In "Hold Up, the second track on Beyonc's new album LEMONADE, the writing credits include indie rock band Yeah Yeah Yeahs because it "embodies portions of" their 2003 single "Maps." Instead of directly sampling the song which goes, "Wait, they don't love you like I love you," Beyonc alternately sings, "Hold up, they don't love you like I love you."
Ezra Koenig also has writing and production credit on "Hold Up," which begs the question if Koenig has been holding onto the lyrics in the tweet for 5 years to eventually use in the Beyonc collaboration. Today, after the LEMONADE premiere, Koenig slyly tweeted the second line to the chorus of "Hold Up," to remind us of the tweet from 2011.
Beyonce You Are My Rock Lyrics Download
Download File 🔥 https://blltly.com/2yGaVz 🔥
It also dives deep into a bank of samples and mixed-media inspiration points that span the obscure to the highly relevant. Lemonade places poet Warsan Shire, Civil Rights activist Malcolm X, and Alan Lomax field recordings right next to quoted lyrics from the Yeah Yeah Yeahs, Animal Collective, and Soulja Boy, and a slew of classic '70s samples. The choices are wide and perplexing, yet stilt a project that bombastically captures the path toward righteousness in the wake of personal grief, filtered through a sharp artistic lens.
One of the most tense, anthemic love ballads of the early aughts, the Yeah Yeah Yeahs' "Maps" gets a gorgeous treatment on "Hold Up," where Beyonc quotes the key lyric "they don't love you like I love you" on the chorus. "Maps," threaded together by Nick Zinner's tremulous guitar picking and Karen O's exasperated topline, comes from the trio's gutter-rock, Adderall-snorting 2003 debut Fever to Tell, and has been sampled for Black Eyed Peas' "Meet Me Halfway," Girl Talk's "LC and Lo" (which also interpolates 16 other songs), and Adventure Club's "Wait."
Vampire Weekend frontman Ezra Koenig is also included as a songwriter on "Hold Up," and among his contributions sits this five-year-old tweet that tweaks the choral refrain from "Maps." That reference allegedly inspired the name of the song, and Koenig referenced it the afternoon following Lemonade's release, responding to the tweet, "slow down...they don't love u like i love u." That said, Koenig added that his connection to "Hold Up" goes deeper than the tweet, as one can clearly tell given his production credit on the song; a request for clarification regarding his songwriting involvement has not been returned as of press time. Update (4/25, 2:30 p.m. EST): Koenig has clarified that he and Diplo wrote the foundation of the song together in 2014, as inspired by his tweet.
A lyrical reference revived eight years after its cultural apex, Beyonc cites lyrics from Soulja Boy's "Turn My Swag On" for "Hold Up," singing, "I hop up out the bed, turn my swag on." It's the most clear lyrical check on the plucky track, which weaves together the most hat-tips and samples out of any song on the LP. Soulja Boy's smash had long legs on the sampling market: Willow Smith, Trey Songz, and ScHoolboy Q are just a few of the artists to slice segments of it for their own.
The most prominent sample on "Hold Up" comes from the instrumental intro to Andy Williams' "Can't Get Used to Losing You," written by Jerome Pomus and Mort Shuman. The original song was a hit back in 1963, peaking at No. 2 on the charts. It's a fairly little-sampled tune, but oft-covered, by a litany of musicians including The Beat, Skeeter Davis, Martha and the Vandellas, and Paul Anka.
Led Zeppelin's "When the Levee Breaks" is a go-to for sampling. The iconic rock group slotted a new version of the song, recorded in 1929 by husband-and-wife team Memphis Minnie and Kansas Joe McCoy, as the conclusive bookend to 1971's Led Zeppelin IV. Since then, "When the Levee Breaks" has lived on all over the music world, with fragments appearing on Dr. Dre's "Lyrical Ganbang," Bjork's "Army of Me," Beastie Boys' "Rhymin' & Stealin'," Ice-T's "Midnight," and Sophie B. Hawkins' "Damn I Wish I Was Your Lover."
Dionne Warwick popularized "Walk on By" in 1964 after Burt Bacharach and Hal David penned the song, and it took Isaac Hayes five years to putty-stretch the breezy tune into a 12-minute epic in 1969. Beyonc stripped away part of the instrumental for "6 Inch," but she's far from the first. Hip-hop has laid claim to Hayes' rendition, as Notorious B.I.G.'s "Warning," Tupac Shakur's "Me Against the World," and Alicia Keys' "If I Was Your Woman/Walk on By" previously turned to the slinky soul number to flesh out their compositions.
The acid-smeared organs from Beyonc's "Freedom" come from Puerto Rican band Kaleidoscope's sole eponymous release, which dropped in the late 1960s. The LP, which had a run of 200 copies via Mexican label Orfeon, was later licensed by German imprint Shadoks before Now-Again Records put it back out in 2013. An extremely rare sample, and one of the most obscure on Lemonade, "Let Me Try" is the driving force of "Freedom," a sizzling late-quarter conclusion on the album.
"Freedom" also includes folk preservationist Alan Lomax's 1959 field recordings at Memphis' Great Harvest Missionary Baptist Church, where Reverend R.C. Crenshaw's sermon bolsters the song's gospel feel. A fuller version of this field recording exists on a corner of the internet that documents vestiges of historical bids for cultural equity, if you're curious to hear more.
The melodic essence of Outkast's "SpottieOttieDopaliscious" is the crux of "All Night," harnessing the horn blasts from the Atlanta duo's cut off of 1998's Aquemini. It isn't the first time that Beyonc sampled the track, sourced for the remix to "Flawless" with Nicki Minaj, while J. Cole, Lil Wayne, and Jill Scott also used it prior.
Works by 27-year-old poet Warsan Shire are used in the Lemonade HBO special, similar to how Beyonc featured feminist author Chimamanda Ngozi Adichie on "***Flawless." This time, Bey overdubs spoken-word segments as a transition between her music videos, sourced from Shire's poems including "The unbearable weight of staying (the end of the relationship)" and "For Women Who Are Difficult to Love." Shire has become a star in the poetry world, honored as London's inaugural Young Poet Laureate and currently serving as poetry editor at SPOOK Magazine.
By signing up you agree to our User Agreement (including the class action waiver and arbitration provisions), our Privacy Policy & Cookie Statement and to receive marketing and account-related emails from Pitchfork. You can unsubscribe at any time. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.
First: Beyonc engineered it that way, from donning a cowboy hat at the 2024 Grammy Awards, to releasing the country-influenced "TEXAS HOLD 'EM" as one of her two first singles (the second single, "16 CARRIAGES," was considered a country song only by virtue of its proximity to "TEXAS HOLD 'EM"). Though she'd already done "Daddy Lessons" in 2016, the single is a much more fun and danceable kind of country, with a similar energy to country-trap artist Blanco Brown's 2019 song "The Git Up."
Second: We wanted a country album from her. Badly. Black and Brown country music fans (myself included) have been shouting ourselves hoarse, trying to enlighten people about the history, influence and ongoing presence of Black folks in country music, but our words had largely fallen on deaf ears. Just by putting on a Stetson and mentioning the word "country," Beyonc accomplished what we lowly music writers had been trying to do for years. We wanted a Beyonc country album, so we invented it.
But the question of whether Cowboy Carter is or is not a "country album" is a distraction from appreciating it for what it really is: a far-reaching and phenomenal album, and arguably (no shade to Lemonade) Beyonc's most ambitious yet. It challenges the narrow labels and expectations we've come to place on Beyonc, likewise challenging what we have come to expect from pop music.
It is not, however, easy to categorize, which is also by design. Concepts like classification are tossed out the door, and the result is a sprawling, meandering exploration of Black American music history. Except it isn't quite that, either, since the album opens (after the "AMERIICAN REQUIEM" overture/introduction) with a cover song written by the very white and very British Sir Paul McCartney. Opening with this song is itself a curious decision. Despite McCartney allegedly writing the lyrics in tribute to civil rights activists (which always struck me as the kind of self-mythologizing that The Beatles frequently trafficked in), "Blackbird" is not an obvious choice for someone of Beyonc's range and caliber; it's more often heard plucked by lovelorn college boys in smoky dorm rooms. And while I was excited to learn that the talented rising country singers Tanner Adell, Reyna Roberts, Brittney Spencer and Tiera Kennedy were guests on the song, it's disappointing that their unique voices are melded together and stripped of their individuality, providing little more than background harmony to Beyonc.
Speaking of genre, Beyonc makes no secret of her distrust, or even disdain, of such a thing. In the spoken introduction to "SPAGHETTII," Black country music icon Linda Martell calls genre a "funny little concept" and relates how "some may feel confined" by its boundaries. The album's lack of musical uniformity is its strength as well as its weakness. Over its 80-minute runtime, it bounces us around like a pinball machine: from gentle folk to four-on-the-floor rock to American Bandstand-era rock 'n' roll to (oddly) Irish jig music to psychedelic funk to slinky R&B. By the time the record reaches its final note, it's hard not to suffer from whiplash.
And though Beyonc tried, unsuccessfully, to disabuse us of calling Cowboy Carter a country album, she asks us at the same time to respect and legitimize her bona fides by including spoken interludes from country music royalty Willie Nelson and Dolly Parton. Her reworking of Parton's "Jolene," however, loses the original's power, supplanting the vulnerability that made it so heartbreaking with yet more swagger and bluster. Her desire for validation from the country music industry, but not from country music's hoi polloi, could explain this uninspired interpretation, as well as her regrettable sidelining of Linda Martell as mere mouthpiece. As the first Black woman to perform solo at the Grand Ole Opry and an artist who, like Beyonc, has faced discrimination in the same spaces, Martell undoubtedly has much more wisdom to share than a few platitudes about "genre." Not offering Martell more of a role on Cowboy Carter is a missed opportunity and reinforces the suspicion that Beyonc tapped these icons for credibility, not to give them a platform. 152ee80cbc
middle finger mouse pointer download
www tamil movies download 2023