More than five years ago, singer Beyonce confessed to the world she was “Crazy In Love,” but on her latest release, she’s just plain crazy. Now, the pop superstar and international sex symbol drops I Am … Sasha Fierce, a double album that separates her wild, risqué alter ego from what she has said is her true self: shy, romantic and sensitive.
Beyonce isn’t the first artist to embrace a schizophrenic-esque musical effort. The dueling-persona concept has been attempted by rapper Cassidy with Split Personality, rapper T.I. with T.I. vs. T.I.P. and Nelly with Sweatsuit, each of which lacked cohesiveness and convincing spirits for both the light and dark sides of the artists. And Beyonce’s plea of insanity suffers from similar inconsistencies that could never hold up repeatedly switches from melodic whispers to passionate cries that are sultry and never shrill. And on “Broken Hearted Girl,” Beyonce relates touching lines such as “There are times that I hate you/ And I would complain/ But there are times I’m afraid you would walk away.”
Beyonce also flaunts her vocal diversity on “Halo,” a radio-friendly power-pop song complete with violins and a grand piano. She hits falsetto high notes, dirge-like low notes and a yodel ad-lib that channels Jewel.
But this cluster of dramatic slow songs isn’t compatible with Beyonce’s quintessential hit material. The style is more pop-rock than soul, alienating fans hoping for the diva’s signature grooves.
Disc two is also a bit awkward due to the crunk and southern hip-hop genres Beyonce attempts to cultivate. She wants to act as Sasha – a fearless, outgoing and seductive club-hopper. However, most of Sasha’s tracks are generic copies of overplayed radio hits.
“Diva” features a sped-up sample and instrumentation reminiscent of any Ciara, Missy Elliott and Timbaland collaboration. Beyonce tries to talk tough by spitting rhymes such as “How you gonna be talking s—/ Like I just got up in it/ I’m the number one diva in this game for a minute.” These boasts are uninspiring, and Beyonce sounds about as threatening as Lil Mama.
Beyonce takes another unsuccessful stab at Southern hip-hop on “Radio,” which combines crunk rhythms with electronica synthesizers. Her singing is sexy as intended, but the drum and bass aren’t hard hitting enough to make the song a club banger, while the melody isn’t accessible enough for radio play.
As much as she may want to be different and experimental, Beyonce is neither Sasha Fierce nor a sentimental crooner. She is an R&B singer who should continue to combine – not divide – a brash, girl power-advocating style with a warm and heartfelt style.
Perhaps Beyonce should re-listen to her 2006 song “Irreplaceable” and move Sasha Fierce over “to the left, in a box to the left” with Cassidy’s ladies’ man personality, T.I.P. and Nelly’s suit.
arush@umd.edu
RATING: 2.5 out of 5 stars
