Beyoncé saddles up for "COWBOY CARTER"
✪ ✪ ✪
Beyoncé "COWBOY CARTER" Review
Embedded Files
Legendary singer, songwriter, performer, the list goes on and on, Beyoncé is no stranger to breaking the internet. Whether that be back in 2013 when she surprisingly released her fifth studio album “BEYONCÉ” on a Friday which practically shifted the national music release day from Tuesday to Friday. Or in 2016, when she released her critically acclaimed masterpiece, ‘Lemonade’ along with a full visual album corresponding with every song off the record. Flashforward to this year’s Super Bowl Sunday, Beyoncé announces her forthcoming addition to the “RENAISSANCE” trilogy, which will be a country album and drops two new singles, breaking the internet once again. Now, Beyoncé and country, it shouldn’t work, right? Known as “COWBOY CARTER”, Beyoncé’s latest album is much more than your traditional country album and is nothing short of a career-defining masterpiece.
Beyoncé at the 2024 Grammy's (Grammys.com)
Beyoncé for "RENIASSANCE" (HITS Daily Double)
Back peddling a tiny bit to the summer of 2022, Beyoncé takes to social media to reveal that she completed three new albums that will act as a trilogy, the first will be released in July of 2022 and will be titled “RENAISSANCE.” Regarding “RENAISSANCE”, not only do I think it is Beyoncé’s best album, but it is comfortably one of my favorite albums of all time. The love letter to dance and house music flows effortlessly from start to finish. “RENAISSANCE” is an infectious dance-pop experience and a modern-day classic. The endless groves and confident lyricism make for a timeless record. I owe to that album for giving me a newfound love and appreciation for Beyoncé.
So, less than two years later, which is the shortest amount of time between Beyoncé albums yet, Bey’s eighth studio album titled, “COWBOY CARTER” is released. The so-called “country” album is the singer’s longest album to date, being 27 songs long and clocking in at one hour and 19 minutes. While the duration of the album might seem a little overwhelming to the average music listener, not every song is at full length. There are a handful of tracks on “COWBOY CARTER” that act as skits and interludes. However, I don’t believe these short tracks should be glossed over due to them adding to the overall album listening experience. Take, for example, track six, “SMOKE HOUR ★ WILLIE NELSON” which features a short monologue from the legendary Willie Nelson and provides a flawless transition into the lead single, “TEXAS HOLD’ EM.” Or one track nine, titled, “DOLLY P”, which features the iconic Dolly Parton giving a short introduction before Beyoncé goes on to cover Dolly’s hit, “JOLENE”, which Beyoncé does masterfully. Overall, I don’t believe the length of the album should frighten any listener nor should it be a hindrance to the album.
Beyoncé for "COWBOY CARTER" (Billbaord)
So, why country? Despite being born in Texas and simultaneously being one of the most versatile mainstream artists there is, Beyoncé has gone country due to personal experiences, mainly due to her experience when performing at the Country Music Awards back in 2016. She took the stage with The Chicks to perform her country-leaning song “Daddy Lessons” which appeared on her album “Lemonade.” Beyoncé revealed that she felt very unwelcomed, due to racial stereotypes in genres and a lack of acceptance towards artists who want to try something out of her comfort zone. However, this experience caused Beyoncé to begin creating “COWBOY CARTER.” According to Vulture magazine, Beyoncé says, “Because of that experience, I did a deep dive into the history of country music and studied our rich musical archive.” Many fans believe that this three-act project is Beyoncé reclaiming the genres of music that were heavily influenced and produced by black culture. With Act I being house/dance-pop, Act II leaning country, and Act III predicted to be a rock album, which I think would be pretty incredible.
Now, getting into the actual music on “‘COWBOY CARTER”, there is not much to dislike here. Every song that is spelled with “I” on the record will appear as a double “II” due to this album being the second in the trilogy. Take the cinematic opener, “AMERIICAN REQUIEM” which is far and away one of Beyoncé’s best album openers. The track includes heavenly vocal performances, and hitting lyrics, which address the Country Music Awards, Beyoncé sings, “Used to say I spoke ‘Too Country’, And then the rejection came, said I wasn’t country enough, Said I wouldn’t saddle up, but if that ain’t country, tell me what is.” She didn’t come to mess around. A perfect way to set up the future tones and themes of the album. After the opener, we go straight into the first cover on the record, “BLACKBIIRD”, which is famously sung by The Beatles. I think it’s important to touch on the history of this song and why Beyoncé chose to include it on her album. Paul McCartney wrote “Blackbird” after being inspired by the civil rights movement, and in particular the Little Rock Nine, who were the first African American students to be integrated into an all-white high school. In addition to the history behind the song, Beyoncé also features four other black female country artists on the cover which makes for a beautiful moment on the record.
From here, track three, “16 CARRIAGES” was one of the two singles released before the album, and I loved it as a single and love it even more with the context of the record. Along with the opener, “16 CARRIAGES” is one of the more hard-hitting moments on the album. On track four, “PROTECTOR” Beyoncé gets maternal as this song talks about her experience being the “protector” of her daughter and eventually being her “projector.” Yet another emotional moment and the album is only just getting started.
Tracks six and seven are two of the shorter moments on the album, transitioning into the number one single, “TEXAS HOLD’ EM” which too many, is an overplayed, annoying country-pop crossover. While the whistle additions might come off a little too campy, I believe that the camp aspect of the song is what makes it so fun and catchy. I liked it as a single because of how accessible and catchy it is,. one of the more fun moments on the album. The fun continues into track eight, “BODYGUARD” which is probably the grooviest song on the entire album. It’s a catchy piece of indie rock, pop rock, and country pop, it gives some flares of Fleetwood Mac. It’s a great tune, adding another favorite to the column.
Beyoncé for "16 CARRIAGES" (KLTV)
The next two tracks coincide, with Dolly Parton, who I mentioned earlier making a brief appearance transitioning into Beyoncé’s spectacular rendition of Dolly’s hit, “Jolene.” I appreciate the effort Beyoncé put into making this version of “Jolene” her own by changing various lyrics and the narrative of the tune.
Track 11, titled, “DAUGHTER” is the most jaw-dropping moment on the entire record. Aside from the honest lyrics and storytelling, this track contains an operatic bridge in Italian. Beyoncé is truly trying everything on “COWBOY CARTER” and it continues into track 12, “SPAGHETTII” which sees Beyoncé going back to a trap beat and spitting bars for two minutes straight.
Beyoncé and Miley Cryus singing together in 2012 (K.104.7)
Across the middle of the record, it can be seen as somewhat of a dip in quality. However, it’s not a big one because Beyoncé features two superstars, Miley Cyrus and Post Malone. Starting with “II MOST WANTED” featuring Miley Cyrus who harmonizes flawlessly with Beyoncé for a very moving duet. I just know Netflix is securing this song for their next coming-of-age film. Secondly, there is “LEVII’S JEANS” featuring Post Malone and once again, sounding great up against Beyoncé. While it not be a strong moment lyrically on the album, I do think it is a very cute tongue and cheeky tune. I think both Miley Cyrus and Post Malone were very solid and smart inclusions on the album due to both of them singing very comfortably in the country/pop genre.
As strong as the start of this record began, I believe it finishes even stronger. Starting with track 20, “YA YA” which is definitely one of the most unique songs Beyoncé has ever created. It’s hard to even categorize this track but all that matters is how fun and wild this song is. Beyoncé samples the legendary The Beach Boys’ “Good Vibrations” on the track as well, making for one of my favorite moments on the album. I also want to shout out track 22, “DESERT EAGLE” which features a crazy distorted bass line, although is one of the shorter tracks.
The next four songs on the album all flow into each other effortlessly and are some of the best tracks on the album. Starting with “RIIVERDANCE” which is essentially a country song with house pop influence. At this point in the album, you could literally get anything from Beyoncé, which is precisely why this album is so exciting and masterful. Track 24, “II HANDS II HEAVEN” is remnant of 2016’s, “Lemonade” with its very dreamy and almost ambient R&B beat making it yet another highlight. The song, “TYRANT” sees Dolly Parton making her second feature on the album, however still introduces the track which again sees Beyoncé leaning back into the trap/Hip-Hop fusions of some of her previous works. The track features a crazy violin sample and a catchy hook.
It’s a very tough call, however, as of right now track 26, titled, “SWEET ★ HONEY ★ BUCKIIN’”, stands as my favorite song on the entire record. I don’t know if it’s because this song is three songs in one or if it is taking elements from the house tracks on “RENAISSANCE.” Whatever it is, it’s a wild ride of a song and I can’t get enough of it. I also want to give props to Beyoncé for featuring Shaboozey who is somewhat an underground (for lack of a better term) country pop artist. I love his inclusion in the song as well.
"COWBOY CARTER" Alternative Vinyl Cover (@beyonce on Instagram)
Finally, the closer “AMEN” is a short but sweet ending to the record. Beyoncé again is bringing luscious vocal arrangements to the table, making for a gospel-like ending that connects back to the first track, “AMERIICAN REQUIEM”.
"COWBOY CARTER" official cover (New York Times)
Overall, I guess you could say I enjoyed “COWBOY CARTER” quite a bit. While being marketed as a country album, I see “COWBOY CARTER” as more of a country-themed album. The reason is because ‘“COWBOY CARTER” is so much more than your traditional country album. Are there country influences? For sure. However, this record blends country, pop, Americana, singer-songwriter, and even house pop. At this point in Beyoncé’s career, she could do anything and it will go number one. Which, sometimes can get dangerous for artists, causing them to put out bloated projects with a lack of creativity. Well, “COWBOY CARTER” is certainly long, but does not lack creativity in the slightest. Beyoncé continues to push her creative boundaries. While I think I might prefer ‘RENAISSANCE’’, I see “COWBOY CARTER” as a more career-defining album for Beyoncé, blending a plethora of genres with extreme precision and taste.
If you haven’t listened already, I think “COWBOY CARTER” is certainly worth saddling up for.
By: Harrison Mullin
Page updated
Report abuse