03:03 AM on 12/17/13
LOVE this album. I wished you had gone into the production side of things, because I really loved the work Boots did on songs like "Haunted" and "Blue." I've always wanted to hear Beyonce over music like that, which was kind of hinted at on "4" ("I Miss You" being an example), but I'm glad it was maximized on this record. She sounds great.
11:37 AM on 12/17/13
Thanks dude. Means a lot
Yeah I'm extremely interested to see what boots does in the future - the production is very "of the moment" but it sounds much better executed than all but the highest quality releases of recent years. boots actually made a rap genius account and has been making a lot of annotations to the album...it's interesting to see what his thoughts are.
Yeah, very "808' and Heartbreak"-informed Alt-R'n'B (is that still a thing?), but I think the production hinted at things that will allow the music to age gracefully. Do you know if Boots has worked with any artists worth noting?
11:51 AM on 12/17/13
It's certainly another entry in that category of vaguely similar "dark" r&b. as far as i know, this is the first anyone has heard of Boots.
Interesting! I'll keep my eye out for more work from him/her(?).
BTW, great review! Great work putting the art in context and analyzing from that point.
11:10 PM on 12/17/13
Very well-written review. Nice analysis. My thoughts:
This is where the genre has been going for a few years. Not surprised she's jumping on the style. I think "Pretty Hurts" is really well-written. The line "it's the soul that needs surgery" is powerful.
Beyonce has obviously put a lot of herself into these songs and this album gets better with each listen to me even though I'm not a huge R&B fan. With that said, one thing that should be known, and not discounted, about great professional songwriters and producers is that they know how to get inside other people's heads and communicate for them.
A guy like Detail, who changed Drake's whole sound on the new album (40 gets all the credit) is also here on "Drunk In Love" and "Jealous" and it's not a coincidence it's reminding people of recent Drake.
A lot of the new, sexual and more aggressive lyrics are a credit to the writers (Nash, Fisher, Fauntleroy, Miguel) who have been doing it like that for years. I hear them in the topline more than I hear B. It helps that I've been around some of these people in the studio and heard a lot of their unreleased, or yet-to-be-released work.
But let's be honest, who do you think wrote "Let me sit this ass down on you?" Beyonce, or the guy who said "tell me that that pussy is mine."
I'd love to hear more about Detail's work on NWTS. I know he had some co-producer credits, but I didn't think Drake's sound was necessarily changed due to it. Want to elaborate on that?
12:22 AM on 12/18/13
I'm referring more to his change vocally. Different cadences and inflections he hadn't used before. Detail has a few production credits, but also has writing credits on songs he didn't produce. In a lot of those instances it's because he wrote parts of verses for Drake and established certain unique vocal styles and deliveries. "305 to My City" is the best example. I heard that before Drake got on it with Detail basically bar-for-bar doing the song. That's why he ended up staying on as a featured artist. A few other things, like the weird, almost shouting-hyped-up stuff such as "mother fuckers never loved us, REMEMBER?" is all Detail too. He's got a very unique style, which he's sorta giving away now that his solo career hasn't taken off. You can hear it a bit in the beginning of Wayne's "No Worries" too - just weird cadences that are all over Nothing Was The Same. And I don't know if it's 100% yet, but he was saying he was asked to executive produce the next album.
Oh damn! That's really cool! I was really interested in figuring out where that whole sound came from because it really added a new dimension to Drake's bag of tricks.
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