Beyoncé | 4
Album Review: Beyoncé | 4
by Brent Faulkner
Beyoncé’s fourth studio LP 4 is certainly her most intriguing album. The ‘intrigue’ is that the R&B/Pop chanteuse is truly ‘all over the place’ stylistically on this album, which proves to be a mixed blessing. While the ‘crossover’ tactics show Beyoncé’s sense of exploration and evolution, some work more effectively than others. Beyoncé’s vocals are always top notch, but the material is so ambitious or such a radical departure at times that it comes off as off-putting or bewildering. To Beyoncé’s credit, it is nice to hear the artist stretch herself and 4 does deliver some ‘knock-out punches.’ The biggest flaw, however maybe merely the ordering of the track list on 4, which is a bit odd.
“1+1,” the low-key second single from 4 opens up the effort rather reserved. While “1+1” is a solid cut and Beyoncé sounds polished, it is too ‘under-the-radar’ to serve as the opening cut of a Beyoncé album. Sure, I Am.. Sasha Fierce opened with “If I Were A Boy,” which was somewhat reserved, but “1+1” takes ‘reserved’ to the nth degree. Had the ballad been placed closer to the end or even just a couple slots later, it would have a much more desirable effect. It does yield the corny, but notable line “I don’t know much about algebra, but I know 1+1 = 2.” “I Care” is odd at first, opening with a mysterious synthetic pad. The track propels once the drum programming enters. Certainly no “Halo,” “I Care” is the type of cut that takes several repeated listens to ‘get into it.’ It’s not valedictory from an initial listen, but it is interesting. The vocal production is an anomaly in itself, not to mention Beyoncé’s upper register improvisations.
“I Miss You” continues a bizarre ‘air’ that lingers throughout this effort. Vocally, “B” remains solid, but the cut itself comes over as ‘second-rate’ compared to her best hits. Despite the experimental air the characterizes so much of 4, “I Miss You” just lacks ‘gusto.’ “Best Thing I Never Had” saves the day, trumping everything that precedes it. Beyoncé sounds more herself - more natural on this cut. “Best Thing I Never Had” is a bit melodramatic, but Beyoncé works best with cuts that allow her beautiful, dynamic voice to shine. The crossover appeal of “Best Thing I Never Had” is one of its strongest attributes.
“Party,” featuring André 3000 is enjoyable, if the slightest bit clunky as a cut. The harmonized vocals give off an inherent 80’s vibe, not to mention the lift off of Keith Sweat’s classic “Right and a Wrong Way To Love Somebody” which finds Beyoncé singing “I may be young, but I’m ready...,” as if she’s responding to Sweat’s lead vocals. André 3000’s guest turn is a bit clumsy, but others may differ in opinion on that. “Rather Die Young” starts as odd as anything else, but evolves into a nice vintage soul feel once the track settles in. The chorus works well here in separating itself from the verse. “Rather Die Young” is more effective in its experiments than many other cuts. “Start Over’s” major selling point is the drum programming, which is driving and almost ‘tribal’ in sound. The cut takes too much of its short duration to build up, but if nothing else, is a solid attempt by Beyoncé to ‘spread her wings.’
“Love on Top” is a solid cut with a nice 80’s sound that is a departure from “Start Over.” The production is solid, the background vocals enhance, and the use of constant key changes add to the ‘over-the-top’ feel that Beyoncé is clearly trying to achieve here. “Countdown” isn’t too shabby, but it is a bit ‘much.’ While Beyoncé thrives on over-the-top (think B’Day’s “Freakum Dress,” “Ring The Alarm” or “Suga Mama”), “Countdown” certainly takes it to another level. Intriguing, innovative (I think...), and ‘over-the-top,’ “Countdown” will appeal to some and be loathed by some as well. “End of Time” is a ‘B’ cut, as is the Dianne Warren penned “I Was Here,” which is too casual and slow to truly evolve, particularly following so many ‘over-the-top’ cuts. “Run The World (Girls),” closes the album, but once listening to the album in its entirety, one would have preferred the promo single to appear at the beginning (some might say this because of their dislike of the cut). “Run the World (Girls)” receives the same mixed reaction that characterized Beyoncé’s “Dejâ Vu” and ultimately her B’Day album.
Essentially, few would label Beyoncé’s fourth studio album as valedictory, but certainly most appreciate Beyoncé’s willingness to experiment. A few less experiments would have made 4 a bit more cohesive as an album, but Beyoncé does reap some positive rewards and accolades from this effort. Worth the listen? Certainly - the album will definitely ‘blow your mind’ if it does nothing else.
Brent Faulkner
The Urban Music Scene
Posted by Administration at 6/28/2011 9:22 AM 
Categories: Rhythm and Blues, Video
Tags: Rhythm And Blues Music Videos
Categories: Rhythm and Blues, Video
Tags: Rhythm And Blues Music Videos
Comments