Our friends over at Just Jared attended the New York listening session for Rihanna‘s new LP ‘Loud’ last night. Check out what they say Babados’ Next Top Model will be serving up this go round (plus my Two Pence) after the jump…
Rihanna’s LOUD Album — Exclusive JustJared.com PreviewArray
“S&M” – It’s definitely a club banger and the naughtiest song of all! Here are some of the sample lyrics as best I heard them: “I may be bad but I’m perfectly good… There’s sex in the air. I don’t care, I love the smell of it… Sticks and stones may break my bones but chains and whips excite me. I like it, come on, come on.”
“Only Girl (In The World)”: The whole room was dancing along! During the lyrics “hold me like a pillow,” L.A. hugged himself like a pillow, too. Funny moment!
“What’s My Name?” – It’s the second single off of Loud – listen to a bit of the track here! “Oh nah nah, what’s my name? …Hey boy, I really wanna see if you can go downtown with a girl like me. Oh boy, I wanna really be with you, you’re just my type… You’re so amazing, you took the time to figure me out..”
“Cheers” – The song samples Avril Lavigne’s “I’m With You” and is so unbelievably catchy! Avril’s “yeahh, yeahh, yeahhh, yeahhh” are prevalent throughout. This song will be so huge in clubs, bars, and everywhere that serves alcohol. Everybody will be raising a glass! Sample lyrics: “Turn it around with a dollar round, there’s a party at the bar everybody put your glasses up… Cheers to the freakin weekend, I drink to that. Everybody put your glasses up. Don’t let the bastards get you down… Drinks on my mind and my mind on my money.”
“California King (Bed)” – A beautiful ballad! Lyrics include: “nose to nose, palm to palm, wrist to wrist, toe to toe…Feels like more than distance between us. In this California king bed, we’re 10,000 miles apart. I’ll be California wishing on the stars, my California king.” It’s L.A.’s favorite song off the album!
“Raining Men” – The fast and uptempo song features Nicki Minaj! There isn’t much of a chorus, but the song features a variation of the popular children’s phrase “eenie meenie miney mo”.
“Who’s That Chick” – Used for a Doritos ad – read more about the song here. There are two videos for this track!
“Fading Away” – A beautiful ballad that likely references her relationship with Chris Brown. The song includes the lines, “Ready for change, baby, Open up my eyes and finally realize you’re fading away. Too late… Running your mouth. So fed up, don’t press your luck today. What’s a girl to do when she’s crying inside?”
“Man Down” – The song starts off with sirens and sounds like a metaphor for deadening a relationship. Lyrics include: “I pulled out my gun… Ra pum pum pum pum. Oh mama, mama, mama, I just shot a man down in central station. Never thought I’d do it. Whatever ever happened to me. Why did I pull the trigger. What am I gonna do?”
More fast-food music, I see. No surprises there. Whether Ms. Fenty and this this latest collection of farmyard hits are enough to push her to the stratosphere (where Beyonce and Lady GaGa sit quite comfortably) will be interesting to see. One thing is for sure; her label are certainly hoping it will.
For, the current business model for Runway RiRi appears to still have her pegged as a “singles act” – something this preview seems to reinforce too. Now to educate those who don’t know; the only reason her label are pumping so much into her is because she’s signed to a 360 deal. Therefore, her usually forgettable singles – while not making the label much money back – serve as an advertisement to brands such as the Covergirl’s and Dorito’s, who pay Ms. Fenty megabucks to endorse their products – megabucks the label will take a cut from. Same with touring. Many scratched their heads when the relative failure that was ‘Rated R’ spawned the ‘Last Girl On Earth Tour’ (which saw many a date cancelled due to low ticket sales). Another case, point, example of the label recouping costs.
Yet with Rihanna catering once again to the fickle Pop audience (‘Rated R’ was a poorly executed step in the right direction), she re-joins the batch of Pop-pretenders whose expiry date is fast approaching. Five albums down and still unable to shift albums (to the level of her peers), and above all, still churning out generic cookie-cutter nonsense (see: ‘Only Girl’). If she doesn’t up her game qualitatively (slim chance, with that voice), it’s only a matter of time before the label find another cash-cow to milk – who, if they have any sense, will actually have a shred of talent too.