Rihanna/David Guetta
Good Old Rock and Roll, 2011 Style
By Xgau Dec 23, 2011 4:32AM
Rihanna: Talk That Talk (Deluxe Edition) (Def Jam)
Musically, this is pop without shame‑-her hookiest and most dance-targeted album, decorated with a thoughtful assortment of suitably titillating blats, noodles, dubs, groans, hiccups, boom-booms, cut-ups, speed-ups, xx samples, and spoken-word bits. Lyrically, it celebrates the relationship of sex to love rather than pain, dipping predictably on the heart songs and theme statements that slow down the second half, especially on the standard edition. Associating carnality with love as I do, I prefer it to her earlier albums because I find its many porny moments titillating. Sure Beyoncé is sexier in principle‑-I like smart girls, not bad girls, especially bad girls with a thing for worse men. But I believe in taking my titillation wherever it raises its spongy head. A MINUS
Musically, this is pop without shame‑-her hookiest and most dance-targeted album, decorated with a thoughtful assortment of suitably titillating blats, noodles, dubs, groans, hiccups, boom-booms, cut-ups, speed-ups, xx samples, and spoken-word bits. Lyrically, it celebrates the relationship of sex to love rather than pain, dipping predictably on the heart songs and theme statements that slow down the second half, especially on the standard edition. Associating carnality with love as I do, I prefer it to her earlier albums because I find its many porny moments titillating. Sure Beyoncé is sexier in principle‑-I like smart girls, not bad girls, especially bad girls with a thing for worse men. But I believe in taking my titillation wherever it raises its spongy head. A MINUS
David Guetta: Nothing but the Beat (Astralwerks/Capitol)
In which the Frenchman who inflicted the Black Eyed Peas' "I Gotta Feeling" on a hapless America‑-brute! vulgarian! snailsucker! 'ho!‑-bids for chart success as if he needs to be more famous than he already is. All power synths and squirmy earworms, dated beats and neutered Snoop Dogg, it offends club sophisticates no less than living-room discophobes. But with four-on-the-floor dance music the nearest the actually popular pop world came to mindless rocking out in 2011, I only wish it had a few "I Gotta Feeling"s. Still, the two Nicki Minaj features come close, Taio Cruz does what he's sposed to for once, the will.i.am preachment makes its escapist statement, and neutering Snoop is fine with both me and the ASPCA. Front-loaded in this 13-track Americanski version--as a reward for their sophistication, the Europeans get to fatten up on excess instrumentals--it should slim down further by ditching the last two tracks and climaxing with the Jennifer Hudson love anthem "Night of Your Life," where it simulates the soul that elsewhere is so beside the point. B PLUS
157Comments
Dec 26, 2011 9:59AM
Dec 26, 2011 9:51AM
Dec 26, 2011 9:40AM
I've never been pressured in any way that's stuck in my mind. There are linguistic constraints, of course, and although even those don't pertain in blog posts proper--I can quote an "obscene" lyric verbatim, for instance--I definitely self-censor now and then, for my own good and that of my immediate superiors in the bureaucratic chain.
Dec 26, 2011 9:29AM
Which "alternate media exposure" is financially supported by one of the largest corporations in the world. I mean, let's not kid around here.
Of course. Was a little too subtle myself there, wasn't I? And I hesitate to ask here but will anyway: Have you ever been pressured to make editorial changes by said corporation?
Dec 26, 2011 9:16AM
Dec 26, 2011 9:05AM
Sisario also is too apolitical (or "subtle," if you want to be charitable) to state what is now obvious: contemporary musicians are in the same economic boat as the rest of us, hustling ever harder for diminishing returns that are being increasingly chewed up by multinational corporations. And while it's just as obvious that illegal downloading has exacerbated this, it would've happened anyway.
This leaves young, talented, and unconnected bands like Low Cut Connie and Those Darlins exactly nowhere without the alternate media exposure of blogs like this.
Dec 26, 2011 8:58AM
Dec 26, 2011 8:27AM
Ben Sisario's piece on Cee-Lo Green in today's NYT will tell you things about popular music today that you probably don't want to know even though you already do. In this, as Sisario is too polite or distracted to suggest, the piece is not unlike Mr. Green himself: a novelty artist who rarely surprises, a funny guy who isn't as funny as the world thinks he is, etc.
Dec 26, 2011 3:11AM
Yes, the minutes leading to the temporary conclusion of Xmas-dom have tumbled completely away. Yes, a good share of time has flown by since my last EW post. But I wanted to take the time to hope that everyone experienced a marvelous Christmas day and ongoing Hanukkah, full of pulchritudinous objects and beeming optimism. Or at least watered down cynicism. And even though the difficult situations pervading the world may call for otherwise, we did get through Lulu and Owl City, didn't we?
Anyway, this gang has proved quite valuable in every conceivable sense of the word. Now lets manage this exhausting yet beneficial level of decompunding musical, political, cinematic, TV-related and just plain general minutiae for at least another 365 days.
Anyway, this gang has proved quite valuable in every conceivable sense of the word. Now lets manage this exhausting yet beneficial level of decompunding musical, political, cinematic, TV-related and just plain general minutiae for at least another 365 days.
Dec 25, 2011 9:52PM
Dec 25, 2011 5:50PM
Dec 25, 2011 5:30PM
Dec 25, 2011 4:08PM
Rihanna is growing on me like a... Nevermind.
I don't know enough about her, but that's her first almost completely electronic album, isn't it? The only one I listened from start to end of her was "Rated R," which played extensively here in Brazil her last single "Te Amo," but besides that, "Rude Boy" was a good song. I like her ballads too, so "Cold Case Love" and "The Last Song" were well produced love songs for me. This last one, though, there's something different that is keeping me stuck on some great tracks, although I suspect it's just 'cause it flirts directly with dance music. I don't know enough about Calvin Harris too, but I presume he's a good guy, as he is always behind some standout track. But I'm afraid I prefer Stuart Price for that matter.
In spite of its lyricism and main subject, I still do not see much differences between that one and Katy Perry last effort, musically, even when I see some faked melodramatic move interpreted by our "loud and laddish hockey fan" (I laugh hard the first time so true it's!). She's gorgeous, but a bit over the top, although for me "Teenage Dream" was one of the 5 most brilliant songs of 2010, instead of "California Gurls" that I don't like that much. I don't know what's the opinion of the crowd, but Rebecca Black's appearance on "Last Friday Night" was another sweet remarkable ocasion that happened this year - even "Friday" for me wasn't being a bad song at all, but for sure ashamed, as our adolescence usually is. It's just a step of life. But I don't know what's the overall takedown about her overproduced sexuality - I remember here in Brazil she kissed a guy, without shirt, that jumped on the stage in the middle of the show. For sure he is... athletic. This shouldn't happen with me, plump with glasses and short, in spite of in "Last Friday Night" I have my space, theatrically.
So Rihanna new one is being good. I just think sometimes she's even too much truculent or rough. Looks offensive when I try to imagine her in front of me saying these kind of things, but a moment I would pay for that and surely wouldn't regret (I'm kidding). Her love looks a bit too much serious too. I don't see she smiling too much, but willing after willing. I don't know how she could be passive in the middle of this, also. She looks almost like a leader, commanding, with attitude. Even when she cries isn't like... Katy Perry, for example, that would telephone to his mother, I bet. I don't think it's bad, but sure is a lack.
P.S. 01: Man, I'm officially in love with Roots thanks to this blog. It's refreshing after refreshing!
Dec 25, 2011 2:35PM
Dec 25, 2011 1:47PM
The Weeknd's new mixtape, Echoes of Silence, is nothing special, but let's conclude that for the right reasons, why don't we?
Echoes of Silence
1. "D.D" 4:34
2. "Montreal" 4:11
3. "Outside" 4:19
4. "XO / The Host" 7:24
5. "Initiation" 4:21
6. "Same Old Song" 5:21
7. "The Fall" 5:46
8. "Next" 6:02
9. "Echoes of Silence" 4:00
I'm very sorry. Bad reporting on my part. Apologetic Jon is apologetic. But my point still stands. Phuck that guy and the critics who overrate his meandering drivel.
Dec 25, 2011 12:24PM
I think I saw a Kuti offspring on Austin City Limits using backup dancers to good effect too. As for Shakira (which mention I deleted because it's plowed under by ability to MOG - plus I'm sure rhapsodize or spotify - the whole thing; and probably also by the DVD), I think she has moves worth viewing not just in the mind's eye irrespective of backup dancers. But the sound by itself holds muster as well.
Dec 25, 2011 11:35AM
Dec 25, 2011 11:32AM
One thing I love about the comments section here is that by-and-large we don't act like we're strangers here. There are aberrations, but we generally err on the side of pluralistic respect, thus engendering further discussion rather than shutting down people we really don't agree with. And I don't mean wondering aloud why the hell someone thumb-bombed something -- that often gets the bomber to explain him- or herself, i.e. more discussion. Know what I mean? (Yes, of course this will get thumb-bombed, and why not -- it needs a punchline.)
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about the blogger
Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.
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