12/17/2022 0 Comments Baby all night beyonce(As with “Beyonce,” the singer calls “Lemonade” a “visual album,” which tells you plenty about her creative intent.) The stomping “Freedom,” featuring a verse from Kendrick Lamar, carries on in the single’s spirit, with words about breaking chains and a field recording of a prisoner’s tune.īut if these love songs illuminate an interior world on the album, their accompanying visuals demonstrate how one woman’s experience reflects larger systems and traditions. The highly personal “Lemonade” upends expectations in another way, which is the turn it seems to take from “Formation,” a statement of radical black positivity that suggested Beyoncé was readying an explicitly political album. What began as a breakup record ends as a makeup one. “I know I promised that I couldn’t stay, baby,” she sings in “Sandcastles,” a stately piano ballad, “But every promise don’t work out that way.” Later, the lush, buoyant “All Night” insists that “nothing real can be threatened.” She’s even more direct - and more righteously threatening - in “Don’t Hurt Yourself,” which rides a slashing garage-funk groove shaped in part by Jack White: If you try this mess again, she warns her husband in harsher language, “you gon’ lose your wife.” (Other collaborators on this typically wide-ranging album include the Weeknd, Diplo, James Blake, Boots, Mike Dean, Father John Misty and Ezra Koenig of Vampire Weekend.)īeyoncé has done a-woman-scorned before, of course, as in her 2006 song “Ring the Alarm,” in which she says, “I’ll be damned if I see another chick on your arm.” Even the lusty “Beyoncé” had “Jealous.” But it’s startling to hear the fresh intensity of her anger here, especially given how little she says in public about her private life.Īnyone who’s been waiting for Beyoncé to explain the infamous elevator incident of 2014, in which her sister Solange was caught on tape hurling blows at Jay Z while Beyoncé looked on calmly, might find satisfaction on “Lemonade.”Įxcept that eventually the album moves beyond recriminations to embrace the hope of a second chance. Yet the first words she sings on “Lemonade,” in the spacey “Pray You Catch Me,” form a pointed accusation: “You can taste the dishonesty / It’s all over your breath as you pass it off so cavalier.” In “Sorry,” over a bleepy electro-pop track, she admits, “Today I regret the night I put that ring on.”
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