Posts Tagged ‘Loud’

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Rihanna – Unapologetic. (album review)

December 2, 2012

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Unapologetic might be Rihanna’s best album yet. In truth, I’ve been struggling to work out how to start a review of this album without referring to her previous masterpiece Rated R, which was a tour de force that exposed an angry, vulnerable girl trying to figure out the aftermath of love gone wrong. This album came out when I was in the midst of trying to untangle and deal with my own feelings of unrequited love, and resonated with me on such a level. On the other hand, Unapologetic comes out when I am happily in love and settled in my own life. This time, Rihanna’s narrative is quite different to my own – and yet Unapologetic, to its credit, still connects with the listener, drawing them into her fury that this time is more simmering than explosive (on Rated R, all-out rage only begins to subside into a quieter, more vulnerable, bubbling – yet nevertheless powerful – anger at around “Photographs”, two thirds of the way through the record).

Of course, Rihanna’s life has changed considerably since then. An even bigger star now than she was 3 years ago with the ability to only release number 1 singles, now she has a number 1 album to match. Meanwhile, her atomic breakup with Chris Brown (precipitated by his fists) has metamorphosed into media-baiting behaviour, ill-advised collaborations with Brown and the rumoured (likely true, if the photographs and ineloquent tweets and confessions of her ex are to be believed) rekindling of their romance. Unapologetic: why shouldn’t Rihanna forgive her abuser, her first love? Why shouldn’t she work with a hot male R&B star? Why can’t she misbehave, smoke, drink, party night after night like anyone in their early twenties? Despite what naysayers like to purvey, her career certainly hasn’t suffered for it. But the material on the album – none of which was written by Rihanna but all of which has a stamp immediately more personal than the scattergun Loud that hit dizzying heights all too infrequently, and than the ultimately unsatisfying Talk That Talk that petered out halfway after such a promising start – displays a thoughtfulness that suggests that while Rihanna may be “unapologetic”, she’s not unaware of what is going on around her, what is happening to her and certainly of what is being said or claimed about her. Unapologetic continues where Rated R left off: there are certainly hits, but nearly every song carries a depth of meaning that exudes confidence, confusion, sex and honesty.

Opener “Phresh Out The Runway” is swag personified, and is effectively Rihanna making an entrance. While it’s great to start the album, and an excellent song to listen to for an immediate energy boost when you’re half-asleep leaving the house on the way to work, it’s not the meaningful content I’ve discussed above. Neither is the other David Guetta collaboration, “Right Now”, a club diversion that rehashes previous album highlight “Where Have You Been” to pleasant but unremarkable effect. But on lead single “Diamonds”, we get a childlike chant, a sparkling midtempo strut and a powerful vocal that lyrically echoes previous megahit “We Found Love”: where there were “yellow diamonds in the sky”, now we are “shining bright like a diamond in the sky”. Rihanna’s vocals have grown more impressive over the years (whatever she’s smoking, I would like some) and where she may have simply been a vehicle for delivering hit songs even on the consistent Good Girl Gone Bad, now it’s she who transforms a song into a smash. The chorus is powerful yet sincere, and lyrics such as the telling “I choose to be happy” betray a sense of desperation in trying to convince herself that a romantic relationship is truly infallible rather than fleeting (as are the moments portrayed in the accompanying video). It’s a fantastic performance, and a refreshingly downbeat choice for a lead single that nonetheless packs punch.

The next trio of songs could all be described as downbeat yet potent, but each has its own place on the album. “Numb” works atop a sensual Egyptian-sounding ostinato and pounding drums, while Rihanna drawls monotonously that nobody “can’t tell her nothing… I’m impaired / I’m going numb, I’m going numb”. Interestingly, the vulnerability continues as the lyrics imply that for all her power and “double-dares”, Rihanna sees herself as the defective one. “Pour It Up” in contrast is celebratory of women who are in charge (like Rihanna, of course)… and yet the vocals and beats are submerged in aural tar, as if Rihanna is high off the champagne, weed and money referenced in the songs. None of these songs are instant, and yet on repeated listens they reveal themselves as worthwhile and interesting – “balling out” may not be as fun as it’s cracked up to be. “Loveeeeeee Song” is also very chill, working from a traditional R&B template that’s chopped and screwed into something less recognisable. It’s a romantic ballad dressed up as a nonchalant come-on. So far, the theme of Unapologetic is that appearances can be deceiving – Rihanna is flawless, cocky, confident, nonchalant, vulnerable, determined to be happy, numb, impaired, intoxicated, worried about “sounding too desperate”, in need of love and affection… It’s a spiralling morass of emotion dressed up as a percolating limousine ride.

Things become much more straightforward with “Jump” – i.e. SMASH. Dubstep breakdowns done right and made fresh and dynamic; a sample of “Pony” by Ginuwine that could have easily been problematic (as is so often the case when interpolating excellent material) but instead elevates the music; Rihanna is cocksure and forthright. But within a couple of songs, we have an explosive ballad that I saw described by a user on Popjustice as “fire and ice blasting out of the ground”. “What Now” is flawless and one of Rihanna’s best works – a mid-tempo ballad that quickly becomes bombastic, overwrought and emboldened by one of her best vocal performances to date. As drums explode and guitars roar to a climax, lyrics profess that “I spent every hour just going through the motions / I can’t even get the emotions to come out / Dry as a bone, but I just wanna shout”. The emotions certainly do come out, so palpably that the cut is utterly absorbing and one of Rihanna’s best. “Stay” directly follows this and is the quietest track on the album, serving as more evidence of Rihanna’s improvements as a vocalist and interpretative singer – she is capable of taking a song and breathe life into it, whatever the subject matter or emotional standpoint. It’s just been confirmed as Unapologetic‘s second single and appears to be a fan favourite, though I wouldn’t go any further than saying the song is fine – I would certainly champion other tracks over this one. But its contrast with the other songs on the album and with Rihanna’s usual output gives it its own place on the album.

“Nobody’s Business”, the duet with Chris Brown, is the perceived “event” of the album, sampling Michael Jackson to boot. But musically it’s a little bit flat – the existence of the duet says more than its sonic attributes. “You’ll always be mine, sing it to the world… ain’t nobody’s business.” Yet another contradiction in an album full of them, both lyrically and musically. Is Rihanna purposefully spiting all of those who supported her during the fallout of her abuse suffered at Brown’s hands? Is it offensive? Or are they just teasing? It seems very pointed when Rihanna sings “Let’s make out in this Lexus” – as opposed to what happened in a car last time! It’s a trying sentiment that seems difficult to understand – but once again, let’s remember that Rihanna is “unapologetic” so what does it matter? She is going to do what she wants, she’s young and in love, and hopefully she won’t get hurt again in such a way. “Love Without Tragedy / Mother Mary” is the album’s centrepiece that, like “The Last Song” from Rated R, captivates the listener with exceptionally personal exposure. Where the previous track aims to provoke without any substance to back it up, here the confessional actually reveals a lot. “I was his Marilyn Monroe / Brown eyes, tuxedo, fast cars / A James Dean on the low.” We are clearly taken back to that fateful night of Rihanna’s being attacked (and interestingly, she hints at Chris Brown’s alleged bisexuality to boot, which may or may not have something to do with the night in question).  The bravado of “Nobody’s Business” is completely gone here, and as the song transitions into “Mother Mary”, Rihanna sounds less sure of her swagger: “I swear I wanna change”. The lyrics touch on the nature of fame, as does worthwhile bonus track “Half Of Me”, and implies that whatever we think we know about Rihanna, us outsiders never get to see the whole picture and so we shouldn’t judge… but Rihanna understands that we inevitably will. As much as “Nobody’s Business” claimed to be happy-go-lucky and ready to dive into love-as-sex, “Love Without Tragedy / Mother Mary” shows much more depth of thought (as in “What Now”) and heart that encourages repeat listens. This is another highlight of Unapologetic.

The closing songs of the album feel like a plane coming into land. “Get It Over With” is sublime, like a song-length interlude that urges the climax to “come on and fucking rain”; anger gives way to fatigue and surrender to whatever will be, good or bad. “No Love Allowed” is, contrastingly, a deceptively sunny reggae song that once again confounds expectations set up by the previous song. But the lyrics are spooky and uncomfortable, as was its precursor in spirit, Loud‘s “Man Down”. In direct opposition to that song’s subject matter, here it’s Rihanna yelling “911 it’s a critical emergency / Better run run run and charge him with the 143.” It’s a neat (perhaps too neat?) inversion of “Man Down” and seems to shed more light on the Chris Brown saga… but as highlighted in “Half Of Me”, how much do we ever know about Rihanna? We’re not privy to the whole story – according to “Mother Mary”, she’s going to “make the best scene they’ve ever seen.” “Lost In Paradise”, last but not least, is a bass-heavy closer that implies the story is not over, because now Rihanna has to find meaning to the paradise she claims to be stranded in if she ever hopes to find her way out.

For an album where Rihanna does not carry a single songwriting credit (though she is an executive producer), Unapologetic sure feels personal. And honest: an album filled with contradictions that are often calculated but nevertheless sound/feel like they have genuine meaning. The journey of the album is consistently riveting and reveals its complexities on repeated listens. There may be few answers to fans’ questions (however many sordid details it provides), but this rings less as Rihanna being deliberately elusive and more as she herself not quite knowing how to proceed. After all, she’s naked on the damn album cover – how much more vulnerable can one be, clothed only in a flimsy gauze of words, slogans and hashtags? In a world where her lover became her abuser and now may become her lover again, and where soundscapes and lyrics distort and contort around and through her voice, the one thing – no, two things – Rihanna clearly knows is how to release hit singles, and how to craft a powerful album.

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fortissimo.

July 15, 2012

This week has not been the kindest. I’ve been scared, depressed, challenged and exhausted. Scared that in September, I might no longer have a job; depressed that if I didn’t find a source of income within the next two days, that I might have to move back to Bristol (which isn’t terrible in itself, but would feel like a massive step backwards and super-frustrating when I am due to move in with Toby in a couple of months); challenged to step outside of my boundaries and comfort zone, and apply for jobs once again; exhausted by the emotional rollercoaster of all the above! Toby was away in Manchester for two days, so I didn’t have as many cuddles to keep me going as I normally would; although I feel that perhaps his absence was a good thing because otherwise I might have vented to him a little too much!

The reason why I chose the title “fortissimo” for this blog, is that it has a double meaning: normally, we think of the musical term, where it means to play very loudly, as if at the height of a crescendo. But it also means “very strong”, and this perhaps is the theme of the week I’ve had. In the blog I wrote last week, I wrote about wanting to feel more vibrant as a result of the summer weather, but I also want to feel super-strong. Vibrant and powerful in a range of ways. Fortissimo, if you will.

I had people yell at me over the phone at the start of the week; I knew I was not in the wrong in each siutation, but considering the circumstances they were in, I understood that they were distressed. However, the way I felt after they took their frustrations out on me was proof that I am still very much in the process of developing a thick skin.  Two years ago, coming out of the QCG at UWE, I felt somewhat invincible: I had a wonderful new boyfriend, a fantastic new best friend, I’d just landed my first proper full-time job and my body was still banging (I am hoping that my healthier summer focus will help me get back to this state). I also felt confident – that I could really go out and get anything I wanted, and do anything I put my mind to. I think that I have / one has always been able to do this, but not without a certain sense of self-doubt on the inside. That year, the sense of self-doubt turned into a sense of self-belief. As I look at myself this week, I realise that that sense of self-belief has disappeared somewhat – and I want it back. I have to be stronger, more confident and less deterred by what others may say or do or think.

It looks more certain now that my job is in fact not in jeopardy, but I also feel that (due to changes at work which I don’t really feel I can talk about in the public domain) my sense of security is far from unshakeable. I won’t be totally reassured until I’m holding my contract in my hand (which apparently should happen on Monday afternoon), but it’s an improvement on the uncertainty I’ve been going through recently. Part-time work during school and university excluded, the longest I’ve stayed at a job is one year; this position was the one where I initially hoped (even without realising it) that I would break that pattern. I wanted something on my CV that showed I had commitment to a role. In feeling forced to look elsewhere, I confronted a sense of fatigue at completing yet more job applications (most, if not all of which I won’t hear anything back from – nothing personal, just the way it works), but also some questions (raised also by the article I read in Glamour recently): by not constantly challenging myself to go for higher positions, promotions, jobs where I would (for example) have to travel abroad sometimes, am I really challenging myself? There is a lot to be said for being safe and being based in one city – it makes life easy, and it means that once the working day is done, my life is my own and I can spend it with my partner and my friends. It’s a lovely sense of security (there’s that word again!); but at 26, I should still be challenging myself and shooting for the moon, right? And what’s more important – something on a piece of paper that shows I’m loyal to an employer, or an attitude and confidence that shows I am loyal and committed to my own development and achievements?

It’s a change to my thinking that I’ve tried to get my head around before, but only partly succeeded: we feel a misplaced sense of loyalty to our employers, because they pay us for what we do and provide us with financial security. However, we are the ones earning the money, learning new skills constantly, and we should be less afraid to confidently negotiate positions and salaries as we see fit: if you don’t try, you don’t get! If employers don’t want to pay for our services, they don’t feel bad in saying goodbye; why should I feel guilty in looking around at what other options might be available to me, in case something better comes along? A professional relationship should work two ways.  Don’t get me wrong, I feel comforted by the fact that I probably won’t lose my job, because it makes things easier and more stable for me and Toby moving in together in the Autumn and being able to put a deposit down on a new flat, but I’ve been forced to think that while we are young, we should be confident and assertive in going for opportunities that present themselves, and in creating opportunities where none are immediately evident. Sometimes one is lucky, other times one must make his/her own luck. So contract or not, I’m going to keep an eye on what jobs come up (both internal and external), so that I’m ready to apply for something better that takes my fancy.

Another surprising development where I’ve really had to draw on some strength is in my cigarette consumption; somehow I’ve found myself promising Toby and a few other people that I will quit smoking in 2013. I’ve joked that this might be December 31st, but really, it is one of next year’s New Year’s resolutions. I’ve prided myself on my stubbornness, and I know that I will be able to do it; when reading Diana Ross’ biography, one of the things that stuck with me is her saying “I’m going to quit smoking one day without any whining or fuss, not like other people.” And that’s exactly what she did! I admire that single-minded determination to change one’s life without wavering even in the slightest. But when I told a couple of colleagues this plan of mine (they’re not colleagues I usually work with, because I certainly don’t want any kind of scrutiny in my office), they said “well, do you really want to quit? If you do, why wait? Start now.” I must admit that that thinking makes total sense, but while I am getting to the point where I truly do want to stop smoking, I still enjoy it somewhat that I’m not ready right now. However, after a Wednesday night out with Nick where we made a new Icelandic friend called Sigga (who smoked a lot, and I smoked with her), I woke up the next morning hungover and with a very husky throat. I really didn’t want to smoke, and I didn’t have a cigarette until 1pm that afternoon. I had a total of 4 that day (normally, I smoke between 8 and 10 cigarettes a day), and from then on, my colleagues’ words were echoing in my head. I really could quit sooner rather than later, and I’ve focused on reducing my cigarette consumption with the hope that I could stop. I don’t know what I will do at work, as I will still want my breaks every couple of hours (particularly considering I rarely take a proper lunch break), and there are social and time-killing benefits to smoking. But rather than a physical sense of addiction, the hardest challenge will be conquering the voice in my head that yells “CIGARETTE CIGARETTE CIGARETTE” when I become conscious that I haven’t had one that day. I had 7 cigarettes the following day, and today I bought a pack of menthols (rather than my usual Marlboro Reds), of which I have had 6. Menthols have a different taste and less nicotine, and my idea is to wean myself off cigarettes, or at least permanently reduce my consumption. As anyone who has tried to quit smoking before knows (I did quit once in the past after I came home from my year abroad in Spain, but I had only smoked for a couple of months, so it wasn’t really the same thing) I don’t know if I’m ready to completely quit and declare myself an ex-smoker, because sometimes I really enjoy it and I’m quite attached to having a cigarette with alcohol, or before I go to sleep. Plus, I feel like I would be betraying (there’s that word again!) Mike, or Toby’s colleagues who like to smoke, if I no longer want to smoke with them. I also believe that truly conquering one’s addiction to smoking, alcohol or whatever truly means that we can still do those things when we genuinely want to without feeling any compulsion. If I gave up smoking completely, I would still feel subjugated by my addiction if I felt a constant sense of fear to have a cigarette for the rest of my life, in case it opened up the floodgates and I couldn’t stop again. True mastery to me means that I am in total control of every cigarette I have, knowing that I can trust myself not to have another one if I don’t want to. At this standpoint, I can say that I feel ready to cut down my smoking by about half (and recapture my full vocal power and some extra spending power each month to boot). So I have also been gathering my strength to do that.

Living life to the full, being loud and proud, and being strong and confident is a daily work in progress. It’s not always easy, and we can’t do it 100% of the time – I fully accept this. But when I go through a shitty week like this one, I’m thankful for the support offered by my partner, friends and family, but I’m also encouraged to recapture my own confidence and desire to reach the stars. I have so many goals in life that I not only am working slowly towards achieving, but that I am fully capable of – but it’s easy to get worn down and distracted by the daily grind that we learn to settle for a little less and choose safety over excitement. As long as I have financial security, the love of my partner, family and friends, I can do anything I set my mind to. But it’s also important not to forget to actually set my mind to new ventures and projects, rather than the same old ish! I believe that this is what I mean by living “fortissimo”.

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Top 10 albums of 2011.

January 2, 2012

So here is my other annual end-of-year post. I have been able to whittle down my list of favourite albums that were released in 2011 into a nice list of 10, and I have written a twitter-sized (ish!) review under each one. Enjoy and share your thoughts and favourite releases of the year too! 🙂

10. Drake – Take Care

Drake releases another heartfelt hip-hop album, smoother & more cohesive than his debut. Highlights: Take Care, Marvins Room, Shot For Me

9. Rihanna – Talk That Talk (read the full-length review here)

The midpoint between Loud & Rated R. Stellar first half, average 2nd half. Highlights: You Da One, We Found Love, Cockiness (Love It) / Birthday Cake

8. Nicole Scherzinger – Killer Love

Nicole’s solo debut blends killer pop with strong ballads showcasing powerful vocals. Highlights: Poison, Killer Love, Right There, AmenJena

7. Mýa – K.I.S.S.

Mýa continues to deliver solid R&B with her latest album deservedly re-released in the USA. Highlights: K.I.S.S., Take Him Out, Mess Up My Hair, Mr. Incredible

6. Nadia Oh – Colours (read the full-length review here)

The sound of the summer! Deliriously catchy, irresistible dance-pop with tongue firmly in cheek. Highlights: Jump Out The Window, Taking Over The Dancefloor, No Bueno

5. Jay-Z & Kanye West – Watch The Throne (read the full-length review here)

The rap event of the year with production and braggadocio so confidently executed, it couldn’t fail. Highlights: Niggas In Paris, Who Gon Stop Me, Murder To Excellence

4. Natalia Kills – Perfectionist

Masterful, dark pop with powerful imagery to match its consistently hooky and interesting songs. Highlights: Wonderland, Free, Zombie, Mirrors, Broke, If I Was God

3. B.Slade – Diesel

My discovery of the year – the best male vocalist I’ve heard in a very long time, with an impressive lyrical depth and stylistic range. Highlights: B.A.S.S., I’m Done, Do U Get Down?, Dorothy Humperdink, Never Again…, Sequel

(P.S. his new album Stealth. is also excellent, but that only came out on 25th December and I don’t feel I have listened to it enough to be able to judge it – however, it likely would have earned its own place on this list!)

2. Lady Gaga – Born This Way

Lady Gaga just keeps getting better, giving everything she has – heart and soul. Highlights: Marry The Night, Born This Way, Judas, Americano, Yoü and I, The Edge Of Glory

1. Beyoncé – 4 (read the full-length review here)

Genuine soul, classic ballads and earth-shattering uptempos make for Beyoncé’s best album yet. Highlights: the whole album! (you can skip Start Over and the bonus tracks if you’re pushed for time)

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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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Christmas list.

December 10, 2010

Since my birthday list was so popular and appreciated, here is a list for a few of the things that I would like for Christmas. Enjoy, and if you’re planning on spoiling me, thankyou in advance and I hope that you find this helpful!

Rihanna – Loud (Deluxe edition with DVD) – ***NANA GOT THIS FOR ME 😀 ***

Rihanna’s new album Loud was a disappointment to me, particularly compared to the excellent Good Girl Gone Bad and the stellar Rated R. However, although I haven’t bought it myself, I like enough of the songs to still want the CD, and I would appreciate it were someone to purchase it for me. The version with DVD would be particularly cool. 😉

Rihanna – Rated R Remixed

I would love this CD, as I can’t find it anywhere! The dance remixes all blend seamlessly, and every song is excellent and the dark lyrics and thematics of the songs work perfectly atop the crunchy hard beats. 🙂

Jay-Z – Greatest Hits (Deluxe edition)


P!nk – Greatest Hits (Deluxe edition with DVD)

P!nk is a fantastic artist who has amassed a scary amount of hit singles!  I want the deluxe package because although I have nearly all of the songs, it comes with a DVD which has all her videos on it, which would be particularly cool. 🙂

Snowball Microphone

Because of having to spend money on lovely but expensive new things (iPhone, new Macbook) to replace old possessions that broke, my aim to get a new microphone never happened, and so my recording of new material has had to wait! This would remedy the situation, and I could then get going on stuff for a new album! 😀

Lady Gaga Heartbeats headphones (red, to match my Ronaldo trainers 😉 ) – *** TOBY GOT THESE FOR ME 😀 ***

I think that Toby is buying me these – I wanted the red ones to match my trainers, and I thought it was about time I upgrade my audio experience, especially as these have recently been reduced to a semi-acceptable price. Plus, I have been feeling that I would like to add more splashes of red to my wardrobe, and these would be a perfect way to do that.

Stanley Kubrick Collection

I would love to possess Kubrick’s films, as his vision as a film-maker is profound and he tells stories so vividly and inimitably. Eyes Wide Shut is sexy, intriguing and eerie, while The Shining is chilling and an adept retelling of Stephen King’s novel, despite it veering away considerably from the book. A Clockwork Orange has a weird atmosphere that puts me on edge, Full Metal Jacket fascinated me in the 15 minutes that I saw, and I’ve always wanted to experience A Space Odyssey. I would see possessing this collection as furthering my cinematic education.

Shakira calendar

I only deal in official calendars, as the photography on unofficial ones is just shoddy and appalling. Despite the fact that this Shakira calendar boasts pictures that are a year old (from her She Wolf album photoshoot), she still looks smokin’ hot! And after two years, Ronaldo needs a rest. 😉 This is the best 2011 calendar that I have seen.

Shakira – Sale el Sol – ***NANA GOT THIS FOR ME 😀 ***

Talking of Shakira, her new Spanish album is stellar, but I haven’t gotten round to picking it up. So if someone wants to pick it up for me, they’d be more than welcome! 🙂

Trey Songz – Passion Pain and Pleasure


Disney DVDs

All the classic 2D animations!!! I have Bambi on DVD already (naturally!), but I would be thrilled to have Sleeping Beauty, Aladdin, Beauty and the Beast, The Little Mermaid, The Rescuers, Lady and the Tramp, Cinderella, The Jungle Book, Mulan… reliving my childhood and providing escapism whenever I need!

Dior Homme Deodorant Stick – *** I HAVE BOUGHT THIS NOW – couldn’t wait! ***

Dior Homme is probably my overall favourite fragrance. I have recently, finally decided to remove Lynx from my life, and so I have been using a deodorant stick of Jennifer Lopez Deseo for Men. This has finally nearly run out, and I can’t think of a better fragrance with which to mask my perspiration and start my day 🙂

h1

only boy (in the world).

November 13, 2010