Gary Busby

This album deserves every accolade possible. Musically, politically, culturally, as a work of feminist writ… it scores brilliant notes from every lens of viewing. It is a multi-faceted diamond rich with subtle and striking hues and flashes of color and light. I have been listening to it on repeat for several days and each pass is more revelatory than the last. COWBOY CARTER gives nod, pays homage, acknowledges (pick your term) artists of a wide variety and genres: from QUEEN, Dolly Parton, The Beatles, Beach Boys, Nancy Sinatra… to name a few. Interpolating Beethoven, Italian art song, the star spangled banner … Beyoncé weaves each small jewel carefully into an American gown of radiance and beauty. It seems she gives a tour of her life and her thoughts on life at this particular time and place in the US… and her position therein. She has a unique voice (musically and vocally) and (clearly) a vast musical intelligence and lexicon from which to draw. The album pleases on many levels. From sheer footstomping/sing-along-in-the-car tunes, to meaty story songs requiring full attention, from lovingly created cover songs like Jolene and Blackbird (including the brilliant stroke to have Dolly Parton herself provide the intro for Jolene) Beyoncé is at home and in total command of her idiom. She dares and provokes and warns and cajoles. She mothers and “lovers” and “daughters” and seduces the listeners… she owns you while you listen and the obeisance is paid willingly; the gratitude one feels being in the presence of an album of music this well constructed is immense. It is the kind of nourishment for the soul that will keep us going through the dark times that are rapidly approaching. Sing on, Queen B. And thank you.