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Even with a captivating, drum-less reggae groove, it's hard to hear lines like "Your love hit me to the core" and "It's so foolish how you keep me wanting more" and think that she's fine and could be singing about anyone. The same could be said of "No Love Allowed," which comes along a little later. Perhaps no one should read anything into it. 2/Abyss." Over a swelling and receding production with echoes of Kim Carnes' "Bette Davis' Eyes," Rihanna mourns ("Felt like love struck me in the night/I pray that love don't strike twice"), then confesses ("Mother Mary, I swear I wanna change"), then surrenders ("I'm prepared to die in the moment").
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Rihanna's partner proposes to make out in a Lexus prior to proclaiming that the relationship "ain't nobody's business." The celebration is followed by "Love Without Tragedy/Mother Mary," conjoined songs with a wide theatrical scope akin to that of the-Dream's own "Nikki, Pt. "Nobody's Business," flecked with elements from Michael Jackson's "The Way You Make Me Feel," is a beaming if somewhat belligerent disco-house duet with Chris Brown. Both of them were written and produced by Terius "The-Dream" Nash and Carlos "Los" McKinney. Two of the album's most intriguing, contrasting, and not-so-everywoman tracks appear consecutively during the latter half. Moments such as that one are so convincing that the few everywoman heart-on-sleeve songs - with the exception of the massive, slamming, wailing power ballad that is "What Now" - don't sound all that natural. Wrapped in a serene sneer, Rihanna's trash talk is something else. This goes for "Pour It Up," a characteristically chilly and booming Mike Will collaboration that might as well be a sequel to "Bandz a Make Her Dance," the producer's hit with Juicy J. Continuing the trend that began on Rated R, Rihanna's at her best when she's flaunting.
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Download Japanese Korean Music single new full Album rar zip via cyberlocker, mediafire, sharebeast, mc, eu, mf etc (Wed) Hata Motohiro - Spring Has Come. Not only is Unapologetic just as varied as Rihanna's past albums - it's another timely refresh of contemporary pop music - but it's a little more exploratory and a whole lot deeper, too. By the end of February, I hope Ill have completed the new album, projected to be released during September of 2020, the frontman said. Even with that change of pace, the possibility of it signaling an overall change in direction was slight.
She didn't go with a dramatic ballad like "Russian Roulette" or a big dance number like "Only Girl (In the World)" and "We Found Love." Instead, the nod went to a midtempo pop ballad, "Diamonds" - as in "We're like diamonds in the sky" (rather than stars in a mine), a simple and effective, light in meaning yet massive in sonics, quasi-processional. The singer took a different route with the lead single.
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Minus the fluff, it's close to the latter's equal.In 2012, right on schedule, Rihanna delivered her fourth annual November album. 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. “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. While Talk That Talk is built like another singles-chart-devouring machine, it’s both more rounded and less random than Loud. 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. The album’s first three singles topped the Hot 100. Despite sounding rushed to capitalize on fourth quarter sales, 2010’s Loud proved that Rihanna’s reign indeed would not let up.