Three years ago, Rihanna released, what was in my opinion, her bestĪlbum yet "Rated R". Rebirth, but especially given the range and power she's showed in the Far too bombastic to beĮspecially cathartic, "101" makes for a gently unsatisfying conclusion Move, about as far from the pensive notes of "De Novo Adagio" as KeysĬould get, but she doesn’t pull it off. Of shouted hallelujahs and some startlingly violent beats.
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The latter culminates inĪ loud coda that's among the heaviest passages Keys has recorded, full On their own but dour as back-to-back closers. "Limitedless", a pair of fine ballads, "One Thing" and "101", sound good Following the rhythmically and grammatically awkwardly It also brings the album back down to earth, stalling the momentum she'dĮstablished. Metaphor, and it's refreshing to hear her in such a spare setting. It's a respectable ballad, albeit a bit too devoted to its own That comes "Not Even the King", which features just Keys and her piano. With its bedroom setting and emotional insomnia, the songĬomes across like a sequel to "Try Sleeping with a Broken Heart", holding its own against one of Key's finest moments. Vocals- reinforce rather than distract from the pain in Keys' vocalsĪnd lyrics.
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The retro flourishes- the shuffling drumbeat, the doo wop backing Throw back to a completely different pop era than Keys evokes, and doesĪnyone want to see this woman, who seems to draw inspiration from ArethaĪnd Pam Grier equally, show up at the sockhop? Surprisingly, "TearsĪlways Win" manages to split the difference between Keys and Mars, and Smeezingtons, the team responsible for Cee Lo Green's "Fuck You" and Mars' own "Grenade",
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Still, theĪnnouncement that she was doing a song with Bruno Mars and the She never lets anyone elbow her out of the spotlight.
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Keys has always chosen her collaborators well, and even when she's working with the ultimate alpha males (Kanye West on The Diary of Alicia Keys, John Mayer on As I Am),