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Track List
01) S & M
02) What's My Name? 
03) Cheers (Drink to That)
04) Fading
05) Only Girl (in the World)
06) California King Bed
07) Man Down
08) Raining Men
09) Complicated
10) Skin
11) Love the Way You Lie, Part II
01) S & M
02) What's My Name?
03) Cheers (Drink to That)
04) Fading
05) Only Girl (in the World)
06) California King Bed
07) Man Down
08) Raining Men
09) Complicated
10) Skin
11) Love the Way You Lie, Part II
4:04
4:23
4:22
3:20
3:55
4:12
4:27
3:45
4:18
5:04
4:56
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Pop
In Love
Rock/Pop
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Album
0 copies
Album Description
Available in:
Loud est le cinquième album studio de la chanteuse barbadienne Rihanna, sorti le 12 novembre 2010 par Def Jam Recordings. Les sessions d'enregistrement et de production de l'album ont eu lieu au cours de février à août 2010, partiellement au cours de la tournée de Rihanna, Last Girl on Earth Tour. Rihanna a travaillé avec plusieurs producteurs de disques, tel que StarGate, The Runners, Polow da Don, Tricky Stewart, et Alex da Kid, entre autres. Loud intègre fortement de la musique de genre dance-pop et pop. Loud marque aussi le premier retour de Rihanna à une influence de son dancehall apparent sur son album de 2006 A Girl Like Me.
L'album débuta numéro un aux classements Canadiens et Suisses. Loud entre numéro trois aux US Billboard 200, en ayant vendu 207 000 exemplaires lors de sa première semaine aux États-Unis. Sept singles ont été extraits de l'album dont les hits internationaux Only Girl (In the World), What's My Name?, et S&M. Lors de sa sortie, Loud a reçu des commentaires positifs des critiques musicales, qui ont félicité son matériel optimiste et la performance de Rihanna. Il a également permis à Rihanna de gagner un Grammy Award pour le Meilleur Enregistrement Dance (Best Dance Recording) pour le premier single Only Girl (In the World). Il s'est vendu à plus de 6,3 millions d'exemplaires dans le monde depuis novembre 2010.
User Album Review
Rihanna’s fifth album in as many years has been described by the singer as "sassy, fun, flirty, energetic" – a return to the slick pop with which she made her name following last year’s darker Rated R. But it’s not quite that simple; after all, that album delivered the dancehall smash Rude Boy while this record closes with Love the Way You Lie (Part II), an affecting sequel to her Eminem collaboration that takes on added relevance given the domestic abuse she suffered at the hands of ex-boyfriend Chris Brown.
Loud certainly (if intermittently) lives up to the singer’s promise. It is brilliantly sassy and exuberant at times – the enormous synth and shout-along chorus of Only Girl (In the World) is about the measure of it, while Nicki Minaj makes for a superb partner in crime on Raining Men, her wild, kinetic flow complementing Rihanna’s steely delivery to wicked effect.
Disappointingly though, the knowing strangeness that coloured even Rated R’s most chart-friendly moments has been toned down in favour of a brazen sexuality that sits at odds with what Rihanna is trying to accomplish here. Since when was ‘flirtatious’ synonymous with ‘sadomasochistic’? As bracingly huge and catchy as it is, S&M doesn’t deviate much from its blunt title: lyrics like "Sticks and stones may break my bones / But chains and whips excite me" feel forced, not daring. Similarly, her insistence that "I like it rough" on the comparatively restrained Skin can’t help but come across a little uncomfortable in the light of her personal history.
But the argument over whether songs like this subjugate or empower their female performers is one for another time, or maybe one not worth having at all – not when the songs are this good, the singer’s voice this powerful. What’s My Name? features the similarly young and talented Drake mulling the "square route of 69" over choppy Caribbean rhythms that reappear on Man Down, where Rihanna relays a break-up as murder metaphor in thick Barbadian patois. Love the Way You Lie (Part II) even bests the original, Eminem’s verse exuding the kind of volatile, simmering menace that got everyone so excited about him in the first place. But it is Rihanna’s vocal – at once commanding, soulful and vulnerable – that anchors the song, and Loud itself, elevating it from a hit-and-miss collection into something oddly arresting.
External Album Reviews
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User Comments
Available in:
Loud est le cinquième album studio de la chanteuse barbadienne Rihanna, sorti le 12 novembre 2010 par Def Jam Recordings. Les sessions d'enregistrement et de production de l'album ont eu lieu au cours de février à août 2010, partiellement au cours de la tournée de Rihanna, Last Girl on Earth Tour. Rihanna a travaillé avec plusieurs producteurs de disques, tel que StarGate, The Runners, Polow da Don, Tricky Stewart, et Alex da Kid, entre autres. Loud intègre fortement de la musique de genre dance-pop et pop. Loud marque aussi le premier retour de Rihanna à une influence de son dancehall apparent sur son album de 2006 A Girl Like Me.
L'album débuta numéro un aux classements Canadiens et Suisses. Loud entre numéro trois aux US Billboard 200, en ayant vendu 207 000 exemplaires lors de sa première semaine aux États-Unis. Sept singles ont été extraits de l'album dont les hits internationaux Only Girl (In the World), What's My Name?, et S&M. Lors de sa sortie, Loud a reçu des commentaires positifs des critiques musicales, qui ont félicité son matériel optimiste et la performance de Rihanna. Il a également permis à Rihanna de gagner un Grammy Award pour le Meilleur Enregistrement Dance (Best Dance Recording) pour le premier single Only Girl (In the World). Il s'est vendu à plus de 6,3 millions d'exemplaires dans le monde depuis novembre 2010.
User Album Review
Rihanna’s fifth album in as many years has been described by the singer as "sassy, fun, flirty, energetic" – a return to the slick pop with which she made her name following last year’s darker Rated R. But it’s not quite that simple; after all, that album delivered the dancehall smash Rude Boy while this record closes with Love the Way You Lie (Part II), an affecting sequel to her Eminem collaboration that takes on added relevance given the domestic abuse she suffered at the hands of ex-boyfriend Chris Brown.
Loud certainly (if intermittently) lives up to the singer’s promise. It is brilliantly sassy and exuberant at times – the enormous synth and shout-along chorus of Only Girl (In the World) is about the measure of it, while Nicki Minaj makes for a superb partner in crime on Raining Men, her wild, kinetic flow complementing Rihanna’s steely delivery to wicked effect.
Disappointingly though, the knowing strangeness that coloured even Rated R’s most chart-friendly moments has been toned down in favour of a brazen sexuality that sits at odds with what Rihanna is trying to accomplish here. Since when was ‘flirtatious’ synonymous with ‘sadomasochistic’? As bracingly huge and catchy as it is, S&M doesn’t deviate much from its blunt title: lyrics like "Sticks and stones may break my bones / But chains and whips excite me" feel forced, not daring. Similarly, her insistence that "I like it rough" on the comparatively restrained Skin can’t help but come across a little uncomfortable in the light of her personal history.
But the argument over whether songs like this subjugate or empower their female performers is one for another time, or maybe one not worth having at all – not when the songs are this good, the singer’s voice this powerful. What’s My Name? features the similarly young and talented Drake mulling the "square route of 69" over choppy Caribbean rhythms that reappear on Man Down, where Rihanna relays a break-up as murder metaphor in thick Barbadian patois. Love the Way You Lie (Part II) even bests the original, Eminem’s verse exuding the kind of volatile, simmering menace that got everyone so excited about him in the first place. But it is Rihanna’s vocal – at once commanding, soulful and vulnerable – that anchors the song, and Loud itself, elevating it from a hit-and-miss collection into something oddly arresting.
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