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℗ 2010 Def Jam Recordings, a division of UMG Recordings, Inc. Recording Engineer, StudioPersonnel - Brad Shea, Asst. Recording Engineer, StudioPersonnel - Jeff "Supa Jeff" Villanueva, Recording Engineer, StudioPersonnel - Robert Campbell, Assistant Mixer, StudioPersonnel - Dane Liska, Asst. Recording Engineer, StudioPersonnel - Inaam Haq, Asst. Recording Engineer, StudioPersonnel - The Runners, Producer - Jermaine Jackson, ComposerLyricist - Marcos Tovar, Mixer, Recording Engineer, StudioPersonnel - Ben O'Neil, Asst.
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Makeba Riddick, Producer - Scott Spock, ComposerLyricist - Graham Edwards, ComposerLyricist - Lauren Christy, ComposerLyricist - Andrew Harr, ComposerLyricist - Laura Pergolizzi, ComposerLyricist - Stacy Barthe, Background Vocalist, AssociatedPerformer, ComposerLyricist - Robyn Fenty, ComposerLyricist - Rihanna, MainArtist - Corey Gibson, ComposerLyricist - LP, Background Vocalist, AssociatedPerformer - Avril Lavigne, ComposerLyricist - Antonio Resendiz, Asst. There’s just enough quality content to maintain her visibility. One song that sounds nothing like anything else in Rihanna’s past is “Skin,” a contender for anti-gravity slow jam of 2010 - a match for Trey Songz's “Red Lipstick” and Usher’s “Mars vs Venus.” The low points - the cluttered “Complicated,” the unfinished-sounding Nicki Minaj collaboration “Raining Men,” the overwrought rock weeper “California King Bed” - weigh the album down, making it resemble a fourth-quarter stopgap as Rihanna prepares her next truly eventful release. 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. Minus the fluff, it's close to the latter's equal.Purchase and download this album in a wide variety of formats depending on your needs. 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.
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Download Top 100 Trance and Techno Party Songs of All Time.2008 torrent.Bit Torrent Scene ( BTScene ) a public file sharing platform. The album’s first three singles topped the Hot 100. iTunes chart of the most popular dance song downloads last updated: Thursday, September 12 2019, 7:55 am.
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