By Jon Bream, Star Tribune
Beyoncé, “Act II: Cowboy Carter” (Parkwood/Columbia)
“This is not a country album,” the Grammy-winning superstar cautioned on social media. “This is a ‘Beyoncé’ album.”
To alleviate the concerns raised by its title and album cover featuring Beyoncé in red, white and blue Western attire riding on a horse, she enlisted Linda Martell, a pioneering Black woman in country music, to present two spoken interludes on “Cowboy Carter.”
“In theory, [genres] have a simple definition that’s easy to understand,” Martell says before “Spaghettii” (Beyoncé uses double ii, as in “Act II,” throughout song titles). “But in practice, well, some may feel confined.”
Before “Ya Ya,” Martell explains, “This song spans across a range of genres. That’s what makes it a unique listening experience.”
A unique listening experience would be an appropriate way to describe “Cowboy Carter,” which was released at midnight Friday.
After one late-night listen, here is a first look at the extensive 27-track, 78-minute opus.
1. Despite the presence of Dolly Parton, Willie Nelson and Martell providing spoken-word introductions, this is indeed not a country album. In fact, gospel influences are more widespread, whether organ, choral harmonies or heavenly lyrics. However, there are plenty of country sensibilities in the lyrics, with references to Texas, Alabama, Arizona, coyotes, deserts, cornbread, rodeo, horses, a mechanical bull and the Marlboro man.
2. Two prominent guests join Queen Bey. Post Malone contributes a rap/sung verse on “Levii’s Jeans,” a catchy flirtation set to rhythmic guitar with choral harmonies, and Miley Cyrus duets with Beyoncé on “II Most Wanted” (as in “two most wanted”) about a young-ish couple with the come-hither singer promising “I’ll be your shotgun rider till the day I die.”
3. There are two covers: a beautiful version of the Beatles’ “Blackbiird” featuring a backup choir of female Black country singers Brittany Spencer, Tanner Adell, Reyna Roberts and Tiera Kennedy, and a reimagining of Parton’s “Jolene,” showcasing a heartfelt vocal over a repetitive guitar figure with additional lyrics including “I know I’m a queen, Jolene/ Just a Creole banjee bitch from Louisianne.”
4. The most overtly country song on the record is the gently galloping, thigh-slapping, line dancing “Texas Hold ‘Em,” the previously released first single that has already been a streaming sensation.
5. The Houston-raised Beyoncé responds to those who doubt her country roots. “Ameriican Requiem,” the opening track, affirms her country credibility and challenges, “If that ain’t country, tell me what it is.” And she gives a stern warning in “Daughter,” describing herself as “the furthest thing from choir boys” and “colder than Titanic water.” Be warned.
6. Some selections seem like good ideas not fully developed, notably the breathy R&B “Desert Eagle,” the stoner country blues “Alliigator Tears” and the gospely “Flamenco.”
7. The last third of the overly long album explores genre combinations that, at first glance, feel more experimental than fully developed. “Ya Ya” is a mix with elements of girl group harmonies, soul clapping, funk-rock stomp and R&B sendup as well as samples of the Beach Boys’ “Good Vibrations” and Nancy Sinatra’s “These Boots are Made for Walkin’.” Got that?
"Oh Louisiana" seems to have the sound of Chuck Berry but with vocals that are sped up like chipmunks. "Tyrant" combines a country fiddle with hip-hop and a "giddy up" lyric. Even though it has a horse theme, "Sweet Honey Buckiin'" goes in various directions, from a Patsy Cline melody to double-dutch clapping and a Beyoncé rap. Perhaps the most attractive mix of genres is "Riiverdance," which feels like Irish R&B, blending a sassy vocal, a catchy groove, and a banjo line.
These are some quick opinions. Similar to Beyoncé's previous two albums, "Cowboy Carter" requires some time to be fully appreciated.
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