Though neither one can touch “Rude Boy,” they do efficiently balance Rihanna’s playful and sinister sides. The predatory StarGate/Sandy Vee-produced dance-pop (“S&M,” “Only Girl ”) is what works best here. It’s more an unfocused assortment of poor-to-solid songs than a unified set. Even without considering the weight of what it follows, there’s no getting past the notion that Loud is as uneven as Rihanna’s first two albums. This album, released less than a year after the latter, also has the misfortune of arriving with no fanfare a dramatic intro proclaiming “The wait is ova,” à la Rated R's opening track, would be silly. Loud would not sound quite so slapdash if it did not follow Good Girl Gone Bad, one of the best pop albums of its decade, and Rated R, one of the most fascinating pop albums of the same time frame.
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