Her twist on "Ave Maria" is vocally impeccable, but it reads more like recital fodder rather than a true confessional. 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. 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. (Didn't anyone tell her about Christina Aguilera's recent diva-fied double disc disappointment Back to Basics. Speaking once again to her penchant for the outdated and obsolete, it's a 2xCD affair also available in a deluxe edition with five additional tracks. 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. Sasha Fierce will not disturb that unfortunate trend. boardroom dynamic of hubby Jay-Z's Kingdom Come). 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.
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. With that direct relationship in mind comes I Am. 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. She's a megawatt anachronism in sky-high heels and a frozen smile. "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.
"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. I wonder if this is going to have a big impact on Rihanna’s career when she drops her new album next year, it’ll be interesting thing to see.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. Do your thing B, It looks like it’s Beyonce’s turn to get back in the spotlight. Wasn’t a big fan of “Single Ladies,” at first, but after seeing the vintage looking vid, I must say it has grown on me.
Just had to keep it real for a moment, but on the flip side, Beyonce did kill the song, and I have been playing her version ever since it dropped. (i.e.“Irreplaceable,” still to this day when she sings that song she begins with, “When I wrote this song…”) but I was familiar with BC’s version before even hearing Beyonce’s, and I hear no difference, besides some “and’s” and maybe some “oh ah’s.” But the fact of the matter is, they give Beyonce writer’s credit (IMO) on most of her songs just so she can be viewed in more organic “I am a real musician” way (I’m not saying she has not written/co-written some of her solo or group songs previously, because I know she has) Either way she should be respected, but as a songwriter myself, that can be seen as disrespectful, she clearly did not write, “If I Were A Boy,” now I do know you can get a writer’s credit for writing the harmony, etc. I actually enjoy Beyonce’s work and have since Destiny’s Child. I’m not a hater, so let’s get that out of the way.
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