November 21, 2024 • 56 mins
Rihanna's Good Girl Gone Bad is one of the seminal albums of the mid-2000s, spawning several gigantic hits, but more importantly, this record helped entertain Diamond while she got her wisdom teeth extracted.
On this episode, Andrew and Diamond look back on the album that made Rihanna a bonafide pop superstar with hits like "Umbrella," "Shut Up and Drive," "Don't Stop the Music," "Hate That I Love You" and "Rehab." We explore what made Rihanna so intriguing at the time and how she's maintained such a high approval rating for so long.
Subscribe so you don't miss an episode of At First Listen!
(Episode 20.)
On this episode, Andrew and Diamond look back on the album that made Rihanna a bonafide pop superstar with hits like "Umbrella," "Shut Up and Drive," "Don't Stop the Music," "Hate That I Love You" and "Rehab." We explore what made Rihanna so intriguing at the time and how she's maintained such a high approval rating for so long.
Subscribe so you don't miss an episode of At First Listen!
(Episode 20.)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:15):
What do we say. We say I.
Speaker 2 (00:19):
I'm Andrew and I'm Diamond, and this is at first listen.
Speaker 1 (00:24):
Yeah, that's familiar. It's at first listen.
Speaker 2 (00:28):
I'm Andrew and I'm Diamond.
Speaker 3 (00:30):
And on today's show, we have no guest. It's just
the two of us and we're talking about Arehanna record
Good Girl Gone Bad? From two thousand and six It
seven seven all right, Word fact Checking, Live fact.
Speaker 2 (00:45):
Checking, Live fact Checking, two thousand and seven March twenty ninth,
two thousand.
Speaker 3 (00:54):
I actually got a little bamboozled because the first one
that comes up on streaming is the reloaded version Yeah,
which I think is just the same album, but with
a bunch of extra tracks. So my first time looking
at the track list, I was like, Diamond, come on,
it's an.
Speaker 2 (01:10):
Hour yeah none, no, no, no, so fun.
Speaker 3 (01:13):
And then I got into like one of the bonus tracks,
which I think the first one is Disturbia, and I'm like,
that's on this album, and then I double checked. I
was like, aha, I'm my obligation here is done.
Speaker 2 (01:26):
Hold on because maybe I listened to the wrong one.
See Apple doesn't have just the regular Good Girl Gone Bad,
there's just one version. Look, yeah, so when you click
it empty, that's very strange, and I remember thinking about that,
but I'm like, okay, I know this album front and back,
so it's like, okay, fine, So maybe the original album
(01:51):
did come out in two thousand and six, because Umbrella,
if I'm not mistaken, came out in two thousand and five.
Imagine them putting out an album. Well, now they do it,
but back then a single comes out two years before
an album. That doesn't make any sense.
Speaker 3 (02:10):
Yeah, because a lot of times today an artist will
come out with a single and then start working on
an album like a year later. That's a funny little
phenomenon in the music industry. And they'll tour on like
twenty minutes of material as an opening act.
Speaker 2 (02:30):
Usually but nothing Apple only has reloaded, which is insane.
Speaker 3 (02:39):
The erasure of Rihanna's career. I was surprised that this
was her third record, unless that's not true.
Speaker 2 (02:49):
It was I get the first two albums confused, and
like I kind of meshed them together because that was
a time, okay, but it wasn't the time that good
Girl Gone Bad wash. So let me tell you why
I chose this record. This is probably one of my
favorite albums of all time, and it's something that I
(03:14):
didn't think about, Like you know how you have those
albums that you like, love, but you don't realize the
importance of the album to you in your life until
a specific thing happens.
Speaker 3 (03:23):
Right, you don't realize like how much this music is
kind of in your brain all the time.
Speaker 2 (03:28):
Yes, So the album came out probably when I was
in like junior high school. In high school, I had
to get my wisdom teeth removed, and do you know
how people are always like, oh, it's horrible. I had
the best experience.
Speaker 1 (03:42):
I'm glad you got to do it in high school.
Speaker 3 (03:44):
First of all, well that's how I For me, that
was like first semester of college getting used to a
whole new life. And then I'm also on drugs for
the first time.
Speaker 2 (03:55):
Oh god works, it does? It knocked me out, Like
I slept the entire weekend, but I got all four
pulled at once, and I was terrified to go to
this what it's not an orthodontist, what is it a
dental surgeon? It's something, Okay, So I go to the
(04:17):
dentist and he's like, he gives me a Teddy bear.
They gave me a pill and knocked didn't knock me out,
but I stayed awake. They put like, you know, laughing
gas over my nose and the oral surgeon, oral surgeon.
There we go, thanks, and he gives me a book
which kids these days don't know what it is. But
he it was a book full of CDs and he's like,
(04:41):
pick one, and I'm like going through. I think in
my head I was probably looking for Beyonce album Come
find one. So I'm like, I know a lot of
Rhianna songs. Okay, cool. I give him the album like
this is what I want to hear. He lays me
back in the chair and I don't remember pain. I
remember him tugging once on my tooth or like teeth whatever,
(05:04):
and then but all I remember is singing the songs
out loud as the man is in my mouth like
he's literally cutting my gums up and I am singing okay,
like so embarrassing, and like after it, I was like, wow,
(05:25):
I really know this album, and they busted out laughing.
It was like him and two assistants in the in
the room with us, but listen, two.
Speaker 1 (05:31):
People who were holding you down to keep.
Speaker 2 (05:33):
And I was I was. I was dancing, like dancing,
like trying to move, I was saying clearly the pill
that he gave me really worked, and laughing a us
but like, this's the only thing that I remember from
getting my wisdom teeth.
Speaker 1 (05:46):
Poled well.
Speaker 3 (05:47):
I love that story, except that it reminds me of
when I got my wisdom teeth polls. They did not
put on music for me. They had to like literally
open my like like drill into my job. No, because
the teeth were impacted, like beneath the surface of the bone.
Speaker 1 (06:06):
It was a bad time.
Speaker 2 (06:07):
No, I'm so sorry.
Speaker 1 (06:08):
Yeah, ah, I'm sorry. Your story was better.
Speaker 2 (06:12):
What were your expectations going into the album?
Speaker 3 (06:16):
So this got me thinking about when I my general
view of Rihanna, which has always been positive, I can't
remember hearing about Rihanna for the first time. She's an
artist who kind of always strikes me as being new,
(06:38):
like not an artist I grew up with, even though
her career began way earlier than I would have then
if you quizzed me on it, you know, two thousand
and four whatever, whenever her first record came out, I
would have been surprised to hear that I don't have
any recollection of like, oh, there's this new artist Rihanna.
Everyone likes her. But over the years, I've run into
(07:02):
people in the music industry who've worked with her in
one way or another. Everyone says that she's like the best,
that she's like the best person. Oh, she's like my
kid's godmother, Like oh, they my kids think she's their aunt.
Like it's all you know, stories like that. It's like,
you know, she's this giant star and she doesn't have
(07:23):
an ego on social media. She's very funny and very
like raw like her.
Speaker 1 (07:30):
So it's just.
Speaker 3 (07:30):
Like generally seems like a real person who's like three dimensional,
you know. Her not doing music is like not weird anymore,
the fact that she's like focusing on a business, because
it's just like clearly she's a.
Speaker 1 (07:43):
Person with a lot of interests, you know.
Speaker 3 (07:47):
So I liked this pick and I was interested to
hear the actual album. I thought I would like it,
and it went into it's like sort of on equal
footing as the Nicki Minaj's record, where I'm like, this
is not something that I would have picked myself, but
I'm curious to see what it's like. Okay, so you
(08:09):
want to take a break and then we'll talk about
my final thoughts on the album track by track.
Speaker 2 (08:14):
Yeah, I need to hear what you have to say
about one of my favorite albums sold.
Speaker 4 (08:27):
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Speaker 1 (09:35):
Welcome back to effirst. Listen.
Speaker 2 (09:37):
I'm Andrew and I'm Diamond, and.
Speaker 1 (09:38):
We're getting into a Good Girl Gone Dad by Rihanna.
Speaker 2 (09:43):
It's one of my favorite albums of all.
Speaker 1 (09:45):
Time, one of an album of all time that I've heard.
Speaker 2 (09:48):
Oh I was that shape? No, wasn't. Before we get
into the track list, I want to know where your
track list ended.
Speaker 3 (09:57):
Well, first I was listening to Reloaded, which got into
Disturbia after the title track, and then I realized that
there was a I guess original version of the album
which ended at Good Girl Gone Bad the title track,
Oh that sucks.
Speaker 2 (10:14):
Okay, so you didn't hear it, take a bow.
Speaker 1 (10:17):
I might have heard it once know it though.
Speaker 3 (10:19):
That's kind of how I felt about a lot of
this record, is that I knew like almost everything.
Speaker 2 (10:24):
Yeah, isn't that insane?
Speaker 1 (10:26):
It's crazy.
Speaker 3 (10:26):
Like when I heard Disturbia from the Reloaded edition, I
was like, oh my god, this is like the only
hit from this album that is not still being played
all the time on the radio.
Speaker 2 (10:39):
I picked this album because I feel like this is
the album that made her a pop star. The album
before this was a Girl like Me, I think, and
I think it was it was released in maybe two
thousand and five, two thousand and six, and Unfaithful was
on that one and Sos was on that one, and like, yeah,
(11:01):
big hits. But she could have never released anything ever
again and people would have forgotten about her. Yeah, but
this album I think made a difference in her career.
She changed her hair up. She went from brown to
like Jack.
Speaker 1 (11:17):
That's I forgot about that.
Speaker 3 (11:19):
Like every every time she would do like a new
record or a tour or something, the hair would be
different and there'd be this whole, this whole storyline about that.
Speaker 2 (11:29):
No, I love it, and she changed the sound a lot,
but I think that like when you go back and
listen to this album, it takes you back to two
thousand and six, two thousand and seven, two thousand and eight,
where there was that like dancy pop music that still
had this like I don't some of it had like
(11:50):
an R and B feel, but not too much. It
was like she was she did everything perfectly. Yeah, I
can't do that anymore.
Speaker 3 (11:58):
I think there's a really good bounce of the way
this record sounds where it is like the choices on
it are very very signature to her, and it's sort
of what we have come to expect from her.
Speaker 1 (12:13):
I don't know if that's what people were expecting at
the time.
Speaker 2 (12:15):
Now as a fan, I wasn't.
Speaker 3 (12:18):
But yeah, there's like this, there's all these like sort
of musical references to like house music and etim which
is maybe the world that she came from, but it's
also very pop and it's a little bit R and B,
but it's also like up tempo.
Speaker 2 (12:35):
Yeah, And like, I just think it all intertwines perfectly,
and I don't think anybody else. There may be other
people who can do it, nobody could do it the
way that she has in the way that this album
was done. And I think that, like I said, years
to come, we'll come back to this album. Okay.
Speaker 3 (12:54):
You know, there's so much genre bending and pop music
where you can't really listen into a song in a
lot of cases without vocals and identify like the artist
or even the type.
Speaker 1 (13:08):
Of artist that might do it.
Speaker 3 (13:11):
But I feel like with Rihanna, her music all has
like these very specific threads to it where it pulls
from these like this like europop sort.
Speaker 2 (13:22):
Of worlds, you think.
Speaker 1 (13:24):
So there's all these like Norwegian guys writing these songs
with her.
Speaker 2 (13:27):
Yeah, I don't know. I think that was just the time. Yeah,
because she like makes some twists and turns in her
career that are just like you listen to this and
then you listen to Anti, the last album that she released,
completely different, and it's just like, I don't know, I
don't know, I don't know.
Speaker 3 (13:48):
But also some of those twists you could attribute to
the fact that everyone thinks she's so wonderful and amazing
to be with, So she has like the world that
her fingertips anytime she wants to make any music.
Speaker 2 (14:00):
For sure, I was going to tell you something. Oh
my god, do you know that she was almost shelfed
before this album?
Speaker 1 (14:12):
What do you mean by that?
Speaker 2 (14:14):
Like she was signed to def Jam I believe at
the time, and it was around the time that La
Reid was still in charge over there, and she was
about to get shelfed like her album. I don't necessarily
think it was this album. It may have been a
girl like me was They're just yeah, they you know,
(14:35):
they were putting her on the back burner. They really
weren't going to give her the budget to to make
a really good album because there was another woman on
the label named Tierre Marie. And guess who told la
Reid he would be making a mistake if he didn't
(14:57):
turn and focus more toward Rihanna?
Speaker 3 (15:00):
Yes, okay, is it someone that we've talked about on
the show before? Is it someone who we covered on
the show, like in terms of like an album. Was
it Stevie Wonder Nope? It was a Lauren Hill?
Speaker 2 (15:16):
Nope?
Speaker 1 (15:18):
Was it Elton John Beyonce?
Speaker 2 (15:22):
You knew that that was.
Speaker 1 (15:23):
A bonus episode that doesn't count.
Speaker 2 (15:25):
Fine, but yeah, she told him, I think you're missing
the star that's in front of you, Like Rihanna's a star.
I think you should really pay attention to her. And
then I mean she's right, look at that. Sure, yes,
Beyonce working Wonders again. Okay, how did you feel about Umbrella?
Speaker 3 (15:46):
I feel like, yeah, this is one of those ones
that I listened to it the one time because we
have to, that's the promise we made.
Speaker 1 (15:55):
To each other.
Speaker 3 (15:56):
But it was a track one skip every other time
I'm through the album. I just don't need to hear
that song again. It's good, I just I mean, it's
It's one of those one of a few songs on
this album that takes me back to doing board op
overnights at KTU, where I don't know how it is
(16:16):
with Z, but with that station it is a lot
of the same old songs over and over again, where
I think maybe there's a little more variety on Z
when you're doing overnights. Maybe I'm wrong, but there is
a certain era of KTU music that it's just like
(16:37):
flashbacks when I hear there's a bunch of sorry by
Justin Bieber's one of them, just songs that were be
getting hammered overnight.
Speaker 1 (16:44):
Yeah, when I was working there. What about Uptown Bruno
Mal Please?
Speaker 2 (16:48):
I can't take that song. I cannot take it. Did
they play the jay Z version?
Speaker 1 (16:53):
Yeah?
Speaker 2 (16:54):
Oh okay. Sometimes we don't play the jay Z version
on Z and I don't know why. I know there
was another, Yeah, it's without him. It's just like I
almost said that air. It's like, uh, just I guess
for people to talk do a talk break over the
instrumental and it is not fun.
Speaker 1 (17:13):
Okay.
Speaker 2 (17:14):
I think that people put it in by accident, you know.
Speaker 1 (17:17):
Oh okay.
Speaker 2 (17:19):
I want to blame Scotty some people may not know
who Scotty is. Also, Okay, so umbrella. I feel like
for me it is a skip, but we know it.
It is what it is, like it has been beaten
into our brains.
Speaker 3 (17:33):
I don't know if it's good or not. Honestly, it
probably is good, but I don't want to ever hear
it again if I can help it.
Speaker 2 (17:42):
I just remember seeing the video for the very first time,
and she was in point shoes, and I used to dance,
so I know that dancing in point shoes is not easy,
and I'm like, this is fake. This is all I
could think of in my like probably eleven year old brain.
I'm like, this is fake. I think that was when
I realized that videos were shot in different ways, because
(18:03):
like she's like walking in points. She was like, it's
nothing holding up an umbrella. I'm like, girl, please, okay,
this is not easy, and you're making it look like
it's easy. You're done here, And I think that I've
never looked at that song the same. Okaya, I'd love.
Speaker 3 (18:17):
To know what you're talking about, but I'm not gonna
put on the music video because the song will be playing.
Speaker 2 (18:22):
Oh yeah, well you could look it up and I
feel like you'll see it. It's like, girl, somebody else
was doing that and it's okay, But that was the
first time that I realized that these things right.
Speaker 1 (18:31):
So, speaking of kt you, the next song is push
Up on Me.
Speaker 2 (18:34):
Oh ten out of ten experience, and.
Speaker 3 (18:37):
I don't think KTU played this song while I was there,
but I think this song is really fun and it
reminded me of a lot of songs that did get
played during overnight time because it has that Frey freestyle
vibe to it, where, for whatever reason, all freestyle songs
have like a little pew.
Speaker 1 (18:56):
Pew like laser sound, which is fun. It's like hilarious.
Speaker 3 (19:03):
I love that that is like a cornerstone of the
free style genre and that is all over in this song.
Speaker 1 (19:10):
And the chorus in this tune is really good.
Speaker 2 (19:13):
I love Push Up on Me. It's one of my
favorite songs to work out to. This album is like
one of the only albums where I feel like the
entire thing is in one of my workout play just
because it's so good. Like you Break Break, I'm like, yes, Ria, girl,
(19:35):
she gets it popping. I can't give it any anything
other than a ten out of ten, honestly, don't stop
the music. I'm kind of over it.
Speaker 3 (19:44):
Yeah, this is very close to Umbrella for me. It's
I guess a little bit more listenable.
Speaker 2 (19:51):
Mm hmm.
Speaker 1 (19:52):
I don't know why. It's.
Speaker 3 (19:54):
One of the things I put in my notes was
that this is one of the songs that haunts.
Speaker 1 (19:57):
Me, oh where.
Speaker 3 (19:59):
It's just it'll appear out of seemingly nowhere and it
won't go away. But this is like also kind of
the what I think of Rihanna's sound. You know, it's
like a sort of kind of a house music written
(20:20):
by Norwegian guys Vibe.
Speaker 1 (20:22):
There's the MG.
Speaker 3 (20:24):
Sample, which I wonder how I wish we could quantify
how much they want to be starting something sample contributes
to the success of this song, you know, because it's
not like a big part now of the arrangement.
Speaker 1 (20:41):
It's just kind of there.
Speaker 2 (20:45):
I don't think I think. I don't think it did
a lot for her audience, right like you think about
like for older people, yes, it was familiar to them,
so like, okay, great, I want to hear that song
because it's you know, I know it whatever you know.
But for me, this was the first it wasn't the
(21:08):
first time I heard clearly where it came from. But like,
I wasn't thinking about Michael Jackson when this song was on. Yeah, sorry,
I love you man.
Speaker 1 (21:16):
But I still.
Speaker 3 (21:19):
I only thought about it because we were doing the
podcast on the album. I don't normally think about Michael
Jackson when I hear that song, And it was just like, wait,
I want to make sure I'm thinking of the right thing.
Speaker 2 (21:35):
I wonder if he cleared it.
Speaker 1 (21:37):
Well, yeah, you would have to know.
Speaker 2 (21:38):
I mean like if he was like, yeah, for sure.
Speaker 3 (21:42):
I think he was pretty involved in his catalog, especially
at this time. Remember Michael Jackson bought the Beatles catalog
because Paul McCartney told him to buy whichever would make
him the most money, so he bought the Beatles catalog.
Speaker 2 (21:58):
Yeah, breaking dishes.
Speaker 3 (22:03):
So what annoyed me about this song was I couldn't
find an explicit version. It sounds like there's uh like
they edit out kicking ass in the chorus. Ah, And
I was looking around and I was like, is that
just a creative choice or maybe because also this.
Speaker 1 (22:22):
Doesn't really seem like a radio song.
Speaker 2 (22:24):
Anyway, can ask what part is that?
Speaker 1 (22:25):
I think it's in the pre chorus or the.
Speaker 2 (22:29):
Oh man I'm gonna mess up. Hold on, oh, I
can't look at that. The only thing I like the song,
But I mesh Breaking Dishes and Shut Up and Drive
together because if I'm not mistaken, there was a version
of the shut Up and Drive music video where there
was like an interlude and Breaking Dishes was played and
(22:51):
she was like doing stuff in the house and then
either it was at the beginning or the end of
the shut Up and Drive video.
Speaker 1 (22:57):
Yeah, I guess they could be. Also, it could be
like a like chapters at true of Rihanna's story.
Speaker 2 (23:09):
Listen, I hate to skip to Shut Up and Drive,
but I think this is probably it's not my favorite
song by her, but just the like d like you
really feel like you're in a car, and like yeah, yeah,
it has from the engine of a car like this girl.
I mean, come on, this woman ten out of ten experience.
Speaker 3 (23:33):
That's like a subtle thing on this album is that
Rihanna clearly loves guitar, because every like ballad kind of
song had like features guitar, and then shut Up and
Drive is like a fusion of pop, E d M,
and rock where it's kind of driven by electric guitar.
One artist who I would love to get on the show.
(23:57):
Is a guitar player by the name of Nuno Bettancourt,
who is best known for playing in the band Extreme
and their biggest hit was a song called More Than Words,
which is a famous ballad from the eighties. Nuno is
like one of the most phenomenal guitar players in the world,
(24:19):
very much from the Eddie van Halen, like an acolyte
of Eddie van Halen. He for like a decade worked
with Rihanna as her music director. Oh wow, So anyone
seeing Rihanna live was seeing also Nuno and she would
like give him solos all the time, and like really
(24:41):
would use him.
Speaker 1 (24:42):
Yeah.
Speaker 2 (24:43):
I mean I saw her in twenty sixteen Made in America,
and I remember feeling like, oh no, she's really good live,
Like this is fun. I haven't been to a show
where it's that fun. Now I've because I'm pretty sure
that I've gone on record saying this. I did not
(25:03):
think and I do not think Rihanna is the best singer.
I do not think that she's a vocalist. Like I've
said it, I mean it. It is what it is.
So my expectations for seeing her live were pretty low.
It's like, okay, whatever.
Speaker 1 (25:18):
I'm giving a lot of other stuff.
Speaker 2 (25:19):
Yeah, I'm not gonna pay to go see her show.
I'm gonna pay for the festival and hopefully I'm not
tired by the time she comes out. I love her music,
but I don't really care to see her live. And
I saw her and I was like, oh, yeah, I
get it, Like this is fun. Like whoever her music
director is is doing their job, because this is a
time and a half. The music was great, her vocals
(25:43):
not bad. I was like, Okay, all right, I get it.
Speaker 4 (25:52):
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Speaker 5 (25:55):
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Speaker 3 (27:00):
Let's talk about her voice, because you have mentioned that
before that you don't think she's like a.
Speaker 1 (27:07):
A singer with a capital ass.
Speaker 3 (27:08):
Yeah, I sort of agree with you, But what do
you think it is about her as an artist that
gets to be both?
Speaker 1 (27:18):
Well?
Speaker 2 (27:19):
I think her music was always fun, right, Like, you
listen to her music and you're gonna either have a
really good time or you're gonna be singing her ballads
at the top of your lungs. Yeah, Like the next
song is hate that I Love You ten out of
ten experience when it comes to like it's not necessarily
a ballad, but like that acoustic vibe and then Neo
(27:40):
is actually carrying the vocals no shade, but like it's
given she knows how to make a hit or she
surrounds herself with people who make hits. I think that
she probably picks the right songs. I don't necessarily think
like I hate to compare her to Beyonce, but that's
the only person that I can talk about in depth. This.
(28:01):
Beyonce picks the songs that she likes. I feel like
Rihanna picks the songs that she knows that everyone is
gonna like, you know, and I think a lot of
artists don't do that anymore. They're like, oh, I like
this beat, don't really care about the lyrics. I'm just
gonna say whatever I want, or I wrote lyrics and
I'm just gonna add them to whatever melody someone else has.
(28:22):
She literally would go to the best of the best
and have them give her what they had. People were
at this point. I think maybe after this album, they
were like killing themselves to have a Rianna record. Yea,
Like all of these songs that these other pop girls
were singing in two thousand and nine, ten eleven, those
were Rihanna throwaway records.
Speaker 1 (28:43):
Like yeah, you would hear that every once in a while, Yeah,
like oh yeah Na turn this down.
Speaker 2 (28:46):
Yeah.
Speaker 4 (28:47):
And so.
Speaker 2 (28:49):
I don't think that she first of all, okay, how
do I want to say this? Said? It already not
the best singer. She's not a song writer. She doesn't
play any instruments. Literally, she knows how to pick a
hit out of a bag. That's it. Yeah, And that
(29:10):
is a talent in itself, because everybody can't do that.
So have to give the girl her props.
Speaker 1 (29:15):
That's that's how Frank Sinatra made his career.
Speaker 2 (29:17):
Yeah.
Speaker 3 (29:18):
Hey, but also, like I think the other thing she
has going for you for her is that you know
you can you can do this and not be a
world class singer. But she has a very unique voice.
She has a unique way of like delivering lyrics. She's
(29:39):
a good enough singer. But when you're a little bit
limited as a vocalist and what you can do when
your arrange and everything, it means you have to pick music,
write music that is easier to sing which when you
want people to sing along to your record, it's a
little bit easier to sing along to Rhianna so than
(30:00):
it is an Ariana Grande song. Yeah, because she's limited,
Like the source material is only so challenging.
Speaker 2 (30:10):
Well, you know what, now that you're bringing up Ariana Grande,
I don't know. She picked some good hits too. She
knows what she's doing too, And the advantage of her
music or for her is that she is a vocalist.
But I'm trying to think of what I would I
(30:31):
think the cliche thing to say was that Rihanna had
this personality or this persona that pushed her over the edge.
But I don't think in two thousand and seven, I
don't think that was it. Like you know, like if we're.
Speaker 1 (30:42):
Talking about you know anything about her.
Speaker 2 (30:45):
We knew that she was I knew that she was
from Barbados. I knew that she had an accent. I
knew that she was pretty. That was it. You didn't
really know much. I think this album really caused people
to really like look into her, Oh what is she into?
Blah blah blah. Like there was no Instagrams, there was
no Twitter. What were we doing? We were bopping to
(31:12):
the hits, that's it. I don't even think she did
an MTV crips. I feel like this was after MTV crips,
So like, what was it? It had to have been
the hits, that's it.
Speaker 3 (31:22):
I don't know this would have been the pit my
Ride era though, so maybe she I'm trying to talk.
Speaker 2 (31:29):
About the love pin my ride. I don't. I don't know.
I think there was something very unique about her voice,
or there is something very unique about her voice, even
though it's changed a lot since this album came out.
But I don't know. This wasn't even like yeah, I
(31:50):
can't think of anything other than she just knows how
to pick a hit record, and I'll give her that.
I don't think that this is something that her label
was doing for her or something like you could tell
that she was really she played a really big role
in the songs that made the album, because I feel
like it wouldn't have been so consistent in the albums
(32:12):
that followed either if she wasn't picking her own music.
Speaker 1 (32:16):
Yeah, so hate that. I love you.
Speaker 3 (32:19):
This is the next one. I think this is a
cute song. My thought is that maybe it's too cute.
Speaker 1 (32:26):
Oh stop and does does every song that Neo does
do they all have like an gently picked acoustic guitar
on them? Because I feel like that is.
Speaker 3 (32:39):
There's like a certain sound of acoustic guitar in pop
songs where I just expect to hear Neo's voice.
Speaker 2 (32:49):
I think that there's always either a guitar or a
piano where.
Speaker 1 (32:59):
It's like this sound like a song featuring me.
Speaker 2 (33:01):
Yeah, yeah, Neo is very like you hear a Neo song,
you know it. Yeah, it's just like, okay, cool, we
get it. Great brilliant songwriter if you ask me, But
like we know it's you. You have a sound. I
get it.
Speaker 1 (33:15):
He does this thing.
Speaker 2 (33:18):
I used to think that this was like the best
song on the planet. I probably still think it's one
of the best songs on the planet. I don't know,
it's just like cute when it comes to like the
album itself. I don't necessarily know if I like that.
It's just like slapped right in the middle, right in
the middle of Yeah. I didn't understand that, but it
(33:41):
is what it is. But yeah, I can't say anything
bad about this song because I love it. You know,
the acoustic I've said this so many times. I love
an acoustic guitar just makes me feel good, very happy. Yeah,
I can't really say anything bad about it. How did
you feel about say it?
Speaker 1 (34:03):
This was my favorite song on.
Speaker 2 (34:04):
The album, Wow, Andrew.
Speaker 3 (34:07):
I think the groove in this is super fun and
this is the one song where I could envision versions
of it from like the nineties or the eighties, maybe
even the seventies, Like it just has an almost timeless
kind of a message and an arrangement to it where
(34:32):
I just think it's a really good song and we'll
get into with the next track. My major issue stop, yeah, because.
Speaker 2 (34:41):
Sell Me Candy is my favorite song on the album.
Really yeah. Yeah. I love the part where she's like,
hold on, talk to me, kim My dreams on let
me no No. I love that part. I love if
I'm in the gym and that song comes on. There
are very few songs that I will stop because I'm
(35:01):
just trying to get through, you know what I mean,
Like I'm just there to get through. But I will
stop when Selmy Candy comes on. I love it. I
don't know, maybe it's something nostalgic about it because I
know it is not the best song, but I love it,
love it. It just feels good.
Speaker 3 (35:18):
So the problem with this whole record was kind of
my same problem with Pink Friday Okay, where it just
doesn't sound good. The mix, the master that hurts. It's
not well done, and I don't think it's the fault
really of anyone. You know, this is mid two thousands
(35:39):
to early two thousands. It's probably one of the one
of the earlier records to be done entirely on a computer. Okay,
so it's completely digitally done, where like in the nineties
and early two thousands people were still using a lot
of analog and maybe even a.
Speaker 1 (35:58):
Mix of both.
Speaker 3 (35:59):
Okay, and like, this mix could just be better. If
she made the whole record today, this album would sound incredible.
And this song Sell Me Candy specifically is the worst
of them. The kick drum is just like like it's
(36:23):
a it's they're intentionally distorting it, like that's a choice
and effect, but it also like undercuts the whole mix
on the album. Like the best example is the next track,
let Me Get That, which is using the same kind
of effect, but it doesn't sound nearly shitty.
Speaker 2 (36:42):
Oh fine, let Me Get That is one of those
songs that I'm just like I could do without ever
hearing again, but when I hear it, I'm like, okay,
like I get a little you know, I'm gonna sing
the lyrics because this album is like literally like imprinted
in my brain, but like it's not it.
Speaker 3 (37:01):
Yeah, Like the major difference between this and I mean,
the songs on this album are much better for me
than Pink Friday, than anything that's on that record. The
only way I would revisit this whole record is if they.
Speaker 1 (37:17):
Put out like a remastered version.
Speaker 3 (37:19):
I would check it out just to see if like
they fixed it.
Speaker 1 (37:24):
Honestly, oh god.
Speaker 3 (37:25):
Because it all it just sounds so flat and undynamic.
Like you compare the way this sounds to Miseducation of
Lauren Hill, which was like eight years earlier, Like which
record sounds better just from a production standpoint, Like what
(37:46):
just the the atmosphere that you're in when you're listening
to that record, what feels better?
Speaker 1 (37:52):
And like this is very like one dimensional and it doesn't.
Speaker 3 (37:59):
It doesn't feel like you're in a particular like time
or place, you know, it feels like you're in the matrix.
Speaker 1 (38:06):
I guess, okay.
Speaker 3 (38:08):
And you compare this to like Renaissance, Like Renaissance sounds good, greatest.
I don't like the album, but it sounds better than this.
And like I think it's a victim of the time.
It's not like somebody didn't know what they were doing.
It's like the technology was very new and you see
(38:31):
this throughout and I'm going to point it out, you know,
whenever it comes up. You see this throughout the music
posts like nineteen you know, post the twentieth century, I guess, okay,
where there's just like places when we're incorporating new technology
and learning like how to use a synthesizer, how to
use like an eight track recording machine, how to use
(38:55):
the early forms of digital, which were like some records
in the nineties, we're using digital recording before it was
like widespread.
Speaker 1 (39:04):
And then when.
Speaker 3 (39:08):
People started like going back to analog because they were
like this digital shit sounds horrible, and you hear even
today people will say, well, you know, analog sounds better
than digital, and it's not really true. It's just like
there's so much more history with analog recordings that sound amazing.
Lots of them sound bad, but there's like it was
(39:30):
like a solved science almost for a time, Okay, and
then you have these digital records that were hits but
sound kind of lousy because just like the technology wasn't developed,
the engineers didn't have the experience doing it.
Speaker 2 (39:45):
Okay, I get it.
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Speaker 1 (41:01):
So rehab is the next song?
Speaker 2 (41:03):
Uh, how'd you feel about rehab?
Speaker 1 (41:06):
This felt like an obligatory ballad.
Speaker 3 (41:09):
Okay, like it's sort of like heat that I love you.
It's nice that it's not in the middle of the album,
but it doesn't really fit the vibe of the record.
Speaker 2 (41:20):
Okay, Tino who wrote this song?
Speaker 1 (41:24):
No?
Speaker 2 (41:25):
Justin't Timbrel?
Speaker 1 (41:27):
Really?
Speaker 4 (41:28):
Yeah?
Speaker 2 (41:28):
I think this was when people were realized, oh, like,
maybe he can write a song. And if you listen
back to it now, you could kind of hear Crimeo
Burber a little bit, like you can hear the similarities.
I only know that he wrote it because he was
in the video and I was very shocked, like what
(41:48):
is this man doing in her video? Like what is
the point? I don't get it? And then it came
out like years later, and it made so much sense.
I didn't like Rehab when the album came out, like
I just was like, okay, whatever, I don't really care
about it. But now I'm like when I was listening when.
Speaker 1 (42:05):
The pill started to wear off.
Speaker 2 (42:08):
Probably I think I was done by the time we
got to question existing when I tell you hate it
automatic Skip. I do not like the song. I don't
think she sounds good. It's just not my vibe. Like
as much as I don't like the fact the hate
(42:29):
that I Love You is just like slapped in the middle,
I really don't like when people in their albums with
just like slow slow, slow, Yeah, I don't want to
hear it. I don't want to hear it. Yeah, but
question existing. I just it's always been a song that
I've hated, and so yeah, you know how I said,
the entire album is on my playlist that for sure. Definitely,
(42:49):
now this is not a part of my cool. Absolutely, I.
Speaker 1 (42:55):
I liked it.
Speaker 3 (42:56):
The more that I heard it, I definitely had the
same reaction where I was like, yeah, But as I
got into it more, as I thought more about, like
what is bothering me about this record, which comes down
to the production of it and the limits therein this
is the track that would be much better with a
(43:20):
remix remastered version, and actually the the closest analog to
like a digital record, a record that was produced in
this fashion that sounds so much better is MIA's METANGI.
Speaker 1 (43:39):
That was a little bit later, that was like four or.
Speaker 3 (43:41):
Five years later, but it's still it's like a very
similar There's a couple songs on this record that I
could hear like MIA's voice doing. But you listen to
that record, the production is so clean and so precise,
and this is just like there's it's messy at times
and question existing. I like it as a choice. I
(44:03):
think it gives a lot of depth to.
Speaker 1 (44:05):
The the cult of Rihanna, but it doesn't feel as
good as it's supposed to feel, with like that sort
of slow, dark, kind of in my head vibe.
Speaker 2 (44:20):
Yeah, yeah, same, not a fan. And then Good Girl
Gone Bed Not really a fan of that either. It's
just not like I think that maybe this was why
they did a reloaded because.
Speaker 1 (44:33):
They didn't want to.
Speaker 2 (44:35):
You cannot end an album like that. It just it's
not it. If it was a ballad that was really good,
you walk away from it like, yes, this is an
absolute inn Oh no, like it's not happening. It's not happening.
Speaker 1 (44:50):
Maybe this was their hang up.
Speaker 3 (44:51):
There's like you want to call the album this maybe
everyone you want everyone to go into to this track,
like Okay, here we go.
Speaker 1 (44:59):
This is the title track.
Speaker 3 (45:00):
Yeah, this is like the mission statement of the album.
And then it's just very.
Speaker 2 (45:04):
Mid and then you like, I mean, you think about
the songs before this, like I'm Boppin', I'm dancing, and
then you have the nerve to end the album like this.
It's just not it. It's just not it. I can't
really give you. I hate that that. I'm realizing. A
(45:24):
lot of albums that we've done, there are like toward
the end of the album there are like two or
three songs that could just mesh together and be a
no altogether, like throw a yes in between, give me
some type of like excitement.
Speaker 3 (45:38):
It's just what it's And it's funny because, like, for
as long as people have been putting out long playing
albums like this has been a problem. But especially in
the vinyl record era, you would see this all the
time because you would have to.
Speaker 1 (45:58):
Flip the record over, yeah, where they.
Speaker 3 (46:00):
Would frontload the best part of the album and the
second half of the album was certainly not as many hits,
certainly not as strong in most cases, and a lot
of times it would just be filler because to legally
sell the record as an LP, it needed to be
(46:24):
a certain amount of time. I think it's thirty five minutes.
So bands would just like do a bunch of bullshit
to get to the minimum time and put that on
the second half of the album at least. So but
why are they doing it at the end?
Speaker 2 (46:41):
I don't get that. I don't understand.
Speaker 3 (46:43):
But like in the iTunes era, when people are buying
CDs and putting them in a little CD wall. It's like,
why are we still doing that when you can just
hit a button and skip the tray.
Speaker 2 (46:52):
And also these days when people could just download the
best song on the album and not listen to anything else. Ever, again,
why as an artist would you put out something as filler?
It doesn't make any sense. It really doesn't. People are
going to just download what they.
Speaker 1 (47:09):
Want you, so today doesn't make any sense.
Speaker 3 (47:12):
We've complained about artists putting out like a quote unquote
playlist type record. At this time, they are still trying
to sell physical copies. So I think there's maybe some
obligation that it needs to be close to an hour.
It needs to be over forty five minutes, because if
people are going to pay like fourteen ninety nine, you
(47:35):
can't give them like a thirty eight minute album.
Speaker 1 (47:37):
Okay, that might have been part.
Speaker 2 (47:39):
Of it, but just throwing shit at the end, like
work it within, give me a dance, give me a
little cool down session in between my dance songs. I
don't get it. I know that you didn't listen to
Reloaded or you got to Disturbia.
Speaker 3 (47:55):
How did you might have gotten further than that. So
when I re listened to just I was like, it
was the first time I ever caught this. She says, Disturbia,
Are you kidding? Because for the longest time, I was like,
why is the song called that? Because I associated with
that movie Disturbia. There's like a horror that the same time,
(48:18):
I don't even know if I think it was after
as well.
Speaker 1 (48:23):
Take a back.
Speaker 3 (48:24):
I'm sure I listened to take a Bow and if
I Never See Your Face Again, I can't recall them
and it didn't make any notes.
Speaker 2 (48:29):
I am shocked that If I Never See Your Face
Again is even on this album because it was a
Maroon five song without her that was released and charted.
Speaker 1 (48:38):
Oh I think I didn't listen to it because I
saw it was featuring Room five.
Speaker 2 (48:42):
Yeah, but it's like their song, yeah okay, And then
she like, does I think they let her re record
the second verse? And so she put it on her album.
I thought it was very dumb at the time, and
today I don't understand. But take About is probably one
of the best breakup songs, like women empowerment breakup songs
(49:06):
of all time. I think for at least a millennial
like me listen I was in seventh grade, like bye,
looks so dumb, like are you kidding? Ten out of ten?
And then also something I wanted to add about disturb
you it. First of all, a lot of this album
(49:26):
was written by Neo. A lot of it. It wasn't
just hate that I Love You. I think he did
take about and if he didn't do Umbrella, then the
Dream did Umbrella.
Speaker 3 (49:41):
I bet we could like pinpoint, just like list the
songs that the Norwegian guys did not write and then
pick which ones would be Neo songs.
Speaker 2 (49:51):
Probably, and then Disturbia drum roll of who wrote that?
Chris Brown? Aha? There he is kind of some sort
of foreshadowing, but you know it is what it is.
But all in all, Andrew, how'd you feel about this
album and would you listen to it again?
Speaker 1 (50:11):
This is a good record.
Speaker 3 (50:13):
I would say that I hope they do a remix, remaster,
some sort of anniversary edition because I would like to
revisit it.
Speaker 1 (50:25):
Music is so much about.
Speaker 3 (50:26):
The feel and the way, like the atmosphere that it
puts you in, and the shortcomings of like the mix
the production on this album really kind of turn me
off on.
Speaker 2 (50:38):
It wow wow Wow.
Speaker 3 (50:42):
But it's nice to know about a song like push
up on Me or say It where it's like, if
I get the proverbial ox chord in a place where
that is like the appropriate vibe, I can pull from
there and people will be like, Wow, Andrew's really killing it.
Speaker 2 (50:56):
Yeah, Like oh wow, Andrew, how'd you know about this
A B side music? Everybody?
Speaker 1 (51:05):
All right, let's take a break. We'll talk about some
of the uh, the awards consideration, the legacy of Good
Girl Gone Bad, and then we'll get into what we're
doing for the next episode of.
Speaker 5 (51:19):
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your life who love the coolest toys, well there's something
for them this year too. Bartisian is the premiere craft
cocktail maker that automatically makes more than sixty seasonal and
classic cocktails each and under thirty seconds at the push
(51:41):
of a button. And right now, Bartisian is having a
huge sight wide sale. You can get one hundred dollars
off any cocktail maker or cocktail maker bundle when you
spend four hundred dollars or more. So, if the cocktail
lover in your life has been good this year or
the right kind of bad. Get them Bartisian at the
push of a button, make Bark quality Cosmopolitans, Martini's, Manhattan's,
(52:05):
and more, all in just thirty seconds, all for a
hundred off.
Speaker 4 (52:10):
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Speaker 1 (52:33):
Welcome back to avers. Listen.
Speaker 3 (52:35):
I'm Andrew and I'm Diamond, and that is good girl,
gone dad here on the show. Positive marks for this
one and Yanna's approval rating, We're still high.
Speaker 2 (52:47):
Okay, it's always gonna be high for me. But I'm
actually very happy that you approved of this.
Speaker 1 (52:56):
Yeah, solid record, six times platinum in the USA, seven
times in the UK. I just see the list and
I think that's that's interesting, insane.
Speaker 2 (53:11):
Yeah, like people are not doing that anymore. People weren't
even able to do that in the past. I don't
even understand why I said that, but like, they're definitely
not doing that anymore.
Speaker 3 (53:21):
But like what it's pretty well in Yeah, so Rihanna
won a Grammy for Umbrella Best Rap Sung Collaboration. This
record debuted at number two on the US Spillboard two hundred.
Speaker 2 (53:40):
I wonder why what was out? Then?
Speaker 1 (53:43):
Oh, that's a good question.
Speaker 2 (53:45):
What beat her? Probably an album that was already.
Speaker 1 (53:48):
Out, but it will be like a time capsule to wait. Okay,
we're gonna we're gonna cut some of this out and
we're gonna find out Billboard two hundred and May two
thousand and seven.
Speaker 2 (54:09):
Oh wait, no, don't tell me. It's like Ashley Simpson.
Speaker 1 (54:16):
No wait, I want to make sure that I'm looking
at the Yeah, okay.
Speaker 2 (54:21):
What is it?
Speaker 1 (54:22):
It was Avril Levine. The best damn thing was.
Speaker 2 (54:27):
That the album that Complicated was on No so it
seems late for that. Was that, like, hey, hey you
you I don't like your girlfriend?
Speaker 1 (54:37):
Now that was on the same album. Then we have
to look up Avril Levine. Oh no, wow, she's only forty.
Speaker 2 (54:44):
Yeah.
Speaker 3 (54:46):
She was like a literal child when she was doing
these records. Okay, wow, So the best damn thing was
Avril's third album, The Twists that We Go on this show. Yeah,
girlfriend was on that record, so.
Speaker 1 (55:02):
This is not complicated. Complicated was before that Complicated? Another
song haunts me. I wish we didn't even mention that.
Speaker 2 (55:10):
I'm not saying it's bad.
Speaker 3 (55:12):
I'm just saying that that will be in my head
for the next probably eight months.
Speaker 1 (55:17):
Oh uh yeah, So A skater Boy and Complicated. These
are the first record two thousand and two.
Speaker 2 (55:30):
Complicated came out in two thousand and two. Yeah, okay,
all right, sure, I'm shocked.
Speaker 1 (55:40):
No, that's shocking, that's not do not think about Avril
Levine at all at all. But she she was the
shit she was.
Speaker 3 (55:51):
Okay, So on the next episode of A First Listen Diamonded,
I are both grimacing.
Speaker 1 (56:00):
Wait, let's bring up the track list.
Speaker 3 (56:02):
Oh god, we want to on the show be a
little bit more of the moment.
Speaker 1 (56:11):
We want we want to.
Speaker 3 (56:12):
Be there with you, experiencing the culture and the season.
And so for the next episode, we are going to
cover Mariah Carey nineteen ninety four.
Speaker 2 (56:30):
Merry Christmas, literally the year I was born, Literally happy Birthday.
Not happy about this.
Speaker 3 (56:40):
I'm actually a little surprised that this album came out
in ninety four. You know, I would think it would
have been later. It's kind of crazy to think, how
I guess how young Mariah Carey started and how.
Speaker 1 (56:54):
Massive. But an artist she was like right from the beginning.
Speaker 3 (56:59):
So this album contains hits like All I Want for
Christmas is You? A song that I've stopped only heard
once so far this year.
Speaker 2 (57:11):
Oh, this year, you've only heard it one.
Speaker 1 (57:13):
I mean maybe this season. I think I've only heard
it one.
Speaker 2 (57:15):
Okay, well a lot of them still hasn't flipped the
switch yet. It's coming, It's coming, Oh God.
Speaker 3 (57:23):
So all like, there's a whole album of Christmas songs.
We all know the one like juggernaut of a Christmas song.
But she also did Silent Night, which is the first.
Speaker 2 (57:35):
Track, Please Mariah.
Speaker 1 (57:38):
And then oh Holy Night. That's not the same song
as Silent Night. No, that's the third track. All I
Want for Christmas is You is number two.
Speaker 2 (57:50):
A.
Speaker 1 (57:50):
This is this is bad.
Speaker 3 (57:51):
This is a bad idea Christmas Baby, please come home,
miss you most at Christmas time in parentheses, Joy to
the World, Jesus born, miss Oh.
Speaker 2 (58:02):
I've heard her, Joy to the World. It's actually good.
Speaker 3 (58:06):
I presume I've heard. Maybe this whole record immersively only
thirty eight minutes long. Yeah, thank god, Santa Claus is
come into town. Hark the Herald Angels sing Jesus, Oh
what a wonderful child.
Speaker 2 (58:20):
I've never heard that in my life.
Speaker 1 (58:22):
So we're listening to this so you don't have to.
Speaker 2 (58:25):
Yeah, pretty much.
Speaker 1 (58:28):
It is getting to be well.
Speaker 3 (58:29):
Thanksgiving is next week, so we'll be in the thick
of the Christmas season.
Speaker 1 (58:36):
When this, uh, when this episode comes out, and maybe
that maybe we'll quit after after that.
Speaker 2 (58:47):
It might make me want to literally.
Speaker 1 (58:50):
Yeah.
Speaker 3 (58:50):
So my idea as like a palate cleanser for the
punishment that Merry Christmas by Mariah Carey, maybe is that
we also come to that episode with a few what
we think are good Christmas songs. Okay, bye, Like a
(59:11):
contemporary artist, I have a couple in mind right now
that I legitimately look forward to hearing every year, and
there might be like, might have three or four options.
So like in the last segment of our next episode,
maybe we'll talk about Christmas music we actually enjoy. Okay,
So we're starting our holiday season with Penance.
Speaker 2 (59:36):
Oh god, Okay, because.
Speaker 3 (59:38):
There's not enough to feel bad about these days. This
was a better idea when a couple of weeks ago, when.
Speaker 2 (59:46):
I before we looked at the track list.
Speaker 1 (59:49):
Okay, so let's get through it.
Speaker 2 (59:53):
We don't have a joy.
Speaker 1 (59:56):
Thanks for listening to this episode.
Speaker 3 (59:58):
Catch up with us on Instagram, at First Listen.
Speaker 1 (01:00:02):
Podcast on there give us some suggestions for the new year.
We might be taking a little break. What do you
say something? Man?
Speaker 2 (01:00:11):
Okay? And that's at First Listen. He's Andrew, I'm Diamond,
see ye bye bye.
What do we say. We say I.
Speaker 2 (00:19):
I'm Andrew and I'm Diamond, and this is at first listen.
Speaker 1 (00:24):
Yeah, that's familiar. It's at first listen.
Speaker 2 (00:28):
I'm Andrew and I'm Diamond.
Speaker 3 (00:30):
And on today's show, we have no guest. It's just
the two of us and we're talking about Arehanna record
Good Girl Gone Bad? From two thousand and six It
seven seven all right, Word fact Checking, Live fact.
Speaker 2 (00:45):
Checking, Live fact Checking, two thousand and seven March twenty ninth,
two thousand.
Speaker 3 (00:54):
I actually got a little bamboozled because the first one
that comes up on streaming is the reloaded version Yeah,
which I think is just the same album, but with
a bunch of extra tracks. So my first time looking
at the track list, I was like, Diamond, come on,
it's an.
Speaker 2 (01:10):
Hour yeah none, no, no, no, so fun.
Speaker 3 (01:13):
And then I got into like one of the bonus tracks,
which I think the first one is Disturbia, and I'm like,
that's on this album, and then I double checked. I
was like, aha, I'm my obligation here is done.
Speaker 2 (01:26):
Hold on because maybe I listened to the wrong one.
See Apple doesn't have just the regular Good Girl Gone Bad,
there's just one version. Look, yeah, so when you click
it empty, that's very strange, and I remember thinking about that,
but I'm like, okay, I know this album front and back,
so it's like, okay, fine, So maybe the original album
(01:51):
did come out in two thousand and six, because Umbrella,
if I'm not mistaken, came out in two thousand and five.
Imagine them putting out an album. Well, now they do it,
but back then a single comes out two years before
an album. That doesn't make any sense.
Speaker 3 (02:10):
Yeah, because a lot of times today an artist will
come out with a single and then start working on
an album like a year later. That's a funny little
phenomenon in the music industry. And they'll tour on like
twenty minutes of material as an opening act.
Speaker 2 (02:30):
Usually but nothing Apple only has reloaded, which is insane.
Speaker 3 (02:39):
The erasure of Rihanna's career. I was surprised that this
was her third record, unless that's not true.
Speaker 2 (02:49):
It was I get the first two albums confused, and
like I kind of meshed them together because that was
a time, okay, but it wasn't the time that good
Girl Gone Bad wash. So let me tell you why
I chose this record. This is probably one of my
favorite albums of all time, and it's something that I
(03:14):
didn't think about, Like you know how you have those
albums that you like, love, but you don't realize the
importance of the album to you in your life until
a specific thing happens.
Speaker 3 (03:23):
Right, you don't realize like how much this music is
kind of in your brain all the time.
Speaker 2 (03:28):
Yes, So the album came out probably when I was
in like junior high school. In high school, I had
to get my wisdom teeth removed, and do you know
how people are always like, oh, it's horrible. I had
the best experience.
Speaker 1 (03:42):
I'm glad you got to do it in high school.
Speaker 3 (03:44):
First of all, well that's how I For me, that
was like first semester of college getting used to a
whole new life. And then I'm also on drugs for
the first time.
Speaker 2 (03:55):
Oh god works, it does? It knocked me out, Like
I slept the entire weekend, but I got all four
pulled at once, and I was terrified to go to
this what it's not an orthodontist, what is it a
dental surgeon? It's something, Okay, So I go to the
(04:17):
dentist and he's like, he gives me a Teddy bear.
They gave me a pill and knocked didn't knock me out,
but I stayed awake. They put like, you know, laughing
gas over my nose and the oral surgeon, oral surgeon.
There we go, thanks, and he gives me a book
which kids these days don't know what it is. But
he it was a book full of CDs and he's like,
(04:41):
pick one, and I'm like going through. I think in
my head I was probably looking for Beyonce album Come
find one. So I'm like, I know a lot of
Rhianna songs. Okay, cool. I give him the album like
this is what I want to hear. He lays me
back in the chair and I don't remember pain. I
remember him tugging once on my tooth or like teeth whatever,
(05:04):
and then but all I remember is singing the songs
out loud as the man is in my mouth like
he's literally cutting my gums up and I am singing okay,
like so embarrassing, and like after it, I was like, wow,
(05:25):
I really know this album, and they busted out laughing.
It was like him and two assistants in the in
the room with us, but listen, two.
Speaker 1 (05:31):
People who were holding you down to keep.
Speaker 2 (05:33):
And I was I was. I was dancing, like dancing,
like trying to move, I was saying clearly the pill
that he gave me really worked, and laughing a us
but like, this's the only thing that I remember from
getting my wisdom teeth.
Speaker 1 (05:46):
Poled well.
Speaker 3 (05:47):
I love that story, except that it reminds me of
when I got my wisdom teeth polls. They did not
put on music for me. They had to like literally
open my like like drill into my job. No, because
the teeth were impacted, like beneath the surface of the bone.
Speaker 1 (06:06):
It was a bad time.
Speaker 2 (06:07):
No, I'm so sorry.
Speaker 1 (06:08):
Yeah, ah, I'm sorry. Your story was better.
Speaker 2 (06:12):
What were your expectations going into the album?
Speaker 3 (06:16):
So this got me thinking about when I my general
view of Rihanna, which has always been positive, I can't
remember hearing about Rihanna for the first time. She's an
artist who kind of always strikes me as being new,
(06:38):
like not an artist I grew up with, even though
her career began way earlier than I would have then
if you quizzed me on it, you know, two thousand
and four whatever, whenever her first record came out, I
would have been surprised to hear that I don't have
any recollection of like, oh, there's this new artist Rihanna.
Everyone likes her. But over the years, I've run into
(07:02):
people in the music industry who've worked with her in
one way or another. Everyone says that she's like the best,
that she's like the best person. Oh, she's like my
kid's godmother, Like oh, they my kids think she's their aunt.
Like it's all you know, stories like that. It's like,
you know, she's this giant star and she doesn't have
(07:23):
an ego on social media. She's very funny and very
like raw like her.
Speaker 1 (07:30):
So it's just.
Speaker 3 (07:30):
Like generally seems like a real person who's like three dimensional,
you know. Her not doing music is like not weird anymore,
the fact that she's like focusing on a business, because
it's just like clearly she's a.
Speaker 1 (07:43):
Person with a lot of interests, you know.
Speaker 3 (07:47):
So I liked this pick and I was interested to
hear the actual album. I thought I would like it,
and it went into it's like sort of on equal
footing as the Nicki Minaj's record, where I'm like, this
is not something that I would have picked myself, but
I'm curious to see what it's like. Okay, so you
(08:09):
want to take a break and then we'll talk about
my final thoughts on the album track by track.
Speaker 2 (08:14):
Yeah, I need to hear what you have to say
about one of my favorite albums sold.
Speaker 4 (08:27):
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Speaker 1 (09:35):
Welcome back to effirst. Listen.
Speaker 2 (09:37):
I'm Andrew and I'm Diamond, and.
Speaker 1 (09:38):
We're getting into a Good Girl Gone Dad by Rihanna.
Speaker 2 (09:43):
It's one of my favorite albums of all.
Speaker 1 (09:45):
Time, one of an album of all time that I've heard.
Speaker 2 (09:48):
Oh I was that shape? No, wasn't. Before we get
into the track list, I want to know where your
track list ended.
Speaker 3 (09:57):
Well, first I was listening to Reloaded, which got into
Disturbia after the title track, and then I realized that
there was a I guess original version of the album
which ended at Good Girl Gone Bad the title track,
Oh that sucks.
Speaker 2 (10:14):
Okay, so you didn't hear it, take a bow.
Speaker 1 (10:17):
I might have heard it once know it though.
Speaker 3 (10:19):
That's kind of how I felt about a lot of
this record, is that I knew like almost everything.
Speaker 2 (10:24):
Yeah, isn't that insane?
Speaker 1 (10:26):
It's crazy.
Speaker 3 (10:26):
Like when I heard Disturbia from the Reloaded edition, I
was like, oh my god, this is like the only
hit from this album that is not still being played
all the time on the radio.
Speaker 2 (10:39):
I picked this album because I feel like this is
the album that made her a pop star. The album
before this was a Girl like Me, I think, and
I think it was it was released in maybe two
thousand and five, two thousand and six, and Unfaithful was
on that one and Sos was on that one, and like, yeah,
(11:01):
big hits. But she could have never released anything ever
again and people would have forgotten about her. Yeah, but
this album I think made a difference in her career.
She changed her hair up. She went from brown to
like Jack.
Speaker 1 (11:17):
That's I forgot about that.
Speaker 3 (11:19):
Like every every time she would do like a new
record or a tour or something, the hair would be
different and there'd be this whole, this whole storyline about that.
Speaker 2 (11:29):
No, I love it, and she changed the sound a lot,
but I think that like when you go back and
listen to this album, it takes you back to two
thousand and six, two thousand and seven, two thousand and eight,
where there was that like dancy pop music that still
had this like I don't some of it had like
(11:50):
an R and B feel, but not too much. It
was like she was she did everything perfectly. Yeah, I
can't do that anymore.
Speaker 3 (11:58):
I think there's a really good bounce of the way
this record sounds where it is like the choices on
it are very very signature to her, and it's sort
of what we have come to expect from her.
Speaker 1 (12:13):
I don't know if that's what people were expecting at
the time.
Speaker 2 (12:15):
Now as a fan, I wasn't.
Speaker 3 (12:18):
But yeah, there's like this, there's all these like sort
of musical references to like house music and etim which
is maybe the world that she came from, but it's
also very pop and it's a little bit R and B,
but it's also like up tempo.
Speaker 2 (12:35):
Yeah, And like, I just think it all intertwines perfectly,
and I don't think anybody else. There may be other
people who can do it, nobody could do it the
way that she has in the way that this album
was done. And I think that, like I said, years
to come, we'll come back to this album. Okay.
Speaker 3 (12:54):
You know, there's so much genre bending and pop music
where you can't really listen into a song in a
lot of cases without vocals and identify like the artist
or even the type.
Speaker 1 (13:08):
Of artist that might do it.
Speaker 3 (13:11):
But I feel like with Rihanna, her music all has
like these very specific threads to it where it pulls
from these like this like europop sort.
Speaker 2 (13:22):
Of worlds, you think.
Speaker 1 (13:24):
So there's all these like Norwegian guys writing these songs
with her.
Speaker 2 (13:27):
Yeah, I don't know. I think that was just the time. Yeah,
because she like makes some twists and turns in her
career that are just like you listen to this and
then you listen to Anti, the last album that she released,
completely different, and it's just like, I don't know, I
don't know, I don't know.
Speaker 3 (13:48):
But also some of those twists you could attribute to
the fact that everyone thinks she's so wonderful and amazing
to be with, So she has like the world that
her fingertips anytime she wants to make any music.
Speaker 2 (14:00):
For sure, I was going to tell you something. Oh
my god, do you know that she was almost shelfed
before this album?
Speaker 1 (14:12):
What do you mean by that?
Speaker 2 (14:14):
Like she was signed to def Jam I believe at
the time, and it was around the time that La
Reid was still in charge over there, and she was
about to get shelfed like her album. I don't necessarily
think it was this album. It may have been a
girl like me was They're just yeah, they you know,
(14:35):
they were putting her on the back burner. They really
weren't going to give her the budget to to make
a really good album because there was another woman on
the label named Tierre Marie. And guess who told la
Reid he would be making a mistake if he didn't
(14:57):
turn and focus more toward Rihanna?
Speaker 3 (15:00):
Yes, okay, is it someone that we've talked about on
the show before? Is it someone who we covered on
the show, like in terms of like an album. Was
it Stevie Wonder Nope? It was a Lauren Hill?
Speaker 2 (15:16):
Nope?
Speaker 1 (15:18):
Was it Elton John Beyonce?
Speaker 2 (15:22):
You knew that that was.
Speaker 1 (15:23):
A bonus episode that doesn't count.
Speaker 2 (15:25):
Fine, but yeah, she told him, I think you're missing
the star that's in front of you, Like Rihanna's a star.
I think you should really pay attention to her. And
then I mean she's right, look at that. Sure, yes,
Beyonce working Wonders again. Okay, how did you feel about Umbrella?
Speaker 3 (15:46):
I feel like, yeah, this is one of those ones
that I listened to it the one time because we
have to, that's the promise we made.
Speaker 1 (15:55):
To each other.
Speaker 3 (15:56):
But it was a track one skip every other time
I'm through the album. I just don't need to hear
that song again. It's good, I just I mean, it's
It's one of those one of a few songs on
this album that takes me back to doing board op
overnights at KTU, where I don't know how it is
(16:16):
with Z, but with that station it is a lot
of the same old songs over and over again, where
I think maybe there's a little more variety on Z
when you're doing overnights. Maybe I'm wrong, but there is
a certain era of KTU music that it's just like
(16:37):
flashbacks when I hear there's a bunch of sorry by
Justin Bieber's one of them, just songs that were be
getting hammered overnight.
Speaker 1 (16:44):
Yeah, when I was working there. What about Uptown Bruno
Mal Please?
Speaker 2 (16:48):
I can't take that song. I cannot take it. Did
they play the jay Z version?
Speaker 1 (16:53):
Yeah?
Speaker 2 (16:54):
Oh okay. Sometimes we don't play the jay Z version
on Z and I don't know why. I know there
was another, Yeah, it's without him. It's just like I
almost said that air. It's like, uh, just I guess
for people to talk do a talk break over the
instrumental and it is not fun.
Speaker 1 (17:13):
Okay.
Speaker 2 (17:14):
I think that people put it in by accident, you know.
Speaker 1 (17:17):
Oh okay.
Speaker 2 (17:19):
I want to blame Scotty some people may not know
who Scotty is. Also, Okay, so umbrella. I feel like
for me it is a skip, but we know it.
It is what it is, like it has been beaten
into our brains.
Speaker 3 (17:33):
I don't know if it's good or not. Honestly, it
probably is good, but I don't want to ever hear
it again if I can help it.
Speaker 2 (17:42):
I just remember seeing the video for the very first time,
and she was in point shoes, and I used to dance,
so I know that dancing in point shoes is not easy,
and I'm like, this is fake. This is all I
could think of in my like probably eleven year old brain.
I'm like, this is fake. I think that was when
I realized that videos were shot in different ways, because
(18:03):
like she's like walking in points. She was like, it's
nothing holding up an umbrella. I'm like, girl, please, okay,
this is not easy, and you're making it look like
it's easy. You're done here, And I think that I've
never looked at that song the same. Okaya, I'd love.
Speaker 3 (18:17):
To know what you're talking about, but I'm not gonna
put on the music video because the song will be playing.
Speaker 2 (18:22):
Oh yeah, well you could look it up and I
feel like you'll see it. It's like, girl, somebody else
was doing that and it's okay, But that was the
first time that I realized that these things right.
Speaker 1 (18:31):
So, speaking of kt you, the next song is push
Up on Me.
Speaker 2 (18:34):
Oh ten out of ten experience, and.
Speaker 3 (18:37):
I don't think KTU played this song while I was there,
but I think this song is really fun and it
reminded me of a lot of songs that did get
played during overnight time because it has that Frey freestyle
vibe to it, where, for whatever reason, all freestyle songs
have like a little pew.
Speaker 1 (18:56):
Pew like laser sound, which is fun. It's like hilarious.
Speaker 3 (19:03):
I love that that is like a cornerstone of the
free style genre and that is all over in this song.
Speaker 1 (19:10):
And the chorus in this tune is really good.
Speaker 2 (19:13):
I love Push Up on Me. It's one of my
favorite songs to work out to. This album is like
one of the only albums where I feel like the
entire thing is in one of my workout play just
because it's so good. Like you Break Break, I'm like, yes, Ria, girl,
(19:35):
she gets it popping. I can't give it any anything
other than a ten out of ten, honestly, don't stop
the music. I'm kind of over it.
Speaker 3 (19:44):
Yeah, this is very close to Umbrella for me. It's
I guess a little bit more listenable.
Speaker 2 (19:51):
Mm hmm.
Speaker 1 (19:52):
I don't know why. It's.
Speaker 3 (19:54):
One of the things I put in my notes was
that this is one of the songs that haunts.
Speaker 1 (19:57):
Me, oh where.
Speaker 3 (19:59):
It's just it'll appear out of seemingly nowhere and it
won't go away. But this is like also kind of
the what I think of Rihanna's sound. You know, it's
like a sort of kind of a house music written
(20:20):
by Norwegian guys Vibe.
Speaker 1 (20:22):
There's the MG.
Speaker 3 (20:24):
Sample, which I wonder how I wish we could quantify
how much they want to be starting something sample contributes
to the success of this song, you know, because it's
not like a big part now of the arrangement.
Speaker 1 (20:41):
It's just kind of there.
Speaker 2 (20:45):
I don't think I think. I don't think it did
a lot for her audience, right like you think about
like for older people, yes, it was familiar to them,
so like, okay, great, I want to hear that song
because it's you know, I know it whatever you know.
But for me, this was the first it wasn't the
(21:08):
first time I heard clearly where it came from. But like,
I wasn't thinking about Michael Jackson when this song was on. Yeah, sorry,
I love you man.
Speaker 1 (21:16):
But I still.
Speaker 3 (21:19):
I only thought about it because we were doing the
podcast on the album. I don't normally think about Michael
Jackson when I hear that song, And it was just like, wait,
I want to make sure I'm thinking of the right thing.
Speaker 2 (21:35):
I wonder if he cleared it.
Speaker 1 (21:37):
Well, yeah, you would have to know.
Speaker 2 (21:38):
I mean like if he was like, yeah, for sure.
Speaker 3 (21:42):
I think he was pretty involved in his catalog, especially
at this time. Remember Michael Jackson bought the Beatles catalog
because Paul McCartney told him to buy whichever would make
him the most money, so he bought the Beatles catalog.
Speaker 2 (21:58):
Yeah, breaking dishes.
Speaker 3 (22:03):
So what annoyed me about this song was I couldn't
find an explicit version. It sounds like there's uh like
they edit out kicking ass in the chorus. Ah, And
I was looking around and I was like, is that
just a creative choice or maybe because also this.
Speaker 1 (22:22):
Doesn't really seem like a radio song.
Speaker 2 (22:24):
Anyway, can ask what part is that?
Speaker 1 (22:25):
I think it's in the pre chorus or the.
Speaker 2 (22:29):
Oh man I'm gonna mess up. Hold on, oh, I
can't look at that. The only thing I like the song,
But I mesh Breaking Dishes and Shut Up and Drive
together because if I'm not mistaken, there was a version
of the shut Up and Drive music video where there
was like an interlude and Breaking Dishes was played and
(22:51):
she was like doing stuff in the house and then
either it was at the beginning or the end of
the shut Up and Drive video.
Speaker 1 (22:57):
Yeah, I guess they could be. Also, it could be
like a like chapters at true of Rihanna's story.
Speaker 2 (23:09):
Listen, I hate to skip to Shut Up and Drive,
but I think this is probably it's not my favorite
song by her, but just the like d like you
really feel like you're in a car, and like yeah, yeah,
it has from the engine of a car like this girl.
I mean, come on, this woman ten out of ten experience.
Speaker 3 (23:33):
That's like a subtle thing on this album is that
Rihanna clearly loves guitar, because every like ballad kind of
song had like features guitar, and then shut Up and
Drive is like a fusion of pop, E d M,
and rock where it's kind of driven by electric guitar.
One artist who I would love to get on the show.
(23:57):
Is a guitar player by the name of Nuno Bettancourt,
who is best known for playing in the band Extreme
and their biggest hit was a song called More Than Words,
which is a famous ballad from the eighties. Nuno is
like one of the most phenomenal guitar players in the world,
(24:19):
very much from the Eddie van Halen, like an acolyte
of Eddie van Halen. He for like a decade worked
with Rihanna as her music director. Oh wow, So anyone
seeing Rihanna live was seeing also Nuno and she would
like give him solos all the time, and like really
(24:41):
would use him.
Speaker 1 (24:42):
Yeah.
Speaker 2 (24:43):
I mean I saw her in twenty sixteen Made in America,
and I remember feeling like, oh no, she's really good live,
Like this is fun. I haven't been to a show
where it's that fun. Now I've because I'm pretty sure
that I've gone on record saying this. I did not
(25:03):
think and I do not think Rihanna is the best singer.
I do not think that she's a vocalist. Like I've
said it, I mean it. It is what it is.
So my expectations for seeing her live were pretty low.
It's like, okay, whatever.
Speaker 1 (25:18):
I'm giving a lot of other stuff.
Speaker 2 (25:19):
Yeah, I'm not gonna pay to go see her show.
I'm gonna pay for the festival and hopefully I'm not
tired by the time she comes out. I love her music,
but I don't really care to see her live. And
I saw her and I was like, oh, yeah, I
get it, Like this is fun. Like whoever her music
director is is doing their job, because this is a
time and a half. The music was great, her vocals
(25:43):
not bad. I was like, Okay, all right, I get it.
Speaker 4 (25:52):
Black Friday is coming. And for the adults in your life.
Speaker 5 (25:55):
Who love the coolest toys, well there's something for them
this year too. Xesian is the premiere craft cocktail maker
that automatically makes more than sixty seasonal and classic cocktails
each in under thirty seconds at the push of a button.
And right now, Bartsian is having a huge sight wide sale.
You can get one hundred dollars off any cocktail maker
or cocktail maker bundle when you spend four hundred dollars
(26:18):
or more. So, if the cocktail lover in your life
has been good this year or the right kind of bad,
get them Bartesian at the push of a button, make
Bark quality Cosmopolitans, Martini's, Manhattan's, and more, all in just
thirty seconds, all for a hundred off. Amazing toys aren't
(26:38):
just for kids. Get one hundred off a cocktail maker
when you spend four hundred through cyber Monday. Visit Bartsian
dot com slash cocktail. That's b A r T E
sia n dot com slash cocktail.
Speaker 3 (27:00):
Let's talk about her voice, because you have mentioned that
before that you don't think she's like a.
Speaker 1 (27:07):
A singer with a capital ass.
Speaker 3 (27:08):
Yeah, I sort of agree with you, But what do
you think it is about her as an artist that
gets to be both?
Speaker 1 (27:18):
Well?
Speaker 2 (27:19):
I think her music was always fun, right, Like, you
listen to her music and you're gonna either have a
really good time or you're gonna be singing her ballads
at the top of your lungs. Yeah, Like the next
song is hate that I Love You ten out of
ten experience when it comes to like it's not necessarily
a ballad, but like that acoustic vibe and then Neo
(27:40):
is actually carrying the vocals no shade, but like it's
given she knows how to make a hit or she
surrounds herself with people who make hits. I think that
she probably picks the right songs. I don't necessarily think
like I hate to compare her to Beyonce, but that's
the only person that I can talk about in depth. This.
(28:01):
Beyonce picks the songs that she likes. I feel like
Rihanna picks the songs that she knows that everyone is
gonna like, you know, and I think a lot of
artists don't do that anymore. They're like, oh, I like
this beat, don't really care about the lyrics. I'm just
gonna say whatever I want, or I wrote lyrics and
I'm just gonna add them to whatever melody someone else has.
(28:22):
She literally would go to the best of the best
and have them give her what they had. People were
at this point. I think maybe after this album, they
were like killing themselves to have a Rianna record. Yea,
Like all of these songs that these other pop girls
were singing in two thousand and nine, ten eleven, those
were Rihanna throwaway records.
Speaker 1 (28:43):
Like yeah, you would hear that every once in a while, Yeah,
like oh yeah Na turn this down.
Speaker 2 (28:46):
Yeah.
Speaker 4 (28:47):
And so.
Speaker 2 (28:49):
I don't think that she first of all, okay, how
do I want to say this? Said? It already not
the best singer. She's not a song writer. She doesn't
play any instruments. Literally, she knows how to pick a
hit out of a bag. That's it. Yeah, And that
(29:10):
is a talent in itself, because everybody can't do that.
So have to give the girl her props.
Speaker 1 (29:15):
That's that's how Frank Sinatra made his career.
Speaker 2 (29:17):
Yeah.
Speaker 3 (29:18):
Hey, but also, like I think the other thing she
has going for you for her is that you know
you can you can do this and not be a
world class singer. But she has a very unique voice.
She has a unique way of like delivering lyrics. She's
(29:39):
a good enough singer. But when you're a little bit
limited as a vocalist and what you can do when
your arrange and everything, it means you have to pick music,
write music that is easier to sing which when you
want people to sing along to your record, it's a
little bit easier to sing along to Rhianna so than
(30:00):
it is an Ariana Grande song. Yeah, because she's limited,
Like the source material is only so challenging.
Speaker 2 (30:10):
Well, you know what, now that you're bringing up Ariana Grande,
I don't know. She picked some good hits too. She
knows what she's doing too, And the advantage of her
music or for her is that she is a vocalist.
But I'm trying to think of what I would I
(30:31):
think the cliche thing to say was that Rihanna had
this personality or this persona that pushed her over the edge.
But I don't think in two thousand and seven, I
don't think that was it. Like you know, like if we're.
Speaker 1 (30:42):
Talking about you know anything about her.
Speaker 2 (30:45):
We knew that she was I knew that she was
from Barbados. I knew that she had an accent. I
knew that she was pretty. That was it. You didn't
really know much. I think this album really caused people
to really like look into her, Oh what is she into?
Blah blah blah. Like there was no Instagrams, there was
no Twitter. What were we doing? We were bopping to
(31:12):
the hits, that's it. I don't even think she did
an MTV crips. I feel like this was after MTV crips,
So like, what was it? It had to have been
the hits, that's it.
Speaker 3 (31:22):
I don't know this would have been the pit my
Ride era though, so maybe she I'm trying to talk.
Speaker 2 (31:29):
About the love pin my ride. I don't. I don't know.
I think there was something very unique about her voice,
or there is something very unique about her voice, even
though it's changed a lot since this album came out.
But I don't know. This wasn't even like yeah, I
(31:50):
can't think of anything other than she just knows how
to pick a hit record, and I'll give her that.
I don't think that this is something that her label
was doing for her or something like you could tell
that she was really she played a really big role
in the songs that made the album, because I feel
like it wouldn't have been so consistent in the albums
(32:12):
that followed either if she wasn't picking her own music.
Speaker 1 (32:16):
Yeah, so hate that. I love you.
Speaker 3 (32:19):
This is the next one. I think this is a
cute song. My thought is that maybe it's too cute.
Speaker 1 (32:26):
Oh stop and does does every song that Neo does
do they all have like an gently picked acoustic guitar
on them? Because I feel like that is.
Speaker 3 (32:39):
There's like a certain sound of acoustic guitar in pop
songs where I just expect to hear Neo's voice.
Speaker 2 (32:49):
I think that there's always either a guitar or a
piano where.
Speaker 1 (32:59):
It's like this sound like a song featuring me.
Speaker 2 (33:01):
Yeah, yeah, Neo is very like you hear a Neo song,
you know it. Yeah, it's just like, okay, cool, we
get it. Great brilliant songwriter if you ask me, But
like we know it's you. You have a sound. I
get it.
Speaker 1 (33:15):
He does this thing.
Speaker 2 (33:18):
I used to think that this was like the best
song on the planet. I probably still think it's one
of the best songs on the planet. I don't know,
it's just like cute when it comes to like the
album itself. I don't necessarily know if I like that.
It's just like slapped right in the middle, right in
the middle of Yeah. I didn't understand that, but it
(33:41):
is what it is. But yeah, I can't say anything
bad about this song because I love it. You know,
the acoustic I've said this so many times. I love
an acoustic guitar just makes me feel good, very happy. Yeah,
I can't really say anything bad about it. How did
you feel about say it?
Speaker 1 (34:03):
This was my favorite song on.
Speaker 2 (34:04):
The album, Wow, Andrew.
Speaker 3 (34:07):
I think the groove in this is super fun and
this is the one song where I could envision versions
of it from like the nineties or the eighties, maybe
even the seventies, Like it just has an almost timeless
kind of a message and an arrangement to it where
(34:32):
I just think it's a really good song and we'll
get into with the next track. My major issue stop, yeah, because.
Speaker 2 (34:41):
Sell Me Candy is my favorite song on the album.
Really yeah. Yeah. I love the part where she's like,
hold on, talk to me, kim My dreams on let
me no No. I love that part. I love if
I'm in the gym and that song comes on. There
are very few songs that I will stop because I'm
(35:01):
just trying to get through, you know what I mean,
Like I'm just there to get through. But I will
stop when Selmy Candy comes on. I love it. I
don't know, maybe it's something nostalgic about it because I
know it is not the best song, but I love it,
love it. It just feels good.
Speaker 3 (35:18):
So the problem with this whole record was kind of
my same problem with Pink Friday Okay, where it just
doesn't sound good. The mix, the master that hurts. It's
not well done, and I don't think it's the fault
really of anyone. You know, this is mid two thousands
(35:39):
to early two thousands. It's probably one of the one
of the earlier records to be done entirely on a computer. Okay,
so it's completely digitally done, where like in the nineties
and early two thousands people were still using a lot
of analog and maybe even a.
Speaker 1 (35:58):
Mix of both.
Speaker 3 (35:59):
Okay, and like, this mix could just be better. If
she made the whole record today, this album would sound incredible.
And this song Sell Me Candy specifically is the worst
of them. The kick drum is just like like it's
(36:23):
a it's they're intentionally distorting it, like that's a choice
and effect, but it also like undercuts the whole mix
on the album. Like the best example is the next track,
let Me Get That, which is using the same kind
of effect, but it doesn't sound nearly shitty.
Speaker 2 (36:42):
Oh fine, let Me Get That is one of those
songs that I'm just like I could do without ever
hearing again, but when I hear it, I'm like, okay,
like I get a little you know, I'm gonna sing
the lyrics because this album is like literally like imprinted
in my brain, but like it's not it.
Speaker 3 (37:01):
Yeah, Like the major difference between this and I mean,
the songs on this album are much better for me
than Pink Friday, than anything that's on that record. The
only way I would revisit this whole record is if they.
Speaker 1 (37:17):
Put out like a remastered version.
Speaker 3 (37:19):
I would check it out just to see if like
they fixed it.
Speaker 1 (37:24):
Honestly, oh god.
Speaker 3 (37:25):
Because it all it just sounds so flat and undynamic.
Like you compare the way this sounds to Miseducation of
Lauren Hill, which was like eight years earlier, Like which
record sounds better just from a production standpoint, Like what
(37:46):
just the the atmosphere that you're in when you're listening
to that record, what feels better?
Speaker 1 (37:52):
And like this is very like one dimensional and it doesn't.
Speaker 3 (37:59):
It doesn't feel like you're in a particular like time
or place, you know, it feels like you're in the matrix.
Speaker 1 (38:06):
I guess, okay.
Speaker 3 (38:08):
And you compare this to like Renaissance, Like Renaissance sounds good, greatest.
I don't like the album, but it sounds better than this.
And like I think it's a victim of the time.
It's not like somebody didn't know what they were doing.
It's like the technology was very new and you see
(38:31):
this throughout and I'm going to point it out, you know,
whenever it comes up. You see this throughout the music
posts like nineteen you know, post the twentieth century, I guess, okay,
where there's just like places when we're incorporating new technology
and learning like how to use a synthesizer, how to
use like an eight track recording machine, how to use
(38:55):
the early forms of digital, which were like some records
in the nineties, we're using digital recording before it was
like widespread.
Speaker 1 (39:04):
And then when.
Speaker 3 (39:08):
People started like going back to analog because they were
like this digital shit sounds horrible, and you hear even
today people will say, well, you know, analog sounds better
than digital, and it's not really true. It's just like
there's so much more history with analog recordings that sound amazing.
Lots of them sound bad, but there's like it was
(39:30):
like a solved science almost for a time, Okay, and
then you have these digital records that were hits but
sound kind of lousy because just like the technology wasn't developed,
the engineers didn't have the experience doing it.
Speaker 2 (39:45):
Okay, I get it.
Speaker 4 (39:52):
Black Friday is coming, And for the adults in your life.
Speaker 5 (39:55):
Who love the coolest toys. Well, there's something for them
this year too. Mati is the premiere craft cocktail maker
that automatically makes more than sixty seasonal and classic cocktails
each in under thirty seconds at the push of a button.
And right now, Bartisian is having a huge sight wide sale.
You can get one hundred dollars off any cocktail maker
or cocktail maker bundle when.
Speaker 4 (40:16):
You spend four hundred dollars or more.
Speaker 5 (40:18):
So, if the cocktail lover in your life has been
good this year or the right kind of bad, get
them Bartesian at the push of a button, make Bark
quality Cosmopolitans, Martini's, Manhattan's, and more, all in just thirty seconds,
all for a hundred off.
Speaker 4 (40:36):
Amazing toys aren't just for kids.
Speaker 5 (40:39):
Get one hundred off a cocktail maker when you spend
four hundred through Cyber Monday, visit Bartsian dot com slash cocktail.
Speaker 4 (40:46):
That's b A R T E. Sia n dot com
slash cocktail.
Speaker 1 (41:01):
So rehab is the next song?
Speaker 2 (41:03):
Uh, how'd you feel about rehab?
Speaker 1 (41:06):
This felt like an obligatory ballad.
Speaker 3 (41:09):
Okay, like it's sort of like heat that I love you.
It's nice that it's not in the middle of the album,
but it doesn't really fit the vibe of the record.
Speaker 2 (41:20):
Okay, Tino who wrote this song?
Speaker 1 (41:24):
No?
Speaker 2 (41:25):
Justin't Timbrel?
Speaker 1 (41:27):
Really?
Speaker 4 (41:28):
Yeah?
Speaker 2 (41:28):
I think this was when people were realized, oh, like,
maybe he can write a song. And if you listen
back to it now, you could kind of hear Crimeo
Burber a little bit, like you can hear the similarities.
I only know that he wrote it because he was
in the video and I was very shocked, like what
(41:48):
is this man doing in her video? Like what is
the point? I don't get it? And then it came
out like years later, and it made so much sense.
I didn't like Rehab when the album came out, like
I just was like, okay, whatever, I don't really care
about it. But now I'm like when I was listening when.
Speaker 1 (42:05):
The pill started to wear off.
Speaker 2 (42:08):
Probably I think I was done by the time we
got to question existing when I tell you hate it
automatic Skip. I do not like the song. I don't
think she sounds good. It's just not my vibe. Like
as much as I don't like the fact the hate
(42:29):
that I Love You is just like slapped in the middle,
I really don't like when people in their albums with
just like slow slow, slow, Yeah, I don't want to
hear it. I don't want to hear it. Yeah, but
question existing. I just it's always been a song that
I've hated, and so yeah, you know how I said,
the entire album is on my playlist that for sure. Definitely,
(42:49):
now this is not a part of my cool. Absolutely, I.
Speaker 1 (42:55):
I liked it.
Speaker 3 (42:56):
The more that I heard it, I definitely had the
same reaction where I was like, yeah, But as I
got into it more, as I thought more about, like
what is bothering me about this record, which comes down
to the production of it and the limits therein this
is the track that would be much better with a
(43:20):
remix remastered version, and actually the the closest analog to
like a digital record, a record that was produced in
this fashion that sounds so much better is MIA's METANGI.
Speaker 1 (43:39):
That was a little bit later, that was like four or.
Speaker 3 (43:41):
Five years later, but it's still it's like a very
similar There's a couple songs on this record that I
could hear like MIA's voice doing. But you listen to
that record, the production is so clean and so precise,
and this is just like there's it's messy at times
and question existing. I like it as a choice. I
(44:03):
think it gives a lot of depth to.
Speaker 1 (44:05):
The the cult of Rihanna, but it doesn't feel as
good as it's supposed to feel, with like that sort
of slow, dark, kind of in my head vibe.
Speaker 2 (44:20):
Yeah, yeah, same, not a fan. And then Good Girl
Gone Bed Not really a fan of that either. It's
just not like I think that maybe this was why
they did a reloaded because.
Speaker 1 (44:33):
They didn't want to.
Speaker 2 (44:35):
You cannot end an album like that. It just it's
not it. If it was a ballad that was really good,
you walk away from it like, yes, this is an
absolute inn Oh no, like it's not happening. It's not happening.
Speaker 1 (44:50):
Maybe this was their hang up.
Speaker 3 (44:51):
There's like you want to call the album this maybe
everyone you want everyone to go into to this track,
like Okay, here we go.
Speaker 1 (44:59):
This is the title track.
Speaker 3 (45:00):
Yeah, this is like the mission statement of the album.
And then it's just very.
Speaker 2 (45:04):
Mid and then you like, I mean, you think about
the songs before this, like I'm Boppin', I'm dancing, and
then you have the nerve to end the album like this.
It's just not it. It's just not it. I can't
really give you. I hate that that. I'm realizing. A
(45:24):
lot of albums that we've done, there are like toward
the end of the album there are like two or
three songs that could just mesh together and be a
no altogether, like throw a yes in between, give me
some type of like excitement.
Speaker 3 (45:38):
It's just what it's And it's funny because, like, for
as long as people have been putting out long playing
albums like this has been a problem. But especially in
the vinyl record era, you would see this all the
time because you would have to.
Speaker 1 (45:58):
Flip the record over, yeah, where they.
Speaker 3 (46:00):
Would frontload the best part of the album and the
second half of the album was certainly not as many hits,
certainly not as strong in most cases, and a lot
of times it would just be filler because to legally
sell the record as an LP, it needed to be
(46:24):
a certain amount of time. I think it's thirty five minutes.
So bands would just like do a bunch of bullshit
to get to the minimum time and put that on
the second half of the album at least. So but
why are they doing it at the end?
Speaker 2 (46:41):
I don't get that. I don't understand.
Speaker 3 (46:43):
But like in the iTunes era, when people are buying
CDs and putting them in a little CD wall. It's like,
why are we still doing that when you can just
hit a button and skip the tray.
Speaker 2 (46:52):
And also these days when people could just download the
best song on the album and not listen to anything else. Ever, again,
why as an artist would you put out something as filler?
It doesn't make any sense. It really doesn't. People are
going to just download what they.
Speaker 1 (47:09):
Want you, so today doesn't make any sense.
Speaker 3 (47:12):
We've complained about artists putting out like a quote unquote
playlist type record. At this time, they are still trying
to sell physical copies. So I think there's maybe some
obligation that it needs to be close to an hour.
It needs to be over forty five minutes, because if
people are going to pay like fourteen ninety nine, you
(47:35):
can't give them like a thirty eight minute album.
Speaker 1 (47:37):
Okay, that might have been part.
Speaker 2 (47:39):
Of it, but just throwing shit at the end, like
work it within, give me a dance, give me a
little cool down session in between my dance songs. I
don't get it. I know that you didn't listen to
Reloaded or you got to Disturbia.
Speaker 3 (47:55):
How did you might have gotten further than that. So
when I re listened to just I was like, it
was the first time I ever caught this. She says, Disturbia,
Are you kidding? Because for the longest time, I was like,
why is the song called that? Because I associated with
that movie Disturbia. There's like a horror that the same time,
(48:18):
I don't even know if I think it was after
as well.
Speaker 1 (48:23):
Take a back.
Speaker 3 (48:24):
I'm sure I listened to take a Bow and if
I Never See Your Face Again, I can't recall them
and it didn't make any notes.
Speaker 2 (48:29):
I am shocked that If I Never See Your Face
Again is even on this album because it was a
Maroon five song without her that was released and charted.
Speaker 1 (48:38):
Oh I think I didn't listen to it because I
saw it was featuring Room five.
Speaker 2 (48:42):
Yeah, but it's like their song, yeah okay, And then
she like, does I think they let her re record
the second verse? And so she put it on her album.
I thought it was very dumb at the time, and
today I don't understand. But take About is probably one
of the best breakup songs, like women empowerment breakup songs
(49:06):
of all time. I think for at least a millennial
like me listen I was in seventh grade, like bye,
looks so dumb, like are you kidding? Ten out of ten?
And then also something I wanted to add about disturb
you it. First of all, a lot of this album
(49:26):
was written by Neo. A lot of it. It wasn't
just hate that I Love You. I think he did
take about and if he didn't do Umbrella, then the
Dream did Umbrella.
Speaker 3 (49:41):
I bet we could like pinpoint, just like list the
songs that the Norwegian guys did not write and then
pick which ones would be Neo songs.
Speaker 2 (49:51):
Probably, and then Disturbia drum roll of who wrote that?
Chris Brown? Aha? There he is kind of some sort
of foreshadowing, but you know it is what it is.
But all in all, Andrew, how'd you feel about this
album and would you listen to it again?
Speaker 1 (50:11):
This is a good record.
Speaker 3 (50:13):
I would say that I hope they do a remix, remaster,
some sort of anniversary edition because I would like to
revisit it.
Speaker 1 (50:25):
Music is so much about.
Speaker 3 (50:26):
The feel and the way, like the atmosphere that it
puts you in, and the shortcomings of like the mix
the production on this album really kind of turn me
off on.
Speaker 2 (50:38):
It wow wow Wow.
Speaker 3 (50:42):
But it's nice to know about a song like push
up on Me or say It where it's like, if
I get the proverbial ox chord in a place where
that is like the appropriate vibe, I can pull from
there and people will be like, Wow, Andrew's really killing it.
Speaker 2 (50:56):
Yeah, Like oh wow, Andrew, how'd you know about this
A B side music? Everybody?
Speaker 1 (51:05):
All right, let's take a break. We'll talk about some
of the uh, the awards consideration, the legacy of Good
Girl Gone Bad, and then we'll get into what we're
doing for the next episode of.
Speaker 5 (51:19):
Aff Black Friday is coming, and for the adults in
your life who love the coolest toys, well there's something
for them this year too. Bartisian is the premiere craft
cocktail maker that automatically makes more than sixty seasonal and
classic cocktails each and under thirty seconds at the push
(51:41):
of a button. And right now, Bartisian is having a
huge sight wide sale. You can get one hundred dollars
off any cocktail maker or cocktail maker bundle when you
spend four hundred dollars or more. So, if the cocktail
lover in your life has been good this year or
the right kind of bad. Get them Bartisian at the
push of a button, make Bark quality Cosmopolitans, Martini's, Manhattan's,
(52:05):
and more, all in just thirty seconds, all for a
hundred off.
Speaker 4 (52:10):
Amazing toys aren't just for kids.
Speaker 5 (52:13):
Get one hundred off of cocktail Maker when you spend
four hundred through cyber Monday. Visit Martesian dot com slash cocktail.
That's b A r T E s i a n
dot com slash cocktail.
Speaker 1 (52:33):
Welcome back to avers. Listen.
Speaker 3 (52:35):
I'm Andrew and I'm Diamond, and that is good girl,
gone dad here on the show. Positive marks for this
one and Yanna's approval rating, We're still high.
Speaker 2 (52:47):
Okay, it's always gonna be high for me. But I'm
actually very happy that you approved of this.
Speaker 1 (52:56):
Yeah, solid record, six times platinum in the USA, seven
times in the UK. I just see the list and
I think that's that's interesting, insane.
Speaker 2 (53:11):
Yeah, like people are not doing that anymore. People weren't
even able to do that in the past. I don't
even understand why I said that, but like, they're definitely
not doing that anymore.
Speaker 3 (53:21):
But like what it's pretty well in Yeah, so Rihanna
won a Grammy for Umbrella Best Rap Sung Collaboration. This
record debuted at number two on the US Spillboard two hundred.
Speaker 2 (53:40):
I wonder why what was out? Then?
Speaker 1 (53:43):
Oh, that's a good question.
Speaker 2 (53:45):
What beat her? Probably an album that was already.
Speaker 1 (53:48):
Out, but it will be like a time capsule to wait. Okay,
we're gonna we're gonna cut some of this out and
we're gonna find out Billboard two hundred and May two
thousand and seven.
Speaker 2 (54:09):
Oh wait, no, don't tell me. It's like Ashley Simpson.
Speaker 1 (54:16):
No wait, I want to make sure that I'm looking
at the Yeah, okay.
Speaker 2 (54:21):
What is it?
Speaker 1 (54:22):
It was Avril Levine. The best damn thing was.
Speaker 2 (54:27):
That the album that Complicated was on No so it
seems late for that. Was that, like, hey, hey you
you I don't like your girlfriend?
Speaker 1 (54:37):
Now that was on the same album. Then we have
to look up Avril Levine. Oh no, wow, she's only forty.
Speaker 2 (54:44):
Yeah.
Speaker 3 (54:46):
She was like a literal child when she was doing
these records. Okay, wow, So the best damn thing was
Avril's third album, The Twists that We Go on this show. Yeah,
girlfriend was on that record, so.
Speaker 1 (55:02):
This is not complicated. Complicated was before that Complicated? Another
song haunts me. I wish we didn't even mention that.
Speaker 2 (55:10):
I'm not saying it's bad.
Speaker 3 (55:12):
I'm just saying that that will be in my head
for the next probably eight months.
Speaker 1 (55:17):
Oh uh yeah, So A skater Boy and Complicated. These
are the first record two thousand and two.
Speaker 2 (55:30):
Complicated came out in two thousand and two. Yeah, okay,
all right, sure, I'm shocked.
Speaker 1 (55:40):
No, that's shocking, that's not do not think about Avril
Levine at all at all. But she she was the
shit she was.
Speaker 3 (55:51):
Okay, So on the next episode of A First Listen Diamonded,
I are both grimacing.
Speaker 1 (56:00):
Wait, let's bring up the track list.
Speaker 3 (56:02):
Oh god, we want to on the show be a
little bit more of the moment.
Speaker 1 (56:11):
We want we want to.
Speaker 3 (56:12):
Be there with you, experiencing the culture and the season.
And so for the next episode, we are going to
cover Mariah Carey nineteen ninety four.
Speaker 2 (56:30):
Merry Christmas, literally the year I was born, Literally happy Birthday.
Not happy about this.
Speaker 3 (56:40):
I'm actually a little surprised that this album came out
in ninety four. You know, I would think it would
have been later. It's kind of crazy to think, how
I guess how young Mariah Carey started and how.
Speaker 1 (56:54):
Massive. But an artist she was like right from the beginning.
Speaker 3 (56:59):
So this album contains hits like All I Want for
Christmas is You? A song that I've stopped only heard
once so far this year.
Speaker 2 (57:11):
Oh, this year, you've only heard it one.
Speaker 1 (57:13):
I mean maybe this season. I think I've only heard
it one.
Speaker 2 (57:15):
Okay, well a lot of them still hasn't flipped the
switch yet. It's coming, It's coming, Oh God.
Speaker 3 (57:23):
So all like, there's a whole album of Christmas songs.
We all know the one like juggernaut of a Christmas song.
But she also did Silent Night, which is the first.
Speaker 2 (57:35):
Track, Please Mariah.
Speaker 1 (57:38):
And then oh Holy Night. That's not the same song
as Silent Night. No, that's the third track. All I
Want for Christmas is You is number two.
Speaker 2 (57:50):
A.
Speaker 1 (57:50):
This is this is bad.
Speaker 3 (57:51):
This is a bad idea Christmas Baby, please come home,
miss you most at Christmas time in parentheses, Joy to
the World, Jesus born, miss Oh.
Speaker 2 (58:02):
I've heard her, Joy to the World. It's actually good.
Speaker 3 (58:06):
I presume I've heard. Maybe this whole record immersively only
thirty eight minutes long. Yeah, thank god, Santa Claus is
come into town. Hark the Herald Angels sing Jesus, Oh
what a wonderful child.
Speaker 2 (58:20):
I've never heard that in my life.
Speaker 1 (58:22):
So we're listening to this so you don't have to.
Speaker 2 (58:25):
Yeah, pretty much.
Speaker 1 (58:28):
It is getting to be well.
Speaker 3 (58:29):
Thanksgiving is next week, so we'll be in the thick
of the Christmas season.
Speaker 1 (58:36):
When this, uh, when this episode comes out, and maybe
that maybe we'll quit after after that.
Speaker 2 (58:47):
It might make me want to literally.
Speaker 1 (58:50):
Yeah.
Speaker 3 (58:50):
So my idea as like a palate cleanser for the
punishment that Merry Christmas by Mariah Carey, maybe is that
we also come to that episode with a few what
we think are good Christmas songs. Okay, bye, Like a
(59:11):
contemporary artist, I have a couple in mind right now
that I legitimately look forward to hearing every year, and
there might be like, might have three or four options.
So like in the last segment of our next episode,
maybe we'll talk about Christmas music we actually enjoy. Okay,
So we're starting our holiday season with Penance.
Speaker 2 (59:36):
Oh god, Okay, because.
Speaker 3 (59:38):
There's not enough to feel bad about these days. This
was a better idea when a couple of weeks ago, when.
Speaker 2 (59:46):
I before we looked at the track list.
Speaker 1 (59:49):
Okay, so let's get through it.
Speaker 2 (59:53):
We don't have a joy.
Speaker 1 (59:56):
Thanks for listening to this episode.
Speaker 3 (59:58):
Catch up with us on Instagram, at First Listen.
Speaker 1 (01:00:02):
Podcast on there give us some suggestions for the new year.
We might be taking a little break. What do you
say something? Man?
Speaker 2 (01:00:11):
Okay? And that's at First Listen. He's Andrew, I'm Diamond,
see ye bye bye.
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