COWBOY CARTER REVIEW PT 1 of 4: AMERICAN REQUIEM- MY ROSE
Alright, Alright. It’s been a few months since this album came out. I’ve let it sit and marinate, I’ve listened and re-listened, I’ve taken breaks, and I’ve watched DOZENS of reactions. I have ALOT to say, obviously, BUT we’re breaking it down into pieces, so I don’t go tooooo crazy.
INTRODUCING COWBOY CARTER
We have BOOKOOS of information, from QUEEN B herself, on the inspiration and genesis of this album. It all started in 2016 at the CMA’s. The Queen performed with “The Chicks” (who have already been ostracized from the country music community in the past) a duet of her song “Daddy Lessons”. The performance was ELECTRIC—the vocals, the vibe, the band ALL OF IT….. well except one thing… the audience. Lets just leave it at “disgruntled” men in country music were all on live camera. (Its givinggggg how dare she be on this stage and better than I’ll ever be)
ANYWAY
Beyoncé is a LOVER and STUDENT of music, and it is displayed throughout the album with the many artistic choices she made. She is also, graciously, playing musical historian to teach (but mostly REMIND) the people of a few things.
This is not a country album this is a BEYONCÉ ALBUM.
- BOLD LYRICS= ooop run that back
- ITALICS LYRICS= OOOO VOCALS
American Requiem: INTRO
We have learned to EXPECT an impactful opener from B. ESPECIALLY following “IM THAT GIRL” from Act 1. This opener meets the bar she continuously sets. THIS SONG IS A DIRECT RESPONSE TO THE CMA’S. It is also a clarification and declaration by her to ALL the peoples’ thoughts about her choice to release a “country-inspired” album.
AMERICAN REQUIEM: LYRICS
[Intro]
Nothin’ really ends
For things to stay the same, they have to change again
Hello, my old friend
You change your name, but not the ways you play pretend
American Requiem
Them big ideas (Yeah), are buried here (Yeah)
Amen
[Chorus]
It’s a lot of talkin’ goin’ on
While I sing my song
Can you hear me?
I said, “Do you hear me?”
[Pre-Chorus]
Looka there, looka there now
Looka there, looka there
Looka-looka, looka there, looka there
Looka-looka, looka there, looka there
Looka-looka, looka there, looka there (Oh)
Looka-looka, looka there, looka there (Yeah)
[Chorus]
It’s a lotta chatter in here
But let me make myself clear (Oh)
Can you hear me? (Huh)
Or do you fear me? (Ow)
[Verse 1]
Can we stand for something?
Now is the time to face the wind (Ow)
Coming in peace and love, y’all
Oh, a lot of takin’ up space
Salty tears beyond my gaze
Can you stand me?
(Can you stand me? Can you stand me? Can you stand me?)
Ooh, ah
Can we stand?
(Can you stand me? Can you stand me? Can you stand me?
Can you stand me? Can you stand me? Can you stand me?)
Can you stand with me?
[Chorus]
Can we stand for something?
Now is the time to face the wind
Now ain’t the time to pretend
Now is the time to let love in
[Bridge]
Thinkin’ to myself (Thinkin’ to myself)
Oh, it’s a lot of talkin’ goin’ on (Oh)
While I sing my song (Yeah)
Do you hear me when I say?
Do you hear me when I say? Ah
[Pre-Chorus]
Looka there, looka there
Looka, look
Looka-looka-looka-looka-looka
Looka-looka there, looka there
L-l-l-l-l-l-l-l-l-l-looka there
Oh, looka there, looka there
Looka there, looka there
(Can you stand me? Can you stand me? Can you stand me?)
L-L-L-L-L-L-L-L-L-L-L
(Can you stand me? Can you stand me? Can you stand me?)
[Chorus]
Can we stand for something?
Now is the time to face the wind (Now is the time to face the wind)
Now ain’t the time to pretend
Now is the time to let love in (To let love in)
Together, can we stand?
[Verse 2]
Looka there, looka in my hand
The grandbaby of a moonshine man
Gadsden, Alabama
Got folk down in Galveston, rooted in Louisiana
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?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sang my song
[Outro]
(When I sang the song of Abraham)
(When the angels guide and take my hand)
(Oh, no)
Goodbye to what has been
A pretty house that we never settled in
A funeral for fair-weather friends
I am the one to cleanse me of my Father’s sins
American Requiem
Them big ideas (Yeah) are buried here (Yeah)
Amen
AMERICAN REQUIEM: VOCALS
The song opens INSIDE THE CHURCH. Chill-inducing vocal-stacking. Soul and crashing runs into resolving AMEN’s. Beyoncé utilizes a low and crispy voice in the verse. As the song progresses the twang and soul, that her voice naturally carries, takes full shape. She dives in and out of INCREDIBLE cries, riffs, and runs. There is a SERIOUS rock edge to a lot of her choices (which I’ve seen draw Prince and Tina Tuner comparisons) B dials in going into the second verse, almost “making eye contact” with the preverbal “audience” or “camera”. She goes in harder-really emphasizing the message of the lyric with her tone and delivery. Ending the song where we started- CHURCHY! BIG! THE LAYERING.. AMEN. WOW WHAT AN OPENER.
AMERICAN REQUIEM: MUSIC
There is SOOO much going on musically here. Multiple genres and sounds covered, with crazy instrumentation and production choices. We open with a churchy vibe— organ is ORGAN-ING. Jump then into this psychedelic sitar situation with a deep western feel as the new vibe. We get lots of lovely additions like guitars drums and A TAMBOURINE (WHAT YALL KNOW ABOUT THE TAMBOURINE) She brought the beat in and somehow made all these sounds so cohesive and perfectly placed. The tempo changes and music dropouts add flavorrr. We then end ethereally. (My heart is racing)
⭐️⭐️⭐️⭐️⭐️
Blackbiird: INTRO
A Beyoncé cover is a GIFT. A Beyoncé cover of The Beatles…. I’m ascending. It has come to light that, when writing this song, Paul McCartney had something special in mind. It was the 50’s and 60’s, a time, in the United States, of the Civil Rights movement and integration— lead by black children in schools. Apparently, little girls were nicknamed as “birds”, in England, at this time. Seeing the struggles and strength of young people like “The Little Rock 9”and “birds” like Ruby Bridges, he wrote the now legendary song. He was deeply inspired by them and hoped for a brighter future—giving the beautiful message.
Blackbiird: LYRICS
[Verse 1: Beyoncé]
Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
(You were only waiting for this moment to arise)
[Verse 2: Beyoncé]
Blackbird singing in the dead of night (Dead of night, night)
Take these sunken eyes and learn to see (Learn to see all of your life)
All your life
You were only waiting for this moment to be free
[Chorus: Beyoncé]
Blackbird fly (Blackbird, blackbird, fly, fly, fly, fly)
Blackbird fly (Blackbird, blackbird, fly, fly, fly, fly)
Into the light of a dark, black night
[Bridge: Beyoncé]
Ooh-ooh-ooh-ooh
Ooh-ooh
[Chorus: Beyoncé]
Blackbird fly (Fly)
Blackbird fly (Fly)
Into the light of a dark, black night
[Verse 3: Brittney Spencer, Tiera Kennedy, Reyna Roberts & Tanner Adell]
Blackbird singing in the dead of night
Take these broken wings and learn to fly (Learn to fly, learn to fly)
All your life
You were only waiting for this moment to arise
[Outro: Reyna Roberts & Tanner Adell, Beyoncé, All]
You were only waiting for this moment to arise
You were only waiting for this moment to arise.
Blackbiird: VOCALS
This song is the first of many, feature(s) of the album— and like EVERYTHING, Beyoncé was very particular when selecting artists to appear on this project. The background vocals as well as the third verse + outro are provided by: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. Beyoncé gives this warm vocal that is rich, yet some airiness. The additions made by the girls were so lovely and it was nice to hear them each get a moment. I ADORE Beyoncé’s voice, so hearing her sing THIS song with 4 up-and-coming, black, female country artists (in a space that is constantly unwelcoming) is so beautiful and honoring to the message of the song.
Blackbiird: MUSIC
That all too familiar opening notes. Basic guitar strums and a beat like hitting the side of the guitar (one anyone can make) the production makes it feel like it’s by a campfire. Super warm interpretation. The vocals and their arrangement are where the most differences are in this cover. The rest honors the original work, whilst also bringing in a different vibe and space.
16 CARRIAGES: INTRO
This was the second single to drop from this album.. happening just after “Texas Hold ‘Em” on February 11. (the double drop was so generous) This is an emotional and vulnerable track from B— and it is very telling that she chose this as the second single to promote the album. The lyrics are beautiful and raw, and the music really encapsulates the theme and imagery set out.
16 CARRIAGES: LYRICS
[Chorus]
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long back road, all the tears I fight
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long black road, all the tears I fight
[Verse 1]
At fifteen, the innocence was gone astray
Had to leave my home at an early age
I saw Mama prayin’, I saw Daddy grind
All my tender problems, had to leave behind
[Pre-Chorus]
It’s been umpteen summers, and I’m not in my bed
On the back of the bus in a bunk with the band
Goin’ so hard, gotta choose myself
Undеrpaid and overwhelmed
I might cook, clеan, but still won’t fold
Still workin’ all my life, you know
Only God knows, only God knows
Only God knows
[Chorus]
Sixteen carriages drivin’ away
While I watch them ride with my fears away
To the summer sunset on a holy night
On a long back road, all the tears I fight
Sixteen carriages drivin’ away
While I watch them ride with my fears away
To the summer sunset on a holy night
On a long back road, all the tears I fight
[Verse 2]
Sixteen dollars, workin’ all day
Ain’t got time to waste, I got art to make
I got love to create on this holy night
They won’t dim my light, all these years I fight
[Pre-Chorus]
It’s been thirty-eight summers, and I’m not in my bed
On the back of the bus in a bunk with the band
Goin’ so hard, now I miss my kids
Overworked and overwhelmed
I might cook, clean, but still won’t fold
Still workin’ all my life, you know
Only God knows, only God knows
Only God knows
[Chorus]
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long back road, all the tears I fight
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long black road, all the tears I fight
[Chorus]
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long back road, all the tears I fight
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
To the summer sunset on a holy night
On a long black road, all the tears I fight
[Post-Chorus]
Oh, oh
Oh
[Bridge]
At fifteen, the innocence was gone astray
Had to take care of home at an early age
I saw Mama cryin’, I saw Daddy lyin’
Had to sacrifice and leave my fears behind
For legacy, if it’s the last thing I do
You’ll remember me ’cause we got somethin’ to prove
In your memory, on the highway to truth
Still see our faces when you close your eyes
[Outro]
Sixteen carriages drivin’ away
While I watch them ride with my dreams away
16 CARRIAGES: VOCALS
She opens this song with the chorus in a more stripped style. She really utilizes descending runs and switches up her vibrato choices to create “chugging forward” feeling that pairs with the music. Her voice fits so nicely in this genre— it’s so rich and colorful and when paired with these country styles and elements. STORYTELLING.
16 CARRIAGES: MUSIC
Continuing the country toe-tapping, by the fire, acoustic session feeling. This song opens with some guitar strumming and what almost sounds like someone hitting a guitar case as percussion. As the music swells, we get those country whiny chords that slide with an intense whipping sound. The music transports us into a western, with the tempo and flow mimicking the carriage ride.
PROTECTOR: INTRO
The first of two songs that are dedicated to her children and this features Beyoncé’s youngest child Rumi Carter. This is a beautiful song about motherhood and her message to her baby. The lyrics bring vivid imagery, and this song really exudes that feeling sitting in your mother’s lap, while she sings to you. Its warmth.
PROTECTOR: LYRICS
[Intro: Rumi Carter]
Mom, can I hear the lullaby?
Please?
[Verse 1]
And there I was, tangled up in marigold
We were listenin’ to the reverent children singin’
(Sing, sing, sing, sing, sing, sing) Huh, yeah
Hummin’ low as the garden river flows
While the August light becomes a golden evenin’
(Evenin’) Yeah
[Chorus]
And I will lead you down that road if you lose your way
Born to be a protector, mm-hmm
Even though I know, someday, you’re gonna shine on your own
I will be your projector, mm, mm-hmm
[Verse 2]
An apricot picked right off a givin’ tree
I gave water to thе soil
And now it feeds me, yeah, yeah (Yеah)
And there you are, shaded underneath it all
I feel proud of who I am
Because you need me, yeah (Yeah)
[Chorus]
And I will lead you down that road if you lose your way (Uh)
Born to be a protector (—tor), mm
Even though I know, someday, you’re gonna shine on your own
I will be your projector, hm-mm
And even though I know, someday, you’re gonna shine on your own
I will be your projector, projector, projector
[Bridge]
I first saw your face in your father’s gaze
There’s a long line of hands carryin’ your name, mm
Liftin’ you up, so you will be raised
[Chorus]
Even though I know, someday, you’re gonna shine on your own
I will be your projector, hey-yeah
And even though I know, someday, you’re gonna shine on your own
I will be your protector, born to be a protector
[Outro]
Okay
PROTECTOR: VOCALS
The song is opened by a cute audio of Rumi Carter asking for a lullaby. Because of that, this is such a delicate vocal delivery from Beyoncé. She utilizes prominent vocal slides at the end of her phrases- creating this light vibe. I love her run choices and the ad-libs. The harmonies are perfectly chosen and timed to add more color to a bright song.
PROTECTOR: MUSIC
Fitting into the “country-fied” sound of these first few songs, the opening backing instrumentation again is simple and guitar forward. This continues to allow her space to add more production further into the song. A lot of the additions are vocal, backing swells and stacks. Sounds like, the instrumentation adding some electric elements to add a sliding sound, during the bridge.
MY ROSE: INTRO
The second of the piece dedicated to her children, in this album. If “Protector” is a lullaby to Rumi, then I dub this a poem to Blu Ivy. She is delivering loving advice and reminders about self-acceptance and love using a term of endearment and an old saying as her vehicle.
MY ROSE: LYRICS
[Verse]
How many times have you let yourself get you down?
Let yourself get you down, my dear?
So many roses but none to be picked without thorns
So be fond of your flaws, dear
La-la-la, la-la-la, love you
La-la-la, la-la-la, I love you
La-la-la, la-la-la, I just hope you love yourself like that
And I really hope the best for you
You’re my love, my sweetie pie
My baby, you’re my heart
I hope
Oh, I hope
MY ROSE: VOCALS
The vocal stacking and harmonies are so pleasing to the ear. There are just enough moving parts vocally that it’s harmonious without being overwhelming. Her vocal is floaty and airy, almost a whisper feeling. It gives you a hug filled with gentle words and praises. She includes lots of subtle dynamics, vocal slides, and tight vibratos.
MY ROSE: MUSIC
A simple electric (I believe) guitar and maybe a bass strumming in the background. A lot of the production is vocal but the addition of simple guitar strums as instrumentation is a nice pairing and the contrast is pleasing to the ear.
