CD1
1. Beyoncé - If I Were A Boy (4:10)
2. Beyoncé - Halo (4:21)
3. Beyoncé - Disappear (4:28)
4. Beyoncé - Broken-Hearted Girl (4:38)
5. Beyoncé - Ave Maria (3:41)
6. Beyoncé - Smash Into You (4:31)
7. Beyoncé - Satellites (3:08)
8. Beyoncé - That's Why You're Beautiful (3:41)

CD2
9. Beyoncé - Single Ladies (Put A Ring On It) (3:13)
10. Beyoncé - Radio (3:38)
11. Beyoncé - Diva (3:20)
12. Beyoncé - Sweet Dreams (3:28)
13. Beyoncé - Video Phone (3:35)
14. Beyoncé - Hello (4:16)
15. Beyoncé - Ego (3:56)
16. Beyoncé - Scared Of Lonely (3:42)

Though she's only 27, Beyoncé goes out of her way to be an old-fashioned celebrity, the type offended by Pete Wentz blogging about Oscar the Grouch or Britney Spears Twittering her life away. "I feel that, especially now with the Internet and paparazzi and camera phones, it's so difficult to maintain mystery," she said earlier this year. "It's almost impossible to have superstars now, because people will never get enough." And, in our TMZ-addled world, her reluctance to entertain most questions about her personal life is both refreshing and a bit stubborn. She's a megawatt anachronism in sky-high heels and a frozen smile. So, without much outside interference, Beyoncé's fan-artist connection relies almost wholly on her music-- the only place to find the "real" Beyoncé is on her albums. With that direct relationship in mind comes I Am... Sasha Fierce, a supposed window into the soul of Beyoncé as well as her hair-flipping sexpot alter ego who happens to be blessed with the ultimate "Project Runway" moniker.

The "split-personality" gimmick is now a tired and, more often than not, hapless pop theme (see: Garth Brooks's proto-emo character Chris Gaines, T.I. vs. T.I.P, the street vs. boardroom dynamic of hubby Jay-Z's Kingdom Come). Sasha Fierce will not disturb that unfortunate trend. Unlike 2006's underrated funk-fest B'Day, which held together remarkably well as an LP and saw Beyoncé ditching sap for sass, this record isn't supposed to coalesce. Speaking once again to her penchant for the outdated and obsolete, it's a 2xCD affair also available in a deluxe edition with five additional tracks. (Didn't anyone tell her about Christina Aguilera's recent diva-fied double disc disappointment Back to Basics ... and that you're supposed to put the deluxe edition out six to eight months after the regular edition?) Sasha Fierce puts Beyoncé back into the "singles artist" column-- only the blindly devout would consider slogging through the deluxe edition multiple times; only the foolishly puritanical would deny the occasional high-gloss super hits.

Nobody wins the Beyoncé vs. Sasha battle-- often, the listener loses. On the Beyoncé side, while tracks like the effective (and affecting) gender-bender "If I Were a Boy" and the stunning love-as-god power ballad "Halo" (courtesy of "Bleeding Love" scribe Ryan Tedder) find the singer both strident and exposed, there's lots of wispy nonsense seemingly dug out of Celine Dion's scrap pile. Her twist on "Ave Maria" is vocally impeccable, but it reads more like recital fodder rather than a true confessional. Flip to Sasha, which is more listenable overall, but also more pandering. There's the one that sounds like past Beyoncé hits ("Single Ladies [Put a Ring on It]"), the one that sounds like "A Milli" ("Diva"), and the one that sounds like Rihanna ("Sweet Dreams"). For someone famous for effortlessly sparking trends, there are a surprising amount of opportunistic retreads here.

Beyoncé is a capital-S Star, and one glimpse of her onstage makes it clear why she's earned her right to operate above the fray. But an album isn't a concert, and there are simply not enough Sasha Fierce songs worthy of her or our time. (The hopelessly benign "Smash Into You" will provide a prime bathroom break moment on her next world tour, though.) While this LP is more painstaking than B'Day, the extra effort dulls any emotional wallop; B'Day, in all its hectic glory, offered a much more vivid peek into the elusive mind of Beyoncé than Sasha Fierce, which often reads more like projection than reality. Considering the wealth of characters this multi-talent is currently amassing between movies and alter egos, the notion of Beyoncé is more splintered now than ever. Sasha Fierce doesn't help her put the pieces back together.

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(01). Dreamgirls [3:21] 
(02). Hey Goldmember [2:44] 
(03). Cards Never Lie (Feat Wyclef Jean & Rah Digga) [2:41] 
(04). (Interlude) Im Somebody [1:27] 
(05). When I First Saw You (Feat. Jamie Foxx) [3:03] 
(06). Fever [4:32] 
(07). Hard To Say Goodbye [2:37] 
(08). Id Rather Go Blind [3:05] 
(09). (Interlude) In This World [2:19] 
(10). One Night Only [3:11] 
(11). So Amazing (Ft. Stevie Wonder) [4:12] 
(12). Once In A Lifetime [3:59] 
(13). Trust In Me [3:42] 
(14). (Interlude) Step On Over [0:23] 
(15). Daddy [4:59] 
(16). All I Could Do Was Cry [3:06] 
(17). Still In Love (Kissing You) [4:36] 
(18). Swing Low Sweet Chariot [2:05]

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01. Beyonce - Speechless
02. Beyonce - T-Shirt
03. Beyonce - That's Why You're Beautiful
04. Beyonce - Still In Love (Kissing You)
05. Beyonce - Gift From Virgo
06. Beyonce - Until The End Of Time
07. Beyonce - Dangerously In Love
08. Beyonce - Flaws & All
09. Beyonce - Smash Into You
10. Beyonce - Satellites
11. Beyonce - Signs
12. Beyonce - Wishing On A Star
13. Beyonce - Cater 2 U
14. Beyonce - Halo
15. Beyonce - Hello
16. Beyonce - ROC [Bonus Track]

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01 – Pretty Hurts
02 – GhostHaunted
03 – Drunk In Love (Feat. Jay-Z)
04 – Blow
05 – No Angel
06 – YoncePartition
07 – Jealous
08 – Rocket
09 – Mine (Feat. Drake)
10 – XO
11 – Flawless (Feat. Chimamanda Ngozi Adichie)
12 – Super Power (Feat. Frank Ocean)
13 – Heaven
14 – Blue (Feat. Blue Ivy)

In the year of the internet troll, Beyoncé might just be 2013's very best. Having hinted at an album since she performed at the Super Bowl back in February, Beyoncé has spent most of 2013 releasing songs for films (Rise Up), adverts (Grown Woman for Pepsi and Standing On The Sun for H&M) and DVDs (God Made You Beautiful) but not, it seemed, for her fans. It was, frankly, turning into a complete mess. Then, early this morning, and without warning, she dumped her self-titled fifth album on iTunes, complete with 14 songs and 17 videos (it's a "visual album" because Beyoncé "sees music" you guys, keep up).

So why the delay? Rumours had been swirling that following the relative lack of success of her last album 4 (no top 10 singles in America, only one here), an early incarnation of the album simply didn't have enough singles on it, while snippets of interviews with various collaborators (The-Dream, Pharrell, Ryan Tedder, Timbaland), hinted at levels of perfectionism last seen in pop's halcyon days of Michael Jackson. Whatever the reason, it must be slightly galling for her ever-patient label to listen to the Janelle Monae-esque Haunted and hear Beyoncé half-rap the following, "All these record labels be boring/ I don't trust these record labels, I'm torn." They might also be surprised to learn that Beyoncé – by far her most experimental and multi-layered album – doesn't really contain an obvious Crazy In Love-style banger. In fact, only the opening Sia collaboration Pretty Hurts and the joyous, echo-laden heart burst of XO are immediate choices for singles, with most of what comes in between shifting from velvet-soft slow jams like the D'Angelo-indebted Rocket (opening line: "Let me sit this ass on you") and the swagged-up don't-you-know-I'm-Beyoncé-isms of ***Flawless.

As with Justin Timberlake's recent 20/20 Experience albums, a lot of the songs on Beyoncé unfurl slowly, stretching out to the six-minute mark and often feeling like two songs stitched together. So Haunted starts out as a minimal, weirdly robotic spoken-word section before morphing into the percussive, doom-laden second half. On Partition's first half she delivers another half-rapped verse with a delicious snarl, even delivering an overview of the album's raison d'etre in "Radio say speed it up/ I just go slower." As she coos "Yoncé all on his mouth like liqueur", flashing paparazzi bulbs take us into the second section, which is basically about having sex in the back of a limo ("He Monica Lewinskyed all on my gown").

In fact, sex crops up quite a lot throughout. It's all over Blow's delicious throwback funk and the atmospheric thump of the Crazy In Love sequel, Drunk In Love, which features Jay Z seemingly ignoring the pair's current vegan diet as he raps about how he likes Beyoncé's breasts for breakfast. It's not all happy families however; the dark-hued, Lana Del Rey-styled romance of Jealous casts Beyoncé as a spurned lover, while the icy mechanics of No Angel (a Pitchfork-friendly collaboration with Chairlift's Caroline Polachek) recasts the slow jam as something otherworldly.

Perhaps with radio stations having all but deserted her – in America at least – Beyoncé has realised that she doesn't need them. Her superstar aura is now strong enough to hide the fact that, 4 aside, the majority of her albums have been fairly inconsistent, almost like vehicles for singles rather than a cohesive body of work. With album sales stalling across the board and the focus shifting to touring, Beyoncé's got the tour out of the way first – with this year's Mrs Carter jaunt – and released a singleless, multi-layered, head-spinning album second. Maybe she knew what she was doing after all. ---Michael Cragg, theguardian.com

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1. Crazy In Love (Featuring Jay-z) 
2. Naughty Girl 
3. Baby Boy (Featuring Sean Paul) 
4. Hip Hop Star (Featuring Big Boi And Sleepy Brown) 
5. Be With You 
6. Me, Myself And I 
7. Yes 
8. Signs (Featuring Missy Elliott) 
9. Speechless 
10. That's How You Like It (Featuring Jay-z) 
11. The Closer I Get To You (Duet With Luther Vandross) 
12. Dangerously In Love 2 
13. Beyoncé Interlude 
14. Gift From Virgo 
15. Work It Out 
16. Bonnie And Clyde 
17. I Can't Take No More

Beyoncé Knowles was always presented as the star of Destiny's Child -- which probably shouldn't be a big surprise since her father managed the group. So it was a natural step for her to step into the diva spotlight with a solo album in 2003, particularly since it followed on the heels of her co-starring role in Mike Myers' 2002 comedy hit, Austin Powers in Goldmember. Still, a singer takes a risk when going solo, as there's no guarantee that her/his star will still shine as bright when there's nobody to reflect upon. Plus, Survivor often sounded labored, as Knowles struggled to sound real. The Knowles clan -- Beyoncé and her father Mathew, that is (regrettably, Harry Knowles of "Ain't It Cool" is no relation) -- were apparently aware of these two pitfalls since they pull off a nifty trick of making her debut album, Dangerously in Love, appeal to a broad audience while making it sound relatively easy. Sometimes that ease can translate into carelessness (at least with regard to the final stretch of the album), with a prolonged sequence of ballads that get stuck in their own treacle, capped off by the unbearably mawkish closer, "Gift from Virgo," where she wishes her unborn child and her husband to be like her daddy. (Mind you, she's not pregnant or married, she's just planning ahead, although she gets tripped up in her wishes since there's "no one else like my daddy.") Although these are a little formless -- and perhaps would have been more digestible if spread throughout the record -- they are impeccably produced and showcase Knowles' new relaxed and smooth delivery, which is a most welcome development after the overworked Survivor. Knowles doesn't save this voice just for the ballads -- she sounds assured and sexy on the dance numbers, particularly when she has a male counterpart, as on the deliriously catchy "Crazy in Love" with her man Jay-Z or on "Baby Boy" with 2003's dancehall superstar, Sean Paul. These are the moments when Dangerously in Love not only works, but sounds like Knowles has fulfilled her potential and risen to the top of the pack of contemporary R&B divas. It's just too bad that momentum is not sustained throughout the rest of the record. About halfway through, around the astrological ode "Signs" with Missy Elliott, it starts crawling through its ballads and, while listenable, it's not as exciting as the first part of the record. Still, the first half is good enough to make Dangerously in Love one of the best mainstream urban R&B records released in 2003, and makes a strong case that Knowles might be better off fulfilling this destiny instead of reuniting with Destiny. ---Stephen Thomas Erlewine, Rovi

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01 - IF I WERE A BOY (KARMATRONIC.mp3
02 - RING THE ALARM [FREEMASONS RAD.mp3
03 - DÉJÀ VU - (FREEMASONS RADIO ED.mp3
04 - SINGLE LADIES (PUT A RING ON I.mp3
05 - NAUGHTY GIRL (CALDERONE & QUAY.mp3
06 - GREEN LIGHT (FREEMASONS RADIO.mp3
07 - CHECK ON IT (JUNIOR VASQUEZ'.mp3
08 - BEAUTIFUL LIAR (FREEMASONS RAD.mp3
09 - UNTIL THE END OF TIME (GROOVE.mp3
10 - IRREPLACEABLE (MAURICE JOSHUA.mp3
11 - CRAZY IN LOVE (JUNIOR VASQUEZ'.mp3
12 - FREEMASONS CLUB MEGAMIX.mp3
13 - SI YO FUERA UN CHICO.mp3
14 - OYE.mp3
15 - RING THE ALARM (FREEMASONS CLUB MIX).mp3

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