Beyonce’s ‘Sasha Fierce’ Looks to Debut at No. 1

As NowPublic previously reported, R&B superstar Beyoncé is the final stages of completing an artistic transformation into her ultra-bootylicious alter-ego Sasha Fierce.

Having amped up anticipation for the album with her highly entertaining ‘Single Ladies’ stint on SNL last weekend, Beyoncés new album “I am…Sasha Fierce” hit the last remaining, real-world, music store shelves, as well as digital download locales across the internet on Tuesday. The full album is also being streamed online at the Sasha Fierce MySpace page.

Although the album was only released this past Tuesday, it is expected to sell at least 500,000 copies in its first week and to debut at the top of the pop charts.

Beyonce Knowles‘ new album, I Am… Sasha Fierce, is on track to debut at number one on the albums sales chart next week.

Yesterday (November 18), Beyonce dropped her highly anticipated third solo album, I Am… Sasha Fierce, on Music World/Columbia Records.  According to HitsDailyDouble, the two disc set will debut at the top of the charts.  They project that it will sell between 500,000 and 550,000 copies.

But Beyoncé’s double…ahem…”concept” album splits duty between Ms. Fierce-side booty bangers and Beyonce-side ballads — and it appears to suffer from a case of confused musical and artistic identity.

Is the double album/double identity the new single album/single identity?

Beyoncé should chat with T.I., Nelly, and Outkast and their alter-egos for details.

And as for Beyoncé vs. Sashafierce is your forte, girl, don’t settle for slow jams!

Beyoncé’s decision to create an alter ego for her new split-personality double album, “I Am … Sasha Fierce” (Columbia) seems more like a business decision than a psychological one.

She keeps the ballads for herself and outsources all her hip-hop and dance-oriented material to her alter ego, Sasha Fierce – a way to keep both outlying ends of her fan base happy. Those who love her more conventional side need never be bothered by an urban, edgy rhythm or street slang ever again, and vice versa.

It’s a brilliant idea, if only the music cooperated.

Other reviews agree on the music not quite mixing right:

Does the split-personality attempt work? As a total package, not quite. Individual songs such as the role-reversal jam “If I Were A Boy” and saucy “Video Phone” shine, while other tunes just don’t produce enough oomph.

Vulnerability is nothing new for Beyonce, who touched on her sensitive yearnings on 2003’s solo debut “Dangerously in Love.” But she came roaring back in 2006 with “B’Day,” the kind of woman-in-control hit album that scorched club roofs with its rapid-fire grooves.

Executively produced by Beyonce and her dad-manager Matthew Knowles, “I AM . . . SASHA FIERCE wants it naughty and nice. Still, with only 11 songs on the full album’s standard version, splitting the two sides is unnecessary. Each disc isn’t strong enough to maintain the momentum “B’Day” did, even with five extra songs on the album’s deluxe version.

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