, Beyoncé makes it clear this ain’t your typical country album. Opening epic “Ameriican Requiem” is part gospel, part-Queen, part-Buffalo Springfield as the artist lays out both her intentions and lineage. “Used to say I spoke ‘Too country’/And the rejection came, said I wasn’t ‘country ‘nough/Said I wouldn’t saddle up/But if that ain’t country, tell me what is?” she sings from the gut, after listing off her bonafide country credentials.
-esque portion of the project, where she’s a lover scorned and this time looking to square up for a good ol’ Western showdown. Covering “Jolene,” she remakes the song as an astute warning instead of Parton’s more pleading original. It’s cheeky and humorous in a way Beyoncé isn’t always allowed to be, even if it doesn’t add much to the album or the song itself. “Daughter” is a more effective delivery of Beyoncé’s violent revenge fantasies.
The biggest feature on the album, though, is Linda Martell. Martell was the first commercially successful Black woman in country music, who released one remarkable album before leaving the industry entirely. She first appears at the beginning of “Spaghettii,” calling genres “a funny little concept” before Bey goes full trap-country on that track with fellow genre-bender Shaboozey.
Source: Entertainment Trends (entertainmenttrends.net)
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