After digesting it for the better part of the day, it got better with every listen.ġ. It’s worth noting that the grades were assigned after two full listens/viewings of the set. Here’s my track-by-track video-by-video breakdown of BEYONCÉ. With less than three weeks to go, Beyoncé has snuck in and made 2013 the Year of Beyoncé. Everyone’s year-end best-of lists for 2013 need to be revised. Beyoncé is changimg the game she helped create BEYONCÉ is revolutionary. I was about to write up a list of the top R&B songs and albums of 2013 and lament the fact that this year was a much weaker year than last when Miguel, Elle Varner, Melanie Fiona, Emeli Sandé and Frank Ocean released genre-redefining records. Maybe I’m delirious from the shock and excitement of the release of BEYONCÉ. “Partition” and “Blow” in particular are blush-inducing: “Driver roll up the partition please / I don’t need you seeing Yoncé on her knees,” “He Monica Lewinsky-ed all an my gown,” “Take all of me / I just want to be the girl you like,” “Keep me humming / Keep me moaning,” “Can you lick my Skittles / It’s the sweetest in the middle.” Indeed the lyrics verge from heartbreaking, heartfelt, sweet and cutesy, to coy, suggestive and downright raunchy. BEYONCÉ is dark and moody at times, then sentimental and romantic. The move to release the album this way was gutsy, but this is a risky and risqué set by a grown-up, sexier than ever, totally in control Beyoncé. Most importantly, though, everything is beautiful. Everything you see and hear has a purpose. The album – the songs and the videos – sounds and looks like it has been choreographed, planned, storyboarded and edited to the most intricate of details. It’s at once a R&B throwback and an entirely modern approach to the genre there are only a handful of songs I can imagine radio ever touching though – “Drunk in Love,” a collaboration with Jay Z, “Pretty Hurts,” the number that opens the set and on which Beyoncé voice soars and roars through the chorus, and “Mine,” on which Drake guests – but the remix possibilities are endless starting with “Haunted.” And it doesn’t feel so much like a reinvention than a refocusing. There are no compromises on style or substance.īEYONCÉ is unlike anything Beyoncé has ever released. But here’s the thing: it’s not just for show. Lots of time and effort (and money, surely) went into this project, you can tell. Every shot of every video is cinematographically perfect. With no warning, no fanfare and no ad campaign, Beyoncé announced on her Instagram that her long-awaited self-titled fifth album, the all-caps BEYONCÉ, was now available for download on iTunes.īEYONCÉ is what Beyoncé is calling a “visual album ” you get the songs, and every song has an accompanying music video. Manhattan Supreme Court Justice Cynthia Kern dismissed the case, ruling Mitsou couldn't use the state's Civil Rights Law because it only pertains to a "name, portrait, picture or voice used for advertising or trade purposes without written consent".Few acts can pull off the stunt Beyoncé pulled on the night of Dec. "Following Mitsou's stirring featured solo vocal introduction, Mitsou's voice continues to sing as Beyoncé begins to sing, to evoke foreign eroticism alongside the sexually intense lyrics performed by Beyoncé and Jay Z "Īccording to TMZ.com, as well as asking a New York judge to grant her unspecified damages, Mitsou requested for the song to be prohibited from being played until her voice is removed. In addition, the Hungarian songstress alleged that the trio tainted her tune about hopelessness by centering it around sexual lyrics and imagery. Juhasz, who records under the name of Mitsou, claimed "Drunk In Love" samples a track she recorded in 1995 with her folk ensemble Ando Drom called "Bajba, Bajba." Hungarian folk singer Monika Miczura Juhasz sued Beyoncé, Jay Z and Timbaland for allegedly using her voice without permission in this song.
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