COWBOY CARTER REVIEW: PT 2 of 4: SMOKE HOUR-DAUGHTER

Straight into this one—we know the deal we know the format.. NEXT SONG

Bold= ooo run that back

Italics= yesss vocals

SMOKE HOUR ⭐️ WILLIE NELSON

This is less of an actual track and more of a historical endorsement from a country music legend. Beyoncé said that she selected artists to contribute to this project that she really respected. There are not many other names, in country music especially, that are more known and respected than Willie Nelson. His name and additions to the album are huge and make a statement.

[Intro]

(People grinnin’ in your face)

(That’s why I’m going to the river to wash my sins away)

(Maybellene, why can’t you be true?)

(Come on, baby, it’s time to rock)

(Don’t let go, don’t let go)

[Interlude: Willie Nelson]

Welcome to ”The Smoke Hour” on KNTRY Radio Texas

You know my name, no need to know yours

Now for this next tune, I want y’all to sit back, inhale

And go to the good place your mind likes to wander off to

And if you don’t wanna go, go find yourself a jukebox

Thank you

TEXAS HOLD ‘EM: INTRO

The lead single of this album, it was released just before “16 Carriages” on February 11, 2024. This is such a fun and upbeat song. The theme is obviously pulling from “hoedown” and “honkey-tonk” vibes. I really like this choice as the lead single because it is very much in the country genre, and you can see the country inspiration. This is her shout-out to her home and a clear indication that’s SHES GONNA DO COUNTRY—BUT ITS GONNA BE HER WAY.

TEXAS HOLD ‘EM: LYRICS

[Chorus]

This ain’t Texas (Woo)

Ain’t no hold ’em (Hey)

So lay your cards down, down, down, down

So park your Lexus (Woo)

And throw your keys up (Hey)

Stick around, ’round, ’round, ’round, ’round (Stick around)

And I’ll be damned if I can’t slow-dance with you

Come pour some sugar on me, honey, too

It’s a real-life boogie and a real-life hoedown

Don’t be a bitch, come take it to the floor now, woo, ha (Woo)

[Verse 1]

There’s a tornado (There’s a tornado)

In my city (In my city)

Hit the basement (Hit the basement)

That shit ain’t pretty (That shit ain’t pretty)

Rugged whiskey (Rugged whiskey)

‘Cause we survivin’ (‘Cause we survivin’)

Off red-cup kisses, sweet redemption, passin’ time, yeah

[Pre-Chorus]

Ooh, one step to the right

We heading to the dive bar we always thought was nice

Ooh, run me to the left

Then spin me in the middle, boy, I can’t read your mind

[Chorus]

This ain’t Texas (Woo)

Ain’t no hold ’em (Hey)

So lay your cards down, down, down, down

So park your Lexus (Woo)

And throw your keys up (Hey)

And stick around, ’round, ’round, ’round, ’round (Stick around)

And I’ll be damned if I can’t slow-dance with you

Come pour some sugar on me, honey, too

It’s a real-life boogie and a real-life hoedown

Don’t be a bitch, come take it to the floor now, woo

And I’ll be damned if I cannot dance with you

Come pour some liquor on me, honey, too

It’s a real-life boogie and a real-life hoedown

Don’t be a bitch, come take it to the floor now, woo

[Post-Chorus]

Woo-hoo

[Verse 2]

There’s a heatwave (There’s a heatwave)

Comin’ at us (Comin’ at us)

Too hot to think straight (Too hot to think straight)

Too cold to panic (Cold to panic)

All of the problems

Just feel dramatic (Just feel dramatic)

And now we’re runnin’ to the first bar that we find, yeah

[Pre-Chorus]

Ooh, one step to the right

We heading to the dive bar we always thought was nice

Ooh, you run to the left

Just work me in the middle boy, I can’t read your mind

[Chorus]

This ain’t Texas (Woo)

Ain’t no hold ’em (Hey)

So lay your cards down, down, down, down, oh

So park your Lexus (Hey)

And throw your keys up (Hey)

And stick around, ’round, ’round, ’round, ’round (Stick around)

And I’ll be damned if I cannot dance with you

Come pour some sugar on me, honey, too

It’s a real-life boogie and a real-life hoedown

Don’t be a bitch, come take it to the floor now (Woo)

And I’ll be damned if I cannot dance with you

Come pour some liquor on me, honey, too

It’s a real-life boogie and a real-life hoedown

Don’t be a—, come take it to the floor now, ooh

[Outro]

Take it to the floor now, ooh

Hoops, spurs, boots

To the floor now, ooh

Tuck, back, oops (Ooh, ooh, ooh)

Shoot

Come take it to the floor now, ooh

And I’ll be damned if I cannot dance with you

Baby, pour that sugar and liquor on me, too

Furs, spurs, boots

Solargenic, photogenic, shoot

TEXAS HOLD ‘EM: VOCALS

Her vocals are tamer at the beginning, she of course, displays that twang and beautiful richness of tone She still serves that sassy spirit and is unapologetically Beyoncé. I enjoy the additions with the harmonies and backings and added runs when the tempo shifts.

Her musicality and dynamics and choices are to cool to hear in this genre. I lovee the outro.

TEXAS HOLD ‘EM: MUSIC

There is a nice and different guitar/fiddle opener, which already gets you interested, with its movement, before a nice foot-tapping beat is added in. The production is nice the song is fun. There is a lot of little elements and sounds that really fill out the background- without it being too busy or taking away from the vocal.

BODYGUARD: INTRO

I LOVEEE THIS ONE. Off my first listen of the album, this was a standout of the early tracks. This song is so groovy and flowy, its giving summer song with the widows down. It is warm and catchy. (it kinda reminds me of “Island in the Sun” vibes iykyk) It has a nice hook and her vocalsss. I find it to also be one of my most replayed and I can’t get it out of my head.

BODYGUARD: LYRICS

[Intro]

One, two, three, four

Ooh-ee-ooh, ah

Ooh-ee-ooh

[Verse 1]

So sweet

I give you kisses in the backseat

I whisper secrets in the backbeat

You make me cry, you make me happy, happy (Happy)

Leave my lipstick on the cigarette

Just toss it, and you stomp it out, out, out

Inhalin’ whiskey when you kiss my neck

We’ve been hurtin’, but it’s happy hour, oh, hour

Oh, oh, oh

[Pre-Chorus]

They couldn’t have me (Ah)

And they never will

And sometimes I hold you closer

Just to know you’re real (Ah)

Wheels in the gravel

Davis in my bones

Sometimes I take the day off (Ah)

Just to turn you on

On, on, oh

[Chorus]

Honеy, honey

I could be your bodyguard (Hey)

Oh, honеy, honey

I could be your Kevlar (Huh)

Oh, honey, honey

I could be your lifeguard (Huh)

Ooh, honey, honey

You should let me ride shotgun, shotgun

Oh, oh, oh

[Verse 2]

Be your best friend

I protect you in the mosh pit

And I’ll defend you in the gossip

You know how people like to start shit and pop shit

I don’t like the way she’s lookin’ at you

Someone better hold me back, oh-oh

Chargin’ ten for a double and I’m talkin’

I’m ’bout to lose it, turn around and John Wayne that ass (One, two, three, four)

[Pre-Chorus]

They couldn’t catch you (Ah, with me)

And they never will (You see)

Sometimes I hold you closer

Just to know you’re real (Ah)

Tell me your problems (I got you)

I take how you feel (Mm, huh)

I show you an exit (Ah)

When you’re restless I take the wheel

Ooh, oh, oh

[Chorus]

Honey, honey

You could be my bodyguard (Huh, uh)

Oh, honey, honey

Will you let me ride shotgun? Shotgun

Oh, oh, oh

[Outro]

Oh (Ah)

I could be your bodyguard

Please let me be your Kevlar (Huh)

Baby, let me be your lifeguard

Would you let me ride shotgun? Shotgun

Oh, oh, oh

One, two, three, four

BODYGUARD: VOCALS

This is a playful and fun vocal delivery from B. The song has summer energy- and her bright vocal plays well with the music and production choices. Her full and buttery tone paired with the harmonies and layering- so pleasing to the ear. Love the adlibs and choices always adding complexity but not chaos. Love the “oh oh oooh” run at the ends-just a nice little exclamation point.

BODYGUARD: MUSIC

Faster, lively strums of guitar compared to other previous songs. Nice percussion and beat I think there’s like a glockenspiel or top maybe maracas- something adding some nice accompaniment sounds. Good energy and flow. More electric elements become more prominent at the end seamlessly. Love the sound of this one its infectious!

DOLLY P ft Dolly Parton

Another country icon gives their endorsement to Beyoncé by lending themselves to this project. Dolly directly addresses B and even addresses lore from her previous work “Lemonade” when comparing “Becky with the good hair” to another famous “hussy” with flaming locks of auburn hair.

[Intro]

(Jolene)

[Interlude: Dolly Parton]

Hey Miss Honeybee, it’s Dolly P

You know that hussy with the good hair you sing about?

Reminded me of someone I knew back when

Except she has flamin’ locks of auburn hair

Bless her heart

Just a hair of a different color but it hurts just the same

JOLENE: INTRO

Introduced by the legend Dolly P herself, EVERYONE knows Jolene. I think it is TELLING that Dolly proceeded her own song and introduced B covering her track. This song is ICONIC- everyone knows the lyrics and everyone knows the music. So, how is Beyoncé gonna tackle this cover whilst also making it her own. SHES GONNA CHANGE THOSE LYIRCS. The message of the song is changed as in Queen Bee’s version, the protagonist isn’t begging or pleading— she’s WARNING. The changes to the messaging are brilliant and I LOVE what she brought to this song.

JOLENE: LYRICS

[Intro]

(Jolene)

[Chorus: Beyoncé]

Jolene, Jolene, Jolene, Jolene

I’m warnin’ you, don’t come for my man (Jolene)

Jolene, Jolene, Jolene, Jolene

Don’t take the chance because you think you can

[Verse 1: Beyoncé]

You’re beautiful, beyond compare

Takes more than beauty and seductive stares

To come between a family and a happy man

Jolene, I’m a woman too

Thе games you play are nothing new

So you don’t want no hеat with me, Jolene

We’ve been deep in love for twenty years

I raised that man, I raised his kids

I know my man better than he knows himself (Yeah, what?)

I can easily understand

Why you’re attracted to my man

But you don’t want this smoke, so shoot your shot with someone else (You heard me)

[Chorus: Beyoncé]

Jolene, Jolene, Jolene, Jolene

I’m warnin’ you, woman, find you your own man

Jolene, I know I’m a queen, Jolene

I’m still a Creole banjee bitch from Louisiane (Don’t try me)

[Verse 2: Beyoncé]

There’s a thousand girls in every room

That act as desperate as you do

You a bird, go on and sing your tune, Jolene (What?)

I had to have this talk with you

‘Cause I hate to have to act a fool

Your peace depends on how you move, Jolene

[Bridge: Beyoncé & Choir]

Me and my man crossed those valleys

Highs and lows and everything between

Good deeds roll in like tumblin’ weeds

I sleep good, happy

‘Cause you can’t dig up our planted seeds

I know my man’s gon’ stand by me, breathin’ in my gentle breeze

I crossed those valleys

Highs and lows and everything between

Good deeds roll in like tumblin’ weeds

Good and happy

‘Cause you can’t dig up them planted seeds

Jolene, Jolene, Jolene, Jolene, Jolene

I’ma stand by her, she gon’ stand by me, Jolene

[Outro: Beyoncé & Choir]

I’ma stand by him, he gon’ stand by me

(I’ma stand by her, she gon’ stand by me)

I’ma stand by him, he gon’ stand by me, Jolene

JOLENE: VOCALS

She gave a fiery vocal performance in this one. It was sassy. It was a warningggg. The riffs and runs that adds at the ends of her phrases are lovely. She adds a lot of variety in her dynamics and vibrato which is so smart, especially on a familiar song.

JOLENE: MUSIC

The music of this song is iconic and instantly recognizable. I loved the way she approached this— she kept the iconic beat and guitar while making tasteful additions. There is a bigger production and I LOVED the harmonica! There’s an intensity in this version that, musically, she was able to match from her lyrical changes. Big fan of what was kept and the decisions made.

DAUGHTER: INTRO

SORRY IM ANIMATED ON THIS ONE—

THIS SONG STOPPED ME IN MY TRACKS. SHOCKING. HAUNTING. I was living for every second. The religious imagery that is built into this song through the lyric being backed by the instrumental choices! Brilliant writing music and vocals. This feels like a song that has been famous for years. (if this goes in a movie it BETTER be perfect)

DAUGHTER: LYRICS

[Verse 1]

Your body laid out on these filthy floors

Your bloodstains on my custom coutures

Bathroom attendant let me right in

She was a big fan

I really tried to stay cool

But your arrogance disturbed my solitude

Now I ripped your dress and you’re all black and blue

Look what you made me do

[Refrain]

They keep sayin’ that I ain’t nothin’ like my father

But I’m the furthest thing from choir boys and altars

If you cross me, I’m just like my father

I am colder than Titanic water

[Chorus]

Help me, Lord, from these fantasies in my head

They ain’t ever been safe ones

I don’t fellowship with these fakе ones

So let’s travel to whitе chapels and sing hymns

Hold rosaries, and sing in stained glass symphonies

Cleanse me, Holy Trinity

From this marijuana smoke smell in my hair

[Verse 2]

I sashayed my dress

Did my best impression of a damsel in distress

This alcohol and smell of regret

Allured my catch

Outfit too small to hide my scars

Feelin’ bottled up like bottle service broads

How long can he hold his breath before his death?

[Bridge]

Caro mio ben

Credimi almen

Senza di te

Languisce il cor

Il tuo fedel

Sospira ognor

Cessa, crudel

Tanto rigor

Ooh, ooh

[Chorus]

Help me, Lord, from these fantasies in my head

They ain’t ever been safe ones

I don’t fellowship with these fake ones

So let’s travel to white chapels and sing hymns

Hold rosaries, sing in stained glass symphonies

Cleanse me, Holy Trinity

From this marijuana smoke smell in my hair

[Outro]

Say I’m nothin’ like my father

But I’m the furthest thing from choir boys and altars

Double cross me, I’m just like my father

I am colder than Titanic water

DAUGHTER: VOCALS

THE VOCALS ON THIS!! okay her tone is full and rich which really adds to this “story-teller” “epic” feel this song gives. There’s a scorn and attitude. She has airy moments and dynamics. The TEMPO AND FLOW CHANGES ARE MASTERFUL—- she just transforms the chorus. THE OPERA. THE OPERA. IN ITALIAN. WHAT CANT SHE DO. THAT VOCAL STACKED DESENDING RUN INTO A SIREN SONG. Ending with that last line ooooo WHAT A SONG.

DAUGHTER: MUSIC

THE MUSIC—Having this Spanish inspired motif repeated on a guitar act as the backbone is perfect. There are a lot of dynamics, like with the addition of piano swelling and fading- adding drama. I loved the change in backing from guitar in strings- it pulls you back in. The use of strings throughout this track are insane. Piercing at times flowing at others. AN EPIC OF A SONG.

⭐️⭐️⭐️⭐️⭐️