record reviews

November 21, 2010 at 12:00a.m.

RIHANNA

Album: “Loud”

Grade: A

Rihanna is back.

Forget the concerns with last year’s dark, disappointing “Rated R,” which awkwardly dealt with her all-too-public breakup with Chris Brown. With the bright and shiny “Loud” (Def Jam), she rebounds with her best album yet.

Though Miss “Umbrella” is understandably best known for her singles, “Loud” rewards those who listen to it as a whole.

The first half is filled with StarGate-produced club anthems, starting with the clever, up-tempo “S&M” and ending with the massive Euro-trance “Only Girl [in the World],” which brings the drama as well as the BPMs.

She slows things down — for “What’s My Name,” which is already No. 1 and deservedly heading for omnipresence, and the soon-to-be smashes “Cheers [Drink to That],” which likely will spawn catch phrases and countless drunken sing-alongs, and “Fading,” a playful kiss-off. But they all fit together as social tales set in public places.

The epic ballad “California King Bed” is a worthy centerpiece, showing off how Rihanna’s vocals have grown and how she has adapted the seriousness from “Rated R” into a more workable sound.

The second half of “Loud” is more private, filled with regrets and worries, from the ska-influenced “Man Down” to “Love the Way You Lie [Part 2],” the sequel to her hit duet with Eminem, telling the tale from her point of view.

With “Loud,” Rihanna shows that pop albums can be complex and upbeat, thought-provoking and successful. And, man, is “Loud” going to be successful, since every song here is a potential hit. Drink to that, RiRi.

— Glenn Gamboa, Long Island Newsday

LEE DeWYZE

Album: “Live It Up”

Grade: B+

Yeah, Lee DeWyze’s post-”American Idol” single and tour were greeted with a collective cultural yawn and the reigning “Idol” looked destined for the Taylor Hicks House of Low-Level Stardom.

But DeWyze is a scrapper and “Live It Up” (RCA) shows it. He crafted the best post-”Idol” debut since Carrie Underwood by playing to his strengths and knowing where he could fit into the pop landscape. The grand, piano-driven “Brooklyn Bridge” and catchy “Earth Stood Still” cast him as an earnest John Mayer. The lovely ballad “Beautiful Like You” is like a fired-up version of The Fray. The title track is part laid-back Jack Johnson, part playful Jason Mraz.

His only misstep turns out to be the first single, “Sweet Serendipity” — an upbeat but bland cousin to Kris Allen/ The Script’s overstuffed “Live Like We’re Dying” that feels more like a record label ploy than an artistic choice. They’d be better off letting Lee be Lee.

— Glenn Gamboa, Long Island Newsday

NELLY

Album: “5.0”

Grade: B-

It seemed like Nelly had reinvented himself for his new “5.0” (Universal Motown) album, with the Europop-leaning, guitar-tinged single “Just a Dream.”

After all, the St. Lunatics style that made him one of the Aughts’ biggest hip-hop stars had gotten stale by 2008’s “Brass Knuckles,” and he needed to shake things up.

“Just a Dream” does just that, putting Nelly’s distinctive flow into more timely surroundings. “Nothing Without Her” takes it even further, as he sings over a One Republic-ish ballad, complete with guitar solo, while the dance-oriented “Liv Tonight,” featuring Keri Hilson, has more in common with David Guetta than “Country Grammar.”

Unfortunately, Nelly can’t let go of his past completely and gets stuck in some dated sounds (the plodding “I’m No. 1”) and dated ideas (the annoying “Broke”).

The result is that “5.0” doesn’t sound quite done — maybe “4.5,” at best.

— Glenn Gamboa, Long Island Newsday

KEITH URBAN

Album: “Get Closer”

Grade: B+

After testing the poppier and rockier boundaries of country on the Grammy-winning “Defying Gravity,” Keith Urban has returned to more straightforward country on his new album, “Get Closer” (Capitol).

Though he still tries to inject some rock guitar solos into the proceedings, Urban’s sweet spot is the heartwarming ballad, and he delivers some lovey-dovey doozies this time out. “All for You” is touching in its simplicity, an acoustic weeper that seems primed for wedding receptions, while “Right on Back to You” will work as a well-crafted apology. “Without You,” with its fragile guitar and lush fiddles, is all about offering a vulnerable sentiment — “The fast cars, the guitars, they are all just second to this life, this love that you and I’ve been dreaming of for so long.”

Even when he rocks it up in the single “Put You in a Song,” Urban is still trying to cover being smitten with some clever analogies.

“Get Closer” doesn’t break any new ground for Urban, but sometimes even the adventurous just want to stay home and snuggle.

— Glenn Gamboa, Long Island Newsday

NORAH JONES

Album: “... Featuring” (Blue Note)

Grade: B

Norah Jones never sweats: She can’t help sounding laid-back and soothing. That’s a blessing and a curse: She can be soporific. “Featuring,” however, succeeds in skirting that hazard by pairing her mellifluous voice with a diverse cast of high-profile partners. It collects duets, guest appearances, and other collaborations going back to 2001, ranging from soulful jazz with Ray Charles, Willie Nelson and the Dirty Dozen Brass Band, to classic country covers with M. Ward and the Little Willies, to bossa-nova-influenced ballads with the Foo Fighters, Outkast, and Charlie Hunter, to indie-pop with Belle & Sebastian.

A pair of hip-hop tracks with Q-Tip and Talib Kweli disrupt the flow of this 71-minute collection — Jones is relegated to cameo roles, whereas elsewhere she usually plays the calm and steady foil — but “Featuring” highlights her range, humor and flexibility.

— Steve Klinge, Philadelphia Inquirer