Beyoncé
Cowboy Carter
***and1/2 out of *****
Beyoncé's sprawling, elongated, genre defying, Cowboy Carter digs into various avenues while showcasing the pop stars flair for the dramatic even while she breaks new personal ground. The second part of a trilogy which started with 2022's Renaissance disco-dance music focus, this album is rooted in Americana, acknowledging black roots in country/folk music's past. This being Queen B, she doesn't only stick around there though as she delivers major flourishes into gospel, 18th century Italian opera and modern hip-hop.
Raised in Houston, TX Knowles acknowledged her inspiration for the album to Harpers Bazaar:
I grew up going to the Houston rodeo every year. It was this amazing, diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs. One of my inspirations came from the overlooked history of the American Black cowboy. Many of them were originally called cowhands, who experienced great discrimination and were often forced to work with the worst, most temperamental horses. They took their talents and formed the Soul Circuit. Through time, these Black rodeos showcased incredible performers and helped us reclaim our place in western history and culture.
Using that background, Knowles-Carter worked with a small army of producers, samples and musical support while wanting to focus on a more stripped down, natural sound but this is still a Beyoncé album. Cowboy Carter is presented as listening to the radio with various breaks and historic voices (Willie Nelson, Linda Martell, Dolly Parton) popping up. The thematic link of a radio channel is a touch hokey and doesn't hold up for the whole album, but Beyoncé's personality, songwriting and singing gets the point across.
The best results occur when all of these varied influences coalesce into a thematic pop song that allows Queen B to do what she does best. The artistic, hugely dramatic opening "American Requiem" touches on everyone from Jay-Z to Stephen Stills musically, with organs, choirs and pomp and circumstance, stating B's intentions. "Texas Hold'Em" is the best of the bunch delivering her genre bashing message on this record distilled into a single track. It is a hoedown, an acoustic outdoor pick-a-thon with literal cricket support while bathed in sweet (human) backing vocals and a get your ass on the dance floor vibe.
"Ya Ya" is another super successful mash-up that pushes the pulsing beats and dance ready sound up to Knowles-Carter's charismatic lyrics while bringing in The Beach Boys, name checking old dances, electric guitars and a party where everyone is invited. "16 Carriages" is a cinematic, bombastic treat while "Riverdance" is an overblown, repetitive, acoustic/dance club combo that works against all odds using the Beyoncé's sheer force of will.
The truth is Knowles has a hard time really stripping her sound down and back. Her "Blackbird" cover is sweet, but also adds layers of vocals and sappy strings, "Protector" starts as an simple ode to her children, but gets over done with gospel choir, pedal steel and more while "Just For Fun" seems straight ahead before more big swelling choir and claps. This doesn't diminish the songs, but even more rawness might enhance the feeling she was striving for with this country/Americana theme.
The wide scope of Beyoncé's influences on this record can also muddy up the final product such as on "Daughter". The tune tries to combine dive bar country with Park Avenue fashion, dramatic baroque pop, picking acoustic, swelling strings and even "Caro Mio Ben” as Knowles-Carter sings opera.
Perhaps the biggest surprise is that her cover of "Jolene" misses the mark in the same fashion by trying to bring in too much and twisting the original songs lyrics. Some song trimming would also make Cowboy Carter hit harder; this is a long album and towards the end the feelings/message, sonics and the best musical moments blend into a haze that isn't very memorable.
However, the straight up pop with dance beats, guitar/synth solos of "Bodyguard" the surprisingly powerful duet with Miley Cyrus on "II Most Wanted" and the crushing hip-hop around Swizz Beatz "Spaghettii" which features Shaboozy, are all fantastic.
Midway through the long album Willie Nelson smokes and delivers a quick interlude, stating the reason for this album from the Queen B, "Sometimes you don't know what you like until someone you trust turns you on to some real good shit." Expanding her fans range and taste, while paying tribute to Americana/country's forgotten past, is what Beyoncé set out to do with Cowboy Carter, mission accomplished.
_____
Support the artist, buy the album, peep some video below:
No comments:
Post a Comment