The ability of Dolly Parton’s “Jolene” is that Dolly Parton sounds powerless. The guitar riff prickles nervously; the melody pleads within the method of a hungry pet; Parton sings, in a trembling tone, concerning the girl who might and really nicely may take her man. It’s a love tune to Jolene herself, expressing the form of love a supplicant exhibits their god—determined, fearful, needy for mercy.
However Beyoncé doesn’t do powerless. The 42-year-old pop star simply launched Cowboy Carter, her extremely anticipated experiment with Americana musical traditions. With 27 tracks spanning 78 minutes, the album is a payload of provocation and flat-out astonishing music that may take some time to completely digest. Humble nation touchstones—banjo licks, lyrics about boots and spurs—are stitched, with seams exhibiting, to dizzying dance beats, lushly stacked vocal harmonies, and cartoonishly giddy raps and chants.
Beyoncé’s new, blood-lusting tackle “Jolene” is the important thing to understanding what she’s as much as. Parton herself introduces the tune, in an interlude that includes the well-known “Jolene” riff within the background. “Hey, miss Honey B, it’s Dolly P,” the 78-year-old legend says. “You realize that hussy with the great hair you sing about? Reminding me of somebody I knew again when.” Any fan of pop music will bear in mind this hussy. Beyoncé’s 2016 album, Lemonade, insinuated that her husband, Jay-Z, had cheated on her. Straight away-classic couplet on the tune “Sorry,” she sang, “He solely need me after I’m not there / He higher name Becky with the great hair.”
Pre-release rumors that Cowboy Carter would function a model of “Jolene” make it unsurprising that Beyoncé now calls again to Becky—however the way in which by which she’s finished so continues to be a shock. After the Parton speech, the riff surges from background to foreground. Beyoncé begins in on the well-known melody, however in a tone that’s husky and heavy fairly than fragile and light-weight. The place Parton sang “I’m beggin’ of you, please don’t take my man,” Beyoncé sings “I’m warnin’ you, don’t come for my man.”
The rewriting turns into extra dramatic from there. As a substitute of “auburn hair,” this Jolene has “magnificence and seductive stares” that strive “to return between a household and a cheerful man.” Whereas Parton recognized with the opposite girl, Beyoncé gives solely this concession: “I can simply perceive / Why you’re interested in my man.” She then threatens Jolene: “You don’t need this smoke, so shoot your shot with another person.” Beyoncé isn’t some hapless bystander; she’s a “Creole banjee bitch from Louisianne” who’s been “deep in love for 20 years” and is aware of her man “higher than he is aware of himself.”
The music is principally trustworthy to the unique, however the manufacturing is extreme, supercharged. Further percussion clacks within the background, just like the stomps of onlookers; a distorted voice saying “Jolene” echoes repeatedly, just like the producer tag on a hip-hop mixtape. Towards the top of the tune, Beyoncé sings a brand new melodic chorus: “I’ma stand by him, he gon’ stand by me.” A refrain of males reply, “I’ma stand by her, she gon’ stand by me.” That’s proper: “Jolene,” a legendarily one-sided serenade, now encompasses a male perspective.
On my first hear, I cackled. Beyoncé’s aggression is so outsize, so daring, as to amuse within the method of a combat between reality-TV housewives. On the second hear, I felt unhappy. Well-liked tradition isn’t in want of extra songs by which girls diss one another over a person. Nor are we missing for singers—or, certainly, for Beyoncé songs—that includes bland boasts reminiscent of “I do know I’m a queen.” Beyoncé changed the vulnerability that made “Jolene” among the finest tunes of all time with a bunch of bad-bitch clichés. Is that this how useless our tradition has gotten—we’re unable to confess that another person is likely to be hotter than us, if just for a second?
Subsequent listens to the whole thing of Cowboy Carter have softened me a bit towards the tune. That is an altogether violent album—that includes gunplay imagery (on the funky interlude “Desert Eagle”), intimations of civilizational turmoil (on the astounding, psychedelic opener “Ameriican Requiem”), and a homicide ballad (“Daughter,” which transforms, halfway by means of, into an aria—one other cackle-worthy second). These lyrical gestures, mixed with the album’s many sonic juxtapositions, assist draw out an American hypocrisy. In white-dominated nation music, dominance and protection are beloved lyrical tropes. In hip-hop, those self same tropes get Black performers vilified as harmful, and even prosecuted.
Beyoncé’s subversion of that double customary performs into the deeper theme of the album, and actually of all of Beyoncé’s current work: the unconventional significance of marriage and household. For a very long time now, she has been a sneaky traditionalist, utilizing spectacle and artistry to intercourse up the concept of settling down with one man and sticking with him. She does that right here with glorious raunch jams reminiscent of “Tyrant” and “Levii’s Denims,” the epic electronica story-song “II Fingers II Heaven” (“In these darkish instances, I’m so glad that this love is blinding”), and folky gems whose titles—“Protector” and “Bodyguard”—counsel the concept of affection as armor.
Beyoncé isn’t simply taking part in into some trad-wife cultural resurgence or asserting her superiority over different girls. Within the context of the American historical past explored on the album—reminiscent of a canopy of the Beatles’ “Blackbird,” a tune impressed by the mortal hazard that Sixties civil-rights activists confronted within the South—she’s asserting that the Black household has a proper to defend itself towards varied forces that may undermine it, deprive it, and tear it aside. Cowboy Carter’s title, pairing Jay-Z’s final identify with the pistol-toting frontier archetype, indicators a warning—one which Becky, or Jolene, ought to heed.
