BEYONCÉ
Beyoncé
2014
Album Summary
Beyoncé (often stylized in all caps) is the fifth studio album by American singer Beyoncé. The record was released on December 13, 2013, by Parkwood Entertainment and Columbia Records. Developed as a "visual album", its songs are accompanied by non-linear short films that illustrate the musical concepts conceived during production. Its dark, intimate subject material includes feminist themes of sex, monogamous love, and relationship issues, inspired by Beyoncé's desire to assert her full creative freedom. The album's initial recording began in New York City, where Beyoncé invited producers and songwriters to live with her for a month. During extensive touring the following year, the album changed as she conceived of creating a visual accompaniment to its songs and resumed recording sessions with electronic producer and rock musician Boots. Their collaboration led to more sonically experimental material, which combined contemporary R&B with electronic and soul music. Throughout this period, the album's songs and videos were composed in strict secrecy as Beyoncé devised an unexpected release. Beyoncé was released digitally on the iTunes Store without prior announcement or promotion, and debuted at number one on the US Billboard 200, earning Beyoncé her fifth consecutive number-one album on the chart. The album sold over 617,000 copies in the United States and 828,773 copies worldwide in its first three days of sales, becoming the fastest-selling album in the history of the iTunes Store up to that point. According to the International Federation of the Phonographic Industry (IFPI), Beyoncé was globally the tenth-best-selling album of 2013. The album was reissued in November 2014 as part of a platinum edition, along with an extended play of new songs, and has sold over 5 million copies worldwide. Part of the album was promoted on The Mrs. Carter Show World Tour during the 2014 legs. Beyoncé received widespread acclaim from critics upon release who praised its production, exploration of sexuality, vocal performance, as well as the album's surprise release strategy which was subsequently replicated by many artists. In 2020, Beyoncé was ranked 81st in Rolling Stone's 500 Greatest Albums of All Time list.
WikipediaI would like to thank whoever lent Beyoncé Knowles-Carter a copy of Yeezus, and I would also like to thank Jay-Z for pretty clearly having outright psychopathic dick game. BEYONCÉ is an erotic, playful, and personal—well, as personal as something with like 30 writers can be—record with a sound that gleefully defies expectations. There's some pretty sexy shit on here, but what grabbed me most was how much fun she seems to be having on the microphone, confidently busting out Lil Jon & the Eastside Boyz references, I-run-this-shit chest beating and barely-disguised, Prince-esque sex rhymes in-between examining her self-image and serenading her newborn daughter. The second half can't keep up with the runaway momentum of the first (barring ***Flawless, it sounds more like what I expected going into the album, bland Drake feature and all), but this was a damn fine surprise overall. Key Tracks: Haunted, Blow, Partition
Uggghhhhh. I can't with this crap. There's no merit here. Beyoncé seems like more of a product to me than a person. When a massive team of people does all the work and you just show up to sing, I mean, where’s the artistry in that? It just feels so manufactured and artless.
Really? Beyonce? Christ, ok. aaaand it was just as shit as expected. Just r&b that sounds like it was made in a factory. Because it was. Naturally there are about 10000000 outside writers per song. Why does the music press pretend this shit is a personal statement about anything? Like oh yeah this really came from her heart.... and the hearts of about 500 dudes. 1/5 get the fuck outta here.
I never really understood the hype surrounding Beyonce, sure she has a good voice, but I tend to think her massive appeal and commercial success is more attributed to Beyonce the "product", rather than just the music. I'm always suspicious when you hear about an artist's personal life just as much as their music. I hadn't listened to her music more than what I've been force-fed on the radio and music videos and she is what she is. A above-average singer, with an above average hype machine behind her = the greatest singer of her generation...yeah, right.
Another one of my faves. I hadn't actually listened to this album in a while. It's starting to sound like a product of its era, the synth-pop sounds of the early 2010s. The entire album is a masterwork, telling stories of horniness, womanhood, motherhood and other delights. "Flawless" is such a tune and it takes me back to the summer of 2013/2014, when waking up like this was my goal in life (and still is, tbh). I also like that Beyonce kind of invented the "surprise album" era, gifting fans with no just a full album but also fully realised music videos for each track. "Drunk In Love" is also a fab track but I cannot emphasise how much of an absolute perfect tune "Flawless" is.
Not every part of the Beyonce package is to my taste. She's too musical theatre at times, too breathy and others, and sometimes just too darn slow. But grandiosity is her metier, and this trades artlessly in the language of significance from front-to-back. She sends a lackey to fetch Drake and Frank Ocean, reduces them to the prupose she has in mind, then flicks them back out the door. She's one of just a few artists who can pull off such pomposity. Maybe the only one of the current era. What keeps her grounded--like down and diiiiiirty grounded--is sex! sex! sex! "I can't wait till you get home so you can turn that cherry out" is great. But it's the way she replicates foreplay and climax in the pop song structure that makes this soar. And Partition may be the most accurate musical interpretation of a shaking booty ever.
There's a lot of variety in the music, Beyonce always sounds the same. It might be a nice variety if you liked any of it but for me it's just messy. Beyonce loves a lick out. Sometimes a man chats. French woman also likes sex. There's a child on this. I don't get it
It's modern mainstream pop music... These pop people are always kinda funny to me. They're like full grown adults most of the time (I guess she was ~32 when this was released) and they have to sing these ridiculous songs ("Blow" comes to mind) and dress in these crazy outfits all the time. Sure, she's only 32 at the time here and maybe "Can you eat my skittles?" and "Turn that cherry out" are actually the artistic statements she wants to make... Regardless, the lyrics on this album are just ridiculously cheesy. Whatever pays the bills I guess.
HAHAHAHHA FUCKING SHOPPING CENTER MUSIC LMAOOOOO. Da mi se sluša ova glupača ošo bi u arenu centar, a ne bio na ovoj stranici.
This album is incredibly pretentious without the chops to back it up. I just think about how she acted like she invented the idea of a surprise drop... the same year that Bowie and MBV did it.
No hay mucho que decir. Creo que es mi disco favorito de Beyoncé, no hay skips prácticamente y hasta la edición platino me parece que sí aporta. Beyoncé en control de tantas cosas, un control que no ha soltado en discos posteriores, su voz tiene tantos matices y las melodías, pegajosas y envolventes, se acoplan muy bien a ella. Favs: "Drunk in Love" (y el remix, muy bien, con su eterno enamorado: Kanye), "Blow", "No Angel", "Rocket" y "Superpower". 10/10
Creó que nunca había escuchado esta joya. Siento que no me quedó de otra más que ser que ser simp por Queen B. Me gustó todo el disco la verdad, pero llevo un par de horas escuchando Mine con Drake, va directo a mis canciones favs de los 2010s. Mood: I woke up like this
This album is a monster of singles, and at the same time so cohesive. This is one of the things that separates Beyonce from other similar artists. I think the thing that pushes it up to 5 is Partition/Yonce.
This is the album that really turned Beyoncé into the mega star she is today and it’s easy to see why. Almost everyone song was a major hit and they’re all good. Plus features from the biggest artists of the decade, especially if you swap some of the originals for the Deluxe remixes
Until today, the only time I ever listened to Beyonce on purpose was when I was learning to play Redemption Song so I was searching for live covers and found a version with her singing while Eddie Vedder handled the guitar. I quite liked that cover but I was never attracted to her own music; although from what I can see on this album, she doesn't write any of what I just called "her own music". I was expecting to hear some "poppy" songs, as might be typical for someone so popular but there aren't many here. I guess one positive thing to say is "At least it's not pop." Perhaps there is some magic in the lyrics which I didn't really pay attention to on my first listen. Since Charlie Watts passed today I'd rather play some Stones than spend another hour listening to this album to see if the lyrics justify a higher rating. Even if the lyrics are top shelf, they aren't her lyrics so I'm not sure they should move the needle higher.
Album die mij niet compleet aanstaad omdat het niet mijn genre is. Wel enkele bekende hits erop zoals drunk in love en partition.
This sounds like the most expensive album I've ever heard. Hundreds of cowriters and producers involved and it stops it from being cohesive. Obviously she has a great voice but does nothing for me
I mean it's the queen of pop for the 21st century. I get that this was an event when it was dropped but again, it's just more bland R&B - at least the production is interesting that's what saves it. Just. Best Tracks: Pretty Hurts; Drunk In Love (feat. Jay-Z); Partition
WOW! There’s a reason she’s Queen Bey. Incredible album that tells incredible stories. Absolutely amazing!
Smooth, sexy, powerful, and empowering. I feel like kicking the patriarchy's ass today. More so.
I don’t listen to Beyoncé much…really just when a tunes pops on the radio or something. I found some songs quite pretty and some quite sexy. Her voice is so smooth and can really draw you in.
This is a pretty damn epic album, which does explain some of the worship given to Her Majesty. There were a couple of times my arms almost went up in the air in praise. We all knew she could sing, but here was a real VOICE. Anyone who can sing an ugly word like "ass" the way Beyoncé does in the opening line of "Rocket" is truly a virtuoso (virtuosa?). I almost felt overly voyeuristic in the more erotic numbers because they were so personal and intimate. But I suppose that goes for all of the emotions expressed in this album as well. "Pretty Hurts" is quite a message coming from someone who we all just sort of assumed reigned over the world with effortless beauty. The video is pretty gut-punching. And speaking of videos, I note that this album was meant to be accompanied by all the videos (I never saw an "Audio Only" warning on an album), but I was only able to sample a few today. It was time well spent.
should have won album of the year at the 2015 grammys, it's insane I still have to pick my fave song because it changes each time like she's so sick for this excellence
Oh goodness I hope I like this. I feel like Pretty Hurts is trying to making a grand statement and I'm missing it. Okay, HAUNTED I get. Powerful. Geeze. I don't know if I've ever listened to a more danceable album. I expected vapid pop. The time changes! The key changes! The production value! wow. Haunted, Flawless, XO, Jealous, Blow, what a a great album!
Big beats with heavy bass. Good intro clips and rap interludes. Strong range demonstrated with vocals and styles rap, soul, r/b. Impressive features and remixes on platinum edition. Pretty hurts, drunk in love, Jealous, flawless, heaven, ring off
because i'm a broken person i have a hard time appreciating glossy, expensive, and frankly *talented* pop music when i can instead listen to some clanking, lumbering, uncomfortable song that makes you work for the relief of the melody. basically what i'm saying is that beyonce isn't someone whose music i had ever had any real impulse in pursuing, assuming it to resemble her earlier pop career. i guess all this time she's been making surprisingly exploratory neo-r&b that sounds like if if you gave carpenter brut some ketamine. i don't know how this happened and i don't know why i was unaware of it before. on a lot of levels this is really not my thing, and i wouldn't seek this out but it's kind of the ideal outcome of exploring music outside of your wheelhouse; this is not an album for ME and yet it impressed the hell out of me.
BEYONCÉ does not quite reach my threshold for a 4-star album. But I want to elevate it from the average stuff I put in the 3-star bucket. Good production and no filler track.
my first Bey :) 2014...was listening to a lot of Sara B, so...this is pretty pop for me, even now i think. I'm not sure how well the audio dialogue works here. now i know timbaland was fairly involved in this really contextualizes it. hate that drake track. ryan tedder wrote XO 🥰 needed to relisten to no angel after seeing Polachek on the cred. (don't really feel it) will listen to some Solange and Kelly R for some supplementals - the Kelly album is too meh for me. now Solange, i had a feeling she's easy to love. 2016 album is my jam
I got the itunes LP that followed this, Lemonade, after a zillion critics said it was the best release of the year, but it didn't really hold my attention. This one I like. The production is complex and captures many different moods. They get quite experimental at times with samples and some nice dark synthy bits. Beyonce has a velvety voice, the guest singers and rappers spice things up nicely, but she is still the center piece. The lyrics are mature and personal (sex with hubby, for example). Compared to the recent 1001 offer by that other female pop icon whose albums we don't buy (Madonna) I think Beyonce's release is deeper, more rounded and a greater accomplishment (even if you leave out the short films that apparently come with every song).
Never thought much of her but this was actually a decent album, great combination of pop, r&b and hip hop styles
This album grew on me as I listened to it. At first, I wasn’t enjoying it at all but by the time I got about halfway through I was thoroughly vibing to it. It’s definitely one of the horniest albums I’ve ever listened to and shows why Beyoncé is called the queen. Fav songs: drunk in love remix, jealous, XO
Was surprised by how much of this I already knew and actually liked given that I'm not big on her music
I’ll admit I’ve never been the hugest fan. I respect what she does but the amount of writers and producers who put each song together is crazy to me. I really enjoyed this album more than expected though. Was happy to check it out. Love the production. FAVE SONGS: “Haunted” “Pretty Hurts” “Drunk In Love”
It's not music I would seek out, honestly I don't know much about Beyonce's career at all and I'm fine that way. But the album was quite good, I liked it! Good variety of song styles too, and also sooo horny haha!
Mad sexy. I didn’t vibe with every song on here enough for it to get a 5, but the sheer creativity, personality, and honesty on this record is astounding.
Excellent album de la part de Queen B, n'en déplaise a robparmentiere, adorateur de musique de merde. Ce petit plaisantin n'a en effet relevé de cet album que la briève apparition de son chanteur de merde favori, le denommé Sampha. En effet, il est vrai que l'on peut retrouver Sampha pendant quelques secondes dans le fond sonore, supplier l'auditeur d'écouter son album de merde. Je vous retranscris ses paroles ci-dessous: "S'il vous plait, achetez mon album, ou au moins essayer de l'écouter sur Spotify" dans un français parfait. Cela ne prend pas, nous ne lançerons pas Sampha et attribuons a Beyoné la note de 4/5.
I thought Lemonade was the best Beyonce album but now I've properly listened to this one it sure has competition. Amazing, wonderful, there is nobody like Beyonce
So sexy. Apart from the bland bits. Rated the deluxe version so i could listen to the flawless remix again. Beyonce is a great singer and her rap is on point. -1* for the dull balad type songs. When she's hype, the album is amazing.
8/10. Had some rather slow sections/songs, but started and ended strong enough. I can see why people like Beyonce, but I don't see her becoming a personal favorite. The bits of "No Angel" that are super breathy and she halts after every word reminded me forcibly of Stevie from Malcolm in the Middle.
7/10 good album, most of it holds up in 2021 but I think there are a lot of cuttable songs
She's like the Voltron of all the divas that came before - Aretha, Madonna, Mariah - but also, like, a little Prince, a little R&B, a little gangsta rap. She's bad ass. This is not really my go-to genre of music (and I won't pretend like Beyonce was aiming for the middle-aged, straight, white guy audience) - still, this album is a work of art in many senses. Vocally, she's clearly talented. Even though some of the songs don't really have consistent melodies (they're more stream of consciousness almost), it's still interesting to listen to. And, she was clearly going through some shit in her life while recording this - and I was impressed with the honesty and vulnerability on a lot of the tracks. In summation - I'm not sure I "liked" this album, but I enjoyed listening to it and respect it. Credit where credit is due.
Someone needs to get me a Rabbit Test because I'm pretty sure Queen Bey just got me very pregnant.
I related to this right off the bat. It's aimed at females, but it also resonates with fathers of daughters. Pretty Hurts sounds like a club song, but it's way better than that. This is apparently a visual album, so I may have to check that out too. The album proceeds beyond beauty and infatuation and gets deeply sexual, which again is a celebration of Beyonce's femininity. Flawless is like a precise commentary on self confidence and worth. Heaven and Blue are a perfect ending to an album like this. This is truly an album tha tells a story. She uses all the tools in her arsenal to entertain, but also engage us in her story of a woman coming of age, developing, combatting hate, letting power and self-worth prevail ultimately to persevere tragedy and evolve into a mother of a daughter.
It's an impressive pop album, pulling from an extremely wide range of genres including vocal music, trap, 90s R&B... Both very horny and very jealous. Takes a lot of risks while maintaining a poppy catchiness. Beyonce is, obviously, an impressive vocalist, though I don't know if I really like the guest voices here (I typically like Frank Ocean and Jay-Z, never been a big Drake fan). Favorite tracks: "Mine", "Pretty Hurts", "Drunk In Love", "Heaven", "***Flawless"
Beyonce, she is awesome. I think lemonade is her #1 classic album, but I can see how this album leads up to it. Collaged from bits of her own history and a patchwork of collaborators, it has her distinct vision all through it.
Not long after listening to Solange's R&B album "A Seat at the Table", I got her older sister's self-titled album. It's tempting to compare the two, one minimalist fused R&B and the other electronica fused R&B. But nobody wants to be compared to their sibling, so I guess won't. Beyoncé's surprise album is a surprise indeed. Mostly because this isn't what I personally expect from someone who gave us "Single Ladies", "Halo", and "Listen", among others. This is a so-called "alternative R&B" album. The sounds and the productions are so jaw dropping-ly gorgeous. It perfectly captured the personal, the sexual, and the feminist aspects of this album. I love how the electronic and synth elements are utilized. However, the album seems to have an unconventional structure. It's not bad, but because of this, there are minimal hooks in this album. After a while, it losses its steam, and it becomes somewhat monotonous. Still, it was a hella good listen. I'll definitely come back to this, perhaps I'll even watch the visual part of the album to maximize the experience.
Niet onmiddellijk een gigantische Beyoncé-fan. Maar met dit album begrijp ik goed waar de fanbase vandaan komt. Het is krachtig, open en gevoelig.
Beyoncé tiene un rango musical y artísitico amplísimo que debo aceptar. Todo lo que viene en este disco está sumamente bien hecho en todos los niveles de producción: calidad de la voz, arreglos, instrumentaciones, todo. Eso no significa que me encante. Hay rolas demasiado R&B-escas que no me encantan, hay otras en las que hace un "grito de mujer afroamericana enojada" (en Flawless) que no me gusta ni tantito, pero hay otras que son pop del mejor hecho: XO, Blow y Rocket (anuma, hablando de cohetes, esta prende la mecha). En fin, no es el disco que traería conmigo a todos lados, pero veo que es una muy buena obra. PD. No escuché más que las 14 del disco original. Tampoco estoy para echarme casi 3 horas de 40 rolas cuando contamos todos los extras.
This isn't my usual type of thing at all, but gotta admit it's slick as hell. Beyoncé is undeniably talented, and I'd probably get more out of it if I gave it more listens than the 2 so far. Fave track - "***Flawless" - the intro was kinda irritating but the rest of the track was captivating. Great stuff!
This is the 3rd R&B album from 2010s I've been assigned this month, but this is by far my favorite. The background behind the album is pretty remarkable. No leaks, no hype. An album drops out of nowhere with a music video released for each of the 12 tracks, turning this album into a visual experience. Only one of the most famous musicians alive in our modern age could pull something like that off. Taylor Swift would pull similar stunts years later. She moves away from her traditional side into experimentation, taking on a wide variety of influences over the decades into both her music and accompanying videos. Meanwhile, her lyrics cover themes related to accepting her identity and finding her ambitions, whether related to being happy, breaking from the music industry norm, or seductively pleasing her lover. The production is perfect. I found little to no hiccups. They take all sorts of risks, and I'm constantly surprised with each song. Of course, Beyonce's a remarkable singer. I don't really care about these things much, but she has superbly admirable control of what her voice is capable of. Songs like "Rocket" demonstrate how fluid she can change characteristics of her voice in a continuous stream. "Pretty Hurts" sets up the themes we explore in the rest of the album, taking an introspective dive on Beyonce escaping from public perception and exploring her identity and creativity. It's a hit and great way to entice both new and old fans. "Haunted" adopts the dark electric synths of Lorde. "Drunk in Love" reminds me of her early work with Sean Paul mixed with a modern hip hop beat. I really enjoyed the chorus and Jay Z's contribution. Who knew he was obsessed with cake and anime? "Blow" appears inspired by the fun 90s R&B acts of TLC, Mariah Carey, Janet's Velvet Rope with a sound reminiscent of 80s post-disco (e.g. Pointer Sisters). "No Angel" is chillwave and reminds me of FKA Twigs with the high register and pauses. "Partition" sounds crunk, especially in the middle, but apparently I'm the only person who thinks so. It feels heavy and dark, her raps are impressive, and I enjoy the intersection of the high-register chorus. It's one of the more complex songs, composed of several phases that don't sound like they're from the same song. "Jealous" is one of the least interesting tracks, sounding like standard R&B pop, but the production is spot on. "Rocket" is neo-soul, another standout. Impressive vocals, changing tempo, range, and style continuously. It's compared to Prince and D'Angelo, and yes I can agree with that in the song's ambitions of power performance. I'd also say it has the style of D'Angelo and the funk and energy of Prince. "Mine" is one of the weakest tracks. I was afraid Drake was gonna screw it up, but with the exception of a few annoying effects, it was pretty solid. Forgettable though. "XO" is another hit and a fan favorite, one of the cheerier tracks. It has a ton of hooks, but personally, I think it's boring. "***Flawless" is trap and contrasts strongly with the previous "XO." Haha this is the type of music people hate with a passion. In the middle we get force fed a tedX about feminism LOL. It's solid and coherent, and I absolutely love the second half. I'm really impressed the way the lines roll off her tongue. "Superpower" is my first time hearing Frank Ocean's voice, and damn he sounds exactly like Prince. If you told me this was Prince... well, I'd say "didn't he die?" but he actually died in 2016. Ocean's face is derpy as hell though. Beyonce's voice gives off Mariah Carey vibes. I like the open atmospheric samples in the background. This song begins our melancholic closing to the album. "Heaven" is slow tempo R&B, one of the more boring tracks, but definitely the most sensational about a lost loved one. Glad this one is near the end but not the last one. "Blue" is a personal favorite of mine I don't see talked about. I love the bittersweet ending of the album. I'm obsessed with her vocals, especially in the "chorus" part. The samples remind me of those Youtube lofi tracks. The mood reminds me a lot of Taylor Swift's Clean on 1989. Favorites: Pretty Hurts, Haunted, Drunk in Love, Rocket, Baby
https://www.labnol.org/internet/music-taste-linked-to-intelligence/7489/
A very good if not “classic” Beyoncé album in the sense that Lemonade is. For me this was one of the first albums we heard that was purely fun and no actual work to listen to which sometimes in life you just need. Rocket, Flawless, Partition are all great. Not the best performance by Jay z, drake, or Frank Ocean but their guest spots are all enjoyable. She really is a great singer.
Not quite my thing, but I can’t deny that this a very well performed and produced album.
When Beyoncé became Queen B. So many hits on this album and definitely one of her top 2
Nathan Rabin once said (https://www.avclub.com/volume-7-july-2001-1798220509) : The theme of most of Beyoncé Knowles’ hits, as both a solo artist and the lead singer of Destiny’s Child (otherwise known as “Beyoncé and two random women in the background”), can be reduced to “I’m awesome. Fuck you.” It's hard to argue too much. Beyonce, she is awesome. I think Lemonade is her masterpiece album, but I can see how this album was an important step leading up to it. Collaged from bits of her own history and a patchwork of collaborators, it has her distinct vision all through it. There is a change in this album, as the thematic material becomes a bit more personal and the vision more sophisticated than just crushingly great pop music. This really preached a peak on Lemonade, which si an amazing record. I think this record has some really great singles, but the album tracks are where some of the really interesting meat is.
beyonce is one of those artists that i have always wanted to explore, and i'm thrilled to get the opportunity here. the album is autobiographical at times, which is fitting for a self-titled album. including those audio clips of her childhood/past was a brilliant choice. not to mention, "***flawless" includes such an important message--the spoken word verse!! i love owning and celebrating sexuality via "partition." it's so empowering. "pretty hurts," as the album opener, discusses happiness and beauty standards. beyonce works hard to cover some important topics here. for someone who can sing as she does, it's a shame there's so many produced sounds. i wish her voice was allowed to stand more on its own. regardless, her voice is beautiful here. but i suppose with the produced sounds, the album is full of a lot of fun. as a side note, it's fascinating to see how many of these songs have a cultural impact!
Quite possibly Beyoncé's best record. There's a great mix of styles here and she really shines as a songwriter and vocalist in pretty much any genre she wants. Also the production is killer There are a couple of songs I'm less keen on (particularly Blow and Mine) and it it a bit over-long in that sense. However otherwise it just has banger after banger - the four singles and No Angel are all top-tier Bey tracks- so it's hard to let that affect the overall enjoyment of the album
Unexpectedly varied. I like the bravado in the lyrics, the dark electro-trap beats, and the restrained vocals compared to her hits from the mid-2000’s.
I enjoyed this album a lot more than I thought I would. The lyrics of much of the first half were the main issue I had with the album - I'm all for female sexual empowerment, but from Drunk in Love to Rocket I just wanted to tell Bey and Jay to get a room (Jay-Z: "Your breasteses is my breakfast." Sigh). That said, the music and production are excellent and she has an amazing voice. Don't know if I'd go out of my way to listen to it again, but I wouldn't mind listening more, so I'll call it a 4. Tracks that caught my ear: Haunted (very cool track - also a good spot to acknowledge the visually stunning videos she made for every song on the album), Partition (more sexy-time lyrics, but I like the music), Mine (really like the drum track), XO (anthemic), Flawless, and Heaven (what a great line "Heaven couldn't wait for you. So go on, go on home." I saw some people say it's about a miscarriage, which hits hard, but she says it's about her mother's friend. If it is about a miscarriage, damn that hits you in the feels). Nice ending with Blue - it made me want to go hug my kids, even though they're not so little anymore.