[satellites.™]

Originally posted by Cap10Planet

What are Pitchfork's ratings for her other albums?

I Am...Sasha Fierce got a 5.7/10

Though she's only 27, Beyoncé goes out of her way to be an old-fashioned celebrity, the type offended by Pete Wentz blogging about Oscar the Grouch or Britney Spears Twittering her life away. "I feel that, especially now with the Internet and paparazzi and camera phones, it's so difficult to maintain mystery," she said earlier this year. "It's almost impossible to have superstars now, because people will never get enough." And, in our TMZ-addled world, her reluctance to entertain most questions about her personal life is both refreshing and a bit stubborn. She's a megawatt anachronism in sky-high heels and a frozen smile. So, without much outside interference, Beyoncé's fan-artist connection relies almost wholly on her music-- the only place to find the "real" Beyoncé is on her albums. With that direct relationship in mind comes I Am... Sasha Fierce, a supposed window into the soul of Beyoncé as well as her hair-flipping sexpot alter ego who happens to be blessed with the ultimate "Project Runway" moniker.

The "split-personality" gimmick is now a tired and, more often than not, hapless pop theme (see: Garth Brooks's proto-emo character Chris Gaines, T.I. vs. T.I.P, the street vs. boardroom dynamic of hubby Jay-Z's Kingdom Come). Sasha Fierce will not disturb that unfortunate trend. Unlike 2006's underrated funk-fest B'Day, which held together remarkably well as an LP and saw Beyoncé ditching sap for sass, this record isn't supposed to coalesce. Speaking once again to her penchant for the outdated and obsolete, it's a 2xCD affair also available in a deluxe edition with five additional tracks. (Didn't anyone tell her about Christina Aguilera's recent diva-fied double disc disappointment Back to Basics ... and that you're supposed to put the deluxe edition out six to eight months after the regular edition?) Sasha Fierce puts Beyoncé back into the "singles artist" column-- only the blindly devout would consider slogging through the deluxe edition multiple times; only the foolishly puritanical would deny the occasional high-gloss super hits.

Nobody wins the Beyoncé vs. Sasha battle-- often, the listener loses. On the Beyoncé side, while tracks like the effective (and affecting) gender-bender "If I Were a Boy" and the stunning love-as-god power ballad "Halo" (courtesy of "Bleeding Love" scribe Ryan Tedder) find the singer both strident and exposed, there's lots of wispy nonsense seemingly dug out of Celine Dion's scrap pile. Her twist on "Ave Maria" is vocally impeccable, but it reads more like recital fodder rather than a true confessional. Flip to Sasha, which is more listenable overall, but also more pandering. There's the one that sounds like past Beyoncé hits ("Single Ladies [Put a Ring on It]"), the one that sounds like "A Milli" ("Diva"), and the one that sounds like Rihanna ("Sweet Dreams"). For someone famous for effortlessly sparking trends, there are a surprising amount of opportunistic retreads here.

Beyoncé is a capital-S Star, and one glimpse of her onstage makes it clear why she's earned her right to operate above the fray. But an album isn't a concert, and there are simply not enough Sasha Fierce songs worthy of her or our time. (The hopelessly benign "Smash Into You" will provide a prime bathroom break moment on her next world tour, though.) While this LP is more painstaking than B'Day, the extra effort dulls any emotional wallop; B'Day, in all its hectic glory, offered a much more vivid peek into the elusive mind of Beyoncé than Sasha Fierce, which often reads more like projection than reality. Considering the wealth of characters this multi-talent is currently amassing between movies and alter egos, the notion of Beyoncé is more splintered now than ever. Sasha Fierce doesn't help her put the pieces back together.

— Ryan Dombal, November 21, 2008

B'Day got a 7.2/10

According to most reasonable criteria, Beyoncé's second album B'Day is a success, outpacing her solo debut Dangerously in Love. Here, Beyoncé delivers precisely what many listeners have always wanted from her: a short, tight, and energetic set that's heavy on upbeat numbers and funk affectations, and light on the balladry and melisma.

B'Day captures the r&b singer at her warmest and most in-the-moment: There's a certain ramshackle messiness to these grooves, elliptically orbiting the classic pop song in a manner more reminiscent of Amerie's "1 Thing" than Beyoncé's sonically similar "Crazy in Love". Beyoncé sounds more relaxed as a singer, expanding on the Tina Turner resemblances she's been toying with recently, her performances growing ever-more instinctive and unpredictable in their appropriations of soul hollering. Most radically, the siren-assisted caterwaul of second single "Ring the Alarm" sounds genuinely (and marvelously) incoherent, her voice thrillingly sharp with anxiety and paranoia.

Remaining in soul mama character throughout, her newfound expressiveness fits so hand-in-glove with Richcraft or Neptunes-style funk drum patterns and surging horns that even when she departs from this style sonically-- such as on the percussive, Diwali-esque jam "Get Me Bodied", or the stiffly blaring "Upgrade U"-- the shift feels negligible, and you can still hear the ghosts of horn sections. Beyoncé's lyrics are also funnier and more idiosyncratic than ever: "I can do for you what Martin did for the people," she boasts on "Upgrade U"'s extreme makeover hard-sell, and I suspect she knows she's the only r&b singer who could deliver the line with a straight face.

So far so good, but what prevents this from being the classic pop album the above would suggest is that, well, Beyoncé simply isn't making classic pop anymore. By resolving the criticisms of her earlier work (too strident, too deliberate, too driven) Beyoncé has weakened her perfect pop technique. B'Day lacks the precision with which her earlier hits were crafted-- the alluring poise of "Baby Boy" is nowhere in evidence, and the glittering impregnability of the great Destiny's Child singles feels even more distant. B'Day sounds like an entire album of third and fourth singles, which is still better than an album of filler, but in a genre so overwhelmingly defined by its hit singles, a "Crazy in Love" or a "Baby Boy" can punch above its weight-- the consistency of "Déjà Vu" in this regard becomes a double-edged sword.

Most of all, though, Beyoncé just sounds too real here: It was her pitch-perfect plasticity which gave much of her earlier work its majestic aura, as if she had transcended ordinary goals in a narcissistic drive for perfection. Having voluntarily stepped down from her pedestal, she now struggles to inspire the same sense of awe: Her songs emote as intensely as before, but their emotions are all too human.

Ironically perhaps, this switch delivers its biggest pay-off, and B'Day's best song, with the ballad-of-sorts "Irreplaceable". It's as if, having lost the Midas touch of gleaming pop perfection, Beyoncé has opened up the possibility of stumbling on brilliance by accident. "You must not know 'bout me/ I can have another you in a minute/ Matter-fact he'll be here in a minute," she boasts to a swiftly exiting lover, in a hopelessly unconvincing attempt at callous indifference. Before, Beyoncé's approach to heartbreak was always literal, her voice and her words declaiming her feelings with a studied earnestness that at times was difficult to believe, let alone connect with. "Irreplaceable" is the first song in which Beyoncé lies to herself, and the way her voice perfectly betrays that lie (revealing a giveaway tremble in the stiff upper lip of the lyrics) simultaneously renders it her most sophisticated and her most honest performance to date.

— Tim Finney, September 7, 2006

[Beyond Say]

After managing to find success in genres of music that nobody expected, King Bee is back with new album '4' that returns to her R&B roots. Beyonce has come full circle the growth in her music & vocal delivery is more present than ever. Taking some much needed time off to find herself as an artist has catapulted the superstar performer into a lane of her own as if she needed to set herself any further from her female counterparts struggling to keep up. The best thing about being a artist/entertainer is knowing what works for you , and the knowledge of balancing it out. There is no doubt that Beyonce will go down in history as one of the top female vocalist and live performers that ever graced the stage, and if anyone dares to disagree her latest effort is proof that she is nothing short of perfection.


Standout Tracks


"1+1" - Written and produced by 'The Dream' is an emotional ballad that finally allows Beyonce to let her hair down. When I first listened to this song I fell instantly in love. The vocals are so hunting and the delivery of her runs and modulations made this song an instant classic. Beyonce wears love well!


"Miss You"- This song will likely get the most play from me out of the entire album. I didn't possibly think she could top '1+1' but obviously I was wrong and I'm kicking myself for it. When I heard Frank Ocean penned the track I should have knew it was destined for greatness. The lyrical content matches Beyonce's husky vocal effortlessly such a beautiful marriage. Timeless!!


"Best Thing I Never Had"- The second single from the album, known as the 'Irreplaceable' of the album. But of course it wouldn't be in typical fashion of the queen is she didn't have one of these songs on the record. Lets be honest this is what she does best. The song standouts for so many reason but what I love about it the most is the versatility. You don't have to be a female to feel what this song is about and that's refreshing..


"Countdown"- This is my jam!! After hearing this song I just can't imagine why she released 'Run The World' (Girls), as the first single. This song is so strong the breakdown during the countdown is so infectious. The song screams summer through and through. Takes me back to my Destiny's Child days. The girl I fell in love with, the Bee I truly love. BOMB.COM/ORG/NET!!!


"End of Time"- This was rumored to be the second single. Although it ended up not being I wouldn't have minded it. I love the arrangement and I dig the staccato vocal delivery. This is that fast paced vocal pattern that Destiny Child became known for. The African influence and mixture of sounds is so legit. Nobody meshes sounds as well as Beyonce.
Other standout tracks include
(Start Over, Love on Top, Party)


So So Moments


"Run The World (Girls)- The first single from the album which samples Major Lazer 'Pon De Floor' will always be one of those songs I will blast going 100 on the freeway. There is something about the way the song makes you feel that dares you to be bold. Unfortunately the rest of the album is just so much more advanced that the song ends up the black sheep.


"Rather Die You" - Beautiful song. I love the throwback to 70's and 80's music. The vocal pattern really takes you to the days where music just sat in your soul. The chorus has that Glady's feel to it. Makes me some kinda way. The ooohh's remind me of her classic 'Dangerously In love' album.


"I was Here"- Passion. Passion. Passion.. Beyonce wants us to know that she has left her mark and that she gave her all.. Listening to it you absolutely get the feeling that through Beyonce's perspective her Destiny has truly been Fulfilled.


Final Thoughts


Purchasing this album would surely be money well spent. It's so heartbreaking to see however that the album leaked three weeks ahead of release. I'm sure Beyonce has some tricks up her sleeve, and a promotional tour planned that will rival all. The record in my opinion is timeless and shows the most growth from Bee throughout her entire career. I've learned to never count Beyonce out!!!


The Jadon Files Rating: 4.5/5 Stars

http://www.thejadonfiles.com/2011/06...beyonce-4.html

[BoyOnBoy Wonder]

"4" deserves all the praise that it's currently receiving. It's melodically stunning.

[Reza]

Originally posted by Beyond Say

What does any other r&b album sound like?

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

[Lipton]

Originally posted by satellites™

If the bitch is black and sings anything that isn't over a dance beat it's called R&B.

Okay so on a Pop to R&B spectrum you really think '4' is closer to Pop than R&B?

[BoyOnBoy Wonder]

Originally posted by uclaboi2003

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

...

I think it's the exact opposite of safe. It's not radio friendly at all, and she puts her soul out on the line...

[satellites.™]

Originally posted by Haus_of_Nicole

A lot of the success of "21" can be attributed to people discovering Adele and her becoming a topic of conversation. The buzz around "the new girl" always pushes sales.

Which isn't to say that "4" won't do well.

While true, since 21 is miles better than 19, Beyonce is taking a lane in which none of her other albums have gone yet. This album at times sounds like 'Private Dancer' by Tina Turner and her fans adore that era from her. I hope she finds some new fans which this mature sound, and if she doesn't then 2 million at the least shouldn't be a problem for her, 4 million with the right amount of promo.

[Shame♥]

Originally posted by Lipton

Okay so on a Pop to R&B spectrum you really think '4' is closer to Pop than R&B?

It's not really Pop either.

[Da beezness!]

This album is just killing me. I can't even think straight anymore. I have no words. The quality is overwhelming me at this very moment.

THIS IS A MASTERPIECE. A MASTERPIECE.

I'd rather see her sacrifying chart success for this kind of epicness than putting out a very "current" album and kill the charts like she did with IASF.

I will never disrespect the bitch. I could never. She's just... OMG it is slaying my soul.

[satellites.™]

Originally posted by Lipton

Okay so on a Pop to R&B spectrum you really think '4' is closer to Pop than R&B?

Honestly, I do. The song themselves are not why some people are calling it R&B. It's the tone of her voice, and the way 'she' sings the music, they aren't listening to the lyrics or the arrangements. But I don't think it's pop or R&B to be honest, I'm leaning more towards urban alternative.

[Mani.]

Originally posted by Da beezness!

This album is just killing me. I can't even think straight anymore. I have no words. The quality is overwhelming me at this very moment.

THIS IS A MASTERPIECE. A MASTERPIECE.

I'd rather see her sacrifying chart success for this kind of epicness than putting out a very "current" album and kill the charts like she did with IASF.

I will never disrespect the bitch. I could never. She's just... OMG it is slaying my soul.

[itsAllen]

So im downloading it now any songs that I def should listen too??

[Lipton]

Originally posted by uclaboi2003

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

Are you kidding me? I Am Sasha Fierce is her worst album released.

[Shame♥]

Originally posted by uclaboi2003

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

IASF was a good album, but the music was very Pop and commercial. Almost every song on the album could have been a single and was not very risky. It was a departure from her previous music, but it still could be considered safe. You would struggle to find radio-friendly singles on 4 and that has already been proven (see Girls).

[satellites.™]

Originally posted by uclaboi2003

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

The fact that you think this album is safe and then had the nerve to say IASF showed her versatility when it was all a faux attempt at kidnapping and constantly raping the radio just shows how much you know about Beyonce albums. Depth goes deeper than flipping from a ballad to an uptempo and sounding good, but then again, there I go expecting too much from people...

[Shame♥]

Originally posted by itsAllen

So im downloading it now any songs that I def should listen too??

All of them. IN ORDER.

[Beyond Say]

Originally posted by uclaboi2003

i just meant that its not very progressive. its safe. i think in IASF beyonce really showed her versatility in song subject matter and vocals as well as her depth as an artist.

Yeah, and Femme Fatale is not safe?

[Sammi]

Originally posted by Da beezness!

This album is just killing me. I can't even think straight anymore. I have no words. The quality is overwhelming me at this very moment.

THIS IS A MASTERPIECE. A MASTERPIECE.

I'd rather see her sacrifying chart success for this kind of epicness than putting out a very "current" album and kill the charts like she did with IASF.

I will never disrespect the bitch. I could never. She's just... OMG it is slaying my soul.

.

[Ace Reject]

Originally posted by satellites™

Honestly, I do. The song themselves are not why some people are calling it R&B. It's the tone of her voice, and the way 'she' sings the music, they aren't listening to the lyrics or the arrangements. But I don't think it's pop or R&B to be honest, I'm leaning more towards urban alternative.

It's not urban alternative; it's very firmly rhythm and blues. It's just a 2011 version of MJ/Prince/90s rhythm and blues.

[satellites.™]

Beyonce has come full circle the growth in her music & vocal delivery is more present than ever. Taking some much needed time off to find herself as an artist has catapulted the superstar performer into a lane of her own as if she needed to set herself any further from her female counterparts struggling to keep up.

This is exactly what I am trying to get people to understand when they complain about her singles failing.