Rihanna 2 - Good Girl Gone Bad CD

Good Girl Gone Bad CD music The times were crying out for a pop star like Lady GaGa -- a self-styled, self-made shooting star, one who mocked the tabloid digital age while still wanting to wallow in it -- and one who's smart enough to pull it all off, too. That self-awareness and satire were absent in the pop of the new millennium, where even the best of the lot operated only on one level, which may be why Lady GaGa turned into such a sensation in 2009: everybody was thirsty for music like this, music for and about their lives, both real and virtual. To a certain extent, the reaction to The Fame may have been a little too enthusiastic, with GaGa turning inescapable sometime in the summer of 2009, when she appeared on countless magazine covers while both Weezer and DAUGHTRY covered "Pokerface," the rush to attention suggesting that she was the second coming of Madonna, a comparison GaGa cheerfully courts and one that's accurate if perhaps overextended. Like the marvelous Madge, Lady GaGa ushers the underground into the mainstream -- chiefly, a dose of diluted Peaches delivered via a burbling cauldron of electro-disco -- by taming it just enough so it's given the form of pop yet remains titillating. Sure, GaGa sings of disco sticks, bluffin' with her muffin, and rough sex, but her provocation doesn't derive solely from her words: this is music that sounds thickly sexy with its stainless steel synths and dark disco rhythms. Where GaGa excels, and why she crossed over, is how she doesn't leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave, like the title track that echoes Gwen Stefani in dance diva mode. But where Gwen simply celebrates celeb consumer culture, GaGa bites, her litany of runway models, pornographic girls, and body plastic delivered with an undercurrent of disdain, even as she loves all the glitz. This dichotomy propels much of The Fame, particularly on the clever "Paparazzi," where she casts herself as the photographic parasite chasing after her crush, but none of this meta text would work if the songs didn't click, functioning simultaneously as glorious pop trash and a wicked parody of it. ~ Stephen Thomas Erlewine Personnel: Lady Gaga (vocals, keyboards, synthesizer); Colby O'Donis (vocals); Flo Rida, Space Cowboy (rap vocals); Red One (various instruments, ...

Good Girl Gone Bad album for sale Although his first studio album in three years has been long-awaited and repeatedly delayed, Lil Wayne has been anything but absent. Since THA CARTER II, Weezy has left an impressive mass of recordings--from mixtapes (authorized and otherwise) to guest appearances--in his wake as he blusters through the rap industry. In the third installment of the THA CARTER series, Wayne shows he's earned the right to ego-trip as he lets his off-kilter flow, freak-out lyrics, and vocal acrobatics run wild over 16 tracks. Scaling the heights of hubris on "Dr. Carter," he plays an MC/doctor treating a certain music genre diagnosed as lifeless and closes with a quintessential Weezy snarl: "Welcome back hip-hop/I saved your life." Wayne then shifts to alien-mode for the E.T.-inspired "Phone Home." Later on, he details his sexual conquest of a female cop on "Ms. Officer." As expected, THA CARTER III is rife with big name producers (The Alchemist, Kanye West, Wyclef Jean, David Banner, Swizz Beatz, will.i.am) and guest artists (Jay-Z, Babyface, Busta Rhymes, Juelz Santana, Fabolous, T-Pain) from all coasts. Tha Carter III is the sixth studio album by rapper Lil Wayne and it is the final album in Tha Carter trilogy. Originally known as the youngest Hot Boy, Lil' Wayne has orchestrated a steady stream of hits. The New Orleans rapper began his long career with Cash Money as part of the Hot Boys, a popular late-'90s supergroup consisting of Juvenile, Turk, and B.G. Audio Mixers: Miguel Angel Mendoza Bermudez; Andrew Dawson; Edward Lido; Fabian Marasciullo. Recording information: Blue Jay Studios; CMR, Miami, FL; SouthBeat Studios, Miami, FL; The Record Room, N. Miami, FL; Tree Sound Studios, Atlanta, GA. Photographer: Jonathan Mannion. Personnel: Eddie Montilla (strings, keyboards); Ludas Charles (keyboards); Darius Harrison (drums). Additional personnel: Sha Ron Prescott (vocals, background vocals); Pro-Jay, Robin Thicke, Cool & Dre, Jim Jonsin.

Good Girl Gone Bad buy CD music Pink's insistently hooky, attitude-filled pop-rock has kept the singer a fixture on the radio and on singles charts since the early 2000s. The artist's fifth effort, FUNHOUSE, doesn't tamper with the formula: Pink's powerhouse vocals and in-your-face approach, backed by stadium-sized production, are in full effect on all 12 tracks. Even though the album deals primarily with aftermath of her divorce and includes serious moments of self-confrontation like "Sober," fans needn't worry that Pink has lost any of her chutzpah. If anything, there's an increased sense of confidence and newfound liberation on tracks like the chest-thumping "So What" and the mischievous, bouncing "Bad Influence." In softer moments, like the ballad "I Don't Believe You" and the soulful "One Wrong Foot," Pink channels her personal experience into expressions that carry no less strength or muscle. But FUNHOUSE is a pop album first and foremost, and its catchy choruses, rollicking beats, and memorable vocal performances won't disappoint. Recording information: 3:20 Studios, Los Feliz, CA; Decibel studios, Stockholm, Sweden; Electric Lady Studios, New York, NY; Henson Recording Studios, Hollywood, CA; House Of Blues Studio, Los Angeles, CA; Malibuddha Studios, Malibu, CA; Maratone Studios, Stockholm, Sweden; Modern Dirt Laboratories, London, England; Sha Recording, Malibu, CA; The Chateau Marmont, West Hollywood, CA; The Document Room, Malibu, CA; The Magic Shop, New York, NY; Westside Pacific Music, Inc., Pacific Palisades, CA. Photographers: Andrew McPherson ; Deborah Anderson. Arrangers: Stevie Blacke; Eg White; Uli Janson; Henrik Janson. Personnel: P!nk (vocals, background vocals); Eg White (guitar, guitars, strings, Hammond b-3 organ, drums, percussion); Jimmy Harry (guitar, guitars, keyboards); Peter Parente (guitar, guitars); Billy Mann (guitar, acoustic guitar, electric guitar, keyboards, background vocals); Shellback (guitar, acoustic guitar, omnichord, keyboards, bass guitar, drums, percussion, drum programming); Pete Wallace (guitar, piano, harmonium, bass guitar, programming); Max Martin (guitar, keyboards, bass guitar); Butch Walker (guitar, keyboards, percussion, programming, background vocals); Robin Mortensen Lynch (guitar, programming); Chris Galland (guitar); Stevie Blacke, Stockholm Session Strings, Uli Janson, Henrik Janson (strings); Guy Baker (trumpet); Roger Joseph Manning, Jr. (piano, keyboards); Roger Manning (keyboards); Niklas Olovson (bass guitar, programming); Tony Kanal (bass guitar); Josh Kane, Joey Waronker, John Yarling, Darren Dodd (drums); Daniel Chase (programming); DJ Willrock (turntables); Kinnda Hamid (background vocals). Audio Mixers: Al Clay; Mark "Spike" Stent; Serban Ghenea; Tom Lord-Alge; Billy Mann.

Good Girl Gone Bad songs After a year on lock-down for illegal machine gun possession, the self-proclaimed king of the south channels his personal strife into his introspective sixth studio album, PAPER TRAIL. The title stems from T.I.'s decision to return to writing his rhymes down on paper; the lyrical craftsmanship shows as the ATL icon delves into personal issues--speaking on his legal troubles ("Ready For Whatever"), his prison experience ("You Ain't Missing Nothing"), and his fallen homies ("Dead and Gone"). T.I. also collaborates with former rival Ludacris for the grandiose "On Top of the World," speaks on the cannibalistic relationship between rappers' personal lives and their art on "My Life Your Entertainment," and joins Kanye West, Jay-Z, and Lil Wayne for the bombastic posse cut "Swagga Like Us." Production comes courtesy of Drumma Boy, DJ Toomp, Rob Knox, Jim Jonsin, Just Blaze, and Swizz Beatz, among others. Recording information: Baseline Recording Studios, New York, NY; Echo Studios, Atlanta, GA; Logic Studios, Milan, Italy; Record Plant Recording Studios, Hollywood, CA; SoundTrap Studios, Atlanta, GA; The Hit Factory Criteria, Miami, FL. Photographers: Sydney Margetson; Darren Ankenman. Arranger: Larry Gold. Personnel: Ricco Barrino (vocals); Stevie Salas (guitar, guitars); Ghislaine Fleischmann, Eliza Cho, Michelle Bishop, Ghislaine Fleishman, Igor Szwec, Emma Kummrow, Gregory Teperman (violin); Peter Nocella, Carol Briselli (viola); James J. Cooper III (cello); Canei Finch, David Siegel (keyboards). Audio Mixers: John Frye; Marcella "Ms. Lago" Araica; Robert Marks; Ryan West; Supa Engineer "Dura"; Andrew Dawson; Jean-Marie Horvat; John Fry ; Ray Seay; Leslie Brathwaite.

Good Girl Gone Bad album for sale Recording information: Aerowave Studio, Encino, CA; Butch's Old House, Los Feliz, CA; Caopitol Studios, Los Angeles, CA; Conway Recording Studio, Hollywood, CA; Deathstar Studios; Dr. Luke's, New York, NY; Freshkills, New York, NY; Guillham's Farm Haslemere, Surrey, England; Legacy Recording Studio, NY, NY; Monster Island, New York, NY; Rocket Carousel Studio, Los Angeles, CA; Rondor Studios, Los Angeles, CA; The Compound, Los Angeles, CA; UMPG Studio, Los Angeles, CA; Unstable Studios. Illustrator: Shayne Ivy. Photographer: Michael Elins. Personnel: Katy Perry (vocals, whistling, piano); Greg Wells (guitar, piano); Dave Katz (guitar, programming); Dave Stewart , Max Martin , Scott Cutler, Sean Gould (guitar); Daniel Chase (keyboards, programming); Benny Blanco (drums, programming); Darren Dodd, Steven Wolf (drums); Jeff Bova, Sam Hollander, Ned Douglas (programming); Cathy Dennis (background vocals). Audio Mixers: Joe Zook; John Hanes .

Good Girl Gone Bad CD music The R&B singer, songwriter, producer, and all-around hit-making machine known as Ne-Yo works his magic yet again on YEAR OF THE GENTLEMAN. Different from your average R&B crooner of the day, Ne-Yo backs away from overt sexuality, instead aiming for subtle romantic ballads that vary from playful innocence to brooding melancholy. Lead single "Closer" is unique as Ne-Yo works his silky smooth voice over a poppy house track. Overall, YEAR OF THE GENTLEMAN is consistent in this respectfully seductive approach to the fairer sex. In "Nobody," an awed Ne-Yo sings the praises of his love interest--"Can't nobody strut like her/Can't nobody touch her"--and the second single, "Miss Independent" is as close to a feminist anthem as the R&B genre has come in years. Production work comes from Polow da Don, Stargate, Chuck Harmony, Stereotypes, and Ne-Yo himself. Recording information: Circle House Studios, Miami, FL; Roc The Mic Studios, New York, NY; The Carrington House, Atlanta, GA; The Studio, Philadelphia, PA; WEstlake Studios, Los Angeles, CA; ZAC Recording Studio, Atlanta, GA. Photographer: Chris Stanford. Arrangers: Chuck Harmony; Larry Gold. Personnel: Ne-Yo (vocals); Mikkel Storleer Eriksen, Tor Erik Hermanson, Shomari "Sho" Wilson, Syience (various instruments); Robert Taylor "R.T." (guitar, guitars); Bernt Rune Stray, Brandon Thomas , Jesse Bond (guitar); Charles Parker , Igor Szwec, Emma Kummrow, Rob Martin, Olga Konopelsky, Gregory Teperman (violin); Alexandra Leem, Davis A. Barnett (viola); Jennie Lorenzo (cello); Shea Taylor (strings, piano, synthesizer, bass instrument, drum programming); Micayle "the Mack" McKinney, Micayle McKinney (keyboards). Audio Mixers: Kevin "KD" Davis; Jaymz Hardy-Martin III; Phil Tan.