Rihanna breaks down the mid-tempo track by methodically crooning with an assist from reggae rapper Vybz Cartel. The track cleverly samples Dawn Penn’s original classic of the same name.
Rihanna sheds an up-tempo style and demonstrates her ability to manipulate melody on, “You Don’t Love Me (No, No, No). The bass-heavy sound of the song alone would make a welcome addition to any DJs play selection at a club. Later, Rihanna’s R&B vocals are aptly paired with the unique sounds of rapper Kardinal Offishall, who is of Toronto/Jamaican heritage. Here, the sweet songbird makes sure a certain boy recognizes her efforts on the dance floor. The uptempo vibes continue with the seductive R&B pop track, “Let Me.” The 17-year-old green-eyed cutie, born in the Barbados, made a splash onto the summer scene with her dancehall smash single, “Pon De Replay.” The party-starter has Rihanna requesting the DJ to turn the music up, over absolutely infectious clap-heavy dancehall grooves. That’s because with her debut album, “Music Of The Sun,” new artist Rihanna brings us the sultry dancehall and R&B sounds of the Caribbean islands. Rihanna, “Music Of The Sun”It’s not too late for a summer getaway after all. Still, the three-time Rock and Roll Hall of Famer has earned time to ponder where his music has taken him. Stevie Wonder’s “I’m Going Left” and George Harrison’s “Love Comes to Everyone” bookend Clapton’s first original material in five years, even if the recordings sound closer to elevator ditties than soulful biographical ballads. As much as the album is a reflection, it’s also homage to the songs that move Clapton just as those life-changing blues die. The truth is that even the wildest grow timid with years.Īnd following his reunion last summer with his bandmates from Cream, that 1960’s psychedelic British powerhouse, Clapton has reason to step back and count the blessings his guitar has brought. Babies and band practice? Has one of the most influential guitarists ever grown soft? Say it ain’t so. Instead it’s an uplifting melody to accompany a parent’s lament on the daily grind of raising children. To make that point, the album’s opening track “So Tired” doesn’t chronicle the bone-deep fatigue a seemingly endless string of show nights would bring. So it is for the 60-year-old British bluesman’s aptly titled “Back Home,” which brings into sharp focus the reflections of a music man of four decades who has grown to value home and family above all else in the twilight of his years. If you’re Eric Clapton, though, you simply return home. GriffithĮric Clapton, “Back Home”Sure legends die and stars inevitably begin to fade. Why suffer through that when there’s real honky-tonkers out there (singers Robbie Fulks and Dallas Wayne, for example) who remain true to the roadhouse tradition and perform well-crafted songs that don’t merely pander to the lowest common denominator? -Paul V. Its not that every country album should swing (Faith Hill’s latest, “Fireflies,” doesn’t, and its a fine record), but you’d better count off a shuffle every now and then if you’re going to call yourself a honky tonker or a “hillbilly.” “Hillbilly Deluxe,” on the other hand, delivers nothing but trite ballads (“I May Never Get Over You”) and wannabe Southern rock (“Whiskey Do My Talking”). Then there’s the fact that “Hillbilly Deluxe” contains not a single shuffle or waltz, two song forms that, from Bob Will’s “San Antonio Rose” to George Strait’s “You Look So Good in Love,” virtually define “honky tonk.” For starters, there’s nary a honky tonk on Brooks & Dunn’s tour schedule- denizens of arenas and amphitheaters is more like it.
It’s hard to argue with the first half of that statement (there’s no accounting for taste), but the second half is asking for a fight.
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