So here we are, in the midst of what I'll describe as a trend. We get more mea culpas from Jay, more warnings from Bey, and he takes a wistful look back at their long courtship, recalling when they first spent time together on a flight back from a 2000 MTV appearance in Mexico (“We played it cool at the pool of the Cancun, VMA… Fate had me sittin’ next to you on the plane/ And I knew straight away”). On ‘Friends’, we’re told that their house resembles the exclusive members club SoHo House, while ‘Apeshit’ sees Beyoncé nodding nonchalantly towards the $40million dollar private jet she casually bought Jay-Z for his birthday. The closing track “LoveHappy,” with a classic soul sample from Phoenix Express’ 1971 song “You Make My Life a Sunny Day” (via Killer Mike’s “Ric Flair”), is a victory lap, with Beyonce singing, “Sometimes I thought we’d never see the light … Damn, look at us now / We came, and we conquered, now we’re happy in love.” It’s probably no coincidence that this family affair dropped during Father’s Day weekend. Anyone hearing this album knows the Carters are an unprecedented phenomenon; knows they’re the billion-dollar couple; knows what titanic odds they overcame to get to where they are; and knows that their success is a statement in itself. Evidence of that spontaneity is everywhere on an an album that holds happiness highest of all. “We came, and we saw, and we conquered it all,” Beyoncé sings in the closing lines, on ‘LoveHappy’. Following Beyoncé’s explosive revelation of her husband’s infidelity on Lemonade and Jay-Z’s repentant, introspective 4:44, Everything Is Love is the final album in a trilogy documenting married life. Whenever queens have tried to impersonate the mega-star in the past (the entire challenge revolves around doing celebrity impressions), their imitations have always fallen horrifically flat, devoid of any catchphrase or real context to hinge on. Throughout the album, Beyoncé joins her husband in rapping; at times, Jay-Z even seems like her hype … Solid and generally satisfying, but not the best from either. As with such a triumphant denouement, everything about this long-rumored tag-team album from America’s first couple, which arrived with little warning on Saturday afternoon, speaks to marital unity, equality, fairness, forgiveness and redemption. Later on in the chorus, she even comes close to cracking a joke. Things feel all the sweeter knowing how hard they fought to get here: through relationship troubles and against the systemic racism Jay alludes to throughout. On ‘Friends’, we’re told that their house resembles the exclusive members club SoHo House, while ‘Apeshit’ sees Beyoncé nodding nonchalantly towards the $40million dollar private jet she casually bought Jay-Z for his birthday. Telling their own story in their own time, The Carters show that they’ve reached the top by following their own rules. And while Jay twice mentions Trump — who attacked him on Twitter more than once, writing, “his language was so filthy that it made me, like, the most clean-cut human being on earth” — one is a passing reference and the other isn’t even on the album proper, but buried in the middle of the self-congratulatory bonus “Salud.”, “Your president tweeting about Hov like he knows usMy road to the top was to take what you owe usI give a f— what that man find vulgarJust look in my eyes when you toast us.”. This is life music. Release Date: 2018 | Tracklist. It’s both a completion — of the marriage tril… “No need to ask [if] you heard about us,” Beyonce sings at the beginning of “Heard About Us.” So why does it even need saying? Evidence of that spontaneity is everywhere on an an album that holds happiness highest of all. We all knew this would happen, but it's going to happen when you least expect it. Their participation in the visuals, the album’s first video (for the song “Apesh–“) and even the vocals, is almost completely 50-50: If one takes the lead for a song or two while the other adds a verse or hook or bridge, they swap roles for the next. But with all the horrible things happening in the world, and the platform they have and the causes they espouse, are Lambos and private jets and designer brands really what they want to be using that platform to talk about? The answer: they use it to elevate their black peers. Everything Is Love. Singing a hook from ‘Still D.R.E’ on ‘713’ (Jay-Z was a co-writer on the iconic rap track), Beyoncé is the dexterous star of the show. Instead, The Carters often use what seems like braggadocio as a jumping point, leading into a wider discussion about how they choose to use their platform. the Carters — reaches a happy ending. It says a lot when you can name 20 Bey songs without knowing a single one of her strange habits or quirks of personality, and for a long time her stardom has rested on those mysterious foundations. Beyoncé and Jay-Z in the video for Apeshit. Of all the artists occupying pop’s highest echelons, you suspect that Beyoncé is among the most hard-working. Jay-Z, adding extra clout to her words, has switched laboured for laid-back. My great-great-grandchildren already rich / That’s a lot of brown children on your Forbes list. Before we dive deep into the narratives, most importantly, how does it rate as an album? A collaborative album between the pair, it’s the antithesis to ‘Lemonade’’s dramatic scorn and ‘4:44’s wounded dissection of human flaws. 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And sure, they deserve the anniversary present to themselves that this album largely amounts to. Any casual viewer of Ru Paul’s Drag Race will know that Beyoncé does not go down well on Snatch Game. Instead, The Carters often use what seems like braggadocio as a jumping point, leading into a wider discussion about how they choose to use their platform.

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