![]() I forced myself through the whole thing just to say I gave it a shot. It had the typical "independent" ladies song, and the typical "boast like a man" song. The second disc I'm assuming was supposed to be the disc with club anthems, party songs and such. It made me feel like she went into the studio and just recorded each track to the same intrumental, back to back, and called it a night. There was no emotion, they all sounded exactly the same: bland, dull, and over-polished. The entire first disc is nothing but power ballads, that lack just that, power. There was nothing deluxe about it.Īfter listening to the first disc, I almost felt I had to check my stereo to make sure I didn't have the same song on repeat over and over. I'm one of the idiots who purchased the deluxe album, and after unwrapping it at home and actually checking out the track listing and such, all of these songs could have DEFINATELY fit onto one album. It's almost like she's saying, "I'm Beyonce, I'm amazing, and people will jump on anything I create, so why even make an attempt." Which is why I'm so appalled that she had the audacity to release such an album. But this is Beyonce we're talking about, she has amazing talent, and an amazing vocal range. I am definately not the biggest Beyonce fan by far, as I usually like to stray away from mainstream music as often as I can, being such over processed crap as most of it is. It could have been the song that broke an unfairly neglected adult-R&B singer like Heather Headley into the mainstream, and don't be surprised if a country artist nabs a CMA Award by covering it.Before I start, I'm just gonna say I'm not an amazing reviewer, but I am going to give an honest review. "If I Were a Boy," while sounding like the watery backdrop for a singing competition finale, turns out to be the album's standout, both for its lyrics and Beyoncé's tormented performance. ![]() Beyoncé feels each line to the fullest extent, which almost rescues the set's staidness. Acoustic guitars, pianos, strings, contemplative soul searching, and grand sweeping gestures fill it out, with more roots in '70s soft rock than soul. It would, if anything, be notable as the least R&B-oriented batch of songs she has made - that is, if it wasn't for the I Am half, essentially a small set of adult contemporary ballads. If placed within the context of an album without a packaging ploy, there'd be little evidence that Beyoncé is making a radical progression or being any more bold than before. ![]() Otherwise, the Sasha Fierce half is full of decent, if easily forgettable, upbeat pop. At the other end is "Single Ladies (Put a Ring on It)," a dire "Get Me Bodied" retread. "Diva," a variation on Lil Wayne's "A Milli," is the only track that could go toe to toe with the likes of B'day's "Freakum Dress" or "Ring the Alarm," at least in terms of audacity. These five songs, when compared to the majority of B'day, are actually less fun, less impulsive, and yes, less fierce. Sasha now has a last name (possibly picked up from Tyra Banks, who maybe took a cue from Klymaxx), and is granted half an album (the second disc) to express herself. Revealed through interviews in 2005, Sasha was said to be Beyoncé's "stage persona," an embodiment of the outgoing, aggressive, on-stage Beyoncé that doesn't necessarily represent the real Beyoncé. It's a gimmick, of course - a flimsy one. In non-Deluxe Edition form, Beyoncé's third solo studio album is as concise as 2006's B'day, but it is divided into two discs as a way to emphasize the singer's distinct personalities. ![]()
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