Beyoncé releases the CD/BLU-RAY package with 14 tracks and 17 visually stunning, provocative videos shot around the world from Houston to NYC to Paris, and Sydney to Rio de Janeiro, all before release.
This brand new package features the radio singles ‘XO’ & GOLD single ‘Drunk In Love’.
Review:
The first 346 days of Beyoncé's 2013 were eventful enough. She headlined
the Super Bowl XLVII halftime show, joined by Destiny's Child partners Kelly
Rowland and Michelle Williams. The trio released “Nuclear,” an excellent
song disregarded for not being an anthem. A documentary, Life Is But a Dream,
aired on HBO. There were appearances on albums by Rowland, the-Dream, and
husband Jay-Z, as well as a Soundcloud upload “Bow Down/I Been On,”
passionately debated for its aggression and vulgarity, and the more
“ladylike” “Standing on the Sun,” a clothing retailer tie-in. And then,
on December 13, while engaged in a world tour and when no one expected it, she
released her fifth solo studio album with accompanying videos. Easily her best
album since B'day, it's among her most entertaining and sexually explicit work,
yet it's substantive in every respect. Beyoncé co-wrote and co-produced all of
the songs with A-listers like Pharrell, Timbaland, James Fauntleroy, Hit-Boy,
and the-Dream, as well as emerging Detroiters Detail and Key Wane and the
previously unknown Boots. There are deep references to Beyoncé's competitive
showbiz upbringing and acknowledgments of her beloved Houston hometown.
“Mine” and “Blue” involve vivid expressions regarding the turbulence and
thrill of motherhood. Central track “***Flawless” opens with Ed
McMahon's introduction of her preteen group on Star Search, incorporates the
combative “Bow Down” and a portion of celebrated Nigerian writer Chimamanda
Ngozi Adichie's TED talk on feminism, as well as a booming, quotable-packed
victory lap. It concludes with McMahon's dismissal of her group, as if to say,
“Yeah, but look at me now.” There's also a whole lot of romance, heartache,
and, most prominently, monogamous sex – in the kitchen, in a chauffeur-driven
car, while drunk. Best of all is “Blow,” playfully risqué boogie loaded
with instantly memorable lines – “I'm-a let you be the boss of me,” for
instance – and a slick tempo changeup. Soul throwback ballad “Rocket” is
a close second, another amusing mix of metaphorical and explicit come-ons. It
opens with an elegantly delivered “Let me sit this ass on you.” When the
album came out, the release itself dominated the chatter. In time, it should be
seen as a career highlight from a superstar – one of the hardest-working
people in the business, a new mother, in total control, at her creative and
commercial peak.
All Music Guide – Andy Kellman