Here’s my attempt at adding to the endless discourse surrounding the latest release from Beyoncé . After Break My Soul (whose title track) still stands out in my mind as a freakin’ banger, I was curious to see just how Beyoncé’s “not a country record” panned out. Generally, I enjoyed it, in spite of my cynicism.

Overall, COWBOY CARTER is a rich record. This is one that needs to be sat with for a bit – doing an off the cuff response is difficult (but I also find myself asking existential questions like “if I wait a week to publish this, will anyone still care?” I digress.

The opening track, “AMERIICAN REQUIEM”, is a psychedelic epic on many levels. It proves right out the gate that initial statements by Beyoncé ‘s team are correct – that at its core this really isn’t a country record (in spite of the cover art and the yeehaw-nature of “Texas Hold ‘Em”).

Like many, I was very curious about the direction Beyoncé would take “Jolene.” It’s commendable that Dolly herself signed off on this, but overall it falls a bit flat for me. I can appreciate the wanting to adapt her own life experiences and messages of empowerment to a classic song as both a marketing and artistic statement but combined with the original heartbreak of the classic tune, it feels a bit disjointed. The journal entry format of the verses doesn’t really work for me either.

For some good news, Beyoncé’s take on “Blackbird” is sublime. It’s a bit understated in its approach. The melancholy emotions really come through and are making me feel sentimental as I sit in this busy coffee shop right next to the entryway.

Another thing I feel the need to draw notice to is that Beyoncé indeed can be down to earth when she wants to be! I’ve had a hard time getting into her material in the past simply by virtue of how larger than life she is. All her imagery portrays her as an untouchable, present day renaissance icon. This sort of thing can be a turn off for me. Yet, there are heartwarming elements. “PROTECTOR” and “MY ROSE” stand out in particular. None of her trademark vocal runs feel indulgent here. There is only warmth and reassurance in these motherhood tributes.

The most fun I have in this record is during “SWEET * HONEY * BUCKIN.” The three part epic borders on overindulgent for me at times. It can be hard to tell whether is Beyoncé is being passive aggressive about certain topics (like skipped over for an album of the year Grammy) or simply addressing the elephant in the room with her own trademark attitude. One thing is certain though – this song is provocative, sensual and is meant to make the listener move – even if while writing this, you’re a tad sleepy (like me).

My general impression of the record is a positive one. Not every element is for me, and that’s okay. There’s a notion in music media that one can’t criticize Beyoncé’s output without having the mob come after them, so I tried to listen to this album with as open of a mind as I could. And, I’m an example of one listener that was pleasantly surprised by what I heard.

What do you think?