Beyoncé and Jay-Z (The Carters) have the entire world shook with their surprise collaborative studio album, EVERYTHING IS LOVE.

Beyoncé and Jay-Z, royalty, finally did the long-anticipated and highly-desired – they released a joint album! What’s more shocking than the superstar couple dropping the LP is the fact that it came out of nowhere on a Saturday afternoon.  Honestly, the other superstars dropping albums during the same week – Nas, Christina Aguilera, and 5 Seconds of Summer – had to be shocked when EVERYTHING IS LOVE arrived.  Naturally, the results are nothing short of fire.  

“SUMMER”

“SUMMER” commences EVERYTHING IS LOVE incredibly soulfully. The backdrop includes horns, strings, and piano, anchored by an ultra-rhythmic beat and robust bass line. Beyoncé has excelled against throwback production in the past (“Resentment” from B’Day comes to mind).  She does the same here, sounding incredibly sultry on the first verse and the golden chorus where she sings, “Let’s make love in the summertime, yeah / On the sands, beach sands, make plans.”  Jay-Z is equally locked in against this chill, lush backdrop, getting off to a fast start asserting, “I brought my sand to the beach / Hopped out the Lam’ with the sheep / Skin rugs on the floor / We hugged, made love on the seats.” 

Question: “Have you ever seen the crowd goin’ ape-shit?” “APESHIT” arrives as the single from the collaborative project. Where “SUMMER” is more laid-back and trends more on the urban contemporary side of things, “APESHIT” is more of rap banger.  Beyoncé shines on the first verse with confident pop-raps, assisted by ad-libs by Quavo.  Chocked-full of gimmickry, it’s a fitting approach against the adventurous production by Pharrell Williams. Arguably, Bey may be even more electric on the third verse where there’s no shortage of assuredness and swagger. Jay-Z arrives on the second verse, fiery, dissing the Super Bowl, The NFL, and the Grammys (“Tell the Grammy’s f**k that 0 for 8 shit”).

“BOSS” 

“Ain’t nothing to it (there’s nothing!), boss.” EVERYTHING IS LOVE keeps the momentum going incredibly strong on “BOSS.”  The production is awesome, going three for three.  The articulated horns truly shine, adding a soulful dimension to this super slick hip-hop flex joint.  Bey exhibits ‘that attitude,’ bragging, “I record then I ball, I ignored a lot of calls… / Tell that bitch, ‘I don’t like you’ (I don’t f**k with you!).” One of the most interesting parts of Jay’s verse is the many shots he fires at Drake, including, “To them invoices, separate the men from the boys, over here / We measure success by how many people successful next to you.”

“I can do anything, yeah / Hell nah, hell nah, hell nah, hell nah.” Beyoncé and Pharrell drop the chill, yet cocky, hard-hitting hook on “NICE.” Jay-Z gets the first verse, asserting, “My passport is tatted, it look like it’s active.” He goes on to reference his hustling past as well as assert his fearless. Beyoncé arrives charged up on the second verse, notably stating she could care less about streaming numbers, citing the Tidal exclusive Lemonade.  Later, she goes on to deliver another short verse, followed by a unique Pharrell verse.  Yeah, of course the results are nice.

“713” 

The distinct, rhythmic piano alone on “713” is enough to make it pop, sigh.  Jay-Z rides that piano (and beat) like a boss, splitting the hook with Bey.  Otherwise, this is a solo track.  He focuses on how his relationship with Mrs. Carter went down, which is quite interesting. Beyoncé is natural more dominant on the heavily rhythmic, but melodic “FRIENDS.” The lengthiest song from EVERYTHING IS LOVE, Hov does get his own extended verse on this smooth, minor key jam.  

On the briefer “HEARD ABOUT US” Beyoncé “Puts hoes in their place, bitch stay in your lane.” Fierce of course.  As for Jay-Z, “Billie Jean in his prime, for the thousand time, the kid ain’t mine.” Why that line is significant is because it finds the rapper addressing a ‘secret son.’ The effect of the record reminds me of a shirt I once had and wore with the utmost confidence – People know me.  “He smoke and we drink, D’USSÉ to the face.” 

“BLACK EFFECT” 

“I’m good on any MLK Boulevard.” Penultimate joint “BLACK EFFECT” gives EVERYTHING IS LOVE another banger, anchored by super slick beat.  Following a spoken word intro, Jay-Z drops a hella catchy hook, followed by a black-centric verse, where Hov opts for “Lebron James to you Omaroses.” Beyoncé joins briefly at the beginning of the first verse, before Jay-Z dominates the rest.  The upbeat “LOVEHAPPY” concludes the LP fittingly, finding The Carters trading lines on the verses.  Bey drops the soulful chorus.

Final Thoughts 

The joint Beyoncé and Jay-Z has long been requested and it finally happened.  The nine-track EVERYHING IS LOVE has plenty of gems without question, particularly at the top of the LP.  Both artists give compelling performances, clearly showing why they are among music’s premiere stars.  There are no major flaws and if there were, they’re masked by the fact that Bey and Jay just dropped the dream superstar couple album, sigh.

Gems: “SUMMER,” “APESHIT,” “BOSS,” “NICE,” “713” & “BLACK EFFECT”

Beyoncé & Jay-Z (The Carters) • EVERYTHING IS LOVE • Columbia • Release: 6.16.18

Photo Credits: Columbia