(Parkwood/Columbia)
Straying far beyond its original country concept, the musician’s eighth album straddles the Beatles, the Beach Boys, the blues – and Becky with the Good Hair via Dolly Parton’s Jolene
American Requiem, the opening track of Beyoncé’s eighth studio album, is many things. It offers a touch of state-of-the-nation address – “Can we stand for something? Now is the time to face the wind” – and a sprinkling of the kind of vague but apparently personal lyrics that send social media into a frenzy of decoding: what are her “father’s sins” that Beyoncé has apparently “cleansed” herself of? Who are the “fairweather friends” for whom she claims to be planning “a funeral”?
It’s also a loud statement of what you might call Beyoncé’s bona fides. She is, she avers, “the grandbaby of a moonshine man [from] Gadsden, Alabama” who furthermore has roots in Louisiana. “They used to say I spoke too country,” she protests, adding: “What could be more country than that?”
