Rihanna’s “Anti”: Was it Worth The Hype?

By AARON KREIN
Features Editor

As the Barbadian princess once said on her 2009 album “Rated R,” “the wait is over.” Eight-time Grammy Award winner Rihanna released her eighth studio album, “Anti,” last Wednesday. The album was released exclusively through the streaming service Tidal, where over a million free downloads of the album were given away in partnership with Samsung. Two days later, the album was made available for sale on online retailers such as iTunes and Google Play.
“Anti” debuted at number 27 on the Billboard 200 after the chart company announced that they would not be counting the sales of the free copies that were bought by Samsung. This is her first album with Jay-Z’s Roc Nation and her own label, Westbury Road. Rihanna’s last album, “Unapologetic,” was released in November 2012 and became her first #1 album in the United States. Since then, fans and occasional listeners have been anticipating her return.
In early 2015, Rihanna released a collaboration with Kanye West and Paul McCartney called “FourFiveSeconds.” The single peaked at number five on the Billboard Hot 100. The follow-up single, “B*tch Better Have My Money,” made the top 15 and the Tidal exclusive “American Oxygen” received mild success. Unfortunately, none of these tracks made the final cut of the album.
On Jan. 27, Rihanna released the first official single from the album, “Work,” after it was leaked online a couple hours earlier. This is her third collaboration with rapper Drake, after “What’s My Name” and “Take Care.” It’s about trying to keep a relationship together while things keep getting in the way such as going to work and distance. Drake’s verse is a nice addition to the song and further proves the duo’s musical chemistry. The full-length album was released later that night.
The opening interlude, “Consideration,” featuring neo-soul artist SZA, is about wanting to do things your own way even when others disagree with you. The following interlude, “James Joint,” describes what she’d rather be doing, for example “smoking weed” and “breaking things.” Both are under two and a half minutes, with the former being definitely worthy of being a full track.
The first full track on the album, “Kiss it Better,” has a throwback 90s slow jam beat that at the same time doesn’t feel dated at all. It’s very reminiscent of TLC’s “Red Light Special” and Beyoncé’s “Dance for You.” On the track, Rihanna instructs her man how to love her even if he isn’t comfortable with it. Lyrically, the song is very similar to “Watch ‘N’ Learn” from her 2011 album, “Talk That Talk.” This is by far my favorite track and there’s no doubt that this will be a future single.
Unfortunately, “Desperado” is not a cover of the Eagles’ 1973 hit but rather a dark blues-esque ballad. It deals with a broken-hearted woman who meets a man who has also been dumped and tries to talk him into running away with her to avoid being alone. It has a story concept that fans aren’t used to hearing from Rihanna in a while, since “Man Down” from the 2010 album, “Loud.”
“Woo,” co-written by The Weeknd, is a sexuall- charged song about being jealous of an ex’s current girlfriend but acting as if it doesn’t bother her. The lyrics are difficult to follow due to the auto-tune and the production draining out her vocals. This is definitely my least favorite from the album.
“Needed Me,” produced by DJ Mustard, is a track that could’ve easily made her last album, “Unapologetic.” The song is about a guy who falls in loves with a woman but she warns him she’s a heartbreaker. The Timbaland-produced “Yeah, I Said It” is a sexually charged song about getting intimate without being in a relationship. These two songs in particular that have vivid lyrics to dissect and are definitely different from what other female pop artists have released lately.
“Same Ol’ Mistakes” is about continuing to be with someone who broke your heart while others are telling you to end it. The song has a very psychedelic vibe to it that takes you out of reality during the six-minute run time.
“Never Ending” is a folk-esque tune that catalogues a woman who resorts to abusing alcohol and drugs to medicate her broken heart. The arrangement of the song, specifically during the first verse, reminds me of Dido’s 2000 hit “Thank You,” which was later sampled in Eminem’s “Stan.”
“Love on the Brain” has a very noticeable similarity to the Righteous Brothers’ version of “Unchained Melody.” It tells of a woman’s struggle to keep her man happy and blames her love for him on not giving up. Vocally, it’s the best on the album and would make a terrific single choice.
The interlude, “Higher,” is a raspy classical-esque song about a woman who begs her lover to come over, make up, and get stoned together. The song leads into the piano-driven tune, “Close to You,” is an ode to her ex who she still has loves and wishes the best. In a way, it’s lyrically like Whitney Houston’s “I Will Always Love You,” but with subtle emotional vocals. It’s a lovely track but a very sad way to end the album.
I think the title of the album, “Anti,” may be saying that this piece of work is unlike what she’s done in the past and what’s expected from mainstream pop artists. If you are expecting up-tempo beats and dance tracks, then you’ll be disappointed.
I honestly believe that the lyrics and vocal styling on the album was at the forefront on this album, which I applaud. The lyrics are raw and explicit like some of her past work but her vocals on this album are better than ever. This album is definitely a “grower,” one that requires multiple listens, but absolutely a must-hear.