Beyoncé’s new record 4 came out this week and it isn’t very impressive or interesting. The mainstream media blows rose petals up B’s ass all day long, but is she really all that? The highly overrated Beyoncé has got issues, and here’s just 4.Some might argue that despite the success of Dangerously in Love and B’Day, Beyoncé has yet to release a seminal work. In this download-the-single world, some may not see the importance of a well-constructed, complete album, but releasing an album with 2 hit singles and 10-12 tracks of filler illustrates the difference between a greedy paper chaser (Forbes top-earner 2009) and artistic integrity. When Beyoncé is on, she’s really, really, sublime, see – Ring the Alarm, Me, Myself & I, but her filler is so offensive it makes you question her overall standards.Beyoncé’s fucking boring. Next to Gaga’s theatrics and Rihanna’s edgier sexuality, Beyoncé’s show looks like a cotillion. Respectful, well-behaved, and lady-like, Beyoncé’s biggest rebellion is wearing a heavily-enforced diaper on stage and setting her wind-machine to high. Hanging out with Gwyneth fucking Paltrow isn’t doing much for her swagger either. These days, stepping out with Beyoncé is more akin to visiting with your proper aunt than raging with a rockstar.Beyoncé’s stuck in a rut. The lyrically uninspired 4 sounds like it could have come out three years ago. Tired and unoriginal, Beyoncé vacillates between deferential obedience and put-him-in-his place neck-rolls, all very well-tread ground for the artist. What’s new here? Nada.
It takes more than a mythical range and amazing vocal control to make a hit record – just ask Christina Aguilera. Beyoncé works in all the grunts, runs, and big-note belting she can, but we’ve seen all these tricks before, and they do nothing to bring the snoozy 4 to life.
With all of Beyoncé’s access and resources, there really isn’t an excuse for this mediocre offering. You won’t hear the truth elsewhere because Tina Knowles scares the shit out of everyone.