facebook twitter

Beyonce’s double disc hits highs and lows

Posted on Dec 01, 2008 in Features

Share|

She’s the self-proclaimed “number one diva in the game,” as she quips in her song, “Diva.” She’s a singer,
actress, entrepreneur, model, and overall filthy rich superstar, so famous that she only goes by one name: Beyoncé.

The female Michael Jackson, as I like to think of her, usually strikes the right, sellable note with her pop/R&B-fusion music, and has spoken previously about her alter ego, Sasha Fierce, who helps her gain stage presence and that perfect amount of diva that is necessary to perform in front of thousands of screaming fans.

But Beyoncé wants to show the world the two sides of herself quite literally, by releasing a double-CD called “I Am … Sasha Fierce,” which hit stores on Nov. 18. Each CD represents a different “side” of Beyoncé. The first, “I am…” is the more personal, autobiographical side, while the second, “Sasha Fierce” is the side Beyoncé presents to the public. Paging Hannah Montana! (Or is it Miley Cyrus?)

The first track, “If I Were a Boy,” is classic Beyoncé, but with a softer touch. This song, the ultimate guide for men to stop acting like jerks (think of “Irreplaceable,” without the diva), is strong because Beyoncé controls it well, but in a way it’s just more of the same.

Nonetheless, this song is so infectious, and does show a different side of Beyoncé, just as the next track, “Halo,” does. “Halo” shows Beyoncé as more than a pop star — and perhaps if she had started out with this type of music, she would have been a totally different artist.

“Disappear” keeps the “I Am …” side of Beyoncé’s album going. Again, I like the different sound, and I hate to say it, but I like that I can’t identify this as Beyoncé. If I didn’t know it was her, I would just wonder who that new artist was.

“Disappear” uses Beyoncé’s voice in a more accessible way, and I appreciate the production of the song. “Broken-Hearted Girl” ruffled my feathers from the song title alone. I’m not one for sappy songs, and this one is not lacking sap. Its sticky lyrics proclaim “I don’t want a broken heart/And I don’t wanna play the broken-hearted girl.”

I was still confused and annoyed with the next song, “Ave Maria.” I am familiar with the traditional song, but Beyoncé’s version of “Ave Maria” makes the religious staple into a love song, saying that finding her love is a spiritual experience.

“You are my heaven on earth/You are my hunger, my thirst/I always hear this voice inside,” Beyoncé sings. I’ve never really heard anything like this, and I’m not sure I like the combination of “Ave Maria” and Beyoncé’s lyrics about love.
“Smash Into You” continues the downward spiral of Beyoncé’s more personal side of the album. Her voice is good, but the song itself is just not enjoyable.

The chorus proclaims “I wanna run (run) and smash into you,” which, I assume means that she loves this person so much she wants to merge with them. The sentiment is great, but I’m not sure that the slow arrangement and lyrics are right.

“Satellites” is a dreamy love song that attempts to break the cycle of less-than-enjoyable songs. I like the relaxed sound and Beyoncé’s clear vocals powered into the lyrics, which aren’t as forced as the others.

“That’s Why You’re Beautiful” is a ballad about beautiful people, and again, while I appreciate the sentiment, I’m not sure I really appreciate the song as it is arranged.

Beyoncé’s voice, while able to handle slow ballad-type songs, is better suited for more powerful, diva-heavy songs. That’s why I longed for the “Sasha Fierce” side of the album to come around — which brings me to “Single Ladies.”

I love “Single Ladies” because it’s classic Beyoncé, but fresher. It is just sensual enough to be tasteful, and empowering but not cliché, and I think this might be one of the only times on the fierce part of the album that Beyoncé hits the nail on the head without going too far.

“Radio” is another upbeat song that’s heavy with techno-instruments and Beyoncé’s signature “oh-oh-ohs.” I like this sound from Beyoncé, it almost doesn’t sound like her, but then it does, and I enjoy the light, experimental sound the song has.

“Diva” might be a risky song, as people already think that Beyoncé and her alter-ego, Sasha Fierce are one and same. This half-rapping, half-singing, sort of masculine, potty-mouthed Beyoncé is not really the woman of class and integrity she promotes.

“Sweet Dreams” is interesting, and I definitely like it better than “Diva” and “Ave Maria.” “Sweet Dreams” is upbeat and easy to listen to, but did not prepare me for “Video Phone.” “Video Phone” is a little sketchy — telling men “So press record I’ll let you film me/On ya video phone.” At one point she says “You want me naked?/If you likin’ this position/You can tape it.” I think that says it all. Maybe I’m a prude, but I don’t like the direction this song is going.

“Hello” makes the age old expression, “you had me at hello,” an entire song. Yes, Beyoncé’s voice is very strong, but the message is a little overdone. I might be surprised by this song’s ability to stick in my head, though.

Beyoncé knows how to make a marketable song, and she’s definitely done that here.

“Scared of Lonely” is not really a “fierce” song, but I definitely identify with what Beyoncé is saying. Everyone is scared of being lonely, and this was a good way to end the album.

So, “I Am … Sasha Fierce” might not be for everyone. Die-hard Beyoncé fans will love the album, fans of upbeat dancing songs will love the ‘Fierce’ CD, and romantic types might find something to love on the “I Am” CD. I’m not necessarily a Beyoncé fan, but I did find some tracks that I liked, and I think this album is worth a listen — you just might not like it all.

Email: ashj813@msn.com