Typically, the
hitmakers in pop music have relied heavily on a traditional marketing campaign
that includes releasing a hit single, following it up with another hit song or
two, then a worldwide performance on some award show or X Factor type show, a profitable national tour and then the process
is repeated after a few years. That system, however, was defied last Thursday
when current pop superstar Beyoncé Knowles-Carter surprisingly released what
she likes to call a “visual album.”
Overly invested
fans who have kept up with their Beyoncé news have probably seen the occasional
mention of possible music video shoots on celebrity gossip websites throughout
the past couple months, but none of them could have expected a full-length
album to drop with 14 tracks and 17 accompanying music videos on top of that.
Some people, particularly at her record label, may have feared that an
unmarketed surprise album could potentially affect sales, but as of today, her
album sold 828,773 copies worldwide in just three days and broke
records by becoming the fastest selling album in iTunes history. This is Beyoncé
that were talking about though, so it really shouldn’t come to that much of a
shock that her album would sell successfully, regardless of the prebuilt hype
surrounding it.
Although the
feat of selling so many records in such a short period of time may not be
possible for most established artists, you have to keep in mind that this
release was fueled by making it an iTunes exclusive and only allowing for full
purchases of the album to be made instead of the common purchasing of only a
few singles. Not to mention that there was a tremendous amount of star power on
her self-titled release including
her husband Jay-Z, A-list rapper Drake, former Destiny’s Child members Kelly
Rowland and Michelle Williams, singer-songwriter Frank Ocean and even her
little daughter, Blue Ivy. Even by understanding the mechanics behind the
financial success of her fifth studio album, it still becomes quite a surprise
that the album didn’t feature any of the ever-common leaks that frequent the
digital age of music.
It’s only
fitting that her music reflects these current ideals of not conforming to
mainstream and commercial standards, most evident on the gloomy track “Haunted.” Beyoncé casts doubt on the profitability of the release of this album by
saying “This probably won’t sell. I don’t trust these record labels, I’m torn.”
The various electronic beats and mellifluous background vocals add shape to the
song, however, it doesn’t stand out too much, so it likely won’t make it to
single status. The Jay-Z collaboration “Drunk in Love” is a feisty, sexually
charged track that encapsulates a large part of what Beyoncé’s new album is,
that is to say it’s her most sexually powered album to date. In that fashion, “Blow” brings on chart-topping producer
Pharrell for a lustrous club banger that recalls some X-rated acts she wishes
to have done to her soon, as evidenced by the songs title.
Continuing the
provocative nature of the album is the falsetto heavy “No Angel,” which
showcases some of the vocal work reminiscent of I AM… SASHA FIERCE’s “Halo.” The beats drastically differ than that
of “Halo” by incorporating more bass lines along with more risqué lyrics of “Stop acting so scared, just do what I tell
.
First go through my legs, go back on your head.” Beyoncé gently slows it down with
“Rocket,” the Justin Timberlake and Timbaland collaboration and with an opening
line like “Let me sit this ass on you.” could the song really go wrong?
Near the end of
Beyoncé, songs
begin to change pace from sexual innuendos to thought provoking peeks into the
superstars guarded private life. In “Heaven,” the songstress let’s go of a loved
one, even possibly saying goodbye to an unborn child as a result of a former
miscarriage. If anything can
prove the unconditional and everlasting love Beyoncé has for her baby, it would
be solidly testified in “Blue,” which not only shows the vocal talents of
Beyoncé herself, but also that of her daughter. Now Blue Ivy doesn’t belt out
captivating lines or anything of that nature as she is only a one-year old, but
this album closer ends the self-titled venture with her bubbly giggles.
Beyoncé has made
it no secret that he has gotten “bored” per say with the typical structure of
the music industry and the whole superstar routine, as proclaimed in previous
track “Ghost.” Her bold move to release this album without any fancy marketing
campaign coupled with the sonic diversity across these songs makes it a more
than welcomed release that will surely be heard throughout 2014.
Grade: A-
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