Rihanna: ‘Talk That Talk’ Review: A Mouthful

Rihanna’s dark side has gotten pitch-black.

Her latest album, “Talk That Talk,” released on November 21, showcases her easy transition into other genres such as hip hop and alternative rock, her budding songwriting skills and is a statement of fearlessness, sexual confidence and straight up attitude.

The first track, “You Da One,” eases the listener into the dance floor/XXX bedroom/club-banger flow of the album in preparation for the other very sexy songs. Although one of the more lightly explicit tracks on the album, the blend of pop/R&B supports the intended provocation and creates a nice tempo for the song itself.

Then things get interesting.

The fifth track, “Cockiness (Love It),” picks up dramatically in sexual metaphors, innuendo, and ego, as the song is a hip hop track.

That’s right, Rih-Rih spits a little something.

The gangsta tempo fuses with Rihanna’s slightly egoistic lyrics as she spits ultra-metaphoric lines from the chorus, “suck my cockiness, eat my persuasion,”-and much more worth listening to. One can’t help but gasp in shock when this song plays. Then again, one can’t help but repeat it all day. The fact that the song is catchy is just another reason why the song deserves its title.

Rihanna takes a break from the otherwise psychosexual dynamic of the album with the rock-pop lovesick ballad, “Farewell.” A song about loving yet letting go, Rihanna’s haunting, echoic background vocals support every melody line. Her vocals are strongest in the chorus, in which she dismisses her lover, yet lets him know he will be missed. The theme of the song, combination of beats and lack of sexual connotations makes this song easily the best track of the entire album.
Sex may sell, but passion and pain go just a bit more. The song is reminiscent of ‘Loud’s’ “California King Bed,” ‘Good Girl Gone Bad’s’ “Take A Bow.” Strong vocals, a deeper than water score, takes me back to the days when Rihanna’s vocals were more relied on than the need to hear her sing about sex.

The euphoria lasts only but a moment, as she returns to the twelfth track, “Red Lipstick.” An alterna-rock/pop fusion (available on the deluxe version of the album only) , the song is orgiastic in nature, as Rihanna expresses sexual desire through gritty, carefree lyrics. It’s a make-your-move type of song; the percussion a good reason to gyrate the hips and saunter over to your lover for a good time.

The album has a variety of writers, including Terius “The Dream” Nash, Esther Dean and Rihanna herself (though she is credited under her first name, Robyn). The dynamics of all the individuals involved created a very sexual, happy, somewhat passionate album that portrays Rihanna’s versatility as an artist.

The album, itself, however, should’ve been released over the summer, as there are quite a few tracks which would have definitely made the album a whole lot better, made the anticipation worth it. The songs are like the soundtrack to spring break in Miami, shots and all. No rules, no high expectations, just pure, uninhibited fun. Except you might remember the lyrics.

If Rihanna only went back to the days where her vocals were supported by the heartfelt lyrics that got her career started, rather than the groin-felt lyrics she uses now, the album would be a classic.

Either way, it is a good album, one that will probably light up the charts next year. The songs are definite “blasters,” songs you want everyone around you to know you’re listening to, whether you’re on a commute, in your car, in your house, or trying to ignore someone. They represent the solid edge Rihanna now defines for herself and probably other women, and even some men. Rihanna definitely talks that talk.