May 3, 20169 yr This gets stronger with every listen! Such a great offering from her again. Since self-titled, she's just gone to another level!
May 3, 20169 yr Actually really impressed with this album and I've not even watched the film yet or studied the lyrics. 'Formation', 'Daddy Issues', '6 Inch', 'All Night' and 'Sandcastles' make up my Top 5 in that order, but 'Don't Hurt Yourself' and 'Freedom' are both great too and the rest of the album is enjoyable as well. Has made me want to listen to her other albums in full and see which I prefer.
May 4, 20169 yr Pray You Catch Me is the perfect openening song. LOVE it. Masterpieces: All Night (!!!!!!) Don't Hurt Yourself Pray You Catch Me (could have been longer tho) Really good 6 Inch Sorry Freedom Good Hold Up The rest I don't like. Maybe they'll grown on me later Agreed completely with this post, but I don't detest any of the tracks on the album. Also add 'Formation' to the good category. I'm not a Beyoncé fan at all (I respect her work ethic and her abilities, I'm just not that keen on the majority of her music)' but I have to give her props on this project. The visuals are stunning and it's her first album I actually enjoy more than 1-3 songs. Never thought I'd say this but, go on then Beyoncé!
May 9, 20169 yr Daddy Lessons is such a grower and it's so catchy! Probably my favourite on the album now!
May 10, 20169 yr At this point in 'BEYONCE's release it was still growing on me at an exponential rate and I was continually falling in love with bits of it. 'Lemonade' peaked on the first, maybe second listen and isn't really growing anymore. It's still a mightily solid album but 'BEYONCE' had subtle moments of dark genius that you only discovered over time, this doesn't really have that affect. She's on a roll and it's harsh to compare it to the other one but right now given the choice I'd much rather give 'BEYONCE' another listen over this. It's also why I'd never personally claim it to be her best album or one of the best ever on the day of release because albums need time to settle.
May 10, 20169 yr At this point in 'BEYONCE's release it was still growing on me at an exponential rate and I was continually falling in love with bits of it. 'Lemonade' peaked on the first, maybe second listen and isn't really growing anymore. It's still a mightily solid album but 'BEYONCE' had subtle moments of dark genius that you only discovered over time, this doesn't really have that affect. She's on a roll and it's harsh to compare it to the other one but right now given the choice I'd much rather give 'BEYONCE' another listen over this. It's also why I'd never personally claim it to be her best album or one of the best ever on the day of release because albums need time to settle. I completely agree with you. When I first listened to Lemonade, I think the hype clouded my judgement a lot. It's a great "project" and the visuals and music are brilliant combined but taking the visuals away takes the shine away for me. I especially agree with your point regarding how BEYONCE has, as you articulately put it, "subtle moments of dark genius". The production on that album was fantastic - particularly on tracks such as 'Partition', 'Blow' and 'Drunk In Love'.
May 17, 20169 yr Sandcastles and especially Love Drought are underrated. I need an instrumental of Love Drought, amazing production; and the chorus on that song is particularly beautiful, such a stunning melody.
May 17, 20169 yr I love Lemonade, but there is a real lull between Daddy Issues and Forward, it picks up again for Freedom. But All night, Sorry and 6 Inch are the only ones I really keep going back to (as well as Formation). Songs like Pray You Catch Me and Sandcastles are splendid but don't work as well outside the context of the film.
May 17, 20169 yr In regards to the comparisons between Lemonade and BEYONCE, I think that the visuals from the former are absolutely stronger than the music videos from the latter. Musically, the songs on Lemonade are more varied and explore a wider range of styles than those on BEYONCE, but I think the self-titled effort is more consistent throughout in quality. But both albums are pretty much career highlights; it's amazing how much she grew with her last two albums (and also with 4, to a lesser extent). Edited May 17, 20169 yr by MrIndependent
May 21, 20169 yr Unpopular opinion alert: No matter how much I love her last couple of albums, 4 is still her best.
May 22, 20169 yr Unpopular opinion alert: No matter how much I love her last couple of albums, 4 is still her best.I very much agree with this!
May 24, 20169 yr "4" is definitely a very good album, it's almost like a completely different Beyoncé two the last two albums, but it was definitely her best album up until that point. I'm yet to see the visual for this album, but I'm very much enjoying it musically. It's a very eclectic mix of styles, but I think the themes running throughout somehow make it feel like one of her most cohesive records? My favourite is changing all the time, my top 8 on the record are all very tight and the other 4 are good but not quite up there. 7.5 Pray You Catch Me - I love the desperation in the vocal on this song 09 Hold Up 9.5 Don't Hurt Yourself 10 Sorry 8.5 6 Inch 07 Daddy Lessons - Probably my least revisited, except Forward, good but not my style 09 Love Drought - This is really under rated, it feels really personal and sad yet hopeful 7.5 Sandcastles 6.5 Forward - Doesn't really work as a stand alone song, probably should have been an extended outro for "Sandcastles" 10 Freedom - Anthemic! Good to see something uplifting amongst the album 09 All Night 10 Formation
May 24, 20169 yr I don't know what you all are on. Forward is perfect in the context of the album and is essential for the transition between Sandcastles and Freedom.
May 24, 20169 yr I don't know what you all are on. Forward is perfect in the context of the album and is essential for the transition between Sandcastles and Freedom. That's kind of what I meant - you wouldn't exactly listen to "Forward" by itself, you'd only listen to it as an outro to "Sandcastles" or perhaps as an intro to "Freedom". As a rule I dislike interludes - in this digital age they irritate me. I don't mind if an interlude helps with the flow of the album (as this one does), but I wouldn't consider it to be an individual track - just make "Sandcastles" a bit longer!
July 6, 20168 yr An article I wrote when applying for a job as music reviewer for the Glasgow Guardian on 'Lemonade' generally and why 'Daddy Lessons' has become my favourite track (in case anyone is interested). Whether you consider yourself a member of the ‘Beyhive’ or have just been unable to avoid the media frenzy surrounding tales of Jay-Z’s infidelity, word of Beyoncé’s latest release, in the form of hour-long visual album ‘Lemonade’, has most likely made its way into your musical-consciousness by now. The first ever album to be premiered on prime-time US television (HBO), the project quickly became surrounded by whispers of a possible Emmy nomination only hours after its’ public unveiling. It was apparent almost immediately that Beyoncé had once again revolutionised the traditional album release and had no intent of returning to industry conventions or public expectations. Not only was ‘Lemonade’ self-assured in its release strategy but seemed to possess the purpose and intent needed to move Beyoncé from pop-princess of the moment into somewhat of a critic darling, acclaimed for her progression and ambition. Released during the sombre week which saw the mass mourning of Prince, The Independent bravely led with the tagline “Sometimes it feels like Beyoncé is determined to pick up the mantles of both Prince and Nina Simone”. ‘Lemonade’ was about much more than giving her husband a public slap round the wrist. The narrative of woman scorned and the subsequent road to redemption offers the star at her most vulnerable. With one fell swoop the album shattered Beyoncé’s image as the overly controlled ‘perfect’ popstar who refuses to give so much as a public interview. ‘Lemonade’ aimed to dig deep and show the chart’s other big-hitters that they should not be afraid to go personal. “The most disrespected person in America is the black woman” booms the voice of Malcolm X merely a quarter of the way through the visual album. Beyoncé takes it upon herself to use her own personal relationship issues to give voice to the marginalised, the oppressed and the group who are never expected to speak up. Instead of suffering in silence Beyoncé joins hands with her fellow black women. No longer shall they accept their destiny: to be neglected, unprotected and disrespected, even by those supposed to love and care for them more than any. Beyoncé comes to the realisation that her experience of betrayal is nothing new. This betrayal is shared and passed down from generation to generation. Instead, in Beyoncé’s own words, “the curse must be broken”. From the album’s starting-point Beyoncé is on a mission to be heard, whether it be by through the distorted rage-filled vocals of the Jack White assisted ‘Don’t Hurt Yourself’ or by proclaiming her ability to break from the societal debasement of black womanhood in the powerful ‘Freedom’. ‘Lemonade’ not only acts as profound personal statement but even more importantly acts as a statement of incredible political intent. At the time of the album’s release songs such as the previously mentioned ‘Freedom’ and ‘Hold Up’ were held up (no pun intended) as being illustrative of the unveiling of both Beyoncé’s personal and political self. Vital in progressing and developing the narrative, they often became cited as highlights of 2016’s most ambitious album thus far. However, according to publications such as Pitchfork, the album was not without a small lull, coming in the shape of Track 6 ‘Daddy Lessons’. Deemed the “least interesting chapter sonically”, the country-inspired track was written off as nothing more than the pop/R&B star playing dress up in Carrie Underwood’s clothing. Whilst discussing the album track-by-track with friends comments surrounding the song’s deviation from the branded Beyoncé sound and judgements about the level of authenticity found in ‘Daddy Lessons’ were among the most memorable. Although catchy, ‘Daddy Lessons’ didn’t appear to hold the poignancy or impact of the tracks surrounding it, at least for many. With this realisation it dawned on me that there was a serious possibility that ‘Daddy Lessons’ would become the forgotten gem of ‘Lemonade’. ‘Daddy Lessons’ acts as indispensable to the narrative arc of ‘Lemonade’. Not only does it allow us an intimate insight into Beyoncé’s relationship with her father (their turbulent relationship was well documented in the press during his time as her manager) but it also informs Beyoncé that the disloyalty felt at the hands of her husband can be universalised in a way that speaks to all black women. “Am I talking about your husband, or your father?” she poses for consideration before asking her father’s advice on Jay’s infidelity. This comes in the wake of revelations of the domestic abuse suffered by her mother, prompting the fatherly advice of avoiding “men like me” to act as lyrical forewarning and the conclusion of ‘Daddy Lessons’. It is in this moment that the cross-generational narrative of ‘Lemonade’ is borne and Beyoncé’s political mission is given real legitimacy. Although sonically removed from both her previous work and also the tracks surrounding it, ‘Daddy Lessons’ is Beyoncé at her most sure. The days in which Beyoncé’s identity was found merely in videos of her dancing in leotards are long-gone. Instead Beyoncé aims to embrace every aspect of her identity in her new-found womanhood, addressing both her place of birth and racial heritage. ‘Daddy Lessons’ manages to pull off both seamlessly. A jazz intro is met with hushes of “Texas” seconds before the song gets into full swing. Aiming not only to reference Beyoncé’s Southern roots (which have been under-acknowledged previously), the instrumental also incorporates many elements of bluegrass throughout the stripped-back production. In doing so it becomes much more than a Southern country song, creating a spirit similar to that felt by the slaves singing and making music in the cotton fields. In its’ success in bringing Beyoncé’s upbringing to the forefront, the track importantly acknowledges the struggles of those who came before. Through the sonic celebration of her cultural and racial heritage we are again offered a display of both Beyoncé’s personal and political self. ‘Daddy Lessons’ is not a lull in ‘Lemonade’. In fact it is the opposite. During the only moment of the album whereby Beyoncé asks for advice she somehow manages to sound more open, honest and proud than ever.
July 6, 20168 yr An article I wrote when applying for a job as music reviewer for the Glasgow Guardian on 'Lemonade' generally and why 'Daddy Lessons' has become my favourite track (in case anyone is interested). That is a great article Davidson, love the third paragraph and the paragraph about Daddy Lessons, It could easily become the best of the album for me too if I give it enough time, I love the themes which you go into detail about, like the theme about black women not having a voice etc and how beyonce uses her own relationship issues to give them a voice. I agree with that, its very clear these themes are important to her and she uses them to express her views to the world. Hope you hear about the job I dont know if this was from the past or not but if it isnt good luck!
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