Like Kanye, Bey aims for genre-bending collages, tweaked by endless collaborators, to make something huge, and unfamiliar but hip.īut today, neither Kanye nor Beyoncé is the trendsetter that Drake, who has championed and taken numerous artists - from Migos to iLoveMakonnen to, now, established dancehall stars Wizkid and Popcaan - to a greater level of success by remixing their songs, featuring them, or just outright jacking their style.
Her amalgamation on the past two albums is both single-minded, sounding like nothing very recognizable - especially on LEMONADE - steeped in more gritty sonics and retro influences than any pop album in some time. To younger audiences no doubt, Beyoncé - moving toward legacy status - will not be as much of a draw as a Drake, who siphons in modern pop and street hip-hop trends, speaking to millennial interests more than Beyoncé. But Beyoncé’s success manifests itself in a different fashion than her “pop diva” peers - from fellow TIDAL-beholden vet Rihanna to Katy Perry to even the all-dominant sales behemoth Adele. She’s an expert at whip-smart marketing and making her recent albums more available over time (She waited over a year to serve her 2014 self titled to Spotify). The most recent surprise point of comparison? Despite the sales hype, Drakes Views from the 6 is slated to sell almost twice as much in its first week as LEMONADE the Toronto rapper/singer’s album outsold Bey’s first week in just one day. Even her album sales stats, though shes been able to reach #1 with all six of them, have been dwarfed by many of her contemporaries. With the exception of a few ubiquitous singles, her songs generally perform modestly on a commercial level. Over the course of her career, Beyoncé has become less and less of a chart topper outside of the albums sphere. Her auspicious 13-year tenure on the Top 40 as a solo artist speaks volumes for the interest her every move generates, and for her music’s superior quality - backed by endless drove of great supporting artists, songwriters and producers who would give an arm and a leg to work with her.īut the numbers have never really supported the Queen conclusion. She is regarded by many as the de facto Queen of Pop.
Purson, “Desire’s Magic Theatre” Sixx:A.M., “Prayers For The Damned” Stimming, “Alpe Lusia” and finally, Bad Company's “Live in Concert 1977 & 1979” captures the band after its best albums were a thing of the past.Ĭountry/bluegrass - Martina McBride “Reckless” Lonestar, “Never Enders.Yet the album’s commercial performance, and that of its songs in its first week, points to a curious truth about Beyoncé. Plush, "Please" Kyle Craft, “Dolls of Highland” Mike Dillon, “Functioning Broke” Greyhounds, “Change of Pace” Pepper, “Ohana” Victoria+Jean, “Divine Love” Levitation Room, “Ethos.” Sugar Blue, the harmoica player best known for his solo on the Rolling Stones' "Miss You," returns with “Voyage” Plants and Animals, “Waltzed In From the Rumbling” Pity Sex, “White Hot Moon” Cilver, “Not the End of the World.” Eubie Blake and Noble Sissle are the performers, and this is being released as a revival prepares to open. “Sissle and Blake Sing Shuffle Along” is the only known recording of a 1921 all-black musical comedy, "Shuffle Along," that enjoyed a run of nearly 500 shows on Broadway.
Rogue Wave, "Delusions of Grand Fur" Travis, “Everything At Once” Katy B, “Honey” Britta Phillips, “Luck or Magic” The Boxer Rebellion, “Ocean By Ocean” New Madrid, “magnetkingmagnetqueen” Aesop Rock, “The Impossible Kid.”
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