The cracking new tune from The Wanted.
Spyke
This is awesome. A point I thought needed to be made clear from the beginning. After this summer's sensational anthem Glad You Came I presumed we were about to get the standard 'second single from the album ballad' but it's not to be; the boys have gone one better and given us a corker of a tune. The infectious beat will have you nodding your head and tapping your foot before you know it. As the verses progress up you can feel the momentum build up; the breathy vocals really give you the impression that the song is going somewhere and the boys are in a hurry to take you there.
On my first listen, the chorus might seem like a slight anticlimax after all that build up but in fact it works really majestically as the calm before the storm. Just like those first few seconds before a kiss; the uncertainty, the excitement and the rush of adrenaline. As the song develops each chorus brings a new level of excitement and feeling of celebration; having conquered the nerves the confidence is beginning to skyrocket again. During the final chorus you can really sense the energy bursting through on the second "We touch . . " as though the atmosphere is electric.
Maybe it's because it has been many a year since I used to buy Smash Hits or Top Of The Pops Magazine but this group are on to their second album and I still don't really know what the boys are called. A quick look on Wikipedia tells me that we have: Max, Siva, Jay, Tom and Nathan - of which I wouldn't have been able to guess any more than 3 (tops). Similarly it surprised me to discover which of The Saturdays is pregnant! As they launch their '4th' album I still don't really know who is who (Frankie aside). A decade ago this would never have been an issue. We had the Spice Girls with their alter-egos, S Club 7 singing about each other with "Tina's doing her dance, Jon's looking for romance..." and Girls Aloud taking the time to sit on correctly named chairs.
I actually thought that Katy Perry's Firework would be the track to celebrate Bonfire Night last year (though it actually fit the New Year's celebrations just as effectively) but this will no doubt be the Guy Fawkes song of choice for 2011. My only concern is that The Wanted should maybe be a bit more careful where they are throwing their dynamite in their videos as I don't think that sort of behavior should really be encouraged!
To conclude: this is awesome.
Chart Predictions:
Spyke 1
McLovin -
Actual -
Monday, 26 September 2011
Wednesday, 21 September 2011
Professor Green & Emile Sande - Read All About It
Quite refreshing, if slightly unoriginal
Spyke
When I saw the title of this track I was a bit hesitant about actually giving it a listen. Prof Green has trouble the UK top ten twice before with I Need You Tonight and Just Be Good To Green, but I wasn't overly inspired by either one. This track shows development and maturity from the rap star as he launches the lead single from his sophomore album 'At Your Inconvenience'. Rather than going for an obvious sample or famous featured artist this demonstrates that the British rapper, formerly known as Stephen Paul Manderson, has set his sights high and made an effort to produce a single that could put in a challenge for Eminem's crown.
That's not to say that he's going it alone; Read All About It features vocals from Emile Sande who reached #2 with debut single Heaven last month. While Heaven made for nice easy listening I felt that it just lacked that edge that would allow it challenge for that one position higher in the UK. This record benefits from each artist's unique style helping to complement the other. The stark contrast of Emile's beautiful harmonies and Pro Green's rapping helps portray the story behind the track. Maybe I've just been listening to Game Over a little bit too much but you can definitely hear similiarities in the rapping style of Pro Green and Chipmunk (Champion).
So why do I question the originality of the track? Well you just need to rewind 14 months and see what brilliant duet was spending week upon week stuck at #2 behind X Factor related acts (in much the same way Moves Like Jagger is doing now). Emile's R&B hook in this track follows in exactly the same vein we've seen so successfully achieved by Rihanna (Love The Way You Lie), Skylar Grey (I Need A Doctor) and Bruno Mars (Lighters). The pace of delivery throughtout this track is almost identical to that of Eminem's Love The Way You Lie; but when a track is close to selling its 1,000,000th copy in the UK, it can't be a bad template to follow!
This single is due for release on 24th October, so it'll face competition for the top spot from Labrinth (Earthquake) and the guest performers on that Sunday's X Factor but it should have no trouble hitting the top 5.
Chart Predictions:
Spyke 2
McLovin -
Actual -
Spyke
When I saw the title of this track I was a bit hesitant about actually giving it a listen. Prof Green has trouble the UK top ten twice before with I Need You Tonight and Just Be Good To Green, but I wasn't overly inspired by either one. This track shows development and maturity from the rap star as he launches the lead single from his sophomore album 'At Your Inconvenience'. Rather than going for an obvious sample or famous featured artist this demonstrates that the British rapper, formerly known as Stephen Paul Manderson, has set his sights high and made an effort to produce a single that could put in a challenge for Eminem's crown.
That's not to say that he's going it alone; Read All About It features vocals from Emile Sande who reached #2 with debut single Heaven last month. While Heaven made for nice easy listening I felt that it just lacked that edge that would allow it challenge for that one position higher in the UK. This record benefits from each artist's unique style helping to complement the other. The stark contrast of Emile's beautiful harmonies and Pro Green's rapping helps portray the story behind the track. Maybe I've just been listening to Game Over a little bit too much but you can definitely hear similiarities in the rapping style of Pro Green and Chipmunk (Champion).
So why do I question the originality of the track? Well you just need to rewind 14 months and see what brilliant duet was spending week upon week stuck at #2 behind X Factor related acts (in much the same way Moves Like Jagger is doing now). Emile's R&B hook in this track follows in exactly the same vein we've seen so successfully achieved by Rihanna (Love The Way You Lie), Skylar Grey (I Need A Doctor) and Bruno Mars (Lighters). The pace of delivery throughtout this track is almost identical to that of Eminem's Love The Way You Lie; but when a track is close to selling its 1,000,000th copy in the UK, it can't be a bad template to follow!
This single is due for release on 24th October, so it'll face competition for the top spot from Labrinth (Earthquake) and the guest performers on that Sunday's X Factor but it should have no trouble hitting the top 5.
Chart Predictions:
Spyke 2
McLovin -
Actual -
Monday, 19 September 2011
Labrinth Feat. Tinie Tempah - Earthquake
This duo are back together again.
Spyke
Just a quick post for you today, as I'm meant to be preparing for an interview tomorrow (which coincidentally is on Catastrophe Modelling). I heard this yesterday and the thing which really struck me about the track is the brilliant production the song has. Of course we've see Tinie Tempah and Labrinth together before on massive hits of 2010 - Pass Out and Frisky. I think their chemistry just works so well to complement each other's vocals. While we have been treated to a Labrinth solo single Let The Sun Shine, I just wasn't too switched on by it. The verses delivered just as I wanted them too but the chorus just felt a bit cheesy, hence my surprise when it actually managed to chart at #3 in the UK.
I wonder if this track will continue to follow Labrinth's downward trajectory of his single chart positions. So far he's started at #1 (Pass Out), dropped to #2 (Frisky) and then shone at #3 (Let The Sun Shine) could we feel some seismic activity in the charts at #4 in the near future?
Chart Predictions:
Spyke 4
McLovin -
Actual -
Spyke
Just a quick post for you today, as I'm meant to be preparing for an interview tomorrow (which coincidentally is on Catastrophe Modelling). I heard this yesterday and the thing which really struck me about the track is the brilliant production the song has. Of course we've see Tinie Tempah and Labrinth together before on massive hits of 2010 - Pass Out and Frisky. I think their chemistry just works so well to complement each other's vocals. While we have been treated to a Labrinth solo single Let The Sun Shine, I just wasn't too switched on by it. The verses delivered just as I wanted them too but the chorus just felt a bit cheesy, hence my surprise when it actually managed to chart at #3 in the UK.
I wonder if this track will continue to follow Labrinth's downward trajectory of his single chart positions. So far he's started at #1 (Pass Out), dropped to #2 (Frisky) and then shone at #3 (Let The Sun Shine) could we feel some seismic activity in the charts at #4 in the near future?
Chart Predictions:
Spyke 4
McLovin -
Actual -
Monday, 12 September 2011
Lascel Woods - Use Somebody
My favourite X Factor audition so far...
Spyke
So we're over half way through this year's X Factor auditions and so far it appears that the quality of talent has been a little bit sparse. With only a couple of stand out performances per show the poorer auditionees are getting plenty of screen time. But as we saw with this year's American Idol, the live semi-finalists were almost the only good performers to get shown during the earlier rounds. Plus after seeing the backlash after Gamu was knocked out prior to the live shows last year, the producers will be careful not to encourage favouritism of acts which they know are going to get knocked out before the viewers get a say.
I must say that I am really enjoying the new judging panel and they have definitely helped freshen up a show that was on the verge of getting a little stale. Gary Barlow has managed to fill Simon Cowell's shoes rather effectively as the head judge; much to Louis' disappointment. However, I presumed that it would be Tulisa that would be bringing the personality to the panel but at this stage it very much seems to be Kelly Rowland who is the one to watch. She usually has something to say and is regularly brought to tears - I think all those years in Beyoncé's shadow have taught her to stamp her mark with anything she does.
So here we are with my favourite audition so far. As youtube embedding is disabled you can watch it here. Lascel gives his own acoustic version of Kings Of Leon's massive #2 hit Use Somebody. Well technically it's not all that original as we saw Pixie Lott add her similar style cover of the track to her re-release of her debut album, after she originally performed it on Radio 1's Live Lounge. I think Lascel has a brilliant voice and the potential to do very well in this competition especially when you know which judge is in charge of his category this year. I would be very surprised if Lascel didn't make it to the live shows even though there is a long way to go yet; if he does make it then he'll be the one that I'll be backing for the win (though in the past two years my favourite have gone out in 8th (Lucie Jones) and 9th (Aiden Grimshaw) so I'm not the best good luck charm).
Friday, 9 September 2011
Jay-Z & Kanye West Feat. Beyoncé - Lift Off
Stunning cut from 'Watch The Throne'
McLovin
Three Juggernauts: King Jay-Z, the Greatest Rapper Alive ©; heir to the throne Mr. West; and RnB Queen Beyoncé. Start the countdown, we have Lift Off!
A brass fanfare begins, thrilling and triumphant. The voice of a man says 'All engine running', muffled like an Apollo launch mission control. The fanfare continues, trumpets now aligned with thumping piano chords, our anticipation increased as fluttering strings announce the arrival of Beyoncé. 'We gonna take it to the moon, take it to the stars/how many people you know can take it this far?' The bass-driven beat enters at the same time as Beyoncé's vocals, big and bombastic but never overwhelming her towering performance. 'I'm supercharged/about to take this whole thing to Mars'. This line reminds me of a metaphor used frequently by Lil Wayne; that these performers are other-worldly, they don't belong on earth like us mere mortals. She repeats the chorus with a subtle lyric change: 'You don't know what we've been through to make it this far/so many scars'. The way her voice quivers and elongates the word 'scars' sets us up superbly for the introduction of Kanye West, who consistently presents the most complex mix of egotism and self-doubt of any current artist.
'Life off! Taking my coat off!' The beat disappears, leaving us with just Kanye and the fanfare, a superhero's entrance. He says 'coat', but my head sees a cape, billowing in slow-motion as he's flying over KanyeWest Metropolis. His opening lines are gruffly barked and to the point - 'Showing my tatoos, I'm such a show off' - but are quickly subsumed into his auto-tune-fragile-robot-speak-singing he used so effectively in 2008's '808s and Heartbreak'. The beat returns, as he finishes his verse with the line 'You know me by now, know me, know me by now'.
Beyoncé comes back with the chorus, this time aided by multiple versions of herself providing gorgeous harmonies in the background. Just at the point where you think Jay-Z is due to appear, who should return but Mr. West, once more imploring that, really, we ought to know him by now. It's a surprisingly but revealing use of repetition. His superhero arrival demonstrates his supreme confidence, but in insisting that we should know him, Kanye shows the other side of his personality, narcissism and wild insecurity once more all rolled into one.
Before we are given any further insights into West's psyche, in comes Jay to steady the rocket's flight. At less than twenty seconds, his contribution initially appears insubstantial. But it becomes clear that his verse has stabilised proceedings and acts as a necessary segue - or, in his words, 'fuel' - for the impending launch countdown. The mission controller is back, counting down from twelve. The rumbling synths and military beat increases the tension before there is a brief, illusory pause. The trumpets return on-beat, with Beyoncé's chorus now fragmented and crackly, akin to the mission controller, repeating phrases like 'Jump!' (watch out for a couple of awesome Michael Jackson-style 'whoo's' as well!). Just when you think there is nowhere else the song can go, the most relaxed sounding tribal beat is introduced. The rocket is now safely in orbit, running on auto-pilot and carrying these three extraordinary performers to the furthest reaches of the galaxy, taking their rightful place alongside the stars.
McLovin
Three Juggernauts: King Jay-Z, the Greatest Rapper Alive ©; heir to the throne Mr. West; and RnB Queen Beyoncé. Start the countdown, we have Lift Off!
A brass fanfare begins, thrilling and triumphant. The voice of a man says 'All engine running', muffled like an Apollo launch mission control. The fanfare continues, trumpets now aligned with thumping piano chords, our anticipation increased as fluttering strings announce the arrival of Beyoncé. 'We gonna take it to the moon, take it to the stars/how many people you know can take it this far?' The bass-driven beat enters at the same time as Beyoncé's vocals, big and bombastic but never overwhelming her towering performance. 'I'm supercharged/about to take this whole thing to Mars'. This line reminds me of a metaphor used frequently by Lil Wayne; that these performers are other-worldly, they don't belong on earth like us mere mortals. She repeats the chorus with a subtle lyric change: 'You don't know what we've been through to make it this far/so many scars'. The way her voice quivers and elongates the word 'scars' sets us up superbly for the introduction of Kanye West, who consistently presents the most complex mix of egotism and self-doubt of any current artist.
'Life off! Taking my coat off!' The beat disappears, leaving us with just Kanye and the fanfare, a superhero's entrance. He says 'coat', but my head sees a cape, billowing in slow-motion as he's flying over KanyeWest Metropolis. His opening lines are gruffly barked and to the point - 'Showing my tatoos, I'm such a show off' - but are quickly subsumed into his auto-tune-fragile-robot-speak-singing he used so effectively in 2008's '808s and Heartbreak'. The beat returns, as he finishes his verse with the line 'You know me by now, know me, know me by now'.
Beyoncé comes back with the chorus, this time aided by multiple versions of herself providing gorgeous harmonies in the background. Just at the point where you think Jay-Z is due to appear, who should return but Mr. West, once more imploring that, really, we ought to know him by now. It's a surprisingly but revealing use of repetition. His superhero arrival demonstrates his supreme confidence, but in insisting that we should know him, Kanye shows the other side of his personality, narcissism and wild insecurity once more all rolled into one.
Before we are given any further insights into West's psyche, in comes Jay to steady the rocket's flight. At less than twenty seconds, his contribution initially appears insubstantial. But it becomes clear that his verse has stabilised proceedings and acts as a necessary segue - or, in his words, 'fuel' - for the impending launch countdown. The mission controller is back, counting down from twelve. The rumbling synths and military beat increases the tension before there is a brief, illusory pause. The trumpets return on-beat, with Beyoncé's chorus now fragmented and crackly, akin to the mission controller, repeating phrases like 'Jump!' (watch out for a couple of awesome Michael Jackson-style 'whoo's' as well!). Just when you think there is nowhere else the song can go, the most relaxed sounding tribal beat is introduced. The rocket is now safely in orbit, running on auto-pilot and carrying these three extraordinary performers to the furthest reaches of the galaxy, taking their rightful place alongside the stars.
Thursday, 8 September 2011
Example - Stay Awake
My tracks of choice from Example's new album.
Spyke
This week sees the release of Example's second album 'Playing In The Shadows' which is heading straight for #1. Example has really managed to establish himself as a key player in the current music scene with both his first two singles from the album going straight in at #1. Sometimes I make presumptions about artists before giving their music a proper listen. Last year I just assumed that the likes of Example and Plan B were reeling out some throwaway 'Pop'. Fortunately a friend enlightened me to the marvel of Kickstarts and I started to pay attention to the artist formerly known as Elliot Gleave. Where there was no doubt in my mind as to whether Changed The Way You Kissed Me would be a #1, we both agree that Stay Awake feels much more like a #3 hit. Hence I was a little bit surprised to see it top the chart; it's good but maybe he could have moved over and let Calvin Harris top the chart instead.
Playing In The Shadows is actually a lot better than I was expecting. A couple of the tracks do get a bit repetitive and monotonous at times such as Wrong In The Head and Under The Influence, but everything on the record has got at least a 3/5 star rating on my itunes. Here are a couple of stand outs for me.
Natural Disaster
I reckon this will be one of the future singles off the album and despite the album version being over 5 minutes long, the radio edit really captures the energy of the track. Plus Laidback Luke has been producing some of my favourite remixes (with David Guetta) over the past couple of years so it will be great for him to gain some more commercial exposure.
Lying To Yourself
I am quite a sucker for epic Piano ballads like this. What a great bonus track!
Spyke
This week sees the release of Example's second album 'Playing In The Shadows' which is heading straight for #1. Example has really managed to establish himself as a key player in the current music scene with both his first two singles from the album going straight in at #1. Sometimes I make presumptions about artists before giving their music a proper listen. Last year I just assumed that the likes of Example and Plan B were reeling out some throwaway 'Pop'. Fortunately a friend enlightened me to the marvel of Kickstarts and I started to pay attention to the artist formerly known as Elliot Gleave. Where there was no doubt in my mind as to whether Changed The Way You Kissed Me would be a #1, we both agree that Stay Awake feels much more like a #3 hit. Hence I was a little bit surprised to see it top the chart; it's good but maybe he could have moved over and let Calvin Harris top the chart instead.
Playing In The Shadows is actually a lot better than I was expecting. A couple of the tracks do get a bit repetitive and monotonous at times such as Wrong In The Head and Under The Influence, but everything on the record has got at least a 3/5 star rating on my itunes. Here are a couple of stand outs for me.
Natural Disaster
I reckon this will be one of the future singles off the album and despite the album version being over 5 minutes long, the radio edit really captures the energy of the track. Plus Laidback Luke has been producing some of my favourite remixes (with David Guetta) over the past couple of years so it will be great for him to gain some more commercial exposure.
Lying To Yourself
I am quite a sucker for epic Piano ballads like this. What a great bonus track!
Wednesday, 7 September 2011
One Direction - What Makes You Beautiful
So c-come on
Spyke
It's getting around to that time of year where all the previous X Factor entrants begin to release their new material, conveniently timed so that they just happen to get to return to the show for a Sunday night performance (to give them a lovely boost in sales). I think it has got to the point where it is getting a little bit ridiculous and it seems to be a given that it can be relied on to support the campaign. This year expect performances from Matt Cardle, JLS, Leona Lewis, Cher Lloyd, Olly Murs and Joe McElderry to name but a few (A total of 3 judges and 8 X Factor acts will each be performing). Obviously some of these acts have earned their place in the charts and have gone on to become quite established acts. But when it gets to the stage that you are relying on that coveted spot to take you to(wards) #1 then I think it gets a bit too predictable. I do think it is a great way to establish a wider audience a few singles in, but it doesn't always work as we saw with Joe McElderry's Ambitions last year.
JLS manage to use the show to optimise their exposure really effectively; going for the summer lead single which is followed up with a ballad to launch the album and concluded with a good album-cut early the following year. Obviously I don't think it's perfect as nobody wants to hear a brand new single a staggering 3 months prior to being able to buy it - but it does work for them. So it would appear that One Direction are about to try a similar tact. With a really summery song (that should have been released in summer) they are ready to tackle the charts and without the immediate support of a live show.
The song itself is energetic, fun and just that tiny bit cringey. It's like Simon Cowell has managed to recreate Summer Nights forward 30 years from appearing in Grease! The video shows the five lads out on their travels across America and it looks like they've been enjoying themselves; it does amuse me at the 2:20 mark when we get enlightened to Harry Styles' pulling technique which is just a bit awkward to watch as he sings "Baby you light up my world like nobody else; The way that you flip your hair gets me overwhelmed; But when you smile at the ground it ain't hard to tell; You don't know, You don't know you're beautiful". However when you have a track writen by Carl Falk, Savan Kotecha and none other than Rami Yacoub (co-wrote: Baby One More Time, It's Gonna Be Me & Larger Than Life) the future is looking great!
It has also been under contention between some of my friends for the past year on how you would rank the members of One Direction. So after a year of deliberation we've (semi)agreed on:
1 Zayn
2 Harry
3 Louis
4 Liam (with his new haircut)
5 Niall (pause the video at 1:13)
The release of the track has been delayed so I presume they are just looking for the optimal week for release to give it the best chance at that #1 spot; a feat it should achieve given that Cher Lloyd has already topped the charts on a quiet week this year, but I'm more intrigued as to how well Matt will do with his less than inspiring Letters.
Chart Predictions:
Spyke 1
McLovin 1
Actual 1
Monday, 5 September 2011
Rihanna - A Girl Like Me
Not just a one hit wonder...
Spyke
So here is the second installment in my Rihanna album review series. Up to this point I was very much making a deliberate attempt to switch the channel every time she came on TV; which is probably why it took me so long to actually get to hear SOS right through. It was around this time that I was making the most of TMF and its daily top 10 new videos and I remember it being a very exciting morning when I first saw the Unfaithful video!
The Singles
Quickly following up from her debut it was time to strike whilst the iron was hot (a mentality which hasn't ceased) and try and go one better than her UK and US debut which hit #2. SOS brings everything you could possibly want in terms of a great single; a stunning video, a familiar but not overused sample, infectious beat and generally a great Pop/R&B track. I'm sure Christina Milian was signing her own career death warrant when she turned down this gem. The track really crossed over well between Pop and R&B radio, ultimately climbing to the top of the Hot 100 in the US and spending two weeks being stuck behind Gnarls Barkley in the UK at #2.
At this point I thought Rihanna had peaked; not with Ne-Yo waiting in the wings to deliver his first of many beautiful ballads. The UK have always been quite partial to Unfaithful and I remember watching Rihanna barely needing to contribute a word as the crowd sang it back to her on the GGGB Tour. At this point her vocal performances on similar tracks was quite questionable, but after singing it with Matt Cardle on the finale of last year's X Factor she put rest to those qualms. For me the track became my signature tune after it was played during my half an hour take over on Radio 1 with JK and Joel. Whilst they tried to play numerical countdown with me we also discussed how my ex told me she was cheating on me: to this track. It was taken out of context as I just made reference to the track being played as we decided to break up. Unfortunately they just thought I was lying, which was embarrassing in front of my friends who were listening. Rihanna was once again denied her first UK chart topper by Gnarls Barkley's Crazy which was still selling strong.
Clearly the record company had just planned to have these two 'big' releases from the album as nothing else made much impact. The UK got We Ride for some unknown reason which went top 20; the US got the more sensible choice of Break It Off (Feat. Sean Paul) and gave Rihanna her 4th US top 10.
Highlights
After discovering the marvels of Unfaithful I decided to explore the rest of the album to see what else I could find. There are two notable tracks that made it as far as my mp3 player; The Final Goodbye and A Million Miles Away. I think the latter is a lovely subtle ballad that really helped Rihanna bridge the gap on her way over to Pop World domination. Kisses Don't Lie seemed to be a favourite of the artist herself as it remained on her tour set list for a bit longer than it should of in my opinion. Though this may be due to the fact that it was one of the two tracks on the CD that Robyn Fenty actually had song writing credits on. I just didn't get it and felt that it could well be part of her debut album filler.
Overall
In itself this is a nice little album, but it isn't shy on flaunting the filler. As album sales were continuing to flail it became apparent that you had to put more effort into the entire content, rather than just the singles, to get the sales desired. As the public had clearly warmed to Rihanna it was time to launch the monster and convert everyone! It you were to consider which tracks you'd feature on a (1CD) Rihanna Greatest Hits it amazes me how SOS would seem a staple inclusion (as one of the 10 US #1s) and yet it just seems SO weak respectively and seems a bit of a momentum killer. After Unfaithful managed to re-enter the top 40 at the end of last year it shows the longevity the track has had in the UK so would have to be included on our edition.
Rating
★ ★ ★ ★ ★ ★ ☆ ☆ ☆ ☆
6/10
Spyke
So here is the second installment in my Rihanna album review series. Up to this point I was very much making a deliberate attempt to switch the channel every time she came on TV; which is probably why it took me so long to actually get to hear SOS right through. It was around this time that I was making the most of TMF and its daily top 10 new videos and I remember it being a very exciting morning when I first saw the Unfaithful video!
The Singles
Quickly following up from her debut it was time to strike whilst the iron was hot (a mentality which hasn't ceased) and try and go one better than her UK and US debut which hit #2. SOS brings everything you could possibly want in terms of a great single; a stunning video, a familiar but not overused sample, infectious beat and generally a great Pop/R&B track. I'm sure Christina Milian was signing her own career death warrant when she turned down this gem. The track really crossed over well between Pop and R&B radio, ultimately climbing to the top of the Hot 100 in the US and spending two weeks being stuck behind Gnarls Barkley in the UK at #2.
At this point I thought Rihanna had peaked; not with Ne-Yo waiting in the wings to deliver his first of many beautiful ballads. The UK have always been quite partial to Unfaithful and I remember watching Rihanna barely needing to contribute a word as the crowd sang it back to her on the GGGB Tour. At this point her vocal performances on similar tracks was quite questionable, but after singing it with Matt Cardle on the finale of last year's X Factor she put rest to those qualms. For me the track became my signature tune after it was played during my half an hour take over on Radio 1 with JK and Joel. Whilst they tried to play numerical countdown with me we also discussed how my ex told me she was cheating on me: to this track. It was taken out of context as I just made reference to the track being played as we decided to break up. Unfortunately they just thought I was lying, which was embarrassing in front of my friends who were listening. Rihanna was once again denied her first UK chart topper by Gnarls Barkley's Crazy which was still selling strong.
Clearly the record company had just planned to have these two 'big' releases from the album as nothing else made much impact. The UK got We Ride for some unknown reason which went top 20; the US got the more sensible choice of Break It Off (Feat. Sean Paul) and gave Rihanna her 4th US top 10.
Highlights
After discovering the marvels of Unfaithful I decided to explore the rest of the album to see what else I could find. There are two notable tracks that made it as far as my mp3 player; The Final Goodbye and A Million Miles Away. I think the latter is a lovely subtle ballad that really helped Rihanna bridge the gap on her way over to Pop World domination. Kisses Don't Lie seemed to be a favourite of the artist herself as it remained on her tour set list for a bit longer than it should of in my opinion. Though this may be due to the fact that it was one of the two tracks on the CD that Robyn Fenty actually had song writing credits on. I just didn't get it and felt that it could well be part of her debut album filler.
Overall
In itself this is a nice little album, but it isn't shy on flaunting the filler. As album sales were continuing to flail it became apparent that you had to put more effort into the entire content, rather than just the singles, to get the sales desired. As the public had clearly warmed to Rihanna it was time to launch the monster and convert everyone! It you were to consider which tracks you'd feature on a (1CD) Rihanna Greatest Hits it amazes me how SOS would seem a staple inclusion (as one of the 10 US #1s) and yet it just seems SO weak respectively and seems a bit of a momentum killer. After Unfaithful managed to re-enter the top 40 at the end of last year it shows the longevity the track has had in the UK so would have to be included on our edition.
Rating
★ ★ ★ ★ ★ ★ ☆ ☆ ☆ ☆
6/10
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