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Each entry here bears Ciara’s mark as a writer and co-producer, and while the collaborative roster reads like a full house-Rodney “Darkchild” Jerkins, Skylar Grey, J.R.
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Thematically, this thread is weaved throughout Beauty Marks en masse, but reverberates most noticeably on the LP’s two bookends, “I Love Myself” and the title song.
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This newly minted discipline is likely owed to both her recent professional liberation- Beauty Marks is Ciara’s first release on her own boutique imprint of the same name-and the contentment of her personal life with husband, NFL star Russell Wilson. Now, fifteen years removed from her recording genesis, Ciara returns with Beauty Marks, her seventh record that excitingly evokes the respective peaks of Ciara: The Evolution and Basic Instinct (2010), while managing to eclipse both with a newfound focus on her craft. Balancing the seemingly dichotomous principles of innovation and convention, Ciara prevailed through changing tastes and record label interference to offer up a steady stream of material that saw her either precipitate or usurp urban contemporary trends with ease.īut, Jackie (2015)-Ciara’s sixth album-revealed a bit of wear and tear in its tepid song stock its lackluster commercial performance didn’t assuage this creative quandary either. For those eager to dismiss Ciara’s first brush with success as “beginner’s luck,” her sophomore album Ciara: The Evolution (2006) brazenly trafficked in other rhythm and blues sonics to cement her as an undeniable presence in the Noughties soul space.Īs the decade wore on, several of Ciara’s peers went on to stratospheric success, others dropped into intermittent recording patterns before slipping into obscurity. But, it was the Atlanta, Georgia headquartered singer-songwriter-dancer Ciara Harris that became crunk’s female face with her LaFace/Zomba Records sanctioned debut Goodies (2004).īuoyed by the hits “1, 2 Step” and its title track, Goodies hit the platinum mark three times stateside and secured several gold certifications abroad to mark the expansion of crunk into “crunk&B,” an alliance between the hip-hop super strain and contemporary R&B that echoed the R&B and hip-hop coalescence of the late 1980s that birthed new jack swing. There would be many (male) ambassadors for this movement, as it transitioned from its underground origins to its mainstream perch: OutKast, Three 6 Mafia, Lil’ Jon and more. Rising out of the urban clubs of Memphis, Tennessee in the mid-to-late 1990s, crunk-a Southern-slanted hip-hop sub-genre-soon found larger ubiquity in the first half of the 2000s.