s bad and good points (of which my view hasn’t really changed).  I thought that Beyoncé’s appearance far outclassed Lady GaGa, not just because Beyoncé has had some acting lessons but also because Beyoncé is more of an effortless star (not in reality, but she doesn’t look as if she’s trying so hard).  I detested the overt product placement of Virgin Mobile, Chanel & the GaGa earbud headphones – but all the kids are doing it; I just expected Lady GaGa to have more class.  But then why should she? It’s money in the bank, and when your video is 9 and a half minutes long, you need some bank to be able to make that video look and feel effective and powerful.

I’ve rewatched the “Telephone” video a few times now, and each time my estimation of it has gone up.  While not exactly on iconic level (I think it’s far too soon to be throwing that word around; GaGa has only been around for 2 years), it’s another demonstration that Lady GaGa’s commitment to her artistry is strong, defiant and interesting.  The introductory jail scene serves to debunk the rumours of GaGa’s intersex status (duh), allows her to wear a host of outlandish outfits (striped shoulder-padded body suit / yellow police caution tape / super-studded leather jacket and underwear covered in chains) the best of which is undoubtedly the cigarette sunglasses (still smoking!).  The fashion continues with the huge black tricorne hat GaGa sports upon being bailed out of prison; the shredded USA flag (subtle!) clothes in which GaGa and Beyoncé dance in the diner scene; the folded geometric telephone hat and telephone receiver hairdo GaGa wears on her head; the leopardprint body suit à la Shania Twain’s “That Don’t Impress Me Much”; the closing lavender and black body sheets… not all of these ideas work (on a couple of occasions both GaGa and Beyoncé look nothing short of horrendous – for some reason, in the USA flag bikini and bright yellow hair, Lady GaGa reminds me somewhat of Ken from Street Fighter and I can’t shake this association!), but they all capture the viewer’s attention, and more importantly they all leave you with something to say after watching the video.  That’s possibly “Telephone”‘s biggest success – it provokes thought and inspires discussion.  We know this because even the broadsheet newspapers are talking about it.

I stand by my statement that GaGa does seem to be trying awfully hard at being controversial and “artistic”.  She’s made a couple of great videos now, but in view of the numerous costume changes (see above), storylines and scenes, it doesn’t seem to come easily.  For comparison, where better to look than her costar Beyoncé?  For the definition of an iconic music video, look no further than “Single Ladies”; everyone and their mama has seen that video and knows the dance.  The video is in black and white, has no storyline or costumes (other than a leotard and metallic glove), is done in one take and isn’t even an original idea (see Bob Fosse’s choreography on youtube). Most importantly, Beyoncé did it almost as an afterthought to her video for “If I Were A Boy” (which in my opinion is a truly beautiful, excellent video) without breaking a sweat; and yet this is the video that captured everyone’s attention.  Now, of course Beyoncé is not anywhere near as effortless as she appears; but she makes it look easy.  GaGa does not make it look easy, and although it’s admirable that she’s so committed to the symbolism and artistic integrity she conveys (and GaGa is clearly an intelligent and talented woman), I’m scared that because the media and the fans are so interested in her image, her look, and what she’s going to be wearing that they forget that Lady GaGa is actually a singer and a musician – the most important thing should be her music.  Which, as I said at the top, is actually quite good and shouldn’t get lost in all of the surrounding gloss, however layered and substantial that gloss may be.  What happens when Lady GaGa can’t get any crazier?  What about when she wants to strip away all the layers and be more vulnerable and natural?  Will everyone turn away from her then, because they just wanted the fancy clothes and elaborate videos?  Can people not listen to her music, her lyrics without the accompanying visual?  I hope I’m wrong, because if not then that’s pretty sad.

The storyline, just as the lyrics of the song itself, can be interpreted in various ways and I’m not going to get into that here; I think that some of the reviews I’ve read have been hilariously in-depth and I think that GaGa is intelligent enough to play along in pretending to have input heavy symbolism into outfits, storylines and lyrics where there is none; people seem to need to have a meaning to every single thing, whereas I often think that GaGa is just having fun and being crazy.  Which is great!  It’s entertainment.  And the “Telephone” video is certainly entertaining; I hated the product placement, and I don’t feel that the use of the Pussy Wagon was necessary (the Tarantino homages are apparent, with elements of Kill Bill and Pulp Fiction included) – but then that’s just because I find the Pussy Wagon unfeasibly garish.  Which, in Kill Bill, was the point, and I understand that.  I really enjoyed Beyoncé’s homages to the “Paparazzi” video in her poisoning the teacup, Minnie Mouse glasses and hand over her mouth when they censored the swearing.  I loved the Japanese cooking-programme style of “Let’s Make A Sandwich”, and the dialogue between Gaga and Beyoncé was intriguingly half-cheesy, half-hard-boiled (although Beyoncé can somewhat act, and Lady GaGa really can’t – yet).  Tyrese and Beyoncé’s subtitled conversation, spoken with only looks and facial expressions, was genius. The Thelma & Louise-esque ending neatly gave closure to the video, but also made viewers wonder what was in store (that “To Be Continued…”) for next time.

Overall, I thought that the “Telephone” video was excellent, and I’m intrigued to see how the music channels edit it down to song length.  It’s a thrilling watch, and while I’m not going to pretend that it is a perfect video, I think that to compare it to Michael Jackson’s “Thriller” is unfair; “Thriller” is not even Michael Jackson’s best video by a long shot, and Lady GaGa’s video deserves to stand in its own right.  “Telephone” is furiously entertaining, and shows an artist coming into her own, even if at this point the numerous costume changes and persistent homages, product placements and edgy fashion poses betray an artist not quite comfortable enough in her own skin to exude her artistry naturally.  Once it becomes a little more effortless (as it has for Beyoncé, Madonna and all the other greats), that’s when Lady GaGa will be iconic and symbolic of a new musical generation.  But she’s well on her way, and I hope that the media, fans and public will appreciate that, because I myself am learning to, little by little.

ps. If only my “Bad Romance” video treatment had ended in a jail rather than in a mental institution, it would have led perfectly into the “Telephone” video!  Ah well, can’t win ’em all 😉