Does any other pop star’s album art talk the talk quite like Rihanna‘s?

Two years ago, the black and gray sheen and jagged metal “R” logo perfectly exemplified the grim, post-apocalyptic noir of Rihanna’s 2009 masterpice Rated R, as the singer menacingly peered out from behind her hand while suited in futuristic space gear, looking like Grace Jones beamed in from the year 3000.

Just a year later in 2010, Rihanna smoldered on the cover of LOUD with her fire engine red coif; her eyes closed and lips pouted with pristine 1970′s disco queen poise (where’s Andy Warhol when you need him?). Accordingly, the collection was largely colored by its StarGate-produced dance floor throbbers (“Only Girl (In The World),” “S&M”) and and airy Island-infused mid-tempo jams (“What’s My Name?” “Man Down”).

With Talk That Talk, her sixth studio album released on November 21, Rihanna has once again rih-invented, this time veering closer toward the Rated R menace, albeit not completely: She’s stripped away the metallic sheen of Rated R and given it a decidedly more street vibe.

Buttoned up in a sleeveless camouflage blouse, she appears sweaty and disheveled, her hair mussed as she grips her forehead. With a hungry glare and a dagger-sharp tongue firmly planted in the corner of her lips, she utterly oozes sex. But this isn’t a candle-lit dinner at the Four Seasons followed by a rose pedal-strewn romp in bed. This is a rough, rowdy back-alley FUCK on break during your mid-day work shift.

And that, in a nutshell, is the essence of Talk That Talk.

Read more…

It’s here! It’s here!

Click above to listen to Illuminati Bajan Navy Princess RiRi‘s second Talk That Talk single “You Da One,” produced by Dr. Luke and penned by Ester Dean. The song will hit iTunes on Sunday night. Read my review at MTV Buzzworthy!

Talk That Talk will be released on November 21. (iTunes)

NO, BUT ACTUALLY HOLD THE PHONE AND DROP YOUR BABY RIGHT NOW BECAUSE THIS IS NOT A DRILL.

FIRST OF ALL: Rihanna JUST announced on Twitter this evening that she’ll be Ri-leasing the Dr. Luke-produced “You Da One” on Friday, which will then hit on iTunes on Sunday night. Um, fuck YES! Flawless single cover is flawless.

Now then–let’s get down to bidness.

Beginning this week, Team RiRi has begun the listening sessions for Ri’s upcoming sixth studio album, Talk That Talk.

ALLOW ME TO EXPLAIN FURTHER, FLOPTINA…

First of all, let go of your expectations: “Mr. Know It All” is not the grand return of Yell-y Clarkson.

Considering both the song’s sassy title and lyrics–which Ms. Clarkson neatly wrote out on lined paper for us earlier today–the lead single from her upcoming fifth studio album Stronger might give off the impression that “Mr. Know It All” is another dance-y pop-rock kiss-off anthem a la “Since U Been Gone” or “I Do Not Hook Up.” It’s not.

Instead, Clarkson keeps the throaty howls in check on “Mr. Know It All,” a gorgeous return to form back to the soulful sound of Idol‘s greatest export.

The singer confidently croons above gently strumming guitars and a tripping, mid-tempo drum beat taken directly from the songbooks of classic ’90′s singer-songwriter chicks (for reference, consult Alanis Morrissette‘s Jagged Little Pill or Donna Lewis‘smash hit, “I Love You Always Forever”–sans the saccharine sweet quality of Lewis’ voice). Actually, it’s quite similar to the beat of Clarkson’s own “Just Missed The Train” off of Thankful–my personal favorite!

Apart from the beat, the song still sounds quite contemporary: In fact, it’s very similar in structure and melody to Bruno Mars “Just The Way You Are.”

The song’s chorus is an especially gorgeous lift-off from the verses, as the tripping beat breaks away (Clarkson pun!) and gives way to a beautiful, soaring moment of bright piano chords and an insanely catchy melody: The phrase “‘Cause baby, you don’t know a thing about me” has been swirling ’round my brain for the entire day, and there’s no sign of it stopping anytime soon.

It’s no surprise that the song’s a total ear-worm either, given that “Mr. Know It All” was produced and penned by some of the industry’s greatest songwriting titans, including Brian Kennedy (Kid Sister‘s “Daydreaming” and Rihanna‘s “Fire Bomb”–two incredibly MuuMuse Approved songs!), Ester Dean (Rihanna, Katy Perry) and Brett James (Carrie Underwood, Leona Lewis).

So, to conclude: Melodies for days a la Thankful, a lyrical angst that falls somewhere between Breakaway and My December, and the radio friendly restraint of All I Ever Wanted (you know, without that forced Clive Davis-approved pop-rock gloss.)

While I certainly wouldn’t call the song as immediate as her biggest radio hits to date (if nothing else because of what we’ve come to expect from Miss Clarkson for the past few years!), “Mr. Know It All” is an amazing start-of-Autumn treat from an artist who more than deserves to begin slaying the charts. A sure-fire smash for the Clarkson? Hell yes!

“Mr. Know It All” will premiere next week on Tuesday, August 30 during a live stream. Be sure to RSVP to the event now on Kelly’s Facebook page!

Last week, MuuMuse premiered the DJ Chuckie remix of Neon Hitch‘s sensational new summer single, “Bad Dog.”

Now, it’s time to hear the whole thing!

Click above to listen to “Bad Dog,” which just premiered this morning on JustJared.

Much like Hitch’s “Get Over U” and “Silly Girl,” “Bad Dog” has rapidly become a favorite of the year.

“I just found out I’m fucking with a bad dog,” Hitch announces atop the song’s bouncy intro beat, produced by Benny Blanco and co-penned by Ester Dean. Add in a woof-filled explosion of ruff electro-pop beats and extra lusty moans, and you’ve the freshest, most sizzling production we’ve heard yet from the flame-haired gypsy pop princess.

In fact, “Bad Dog” bangs harder than 99% of anything that’s sucking up the radio airwaves at the moment–it seriously deserves to be a major summer smash. It is UHMAYZING.

Still no word on when this one’s hitting the street yet, but one thing’s for sure: She’s definitely barking up the right tree.

WOOF!

Pia Toscano – “This Time” (Radio Premiere)

As a contestant on Season 10 of American Idol, Pia Toscano was prematurely ousted after a series of technically flawless vocal performances.

Her advocates were flabbergasted by the upset, while her detractors were unsurprised. In her brief time on the show, Pia had always been even-keeled and likable, with the kind of jaw-droppingly perfect vocals that made a star out of Leona Lewis. All of this is great, but none of it makes for particularly compelling television.

With the release of her first single, “This Time,” Pia doesn’t stray from her formula: It’s a highly listenable midtempo ballad about overcoming the odds and “getting back to the real me,” with modern production that takes its cues from the country-inflected R&B of Beyonce’s “Irreplaceable.” Penned by hitmaker du jour Ester Dean, who has demonstrated her songwriting prowess on smashes like Rihanna’s “S&M” and Katy Perry’s “Firework,” the lyrics have a certain bland potency — “This Time” may not Ester’s finest work, but it’s certainly a worthy feather in her cap.

There’s something about the song that feels oddly, and appealingly, nostalgic; “This Time” is a big belter of a track, one that demands an artist like Pia to lay down some diva-caliber vocals; there’s no David Guetta-aping house production or phoned-in rent-a-rapper on the bridge; and, in an era of obstinate insistence on artist “authenticity,” it’s refreshing that we’ve yet to see anything about Pia Toscano’s tortured relationship history or songwriting process or any nonsense of the kind. It’s straightforward, and uncomplicated, even if it is a little boring. And I can’t stop playing it.

After all, there’s a very good reason that Pia developed such an unusually strong following on Idol: Homegirl can sang. And that’s exactly what she does on “This Time,” a strong, if undifferentiated, debut from an artist who has more than enough talent to forge a real career.

Bonnie McKee just tweeted that she’s in New York shopping for record deals. Here’s why you should care:

At the age of 16, the self-described wild child’s big voice and startlingly self-assured songwriting chops ignited a fierce bidding war between Interscope and Warner Brothers. After eventually signing with Warner, Bonnie’s debut LP, Trouble, was released in 2004. It was a radio-friendly collection of provocative yet polished pop-rock, but — mismanaged and mismarketed to an oversaturated public — the album failed to make a commercial splash.

It wasn’t until Bonnie was dropped by Warner that her songwriting career really kicked into gear, after her friendship with Katy Perry (who Bonnie met in a Los Angeles thrift store) led Bonnie to begin collaborating with hitmaker Dr. Luke.

With Luke and a handful of other famous friends, Bonnie co-wrote “California Gurls,” “Teenage Dream,” and upcoming single “Last Friday Night (T.G.I.F.)” for Katy’s sophomore effort — as well as “Dynamite” by Taio Cruz and “Hold It Against Me,” “Inside Out,” and “How I Roll” for Britney’s Femme Fatale. (Reportedly, she’s also penned tracks for Kelly Clarkson’s upcoming fifth album.)

Between the confessional intimacy of her early work (especially “Somebody” and “Sensitive Subject Matter” from Trouble) and the infectious giddiness of her recent tracks with Luke, Max Martin, and Bloodshy & Avant, it’s obvious that Bonnie’s a force to be reckoned with as a writer. But she’s also a powerful vocalist entitled to far more than the limited exposure she’s received so far as a recording artist.

The most gifted songwriters can stumble on their way to the spotlight — Ester Dean’s anticlimactic solo career comes to mind — but Bonnie’s one artist whose comeback will be fully earned. As far as I’m concerned, anyone responsible for writing the hook on “Teenage Dream” deserves my full attention.

Just when you thought the snippets were over…look! It’s a brand new Femme Fatale clip!

Thanks to my friends at BadMediaKarma, we now have a brand new 45-second clip of “Selfish,” the Stargate and Sandy Vee-produced track (co-penned by Ester Dean!) which is set to appear on the deluxe edition of Femme Fatale.

Plus, some new lyrics!

Okay, the shoe is going on the other foot tonight
I’m ’bout to turn you into my very own flight tonight
Okay you think you got me where you want me
I’mma show you tonight
That I’m a girl, and you’re a boy
And tonight you gon’ be my, be my man

Oh oh oh oh oh tonight I’m gonna be a little selfish, be a little selfish
Oh oh oh oh oh tonight I’m gonna be a little selfish, be a little selfish

Boom, boom baby pick you up in my Mercedes
I’mma be a little selfish, be a little selfish
Boom, boom baby pick you up in my Mercedes
I’mma be a little selfish, be a little selfish

Okay, I literally love everything about this track so far: I love the icy electronica. I love the stomping beat. I love the lyrics. I love the electric guitar. And Godney’s enunciation? Absolutely SLAYING me!

Doesn’t it sound like she’s saying “sale fish”?! AMAZING & ICONIC.

HOW IS THIS ONE NOT ON THE STANDARD EDITION?!