***Flawless: The Beyoncé Discography Rate Top 50 (COMPLETE)

There's a very clear rift between All Night, Formation, Drunk in Love, Countdown, Haunted and then XO, Sorry, Partition, End of Time and particularly Crazy in Love.

The latter half are mostly great songs, the former half are peaks in the contemporary musical landscape.
 
So what are you going to say at @Sprockrooster's funeral when you kill him?

10

04_Sorry.jpg


SCORE: 9.117

11/10 x 4

@IMHO @RetroPhysical @Jersey @EnsnareTheSenses

Highest Score: 10 x 41 (@Remyky22 @AllGagaLike @CasuallyCrazed @WarmBlood11 @HeartSwells @Maria @Number @Daniel! @enjoy @Syzygyz @Laura Vanderbooben @constantino @AlmightyAloud @Terminus @Rogue @Jam @Jonathan27 @RainOnFire @theelusivechanteuse @munro @Oceandrive @Subwaykid @strangekin @Lost In Japan. @PLUTO @vikeyeol @Mr.Arroz @eccentricsimply @ThighHighs @Can't Speak French @aaronhansome @Petty Mayonnaise @ohnostalgia @dodoriazarbon @Itty Bitty Piggy @Pinkie @ohdenny @K94 @that boy is a monster @allyshone)
Lowest Score: 0 x 1 (@Sprockrooster)
My Score: 10/10

This is the perfect culmination of several things. Manages to sound current without sounding on trend to the point where it’ll date when trends change, and put through Beyoncé’s perspective of who she is an artist now, so you have an incredibly fresh sounding song helmed by an artist at her artistic peak, and basically the result is one of the best singles of the year and of her career. The cocky derision and anger, the front of not caring (“suck on my balls, pause, I’ve had enough!” yass.), the way she manages to convey contempt in so many colours. And of course, the classic truth: when someone says they don’t care, they very much do, and in this case it results in that utterly heartbreaking outro. This was also the song that launched a thousand memes and edited Wikipedia pages, but let’s not sully such a great song with such indecencies.

We shall open with Jersey, who gave it his 11/10 and said... a lot to explain why, " This is giving Kiss It Better a run for it's fucking money as my track of 2016. To disguise this one as the ultimate break-up bop, complete with amazing hooks, nonchalant vocals and icy 808 clicks and then throw the curveball and turn it into a poem of deceit, pain and running away? This stole my heart from the start. It's just that bop complete with a story, and it never quite gets old. With every listen, you start noticing little hidden lines and production ticks that unveil themselves. Masterful and it deserved to be a #1. #JUSTICEFORSORRY." Um... will you settle for No.10 here? Stan for your life a bit though.

Oceandrive gives it full marks and says, "This song would be a solid 9, but the last minute takes it to another level. The unravelling of Beyoncé in the closing moments adds a new depth to the song. Lots of songs tell us what it's like to feel that self induced high filled with shots and fuck you's after a break up, but not many give you the comedown that is never far behind that moment, and even less manage to do it in the same song." Yes. I could live in the ending of the song forever. Meanwhile, eccentricsimply cannot take, " This sequence is far too much to me. I had "Sorry/I ain't sorry" in my head for weeks after the album came out and I still catch myself singing it randomly. The songs where she's flat out dismissing him are far better than the ones where she's being "okay I forgive you". Also Serena!!!!!!!!!!!!! Those visuals are made even better because of Serena's absolute gorgeousness."

FresherThanYou declares it to be the best track on the album... but only gives it a 9/10 so I sense shade, "Fave lemonade track, could of been a huge hit for her if she really still pushed her singles. Cool synths, catchy lyrics and Becky with the good hair snatched the world for a good month or so media wise so go cause all that commotion bitch." ThighHighs has had enough of fingers, apparently, ""Middle fingers up" has been so overused in music, but I'll be God. Damned. if I don't pop my birds up each and every time I hear this song. The kiss off to end all kiss offs. "Looking at my watch you shoulda been home" is amazing, as is everything else about this."

"Iconic. ‘Where R the bops??!!1’ UM, RIGHT HERE BITCH." screams constantino, "Out of all the tracks, this, Formation and All Night stuck with me most upon initial listens. The hook is genius." Funnily enough, it would appear the forum would agree with you on that. Remyky22 tries to make up for his blasphemy regarding "Formation" and nearly succeeds, "Bey bopping the best way she does, completely connected to the soundscape of the song but completely free and independent at the same time." ohnostalgia sounds like all she does is leave notes in hallways, "Truly a life inspiration."

Let's see what ericcccc has to say, "One of the more immediate tracks for me, although it’s definitely one of the most approachable tracks in general from this project." You say that like it's a bad thing. Beginner takes us on a journey and a half that is totally going to take me over that infuriating character limit, "I actually didn't like this the first few times I listened to it. To me it was too obviously the product of Beyonce placing a bunch of hooks she liked into one track and didn't mesh as a song. HOWEVER one day I heard it on the radio (remember when Beyonce used to have radio hits?) while driving in the middle of a thunderstorm and my gay, pop-loving brain cells got in formation and the song instantly clicked for me. Now, every time I hear it I can't keep my body still or keep myself from waving my middle fingers in the nearest stranger's face."

And finally, let's close with IMHO, who gave this his scared 11/10... After I noticed he hadn't actually given it to anything and forced him to choose something around the Top 40. "This one song might just be everything I never knew I needed from Beyoncé in 2016; the sumptuous production, the effortless hooks, the poignant posturing, the tension between her resiliance and her dissapointment; simply bulletproof."

Pushed as the "first" "single" from Lemonade (did it even really have singles) in the US, "Sorry" actually performed pretty valiantly on the Hot 100. However, the most important part of this tale is the fact its video got an official YouTube upload! It was also performed as part of Beyoncé's Lemonade medley at this year's VMAs, and as part of the Formation Tour's opening section. She even performed it live with video star Serena Williams on the final night. I'll leave you all to drag @Sprockrooster now. Bye!




 
Don't lump me in with the other basics who couldn't appreciate Self-titled's glory. That's not fair and you know it sis.

I know that's not a popular opinion here since everyone seems to love the song but other than the growly chorus, I find the song's melodic structure completely unremarkable otherwise and the song is completely underbaked. Especially when there's songs like ***Flawless and Partition on the very same album which do what Drunk in Love attempts to do but much much better.

I'm not asking for her to slap on a dated 2010 poppers o'clock EDM dance break, nor am I asking her to recruit Max to write a massive pop chorus. There's a way to make RnB and trap music that's still melodic and has a proper hook.

On the very same album you have Partition which succeeds in doing it and you have ***Flawless which also succeeds in doing it. On Lemonade, you have Sorry and 6 Inch, both electro-RnB tracks, that also have a strong enough hook, melody, and production.

Ultimately I just don't think the track succeeds at what it's trying to do.

It was just a fun use of the phrase - nothing more.

There's a rather nebulous undertone to most of your criticism here, in that you've somehow asserted a goal for Drunk In Love which you're claiming it fails it reach. I think the most permeating point here is that perhaps it was never the goal in the first place for Drunk to strive towards achieving melody upon melody, hook upon hook etc.

You see, I think Drunk is very much apart from all of the other tracks you have mentioned, most prominently because it's the only track in which the vast majority of its run-time is spent with Beyoncé herself rap-singing, as opposed to singing straight bars with melodies. Most of it isn't really designed with the idea of having melodies imbued into it, I'd imagine.

Underbaked is also an interesting criticism of the track. In my opinion, it arguably houses the richest, and most rewarding/developing production on the album throughout its mammoth run. The hypnotic refrain cemented in from the start, it bubbles and twists and throbs and builds, culminating in the absolute explosion of the chorus, which presents possibly the album's most memorable melody overall!

OH GOD I'D LOVE TO STAY AND DISSECT IT MORE BUT CHRIST I'VE JUST NOTICED MY 11 IS OUT AND I CAN'T EVEN SPEAK LET ME GO AND SOB A TAD.
 
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It was just a fun use of the phrase - nothing more.

There's a rather nebulous undertone to most of your criticism here, in that you've somehow asserted a goal for Drunk In Love which you're claiming it fails it reach. I think the most permeating point here is that perhaps it was never the goal in the first place for Drunk to strive towards achieving melody upon melody, hook upon hook etc.

You see, I think Drunk is very much apart from all of the other tracks you have mentioned, most prominently because it's the only track in which the vast majority of its run-time is spent with Beyoncé herself rap-singing, as opposed to singing straight bars with melodies. Most of it isn't really designed with the idea of having melodies imbued into it, I'd imagine.

Underbaked is also an interesting criticism of the track. In my opinion, it arguably houses the richest, and most rewarding/developing production throughout its mammoth run. The hypnotic refrain cemented in from the start, it bubbles and twists and throbs and builds, culminating in the absolute explosion of the chorus, which presents possibly the album's most memorable melody overall!

OH GOD I'D LOVE TO STAY AND DISSECT IT MORE BUT CHRIST I'VE JUST NOTICED MY 11 IS OUT AND I CAN'T EVEN SPEAK LET ME GO AND SOB A TAD.
Oh sorry sis. You never know sometimes.

You raise a good point about Beyonce more rap singing than on the other songs which I hadn't considered.
And it's true that maybe Beyonce didn't write/produce the song that way. I just personally think the track doesn't work, but I guess I can understand what people might like about it.
 
When I guest revealed "Sorry" in the PJ-month rate:
So what are you going to say (to me) at this funeral now that I have killed it?

Oh:
So what are you going to say at @Sprockrooster's funeral when you kill him?​



---


Let me point out that Sorry in the rate from @DJHazey got to #9, which is one place higher than here. I expect there were more voters in this rate (but I do not know), which means my 0 had less effect here. Just saying.
 
Girls, I genuinely don't have the energy to do the next reveal tonight, but I'll do my best to go through three tomorrow night to compensate.
 
Oh, go on then. One last elimination before I turn the lights out...

9

image.jpg


SCORE: 9.155

11/10 x 3

@AlexD @Remyky22 @Laura Vanderbooben

Highest Score: 10 x 30 (@Sprockrooster @push the button @Alouder98 @Sam de Jour @KAG @JamesJupiter @ericcccc @2014 @Beginner @kermit_the_frog @scottdisick94 @AllGagaLike @WarmBlood11 @enjoy @Syzygyz @constantino @Terminus @Rogue @Oceandrive @Subwaykid @strangekin @Lost In Japan. @PLUTO @Can't Speak French @aaronhansome @Petty Mayonnaise @ohnostalgia @ohdenny @K94 @that boy is a monster
Lowest Score: 4 x 1 (@Itty Bitty Piggy)
My Score: 9.5/10

I'm actually surprised that this lasted as long as it did, and with as little backlash for lasting as long as it did. I'll repeat what I said about it the last time I did a rate with "XO" in it: it kind of falls into a weird space where current Beyoncé fans probably find it okay and score it accordingly, but fans of old Beyoncé latch onto it as a lifeline and adore it. I think I'm somewhere in between. Has she outgrown songs like this? Perhaps. Does Beyoncé still sell it to hell and back? Yes.

I feel like this doesn’t get enough credit for how special it is and instead has become the pariah for everyone who thinks Beyoncé is “beneath” pop music when the reality is that it will always be a part of her, and the way she imbues this with so much feeling is proof. Her soft, slightly grainy vocal (thanks, bronchitis) works perfectly to give the song this bittersweet feeling, like the love she’s talking about is fleeting, so they need to hold onto it for as long as they can. Singing it with her on what was essentially the first night of the tour for this album was so special as well. Eh, I don’t know. I get the complaints about it, but sometimes you just need to let a song dazzle you and not front about it. It’s gorgeous, and her voice on the first verse is one of the most beautiful vocal moments of her career. Let me be soft and warm for a second.

We open with 11/10 giver, Remyky22, " the philosophy of living in the moment summed up in a short and sweet sparkling ball of magic, glimmering the same way as the moment when you see the person you love under the lights in a club. And this feeling of deep infatuation that drives you to love because you know that you may fall out of love in the very next moment (because it's one of the forces you cannot control), has been one of the most overused ideas in pop music, and a very difficult one to pull off successfully. This makes the song even more impressive. It shines like a falling star, leaving a short trail behind it, but when it shines, it shines larger than life, eternal in its transience and epic in its tininess." Jesus Christ sis it's only the opening paragraph of the write up and you're killing us like this?

"A highlight in her discography. Such an amazing, euphoric track." proclaims munro. FresherThanYou gets his Xs and Os up, "Love this track so much! Has a special place in my heart." and KAG is similarly all up in his feelings, "This is genuinely pop perfection to me. It's got great melody, a killer chorus and robust production. I also think its message of loving someone unconditionally is incredibly heartwarming and one everyone can relate to, or at least strive for, and Beyoncé sounds fantastic as she always does." while joe_alouder gets wistful, "It's such a song full of life but also melancholy at how fleeting it all is. I love it and it's a classic." However, it ain't shit to IMHO, who was actually one of the lowest scorers of the song at 6.5/10, "This has just never hit me in the feels like it has for some many others. I appreciate it well enough but, overall, something about it feels quite small and anonymous, leaving me a little cold."

Sprockrooster moves on the mess of the last elimination to... another mess, "Such a much-needed breath of fresh air on this album." Disaster. "Ryan Tedder is a master at building up songs to a perfect a climax and this song proves that. A joyous middle-8 and that full speed final chorus lift this to a solid 10." Okay, not too bad this time. Oceandrive awards full marks and shades the intolerant video in the process, " Homophobic Queen of Pop." Oh God, remember when that was a thing? Gays, if you want representation in the video, you should have gone to the fair the day Beyoncé was shooting. She made up for it in "All Night" after all. ohnostalgia gets personal, "I used to put this on repeat during my aforementioned breakdown and for a few minutes everything was okay." You should try the version HAIM did for extra feels. K94 gives it every mark he can and labels it, "Pure euphoria." while ThighHighs grabs the tissues, "Not ashamed to say I've had a cry to this one. The best parts of love in one song."

I want to actually close with resident Ryan Tedder stan Beginner, who didn't give this his 11/10, but with this commentary, he might as well have, " Most songs on the charts are about crushes, unrequited love, first dates, and break ups. There are probably a hundred times more songs about relationships before marriage than there are about ones after marriage. And I don't blame them: I'm sure it's hard to write exciting songs about being married the same way it's hard to keep being married exciting as the years go by.

I think this song is so emotionally dense because Ryan Tedder and Beyonce both brought years of marriage and experience raising children to the table when they wrote it. They both know what it's like to fall in love and fall out of love while still being committed to make it work--because even though you might not like your spouse some days, that love doesn't die out. They did a fantastic job of summing up those years of experiences into a three and a half minute song, and threw in some pretty great hooks while they were at it.

I see this and All Night as sister songs. This was the "I know what you've done and I forgive you and I love you" song a few years before we got Lemonade."

"XO" was swiftly included in the encore of the Mrs Carter Show Tour, as the first leg ended just as the album dropped. Below, I've included the first ever performance where her vocals shake a little, she fucks up the lyrics, and generally is a bit of an endearing mess (as much of a mess as Beyoncé can be) because she's just dropped the album of her career out of nowhere and she finally gets to share it with everyone and it begins here. It also got a high profile performance at the Brit Awards in 2014, which was also included. Enjoy!









 

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