46 minutes ago, Redporus said:

Speaking of transitions, I did wonder if she might skip having transitions on act iii all together.

She'll definitely keep transitions. If the album is gonna be modelled after a live performance then if anything the transitions will be more significant than on CC

44 minutes ago, Redporus said:

Speaking of transitions, I did wonder if she might skip having transitions on act iii all together.

That would be a mistake imo. If you actually want three albums in different genres to work as a three-part project, you need a common language between them. The transitions are part of that. And these are the elements I expect too:

- Same visual language.

- Heavy on samples, using well known songs of the genre.

- Working with legends from that genre.

- High level production.

- ~1 hour length (anything lasting 30-40 minutes would automatically make it a minor project compared to the other 2 acts)

- Covering different sounds from the genre with actual references to different eras.

9 minutes ago, Draper. said:

That would be a mistake imo. If you actually want three albums in different genres to work as a three-part project, you need a common language between them. The transitions are part of that. And these are the elements I expect too:

- Same visual language.

- Heavy on samples, using well known songs of the genre.

- Working with legends from that genre.

- High level production.

- ~1 hour length (anything lasting 30-40 minutes would automatically make it a minor project compared to the other 2 acts)

- Covering different sounds from the genre with actual references to different eras.

• And the album being set in a 'space' that the genre is usually found in / gatekept (dance = nightclubs, country = radio, and rock = live performance)

transitions are fine but they were done a lot better on Rennie so that every song still sounded like a song by itself

I hate the way Ya Ya and Oh Louisiana start when you listen to the out of context

27 minutes ago, alien superstore said:

• And the album being set in a 'space' that the genre is usually found in / gatekept (dance = nightclubs, country = radio, and rock = live performance)

If it's true that act III is modelled after a live performance, a massive show like the Copacabana one as the big centrepiece is hopefully going to happen.

So when are we getting an announcement?

reading wiki articles on DC this morning, and why did I just find out that Farrah Franklin is apparently the oldest of EIGHTEEN children

also why did googling to corroborate lead me to a different article saying it's fifteen… this is going to haunt me

1 hour ago, Draper. said:

That would be a mistake imo. If you actually want three albums in different genres to work as a three-part project, you need a common language between them. The transitions are part of that. And these are the elements I expect too:

- Same visual language.

- Heavy on samples, using well known songs of the genre.

- Working with legends from that genre.

- High level production.

- ~1 hour length (anything lasting 30-40 minutes would automatically make it a minor project compared to the other 2 acts)

- Covering different sounds from the genre with actual references to different eras.

Valid points babes.

The more I think about it, she def will be using transitions again. I am hoping no triple iiii in the tracklist tho…..

Also, I think that act iii will have a strong distinction in format, Cowboy Carter was an outlier in terms of how intricately she produced that album. That level of mastery of technicality in terms of genre and inclusion of western motifs in every song was very heavy-handed.

CC did covers and had legends make their stamp of approval cuz it was a new genre and she needed that to elevate the expectations of consumers and validate her place in the genre.

Renaissance didn't have any covers but did lots of sampling of commercial and underground legends but it didn't feel as scholarly like CC.

Which makes me wonder about what direction she will take with act iii since she already proved her point with CC that she can enter different genres and bend them too.

Edited April 10Apr 10 by Redporus

1 hour ago, alien superstore said:

She'll definitely keep transitions. If the album is gonna be modelled after a live performance then if anything the transitions will be more significant than on CC

Well that's if the live performances theories come to life. I don't doubt she will continue the transitions tho

1 hour ago, Draper. said:

That would be a mistake imo. If you actually want three albums in different genres to work as a three-part project, you need a common language between them. The transitions are part of that. And these are the elements I expect too:

- Same visual language.

- Heavy on samples, using well known songs of the genre.

- Working with legends from that genre.

- High level production.

- ~1 hour length (anything lasting 30-40 minutes would automatically make it a minor project compared to the other 2 acts)

- Covering different sounds from the genre with actual references to different eras.

anything's fine but covers. we don't need other people's songs to take up multiple spots on a brand new album track list

8 hours ago, SashaDevachelli said:

It's like Ryan Murphy was taking a vacation in Isr*el and during his morning coffee he asked chatgpt to generate a song for the upcoming new episode of Glee

Shoot this made me want to stream AUIYM

I don't care if Bey has negative streams, I am just thankful she's too good to ever make anything as bad as whatever that is supposed to be.

2 hours ago, Fleahive said:

You can tell when she lets her guard down with certain interviewers just like this one.

Who knows if she will ever speak to us again in an unscripted interview format. When she said she felt SEEN by the country community it humanizes her. We forget she is a HUMAN with feelings. She gets sad too. I'm happy she got her moment. Idk how you can watch this and still hate on her as a person.

This makes me so sad. What must she be thinking now. No wonder she mostly keeps quiet. We all thought we made a breakthrough only to go 100 years back. Ugh.

Sorry, just going through the thread.

2 minutes ago, Redporus said:

Renaissance didn't have any covers but did lots of sampling of commercial and underground legends but it didn't feel as scholarly like CC.

hmm, I think the way Rennie handled that was actually a lot more refined than CC. very much more of a "show, don't tell" approach which didn't feel like handholding the way CC could at times with the radio interludes and focus on big classics via covers/samples. obviously both were executed beautifully, but CC felt occasionally overexplained and overly literal within the album itself.

just streamed Cowboy Carter whilst cleaning

How many of you have performed your duty today?

4 minutes ago, cloudbusting said:

hmm, I think the way Rennie handled that was actually a lot more refined than CC. very much more of a "show, don't tell" approach which didn't feel like handholding the way CC could at times with the radio interludes and focus on big classics via covers/samples. obviously both were executed beautifully, but CC felt occasionally overexplained and overly literal within the album itself.

I guess Bey thinks her audience has more of a rapport/connection with house/dance than country and folk. And she would be right.

5 minutes ago, Jay07 said:

I guess Bey thinks her audience has more of a rapport/connection with house/dance than country and folk. And she would be right.

I agree, for me though, I digested Cowboy Carter much more instantly than Renaissance. The second half of Renaissance took me 3 listens to truly appreciate it.

I still think Renaissance is the better album from a replay value, mixing and mastering and cohesive perspective while Cowboy Carter remains her most scholastic album to date, with her best live instrumentation, songwriting and vocal layering. They are Ying and Yang if you will.

Edited April 10Apr 10 by Redporus

21 minutes ago, Redporus said:

I agree, for me though, I digested Cowboy Carter much more instantly than Renaissance. The second half of Renaissance took me 3 listens to truly appreciate it.

I still think Renaissance is the better album from a replay value, mixing and mastering and cohesive perspective while Cowboy Carter remains her most scholastic album to date, with her best live instrumentation, songwriting and vocal layering. They are Ying and Yang if you will.

This makes a lot of sense after you posted that terrible top 10 Beyoncé songs

imagine needing time to digest tracks like America Has a Problem, Heated, and Pure/Honey

1 minute ago, QueenB said:

This makes a lot of sense after you posted that terrible top 10 Beyoncé songs

imagine needing time to digest tracks like America Has a Problem, Heated, and Pure/Honey

Byyyye I immediately liked AHAP and Heated….Pure/Honey tho…..

6 minutes ago, Redporus said:

Byyyye I immediately liked AHAP and Heated….Pure/Honey tho…..

you're a SICK individual. @Teezy back me up on this one

1 minute ago, Devin said:

amazing AI

I have a feeling the cover will be her on a motorcycle with a horse skull on it

with hair like:

18 minutes ago, cloudbusting said:

hmm, I think the way Rennie handled that was actually a lot more refined than CC. very much more of a "show, don't tell" approach which didn't feel like handholding the way CC could at times with the radio interludes and focus on big classics via covers/samples. obviously both were executed beautifully, but CC felt occasionally overexplained and overly literal within the album itself.

I don't think Cowboy Carter is as in your face as it seems, you really have to do some research to get the full story even with all that's being explicitly said.

American Requiem uses a lot of Beatles cues and they represent the first British Invasion, in which a lot of british groups got really famous in the US while using styles from uncredited black musicians. The Beatles specifically took a lot of cues from black girl groups from the 60s (vocal harmonies/layering) and Blackbird is a song about black women in America. So Beyoncé, a black woman who got famous as part of a girl group, covering them is just the perfect "payback". There's a level of subtext in those two songs alone that goes beyond anything on Renaissance.

Same happens with Ya Ya. She samples the Beach Boys whose first hit single Surfin USA had to include Chuck Berry as a writer because the song copied Sweet Little Sixteen. And that's why Oh Lousiana comes next.

There's stories beyond the use of such songs to pay homage/represent an era, there's just more ground to cover with Cowboy Carter genres/era. Jolene is the exception and it probably got forced by Dolly publicly saying she wanted Beyoncé to cover one of her songs multiple times (she probably knew Beyoncé was working on a country album). I think the I Feel Love sample in Renaissance is just as in your face as the Jolene cover, so no subtlety in neither of them anyway.

Edited April 10Apr 10 by Draper.

10 minutes ago, Devin said:

I genuinely love the guitar horse concept....hair is gorg....dress is too pageant for Rock.

Also, remember Bey doesn't like AI.....Teezy and Kingdu- won't be happy about this

our more kworb-obsessed sisters better start tracking these