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Celeb News: 'Talk That Talk' reviews
Member Since: 10/29/2010
Posts: 29,249
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Consequence of Sound - "Talk That Talk" Review:
Merely perpetuates, without enhancing, the Rihanna narrative
By: Chris Coplan
Barbadian pop princess Rihanna‘s latest album, Talk That Talk, is her sixth since her 2005 debut, Music of the Sun. It also happens to be her second album in the span of a year, following last November’s highly-lauded Loud. Rare is the artist who can return from a hit so quickly, yet Rihanna has done so rather fluidly. So, then, what does Talk That Talk do as a release to further her reign? How does it continue Rihanna’s journey toward total pop mastery hot off the heels of powerhouse Loud? If anything, it’s an album that merely perpetuates, without enhancing, the Rihanna narrative, rendering ear-catchingly awesome cuts and flop-tastic sonic duds alike.
As efficient and overall beneficial to her career as the approach may be, releasing two albums in such proximity could have negative effects on the Rihanna train. Because, beyond a shadow of a doubt, Loud is the superior monster, all thanks to its massive string of hits, including “S&M” and “What’s My Name?” What we get from Talk That Talk, though, are examples of creative stagnation in cuts like the title track and “Farewell”. The former features Jay-Z, who previously guested on a version of Rihanna’s super-hit “Umbrella”. This time around, the two titans create a track built on tired, half-hearted flows from HOV (including the eye-roll-inducing “Shawty must’ve heard, got the word, I move that D/Had it by a bladder, she like ‘Oh, I gotta pee’”) and a vocal performance from Rihanna with as much emotion and interest as her stuff with SNL. The most offensive offering, though, is album closer “Farewell”. The boisterous cut exemplifies every single complaint about Rihanna’s sound: vacuous, over-produced despite an under-developed concept, and as phony as the hair dye on her head.
While Loud may have been more of a pleasurable experience, it did rely more overtly on big-name producers/songwriters/etc. As a noticeable improvement, there are cuts on Talk That Talk that sound less muddled with the work of others (despite the opposite being true). “We Found Love”, even with the dubstep influences of Scottish DJ/producer Calvin Harris, sounds like the kind of pop track Rihanna should be making, with lots of dance energy, a swelling, anthem-like declaration, and vocals that feel flawed and yet evocative and rich in authenticity. Where Jigga overpowered Rihanna, Harris’ influence feels more collaborative. A similar case can be made for “We All Want Love”. The build is slow and Rihanna’s vocals are as spot-on as they should be. It’s not the giant-sized pop gem she needed, but it’s simple and effective enough, with some much-needed scaling back by producer No I.D. If there are any complaints from these two songs, it’s that they’re middle of the road, neither overpowering and alluring or painful and derivative. Their existence on the album is to distract from the bad and take away from the good.
And speaking of good, no Rihanna record would be complete without some kind of hits included. The problem is, though, that this album is lacking fiercely in the big-time, gargantuan smashes Rihanna has made her career on. Even still, there are a few sonic creations on Talk That Talk that give the listener something to celebrate. Riding on the back of the aforementioned “S&M”, “Cockiness” could be one of Rihanna’s best sex-infused odes to date. The sound is the diluted reggae Rihanna rose to fame with, but now drenched in a Major Lazer-esque glow. What really captures the ear, though, is the repetition of “Suck my cockiness/Lick my persuasion/Eat my poison/And swallow your pride down, down.” It’s the kind of delivery that is simultaneously a nudge and wink and still seeping with the warmth of this unshakable sex appeal. It’s cheesy and kitschy, but anyone is powerless against its advances. Doing away with almost all of that last track’s fun vibe, “Watch N Learn” is a fusion of Rihanna’s catalog over the last half-plus decade: She’s proud and sexual, but her confidence comes from elsewhere. The seductive swing of the modified reggae jam is as close to her roots as she’ll ever get, but there’s real tangible musical growth. It also proves that low-key Rihanna, without heaps of easily identifiable help or loads of over-saturated gimmicks, is still a knockout.
After a massive run in such a short time, the question now is where Rihanna goes from here. To delay an album any more than a year would ruin her buzz. However, to shell something out so ravenously could result in another effort that lacks any consistency and/or innovation. With those things in mind, the next inclusion in her catalog should be fairly integral for her career. Until then, we’ll just have to wait and hear what she has to say next.
Essential Tracks: “Cockiness”, “Watch N Learn”
RATING: 2.5/5=50/100
http://consequenceofsound.net/2011/1...medium=twitter
Reviews that count on metacritic
01. Entertainment Weekly: 83/100 http://preview.ew.com/ew/article/0,,20545856,00.html
02. The Telegraph: 80/100 http://www.telegraph.co.uk/culture/m...CD-review.html
03. The Guardian: 80/100 http://www.guardian.co.uk/music/2011...?newsfeed=true
04. MusicOMH: 80/100 http://www.musicomh.com/albums/rihanna-3_1111.htm
05. Spin Magazine: 80/100 http://www.spin.com/reviews/rihanna-talk-talk-def-jam
06. Sputnikmusic: 70/100 http://sputnikmusic.com/review/46572...alk-That-Talk/
07. Rolling Stone: 70/100 http://www.rollingstone.com/music/al...#ixzz1eMce6GMe
08. NY Times: 70/100 http://www.nytimes.com/2011/11/22/ar...imes&seid=auto
09. DJ Booth: 70/100 http://www.djbooth.net/index/albums/...talk-11211101/
10. A.V. Club: 67/100 http://www.avclub.com/articles/rihan...club_rss_daily
11. Boston Globe: 70/100 http://bostonglobe.com/arts/2011/11/...F4N/story.html
12. All Music: 70/100 http://www.allmusic.com/album/talk-t...2318208/review - NOT ADDED
13. Now Magazine: 60/100 http://www.nowtoronto.com/music/disc...content=183831
14. The Observer: 60/100 http://www.guardian.co.uk/music/2011...at-talk-review
15. Pitchfork: 60/100 http://pitchforkmedia.com/reviews/al...alk-that-talk/ - NOT ADDED
16. Slant Magazine: 50/100 http://www.slantmagazine.com/music/r...that-talk/2690
17. Los Angeles Times: 50/100 http://latimesblogs.latimes.com/musi...that-talk.html
18. New Musical Express: 50/100 http://www.nme.com/reviews/rihanna/12476
19. BBC Music: 50/100 http://www.bbc.co.uk/music/reviews/fzq4
20. Chicago Tribune: 50/100 http://www.chicagotribune.com/entert...4041412.column
21. Consequence of Sound: 50/100 http://consequenceofsound.net/2011/1...medium=twitter
22. The Independent: 40/100 http://www.independent.co.uk/arts-en...y-6263777.html
23. The Independent On Sunday: 40/100 http://www.independent.co.uk/arts-en...y-6265175.html
Overall MetaCritic Score: 64/100
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Member Since: 7/9/2010
Posts: 31,471
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Quote:
Originally posted by Blueberry Kisses
RR just a tiny tiny tiny bit > TTT > GGGB > Loud > AGLM > MOTS
I can never decide between TTT and Rated R, but Firebomb kind of swayed me.  |
Lies.
RR > MOTS > GGGB = TTT > AGLM > LOUD
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Member Since: 10/9/2011
Posts: 8,131
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No pitchfork or New york times yet?
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Member Since: 10/29/2010
Posts: 29,249
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Quote:
Originally posted by Flanders
No pitchfork or New york times yet?
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No, Pitchfork yet, NY Times is on the list.
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Member Since: 10/29/2010
Posts: 29,249
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Boston Globe - "Talk That Talk" Review:
Rihanna’s ‘Talk’ is hot and cold
We turn to Rihanna for kicks, sure, but also, thanks to a voice whose limitations give her a supple vulnerability, for a tinge of bittersweet pain. “Talk That Talk’’ is at its best when it’s working that angle, as on chart-topping advance single “We Found Love.’’ With a fluttering but mildly corrosive guitar and a beat that’s somehow booming and gossamer all at once, the openhearted “We All Want Love’’ is practically lit from within, while Rihanna takes her yearning to the club with the yank-and-stretch techno of “Where Have You Been.’’ “Talk That Talk’’ falls flatter when Ri-Ri slips into “S&M’’ mode and strains to present herself as aggressively sexual, as on the awkward tutorial of “Watch n’ Learn’’ and the otherwise solid seduction of “Roc Me Out.’’ (She admittedly comes close with the wordplay of “Cockiness (Love It)’’ and “Birthday Cake,’’ a Caribbean dub two-fer whose only printable lyric is “Come and put your name on it.’’) But when Rihanna sings “I wear my heart on my sleeve’’ over the snapping beat and ticking-clock pulse of “Drunk on Love,’’ her dark openness makes you wish she’d leave it there. (Out now)
MARC HIRSH
ESSENTIAL “We All Want Love’’
http://bostonglobe.com/arts/2011/11/...F4N/story.html
Counts for Metacritic
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Member Since: 4/13/2011
Posts: 8,569
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Rihanna can ‘Talk That Talk,’ but can she walk the walk?
By Randall Roberts 22 November 2011
Los Angeles Times (MCT)
LOS ANGELES — Were she willing to tip her hand a little earlier, Rihanna might have considered kicking off her new album, “Talk That Talk,” with “Watch n’ Learn,” which appears near the end of the 11-song release and best captures the Barbados-born singer’s most prominent obsession. On it, Rihanna, who over the last half-decade has risen to become one of the most successful pop artists in the world, outlines the myriad ways in which she’ll have her way with a lover.
On the bed, on the couch, on the floor, till you’re making faces, till you can’t take it no more, slow, until her lipstick ain’t up on her face no more. Rihanna reels off her carnal intentions with an impressive though not entirely believable candor.
The 23-year-old star, who’s been gliding toward the edges of pop propriety since her first hit in 2005, has progressively pushed toward NC-17 territory, moving from the insinuation of “Umbrella” to the naughtier “Hard” and the Caribbean-flavored murder ballad “Man Down,” from 2010’s “Loud.” The parental warning stickers have done wonders for her career, but the sauciness sometimes borders on shtick.
That said, “Talk That Talk” is not entirely sex-obsessed. For balance’s sake, and because she’s making music in the pop realm and beholden to relatively conservative mores, Rihanna on “Talk That Talk” also harnesses her producers and songwriters — including Dr. Luke, StarGate, Alex Da Kid, The-Dream and others — to focus love above the waist and how passion affects both the body and the mind. Throughout, she plays on the idea that we all want the same thing out of life — to be “drunk on love” (as she sings in a song of the same name).
She eases into her bed over the course of the album, first with a loving confession — “You Da One,” a Dr. Luke-produced jam with a hint of Jamaican roots reggae and a punchy synthetic rhythm — then with wandering desire and heartbroken regret. There are odes to bad love — “We Found Love” — and universal love — “We All Want Love.” “Drunk on Love,” which samples the slow-burn melody of the XX’s “Intro,” finds Rihanna confessing that love is the only thing she needs.
She delivers her sentiments inside a pan-American pop sound with a hint of the long musical conversation between the Caribbean and Americas. It’s a stylistic accent that she’s carried with her from Barbados, though she employs it with her collaborators enough to suggest her lineage without alienating Middle America. She can slip into a convincing patois when so inclined but seldom does so on “Talk That Talk.”
Rather, Rihanna wants her music to bang, and she does so by continuing to mine the connection between R&B, hip-hop and house. A few of these tracks, most obviously “We Found Love,” her collaboration with Scottish producer Calvin Harris, and “Where Have You Been,” wouldn’t be out of place at Electric Daisy Carnival.
Even the slower songs feature double-snare riddims that suggest energy, even when paced down; overall, the bass is heavier, the sounds are nastier, and by the second half of the record, Rihanna’s intentions are decidedly, unapologetically .... hornier. Call it Technotronic on steroids, Lady Gaga on Viagra, Millie Jackson on ecstasy: These are pumped-up hits aimed at the pelvic region.
But ultimately, Rihanna’s making only superficially dangerous music. Without the visual prompting of her music videos, even the bawdiest lyrics are kept within the realm of average American propriety. Yes, there’s some breast and booty, but Bo Carter was way raunchier in the 1930s with “It’s Done Got Wet” and “Pin in Your Cushion” than Rihanna is in 2011 with “Cockiness (Love It)” and “Birthday Cake,” both of which feature lyrics that wouldn’t seem out of place on Spinal Tap’s “Smell the Glove.” (“... cake, cake, cake, cake, cake, cake, cake/ I know you wanna bite this.”)
For all the innuendo and introspection, “Talk That Talk” contains little sweat, slobber or fluids and a lot of plasticized, inflatable insinuation. (Recall her song “S&M,” which name-checked whips and chains without ever having to use the words sadism or masochism.)
The hottest lines on the album come nearly as an afterthought on the all-too-brief “Birthday Cake,” produced by The-Dream. “I know you wanna bite this/ It’s so enticin’/ Nothin’ else like this/ I’mma make you my bitch,” she sings. But as if the network censors had let the song run before realizing their mistake, a little over a minute into it the music fades out, just as it’s getting dirty, leaving us wondering whether Rihanna really believes what she’s selling on “Talk That Talk.”
from PopMatters.com - already added to Metacritic as a 75 !
The Boston Globe was assigned a 70 so overall the album is a 65 
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Member Since: 2/17/2010
Posts: 21,811
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Score up to 65 
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Member Since: 9/12/2011
Posts: 18,018
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Quote:
Originally posted by Яeo.
Score up to 65 |
That's good.
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Member Since: 10/29/2010
Posts: 29,249
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The Pop Matters review shouldn't be added... They haven't actually reviewed it.
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Member Since: 10/29/2010
Posts: 29,249
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All Music - "Talk That Talk" Review:
by Andy Kellman
Despite sounding rushed to capitalize on fourth quarter sales, 2010’s Loud proved that Rihanna’s reign indeed would not let up. The album’s first three singles topped the Hot 100. A fourth one merely went Top Ten. Just as Loud was losing its grip, during the fourth quarter of 2011, Rihanna fired again with another number one single, “We Found Love” -- its success more likely due to the singer’s ecstatic vocal than Calvin Harris' shrill, plinky production. While Talk That Talk is built like another singles-chart-devouring machine, it’s both more rounded and less random than Loud. “We Found Love” and “Where Have You Been” -- the latter with a quote from Geoff Mack's “I’ve Been Everywhere” and echoes of the chorus from Adele’s “Rolling in the Deep” -- function as place-holding dance tracks, and there are a couple empty anthems and ballads in the drippy “We All Want Love” and the bombastic “Farewell.” It’s the darker and dirty-minded material that tends to be most effective -- where Rihanna is more alive and believable, where her collaborators provide the most adventurous productions. In the Bangladesh-produced “Cockiness (Love It),” one of the most hypnotic and wicked beats of the last decade, Rihanna absolutely relishes the chance to sing-taunt “Suck my cockiness, swallow my persuasion.” Two of Stargate and Esther Dean's three contributions -- the desperate, xx-sampling “Drunk on Love“ (“Nothing can sober me up”) and the prowling “Roc Me Out” -- pack more sleek menace than Rated R's “G4L” and Loud’s “S&M.” The album’s best track, however, is the wholly sweet and flirtatious “Watch n’ Learn,” featuring a dizzying Hit-Boy beat -- rat-a-tat snares, swirling/swelling synthesizers, irresistible plucked melodies -- that is even more unique in the context of 2011 pop radio than his work on Kanye West and Jay-Z's “Ni**as in Paris.” Behind Good Girl Gone Bad and Rated R, this is Rihanna's third best album to date. Minus the fluff, it's close to the latter's equal.
RATING: 3.5/5=70/100
http://www.allmusic.com/album/talk-t...2318208/review
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Member Since: 6/15/2010
Posts: 14,318
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Quote:
Originally posted by DG1
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The independent is such a ****ing troll I can't even.
On 4: 60/100 and 40/100
On Femme Fatale: 40/100 and 30/100
On BTW: 60/100 (they spared her from an awful second review)
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Member Since: 7/13/2010
Posts: 11,566
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Good rebound  mid 60s is a good grade/a deserving one.
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Member Since: 9/17/2011
Posts: 9,051
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Will PopMatters be added?
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Member Since: 10/29/2010
Posts: 29,249
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Quote:
Originally posted by RihRihGirrrl
Will PopMatters be added?
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Pop Matters have not reviewed it yet...
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Member Since: 9/17/2011
Posts: 9,051
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Quote:
Originally posted by DG1
Pop Matters have not reviewed it yet...
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ok....I know Billboard did a track by track review but didn't give a score, do they ypically rate the album or just do the track by track review?
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Member Since: 10/29/2010
Posts: 29,249
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Quote:
Originally posted by RihRihGirrrl
ok....I know Billboard did a track by track review but didn't give a score, do they ypically rate the album or just do the track by track review?
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They usually do both... They did a track by track review for Beyonce and an actual graded review after...
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Member Since: 9/17/2011
Posts: 9,051
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Quote:
Originally posted by DG1
They usually do both... They did a track by track review for Beyonce and an actual graded review after...
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gotcha...so we're still waiting for 5-10 reviews?
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Member Since: 10/29/2010
Posts: 29,249
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Pitchfork - "Talk That Talk" Review
Talk That Talk feels unsuitably robotic. Heavy on filler even though it's only 11 tracks long, Rihanna's sixth album feels not only slight but muddled, an assortment of half-baked ideas that never bloom.
By Lindsay Zoladz
"We found love in a hopeless place." Over a frantic, Calvin Harris-produced, Guetta-meets-"Sandstorm" beat on her sixth record's lead-off single, Rihanna repeats these words almost 20 times. "We Found Love" ranks among Ri's best singles because it recognizes that there's not much more that needs to be said: in three and a half minutes, the line moves from being a great pop lyric to a triumphant mantra to something suggestive of a whole spectrum of unspoken emotion. The best pop music transports you to somewhere beyond words, and Rihanna's strongest singles are all seem to be in on this secret. Need I remind you of some of her most powerful hooks: Ella-ella-ella-ay. Oh-na-na. Ay-ayy-ay-ayy-ay-ayy.
But as anyone with a Twitter handle will tell you, these are chatty times, and in 2011, the pop landscape's fittingly caught between two maximalist extremes: the winking theatricality of Nicki Minaj, Lady Gaga, and Katy Perry, and the dribbling confessional-pop of Drake, Kanye West, and (yes, they're more alike than they'd like to believe) Taylor Swift. Barbados-born, millions-selling, armfuls-of-awards-winning Rihanna has found staggering success (23 years old; eleven #1 singles and rising) borrowing a little bit from each of these tendencies. Her recent music videos have dabbled in trendy pop artifice (check out her neon-hued, irresistibly smiley turn in Guetta’s "Who’s That Chick?" or the David LaChapelle-aping-- literally-- "S&M"), while her brooding and personal 2009 album Rated R commented-- however obliquely-- on her public struggles. Rihanna seems more comfortable flitting between these two extremes than settling on either, but her past two albums have at least had some thematic cohesion. The same can't be said of Talk That Talk: Heavy on filler though it's only 11 tracks long, it feels not only slight but muddled, an assortment of half-baked ideas that never bloom. A stitched-together collection of club bangers, sleaze-pop missteps, and mid-tempo inspirational ballads, Talk That Talk feels at times like three different records, only one of which might have been any good.
Of course, what we're supposed to be talking is about how this is Rihanna's "dirtiest" album yet. Early blog chatter reported to lots of critics blushing in preview listening sessions and making questionably bold declarations ("The dirtiest pop album since Madonna's Erotica!") that suggested that they listen to very little pop radio, or that they have never been to an R. Kelly concert. Talk That Talk's raunchier moments should surprise no one: Rihanna's always been singing about sex-- she's just never shown such an unfortunate proclivity for cheesy lyrics and dessert metaphors. "Suck my cockiness/ Lick my persuasion," Ri commands on the embarrassingly literal "Cockiness (I Love It)", hoping the boldness of the delivery will distract you from thinking about what a clunky line it is (it won't, though Bangladesh's beats might). The Esther Dean-penned "Drunk on Love" features a weak chorus lyric and vocal whose bombast feels out of place in the track's laid back, xx-sampling atmosphere. Clocking in at a puzzling-yet-merciful one minute and 18 seconds, The-Dream co-produced "Birthday Cake" is even more heavy-handed (lots of icing puns). There are flickers of empowerment here, but mostly it proves little more than the fact that a female artist can be responsible for Jeremih-grade cheese, too. A Rihanna album has never been without the occasional lyrical misfire ("Sex in the air/ I don't care/ I love the smell of it" comes to mind), but at least on a track like "S&M" she sounds like she's having fun. For a record so preoccupied with passion and pleasure, most of Talk That Talk feels unsuitably robotic.
At least things start out strong. Talk That Talk's saving grace is its first stretch of tracks: the blithe and tropical "You Da One", "We Found Love", and the album's other Harris track "Where Have You Been", which doesn't stray much from the single's winning formula, a simple lyric of romantic longing that explodes into a club-ready beat. And though it's no "Umbrella", the Jay-Z reunion "Talk That Talk" is one of the more playful moments here, though I'll say that the patented H.O.V.-giggle doesn't feel entirely earned following a line like: "Had it by a bladder/ She like 'oh I gotta pee'."
I've read some comment-section conspiracy theorists who believe Rihanna is in single-minded pursuit of Hot 100 domination, and the rate at which she's pumping out albums (roughly one a year since 2005) is an attempt to populate the singles chart until the end of time. There might be some truth to this (her singles collection is going to be killer), and with "Death of the Album" prophecies ever looming it's worth wondering whether or not that's such a crime. But 2011 found plenty of pop artists still breathing new life into the format: Beyonce's 4 and Lady Gaga's Born This Way were probably the most solid examples-- two bombastic records that also explore the nuance of their respective artists' personas. Talk That Talk tries too hard to send a more one-dimensional message and ends up falling flat: Rihanna's obviously going for sexy here, but her music's at its most alluring when she's blissed out in her own reverie, not taking the time to spell it all out for us.
RATING: 6/10 = 60/100
http://pitchforkmedia.com/reviews/al...alk-that-talk/
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Member Since: 3/3/2011
Posts: 23,567
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Well, I expected them to either use their review to shade 'Born This Way' or to take the Rated R path. I guess it was the latter.
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Member Since: 10/29/2010
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NY MAGAZINE
Rihanna keeps making music so you’ll not stop thinking about her; Drake, because he can’t stop thinking about himself.
By Nitsuh Abebe
‘Ithink you become disposable when you put out an album every three years.” So says Jay Brown, longtime manager for the Barbadian pop singer Rihanna—by which he means you need to produce more than that. Like Rihanna, who’s released one album per year since the summer of 2005. (Okay, she skipped ’08, but it would be petty to count that against her.) This schedule isn’t much compared with the fifties or sixties, when singers like Frank Sinatra and Sam Cooke might release three or four studio LPs in a single year, but these days it’s notable. It means there’s nearly always a new Rihanna single ready for the radio or the charts so she never has to win back anyone’s attention. More impressive, the singles are almost always pretty good—no easy feat.
“It’s not like we force her,” Brown recently told the BBC. “She goes into the studio because she likes it.” (Rihanna doesn’t even have to “go” there; she brings a mobile studio on tour.) There are two types of stars this routine can work for: those so full of personality that everything they do is interesting, and those so devoid of if that they can clock in, efficiently dispatch a solid pop hit, then grab a few hours’ sleep before the next day’s appointments. Rihanna is totally the latter, and the kind of music that has recently dominated pop—thumping, ecstatic dance numbers like “Only Girl (In the World),” from her 2010 albumLoud—has been kind to her: It requires a reasonably strong singer, but not a ton of personality or emotion. Give her a good pop hook and she will put it across with professionalism, verve, and (at her very best) even a hint of playfulness. At her worst, you get a kind of joyless disinterest, but in the right light she can pass that off as steely confidence. I have no doubt that, as Brown says, nobody’s forcing her. What I doubt is that the results would be much worse if someone were.
On her new album, Talk That Talk, the production line is catching up with Rihanna. The record sounds rushed: The songs will take one good idea and hastily stretch it to full length. Ideas are thin on the ground; worse, the mood is strangely unfun. Rihanna has cycled through a lot of personas, none of them incredibly convincing, but lately she’s focused on telling us all that she really enjoys sex. (Rihanna telling us she enjoys sex is like her manager saying nobody’s forcing her to record; it’d never have occurred to me to think otherwise until they mentioned it.) Sex is a rich and noble topic for pop, and sometimes it’s empowering to insist on it, the way Rihanna does here: “I want you to be my sex slave,” “I wanna **** you right now,” “I’ma give it to you baby.” But it’s startlingly depressing to deliver those lines in the dispassionate voice of a bored professional. By the time she sings “I’ve been a bad girl, Daddy,” it sounds like she’s halfway through a double shift, and I find myself wishing her a solid vacation.
http://nymag.com/arts/popmusic/revie...abebe-2011-11/
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