Music Review: Rita Ora & Tinie Tempah "R.I.P."

Rita Ora & Tinie Tempah

R.I.P.

Album: Ora

Year: 2012

          Rita Ora sheds her prim image for her new boyfriend in the leaden   “R.I.P.”

                 Shrill synths open the single, setting an irritating tone.   In the chorus, she says she had frequently heard the phrase “beware the quiet ones.” She’s brushed it off, replying she doesn’t have a wild side in her.  However, her new boyfriend has been complimenting her on her touch and beauty. It’s been making her feel sensual and great about her body. They’ve been talking about becoming more intimate and tonight, she’s going to show him she wants him. (“R.I.P. to the girl you used to see/Her days are over, baby she's over/I decided to give you all of me/Baby come closer, baby come closer.”)

       Tinie Tempah’s rap is next. Tempah says she’s hot and he wants her in his bed. He wants to take her across the world. He’s an easygoing, hip guy who makes a lot of money. He asks her if they can go the bar first and order some drinks. When she’s ready to leave with him, they’ll go straight to his house. (“Sexy senorita, I feel your aura/Jump out that new motor/Get in my flying saucer/I'll make you call me daddy/
Even though you ain't my daughter/Baby I ain't talking books/When I say that I can take you across the borders/I'm young and free, I'm London G/I'm tongue in cheek/So baby give me some time to drink/
Slow and steady for me/Go on like a jezzy for me/And say the words soon as you're ready for me.”)

             She tears through her closet, trying to find the perfect dress for the night. She spritzes perfume on her knees and neck. He texts her, saying he’s running a little late. She replies “ok.” The scent jasmine wafts around her bedroom and she hopes he will associate it with after tonight. She’s in control of the relationship, leaving subtle hints of her intentions. He’s been good to her and it makes sense to be intimate with him now. (“I'm ready for ya/Hit 'em all, switch it up/Put 'em on, zip it up/Let my perfume, soak into your sweater/Say you'll be here soon, sooner the better/No option for, you saying no/I run this game, just play a role/Follow my lead, what you waiting for?/Thought it over and decided tonight is your night.”)

         In the pre-chorus, she holds him close when he arrives and wonders if he’s aware of how fast her heart is pumping. (“Can you feel my-heart is beatin'/Can you feel my heart is beatin'.”)

         The chorus is sung again.

       In the bridge, she has unzipped her dress, shocking her boyfriend. She walks to her bedroom and hangs by the doorway with a pout. There wasn’t going to be anymore discussion. She wanted to act. She may be quiet but she’s passionate, a combination that might overwhelm him. She prefers not to be the groupie type, sending nude photos of herself and being obvious. She wants some mystery. (“Nothing on, I strut around/
I do it big, I shut it down/I wonder if you'll be able to handle me/Mental pictures, no cameras please.”)

        The pre-chorus and chorus are sung again.

        He tells her she has an awesome body and asks her if she’s ok having sex. However, she doesn’t need to him to be the gentle, sweet boyfriend right now. She pulls him close to her and they land on the bed. She had to spell it out for him. Otherwise, they would spend the entire night talking about their feelings. (“Yeah I hear you talking/Don't know who you trying to flatter/Got my mind made up (I, I, I'm ready for ya)/I'm in control, but with you being a man/You don't seem to understand (I, I, I'm ready for ya)/I, I, I'm ready for ya/I, I, I'm ready for ya/So keep thinking you the man/Cause it's all part of my plan/I, I, I'm ready for ya.”)

        The pre-chorus is sung again.

      At the end, she repeats the first part of the chorus. (“R.I.P. to the girl you used to see/Her days are over..”)

        Tempah’s unintelligble, quick vocals flex with hardcore poses, simulating a personality. He reaches for similes, using the store Borders as one.. It’s as though he googled “stores in the United States” and picked the first one he could use as a noun. But he didn’t read anything beyond the name. The Michigan-based company went out of business September 2011, making his pop culture reference irrelevant.

   Ora’s flowing, elegant vocals are diminished by the passive arrangement, intent on putting her in her place. She has the potential of creating a memorable pop someday, though.  

        The middling “R.I.P.” holds Ora back, restricting any movement out of the designated range.