[Saph]

The tour wont matter much, she was touring all through the Rated R and Loud eras

[MeMyselfAndI]

I need instructions on how to actually download the album, All the links I press download i can't actually play the songs. It just says windows can't open file. I've downloaed 7-Zip but wtf do I do. When I downloaded Glassheart It just went straight to windows media player, no hassle

[Shaun]

I'm not sure how to use 7-Zip, I use WinRAR, and basically what you do with a .zip or .rar file is, when you download it, it should open in WinRAR or 7zip. You then click "extract" and choose a file folder for it to be sent to. You can then add them to iTunes/WMP from there

[Jords]

Listening now

[Jords]

aint no bodeh binny

[Jords]

First listen...

1. Half Of Me
2. Pour It Up
-------------------------
3. Stay
4. Phresh Out The Runway
5. Love Without Tradegy / Mother Mary
6. Jump
7. Diamonds
8. Lost In Paradise
-------------------------
9. No Love Allowed
10. Nobody's Business
11. Numb
12. Loveeeeeeeeeeeeeeeeeeeeeeeeeeeeee Song
-------------------------
13. Right Now
14. What Now
15. Get It Over With

Not too bad, depends how much it holds interest. I really do like Half of Me and Pout it Up!

[MeMyselfAndI]

I've listened to the whole album twice, I don't think it's very good at all.. I'll listen one more time & rank the songs.

[Saph]

I'm still undecided as too how much I like/dislike it.. its sort of like the crap songs are SO crap but the good songs are SO good that it needs that balance.. as a whole i'm disappointed, I was hoping she would do more Rated R, less Talk that Talk but its aaaalriiight. No doubt we'll have another album next year so until then Unapologetic will satisfy my Rihanna cravings. and plus theres new albums from Mariah, Beyonce, Gaga and maybe Britney to tide me over.

[Iceman]

Numb>>>>>>>>>>>>the rest of the album that i didnt listen to.....

Em has all of 30 seconds....it's quite weak but I dont mind these features are just promo for the album......i'll judge him when I hear his solo stuff.

[MeMyselfAndI]

Numb is so awful

[Iceman]

LOL

[MeMyselfAndI]

Nobody’s Business
Diamonds
-----------------
Lost In Paradise
Love Without Tragedy
--------------------
No Love Allowed
Right Now
Jump
Stay
Fresh Off The Runaway
Loveeeeeeeee Song
----------------------------------------------
Right Now
Power It Up
Get It Over With
Numb


Only 4 songs I can say I like /:

Album has too many random not needed features (Like 7 feature artists ), Also far too many bridges in songs

Listened to the album 3 times, so It's not as if they're growers tbh

[Saph]

I'm making a pop divas calender for 2013, so far I have..

Jan - Nicki
Feb - Rihanna
Mar - Madonna
Apr -
May - Gaga
Jun - Beyonce
Jul -
Aug - Jlo
Sep -
Oct - Britney
Nov -
Dec - Mariah

[Smithy]

Originally Posted by Iceman

Numb>>>>>>>>>>>>the rest of the album that i didnt listen to.....

[MeMyselfAndI]

Definately her worst album yet

Rated R > GGGB > Loud > A Girl Like Me > Music Of The Sun > Talk That Talk > Unapoligetic

[Saph]

dont think she'll never make an album like Rated R again seen as its one of her lowest selling albums

[MeMyselfAndI]

I'd give:
Rated R - 9/10
Good Girl Gone Bad - 9/10
Loud - 7.5/10
A Girl Like Me - 6.5/10
Music Of The Sun - 6/10
Talk That Talk - 5/10
Unapologetic - 3/10

[Me. I Am Salman]

Rated R is awful and I will never understand why people like it so much
Also Unapologetic isn't bad at all imo
But GGGB > all.

[MeMyselfAndI]

I don't actually know what I prefur to GGGB to Rated R, I listed to GGGB way more & had much more standout tracks, but Rated R as an album really flowed

[Saph]

Originally Posted by Salman!

Rated R is awful and I will never understand why people like it so much
Also Unapologetic isn't bad at all imo
But GGGB > all.

Why don't you like Rated R? I never used to like it when it was out but when Loud came along I started loving it :s then hated Loud until TTT came along.. maybe i'll love Una when album #8 comes

[Saph]

I'm going down to hmv tomorrow to get my real copy of Unapologetic and ill listen in full and make my final decision.

[Jords]

Half of Me is too good for deluxe!

[Me. I Am Salman]

Originally Posted by SaphLiike

Why don't you like Rated R? I never used to like it when it was out but when Loud came along I started loving it :s then hated Loud until TTT came along.. maybe i'll love Una when album #8 comes

It was just so dreary and dull.. videos as well
I know people say it's a really personal album but that doesn't automatically make it good
gave up on her but then Loud came along

[Saph]

#1 in over 30 countries (on itunes) already hopefully she can hold it

[Saph]

reviews are in

Financial Times - 4 out of 5

Spoiler:

Unapologetic is a big budget affair designed to sell millions but it’s also a powerful, even unsettling, act of personal expression. It opens with “Fresh Off the Runway”, an aggressive statement of purpose with synths roaring like a private jet and Rihanna strutting through the song in lip-curled mode. “Numb” boldly throws us off balance with woozy drugged beats, hallucinatory vocals and a sinister guest spot from Eminem as a sexual predator. Thoughts turn to Rihanna’s assault at the hands of former partner Chris Brown, who, apparently forgiven, turns up on the upbeat duet “Nobody’s Business”. Yet the after-effects of his violence grip the album, in its imagery (“I pray that love doesn’t strike twice”) and musical effects such as “Jump”’s dubstep seizures. Themes of assertion and victimhood are framed by cutting-edge dance-pop devised by an elite squad of producers (David Guetta, Stargate, Labrinth), while Rihanna adapts herself effectively to each song’s mood, from power balladry to the reggae lilt of “No Love Allowed”. The result is chart music at its most artful: precision-tooled on the surface, emotionally ambiguous and unresolved at its core.

The Urban Daily

Spoiler:

It’s here. A moment in pop music where the artist set up to look the best, sound the best and actually be the best, lives up to the hyperbole and wins the prize. Rihanna will dominate our digital waves whether we want her to or not, but despite the great opportunity to—and even greater expectation that she would—the biggest star on the planet didn’t just chill under that glass ceiling of expectation.
Kinetic and musically varied, Unapologetic blasts the sounds of global, post-mod youth culture through every track. She creates an emotional soundtrack not of some affected, stupid-rich celeb, but of a 24-year old survivor who rocks and laughs and cries. Three years ago, no one would have paid attention to a beautiful piano-ballad like “Stay,” but now you can’t deny its truth. Not because of the events we all witnessed, but because of how honest and emotionally-connected her vocals are.
“Diamonds” succeeds in its video-driven who-is-this-about mystery, but works better if taken as a self-reflective song of love, affirmation and triumph. “…you’re a shooting star I see.”
“What Now” takes a page from Pink’s yell-as-long-as-you-have-a-great-hook style and raises her one.
“Love Without Tragedy / Mother Mary” takes some Madonna-esque ‘90s synth notes and flips them into a brave confessional. “Mr. Jesus, I would love to be a Queen… / but I’m from the left side of an island” is the chant that will end her stadium tours with a perfect raise-your-smartphone-candle moment. “I’m prepared to die…” she cries. A 21st century big-girl-lost.
Unapologetic is Rihanna’s 7th album in as many years and so I’m transferring my “hottest working in show business” title—held by Diddy for a decade—to the Barbadian workaholic with over 140 MM digital sales worldwide & twelve Hot 100 #1s singles. Most of the hits have been the brash and upbeat kind.
“Fresh Out The Runway” continues the tradition. It’s loud and as curse-filled as it should be to satisfy the album title, reminding all the parents from the album’s first verse that your tween ain’t ready for Rihanna yet. The second David Guetta produced electronic dance track, “Right Now,” is a future #1 that sounds so obvious because…it’s that good.
Adele was our last pop obsession. Her success was a wonderful correction on the landscape, a reminder that every seven years listeners must experience overwhelming talent or else suffer that same-song-over-and-over descent into superficiality. Unapologetic also helps us avoid that fate soaring when it unhooks itself from what’s pop-current and comfortable.

Deep in nightclub basements, tracks like the dark, ethereal “Power It Up” or “Jump” sound like radio versions of the electro and dub-step ahead-of-the-curve kids have been raving to for a year. On the album of the biggest pop star in the world, her sounds advance the culture.
Yep, it’s hard to find the beat to dance to on “Numb” but that’s the whole point. When the song’s intoxicating melody gets destroyed by an Eminem guest verse that sounds like it’s been pushed through a digital wood chipper, hope you have the largest Beats headphones.

The same are-you-cool-enough-test happens on “Loveeee Song” feat Future (you fail if you say he sounds like a drunk singing a love song) until the album pulls back with the more straight-ahead “Lost In Paradise” and dancehall-tinged gem “No Love Allowed.”
Rihanna’s critics haven’t needed to comment on her actual music or talent lately, her personal life has given them all the bullets they need to shoot her down one Instagram pic at a time. This album re-ups the chamber not with the rumor of a make-up with the redemptive (?) Chris Brown, but the actual fact of it—at least on wax.
The duet, “Nobody’s Business” is already the album’s most talked-about track, but…guess what? it’s also the album’s best, a perfect blend of R&B soul and pop feel-good with an irresistible sing-in-the-shower falsetto hook. Rih Rih and her ex harmonize over a cool melody that makes you dance to what is essentially a middle-finger-to-the-world hook. When Brown grunts “ain’t nobody’s bidness, but mine and my baby…” he’s impersonating Michael Jackson on purpose and MJ’s “Leave Me Alone” ain’t got nothing on this.
So when the 24/7 mania comes for the song’s forthcoming music video—and I’m as sure that will happen as I am Gov Christie will announce his ’16 Presidential run the week after he covers People mag 100 lbs lighter—Rihanna’s triumph is a super fresh song from a super fresh artist at the very top of her game. Unapologetic is Rihanna’s best.

The Guardian - 3 out of 5 stars

Spoiler:

You don't even have to listen to Rihanna's seventh album to set alarm bells ringing. You merely have to look at its track listing. There, sandwiched between a collaboration with singer Mikky Ekko called Stay and the intriguingly titled Love Without Tragedy/Mother Mary comes track 10: Nobody's Business (feat. Chris Brown). Uh-oh.

If nothing else, Nobody's Business is – if you'll pardon the phrase – one in the eye for the kind of person who tells you modern pop music has nothing new to offer: it's hard to think of another perky disco-house number featuring a victim of domestic abuse duetting with her abuser about how perfect their relationship is. "Could we become love's persona?" they coo, prompting the answer: no you probably can't, because three years ago, one of you beat the other one up so savagely he left her with major contusions either side of her face, a bloody nose, a split lip and bite marks on her arms and fingers, an incident she told police was symptomatic of an "ongoing and escalating abusive relationship".

You'd listen to Nobody's Business with your jaw on the floor if you weren't well primed for what to expect. Vast swathes of Unapologetic's lyrics appear to be concerned with Rihanna and Brown's relationship. You get a lot of stuff about how exciting dangerous men are, the appeal of affairs that are wrong but feel right, how no one else can match up to him. "I pray that love don't strike twice," offers Love Without Tragedy, again inviting an inevitable response: you want to pray your ghastly on-off boyfriend doesn't, either. You could dismiss all this stuff as merely wildly misguided and naive were it not for the fact that elsewhere, Unapologetic actually appears to play on the incident in question.

"Your love hit me to the core, I was fine til you knocked me to the floor," she sings over a loping, drumless reggae rhythm on No Love Allowed. "Dial 911 it's a critical emergency." Rihanna might argue with some justification that a lot of other people have made money from her relationship with Brown, so why shouldn't she? Furthermore, perhaps, she's only telling the truth about how she feels. But that doesn't make hearing it any more edifying. Still, the whole thing must come as quite the spirit-bucking tonic for any listening domestic abusers.

Leaving all that aside to concentrate on the music is a big ask. But it's worth noting that, sonically, Unapologetic is a far more interesting album than its predecessor. Rihanna is as responsible as any artist for the homogenisation of the Top 40 into the same weary pop-dance template. It gets used over and over again because it's commercially successful, and it's been more commercially successful for Rihanna than anyone, providing the basis for S&M, The Only Girl in the World, We Found Love and Where Have You Been. And yet, it's largely absent here, the David Guetta-produced Right Now notwithstanding. That sounds less like a song than a bid to break the world record for cramming current pop cliches into three minutes. Elsewhere, however, the various producers seem to have been minded to try something different, or at least to rearrange voguish sounds into less familiar shapes. Fresh Off the Runway piles on distorted synthesisers derived from Joey Beltram's 1990 rave classic Mentasm until it sounds weird and disorientating. What Now attempts to weld a walloping brostep drop to a sensitive acoustic guitar and piano ballad with suitably peculiar results: there's a fantastic moment towards the end where producer Ighile throws in a widdly-woo guitar solo, apparently in the mistaken belief that the track wasn't yet preposterous enough.

During its best moments, you're struck by the suspicion that Unapologetic's producers might be trying to undercut the lyrical content. Numb apparently returns to the subject of Rihanna's personal life – "Can't tell me nothin' … I don't care, get closer to me if you dare" – but the music doesn't sound defiant: it lurches and drags along, an oppressive mass of slowed-down voices and grating electronics. Pour It Up's invitation to splash your cash in a strip club is set to a weird, disjointed, gloopy backdrop: it doesn't sound like much fun there, a sensation compounded by a particularly dead-eyed vocal. You get another one of those on Jump, ostensibly an unmissable invitation to frenetic sexual activity in Rihanna's boudoir, rendered intriguingly weird by her delivery. "Ride my pony, my saddle is waiting," she sings, blankly, as if she finds the prospect of frenetic sexual activity only marginally more attractive than having a verruca frozen off.

So there's stuff here that's worth hearing, if you could untangle the music from the artist's personal life. But you can't, and furthermore, you get the feeling that the artist doesn't want you to. Perhaps it's quite a cold and canny move masquerading as an outpouring of unpalatable emotion, playing on the public's prurient interest in her love life. Perhaps that's too cynical. Either way, for all its musical value, listening to Unapologetic is a pretty depressing experience.

USA Today

Spoiler:

The catchiest song on Rihanna's new album, Unapologetic (* * * out of four), may also be the most disturbing one. On Nobody's Business, an exuberant, strings-laced duet that nods to great pop-soul records of the '70s and early '80s, the singer is joined by fellow star and former steady Chris Brown, his voice limpid and silky smooth. "I want to be your baby," she croons to the man who pled guilty to assaulting her three and a half years ago. "You'll always be my baby. Tell me what you want now."

There are other infectious tunes on Unapologetic (out Monday), and others that will make you squirm a bit. It's not always clear if the 24-year-old superstar is being painfully candid or playfully provocative -- or which of those approaches should be more unsettling. The tracks, crafted by a team that includes Stargate, The-Dream and David Guetta, use spacious arrangements filled with bright, sometimes frosty electronic textures that, like the lyrics, alternately convey lust and fear, a need to connect and an impulse to retreat. "Get close to me if you dare," Rihanna teases on the coldly thumping Numb, featuring a cheeky Eminem.

On the frantic, pulsing Right Now, she extols instant gratification: "Tomorrow's too far away … All we get is right now." What Now veers from sweetly spare acoustic verses to a thrashing chorus; on the bridge, Rihanna laments, "I don't know where to go/I don't know what to feel."

Several songs portray the singer as a young woman prone to romanticize danger. On Love Without Tragedy/Mother Mary, propelled by a rhythmic riff that recalls The Police's Message In A Bottle, she recalls a relationship wrecked by an incident in a car -- the scene of her alleged confrontation with Brown -- and admits that it "felt like love struck me in the night." Then the arrangement slows, and over a stark, airy backdrop, she appeals to "Mister Jesus" and "Mother Mary," but resolves, "I'm prepared to die in the moment."

On the last track of the standard version of Unapologetic, the anthemic Lost In Paradise, she confesses, "If I open up my eyes/I can see the storm," but opts to keep them closed: "It may be wrong/But it feels right." Maybe it's nobody's business if she feels that way, but Rihanna still compels our curiosity -- and our concern.