The Carters need no introduction: chances are if you’re familiar with music at all, you’ve heard of Jay-Z (one of the most iconic rappers of all time) and Beyoncé (one of the most iconic pop stars of all time) and you’re probably aware that they are one of the most high-profile married couples in the music industry. Fresh off of some of their biggest, most acclaimed albums yet (in Beyoncé’s case, 2016’s “Lemonade,” and in Jay-Z’s case, last year’s “4:44”), they are finally here with their first album together. This thing has been teased at since last year, and the duo gave the album a surprise release roughly a week and a half ago.
Now, originally, I didn’t think I was actually going to be reviewing this album: as many of you know, Jay-Z and Beyoncé had their exclusivity deal with Tidal, a streaming service that I do not subscribe to (which is why I had to go through some hoops to listen to Beyoncé’s “Lemonade” when I reviewed it, and why I didn’t end up reviewing Jay-Z’s “4:44” when it came out last year), and I was under the impression I wouldn’t get to listen to this because I’m not subscribed to the service. However, two days after the album’s surprise release, there was an even bigger surprise, as The Carters released the album on Apple Music and Spotify (the latter of which is my preferred service), something I only just found out about. Thus, as I now can actually listen to the album, I can review it! I don’t expect to add much to the conversation since I’m so late to the party, but hopefully, I end up enjoying this as much as others seem to. Let’s see, let’s see:
SUMMER: A very laid-back song, this one is definitely called “SUMMER” for a reason, as it’s got a sexy, summertime vibe to it. As always, Beyoncé’s vocals on the hook are angelic, and they mesh well with the very gorgeous instrumentals and chilled beat. Beyoncé’s flow on her verse is also great, and I also love Jay-Z’s flow as well. He comes through with some really clever bars here, and his ad-libs are actually quite solid. Rory and Damian Marley begin and end the track, respectively, and even though they’re more in the backseat, they add an extra layer of enjoyment to the song with some nice, spoken-word vocals. Good start to the album.
APESHIT: An upbeat, braggadocious banger, Jay-Z and Beyoncé flex quite a bit on this one, and they surprisingly enlist the help of Quavo of Migos fame (Offset also shouts his name at one point, a remnant of the fact that this is a flipped version of a Migos demo). Once again, though, Takeoff is nowhere to be seen (I hope this doesn’t lead to a “do it look like I’m left off APESHIT” meme of some kind), but either way, this one’s got a really energetic beat and it’s just too damn fun to pass up! Beyonce’s hook on this is a lot of fun, and YES YES YES YES YES, her rap-flow is CRAZY good! She and Jay-Z rapid-fire on this one, and they ooze confidence as they flex their luxurious lifestyles with the help of some fun ad-libs from Quavo (and again, Offset randomly shouting his name). Wow, this song is just plain infectious! I love every second of it!
BOSS: The Carters take things just a little bit slower on this one, but they aren’t quite done flexing. Here, they talk a lot about just how effortless their success is (which we saw with the release of this very album, which got a surprise release and managed to see massive success immediately). Beyoncé’s more low-key hook continues to come through with confidence, and her sing-rapping is just as strong as you’d hope. The instrumentals are grand and beautiful, the trap drums are fun and infectious, and Jay-Z comes through with some very varied flows and great lyrics once again. If these first few songs prove anything to me, it’s that not only are Beyoncé and Jay-Z great by themselves, but they bring out the best of each other when together.
NICE: First off, I just want to say, Beyoncé’s lyric on this one that references the whole Spotify ordeal with “Lemonade” was damn ballsy, and while it reminds me that I couldn’t (and still can’t) listen to the album on Spotify, I respect her a lot for putting that lyric in there. Aside from that, this is another trap-flavored, braggadocious song that features Pharrell on the hook. I didn’t really love said hook at first, but it grew on me eventually, and I think Jay-Z’s flow and technicality are incredible as he reminds us of why he’s looked up to as one of the greatest rappers out there. Beyoncé’s sing-rapping is gorgeous, her lyrics beyond that Spotify lyric are hilarious, and Pharrell’s verse is a nice addition. Definitely enjoyed this one quite a bit!
713: Moving away from the braggadocio just a little bit, this one sees the couple sharing their love for each other with the rest of us, and it also sees the two of them paying respects to their upbringings (specifically, Beyoncé shouts out her hometown of Houston, a city that has the area code 713, hence the title of the track). I like the vocal interplay between the two of them on the hook, and the beat on this one is definitely head-noddy and fun. I do wish Beyoncé had a bit more of a presence on here outside of the hook, but her vocals are still strong, and Jay-Z’s flow remains just as solid as ever. Not one of my favorites on the record, but it’s a good track, and it’ll probably grow on me in time.
FRIENDS: A shout-out to the friends that helped Beyoncé and Jay-Z throughout their careers, I was very surprised to find that NAV was credited on the production on this one (apparently, the beat on this one was sampled from an unreleased song from NAV’s last album “Reckless,” the track of which is apparently called "Neptune.") Hearing the song, I definitely feel the NAV vibes on it, with the very dark, moody instrumentals and the somewhat standard trap drum beat. In this case, it works, and it helps that the song features a more emotional performance from Jay-Z and Beyoncé’s gorgeous, autotune-assisted vocals. Actually, I’m gonna say this: with Beyoncé’s vocals on this one kind of sounding like NAV’s (with more emotion, of course) and the track sampling an unreleased NAV song, I feel like Beyoncé and Jay-Z made a better NAV song than NAV did on his last album (or, probably on any of his records for that matter). I mean that in a good way, by the way, this is a really good song!
HEARD ABOUT US: Okay, after a few nicer, more shoutout-driven tracks, Bey and Jay go back to bragging on this one, making it clear that if you’re listening, you’ve heard of these two. It’s a track that starts off somewhat minimal, but it becomes more upbeat as it goes on. It mixes nicely between the two feels, and I love Beyoncé’s hook as well. She sounds angelic as always, the hook itself is very catchy and ear-wormy, and Jay-Z once again drops some very clever bars as well. It’s a track that’s both braggadocious and somewhat personal, and it’s definitely a really good one!
BLACK EFFECT: Moving away from the bragging once again, this one serves as something of an anthem, with Beyoncé and Jay-Z talking about the love that they have for their black skin. In a way, it also shows the duo talking about how they overcame the limits traditionally expected from black artists during the early parts of their career to become global superstars. It’s a very upbeat cut with a very energetic trap drum beat, and Jay-Z proves that, even without the vocals of his wife, he still has enough charisma and excitement as a performer to handle a hook. Beyoncé’s performance also drips in conviction, and she once again mixes singing and rapping wonderfully on her verse (also, her vocal interplay with her husband remains solid). Again, I do wish she had a little bit more of a presence here, but all in all, the song is definitely quite good and it might even grow on me with a few more listens.
LOVEHAPPY: Ending things off, we have a song that shows happiness between the couple: Beyoncé’s album “Lemonade” and Jay-Z’s “4:44” addressed Jay-Z’s infidelity, but this song shows how Jay humbled himself, Bey accepted his apology, and how through all of that, the two have come away from it all stronger than ever, with more love for each other than they’ve ever had. Lyrically, it’s a nice (though, maybe not entirely surprising) way to end things off, and it’s once again got a very lively drum beat and luscious instrumentals. I also think the vocal interplay is the strongest on this song, as the two trade off lines throughout their verses successfully. Beyoncé’s gorgeous vocals on the hook only make things even better. It does exactly what it sets out to do (establish the love that they have for each other and share that love with us), and it’s a great end to the record. There’s no way in the world they’re reading this, but if they were, I’d thank them for sharing that love with us on this track.
Overall, The Carters’ first album together is pretty much everything a Hov/Yoncé fan would want the record to be. It’s a banger-filled album where Jay and Bey go to town, flex on their haters, and revel in the success, but also take their time to be intimate and personal. Through the record, not only do they remind us why they have some of the best musical chops in the game and why they are some of the most beloved artists out there, but they show us that, through it all, their love for each other still exists even after all the drama and the craziness. It’s an album that shows us the more braggadocious side of two of the most popular artists in the world, but it also takes the time to be human, and show us the love and the family bond of one of the most prolific couples in the entertainment business. If this is what to expect out of future joint albums from The Carters…well, I could get used to it.
Favorite tracks: SUMMER, APESHIT, BOSS, NICE, FRIENDS, HEARD ABOUT US, LOVEHAPPY
Least favorite tracks: You know what, I’m not gonna list one. I didn’t really have one, they were all quite good.
Rating: Excellent
SUMMER: A very laid-back song, this one is definitely called “SUMMER” for a reason, as it’s got a sexy, summertime vibe to it. As always, Beyoncé’s vocals on the hook are angelic, and they mesh well with the very gorgeous instrumentals and chilled beat. Beyoncé’s flow on her verse is also great, and I also love Jay-Z’s flow as well. He comes through with some really clever bars here, and his ad-libs are actually quite solid. Rory and Damian Marley begin and end the track, respectively, and even though they’re more in the backseat, they add an extra layer of enjoyment to the song with some nice, spoken-word vocals. Good start to the album.
APESHIT: An upbeat, braggadocious banger, Jay-Z and Beyoncé flex quite a bit on this one, and they surprisingly enlist the help of Quavo of Migos fame (Offset also shouts his name at one point, a remnant of the fact that this is a flipped version of a Migos demo). Once again, though, Takeoff is nowhere to be seen (I hope this doesn’t lead to a “do it look like I’m left off APESHIT” meme of some kind), but either way, this one’s got a really energetic beat and it’s just too damn fun to pass up! Beyonce’s hook on this is a lot of fun, and YES YES YES YES YES, her rap-flow is CRAZY good! She and Jay-Z rapid-fire on this one, and they ooze confidence as they flex their luxurious lifestyles with the help of some fun ad-libs from Quavo (and again, Offset randomly shouting his name). Wow, this song is just plain infectious! I love every second of it!
BOSS: The Carters take things just a little bit slower on this one, but they aren’t quite done flexing. Here, they talk a lot about just how effortless their success is (which we saw with the release of this very album, which got a surprise release and managed to see massive success immediately). Beyoncé’s more low-key hook continues to come through with confidence, and her sing-rapping is just as strong as you’d hope. The instrumentals are grand and beautiful, the trap drums are fun and infectious, and Jay-Z comes through with some very varied flows and great lyrics once again. If these first few songs prove anything to me, it’s that not only are Beyoncé and Jay-Z great by themselves, but they bring out the best of each other when together.
NICE: First off, I just want to say, Beyoncé’s lyric on this one that references the whole Spotify ordeal with “Lemonade” was damn ballsy, and while it reminds me that I couldn’t (and still can’t) listen to the album on Spotify, I respect her a lot for putting that lyric in there. Aside from that, this is another trap-flavored, braggadocious song that features Pharrell on the hook. I didn’t really love said hook at first, but it grew on me eventually, and I think Jay-Z’s flow and technicality are incredible as he reminds us of why he’s looked up to as one of the greatest rappers out there. Beyoncé’s sing-rapping is gorgeous, her lyrics beyond that Spotify lyric are hilarious, and Pharrell’s verse is a nice addition. Definitely enjoyed this one quite a bit!
713: Moving away from the braggadocio just a little bit, this one sees the couple sharing their love for each other with the rest of us, and it also sees the two of them paying respects to their upbringings (specifically, Beyoncé shouts out her hometown of Houston, a city that has the area code 713, hence the title of the track). I like the vocal interplay between the two of them on the hook, and the beat on this one is definitely head-noddy and fun. I do wish Beyoncé had a bit more of a presence on here outside of the hook, but her vocals are still strong, and Jay-Z’s flow remains just as solid as ever. Not one of my favorites on the record, but it’s a good track, and it’ll probably grow on me in time.
FRIENDS: A shout-out to the friends that helped Beyoncé and Jay-Z throughout their careers, I was very surprised to find that NAV was credited on the production on this one (apparently, the beat on this one was sampled from an unreleased song from NAV’s last album “Reckless,” the track of which is apparently called "Neptune.") Hearing the song, I definitely feel the NAV vibes on it, with the very dark, moody instrumentals and the somewhat standard trap drum beat. In this case, it works, and it helps that the song features a more emotional performance from Jay-Z and Beyoncé’s gorgeous, autotune-assisted vocals. Actually, I’m gonna say this: with Beyoncé’s vocals on this one kind of sounding like NAV’s (with more emotion, of course) and the track sampling an unreleased NAV song, I feel like Beyoncé and Jay-Z made a better NAV song than NAV did on his last album (or, probably on any of his records for that matter). I mean that in a good way, by the way, this is a really good song!
HEARD ABOUT US: Okay, after a few nicer, more shoutout-driven tracks, Bey and Jay go back to bragging on this one, making it clear that if you’re listening, you’ve heard of these two. It’s a track that starts off somewhat minimal, but it becomes more upbeat as it goes on. It mixes nicely between the two feels, and I love Beyoncé’s hook as well. She sounds angelic as always, the hook itself is very catchy and ear-wormy, and Jay-Z once again drops some very clever bars as well. It’s a track that’s both braggadocious and somewhat personal, and it’s definitely a really good one!
BLACK EFFECT: Moving away from the bragging once again, this one serves as something of an anthem, with Beyoncé and Jay-Z talking about the love that they have for their black skin. In a way, it also shows the duo talking about how they overcame the limits traditionally expected from black artists during the early parts of their career to become global superstars. It’s a very upbeat cut with a very energetic trap drum beat, and Jay-Z proves that, even without the vocals of his wife, he still has enough charisma and excitement as a performer to handle a hook. Beyoncé’s performance also drips in conviction, and she once again mixes singing and rapping wonderfully on her verse (also, her vocal interplay with her husband remains solid). Again, I do wish she had a little bit more of a presence here, but all in all, the song is definitely quite good and it might even grow on me with a few more listens.
LOVEHAPPY: Ending things off, we have a song that shows happiness between the couple: Beyoncé’s album “Lemonade” and Jay-Z’s “4:44” addressed Jay-Z’s infidelity, but this song shows how Jay humbled himself, Bey accepted his apology, and how through all of that, the two have come away from it all stronger than ever, with more love for each other than they’ve ever had. Lyrically, it’s a nice (though, maybe not entirely surprising) way to end things off, and it’s once again got a very lively drum beat and luscious instrumentals. I also think the vocal interplay is the strongest on this song, as the two trade off lines throughout their verses successfully. Beyoncé’s gorgeous vocals on the hook only make things even better. It does exactly what it sets out to do (establish the love that they have for each other and share that love with us), and it’s a great end to the record. There’s no way in the world they’re reading this, but if they were, I’d thank them for sharing that love with us on this track.
Overall, The Carters’ first album together is pretty much everything a Hov/Yoncé fan would want the record to be. It’s a banger-filled album where Jay and Bey go to town, flex on their haters, and revel in the success, but also take their time to be intimate and personal. Through the record, not only do they remind us why they have some of the best musical chops in the game and why they are some of the most beloved artists out there, but they show us that, through it all, their love for each other still exists even after all the drama and the craziness. It’s an album that shows us the more braggadocious side of two of the most popular artists in the world, but it also takes the time to be human, and show us the love and the family bond of one of the most prolific couples in the entertainment business. If this is what to expect out of future joint albums from The Carters…well, I could get used to it.
Favorite tracks: SUMMER, APESHIT, BOSS, NICE, FRIENDS, HEARD ABOUT US, LOVEHAPPY
Least favorite tracks: You know what, I’m not gonna list one. I didn’t really have one, they were all quite good.
Rating: Excellent
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