Mis favoritas por ahora son All night y Hold up, el rollito Jamaica le sienta genial y hace dos canciones como dos templos. Lo que me falta es algo así como un rompepistas incontestable para que el disco sea la polla.
Bueno, es cierto que está Formation, que como salió antes no la estaba contando como dentro del disco y me parece un tema muy bonito para bailarlo suave, moviéndolo rico.
Yo siempre me la quito despues de Sorry, me da mucho coraje lo que me recuerda al tema de Hooverphonic que sampleaba lo mismo. Eso sí, el momento COME BACK es brutal.
The seed that became Beyoncé’s “Formation” was planted by Swae Lee, one of the Rae Sremmurd duo, and A Pluss, one of Ear Drummer’s staff producers, who has been a friend of Will’s since high school. A Pluss had started the beat back in Atlanta, and Will had it with him on his phone when he was driving from L.A. to the Coachella music festival with Lee and his brother, in 2014.
“So we’re in the middle of the desert,” Will explained. “And we’re just coming up—we just freestyle, you know?—and Swae Lee said, ‘O.K., ladies, now let’s get in formation.’ And we put it on the VoiceNote. Swae Lee’s got so many voice notes that he doesn’t even record, but I’m like, ‘Dog, we got to do that “get in formation” shit.’ That could be a hard song for the ladies. Some woman-empowerment shit. Like, ‘Ladies, let’s get in line, let’s not just fall for anything.’ I’m seeing that vision.” When they got back from Coachella, they booked a studio, and Swae Lee “ended up just laying it down.”
The year before, Will had hoped that he might get to work with Beyoncé. He’d been summoned to New York by Jon Platt, of Warner/Chappell, to work on the track “Beach Is Better,” for Jay Z’s album “Magna Carta . . . Holy Grail.” The collaboration with Jay Z went well, but nothing panned out with his wife. Now Will sent the song, along with five or six others, to Beyoncé and her team. Platt, their mutual publisher, made sure she listened.
A few months after this, Will was in L.A., where he attended a Clippers-Cavaliers basketball game. He knew LeBron James’s agent, Rich Paul, because he’d produced the John Legend song “My Shoes,” which was in the memorable 2013 Nike commercial that showed LeBron running through the streets of Miami. They were staying in the same hotel, and Paul invited Will to join LeBron and his friends after the game. But Will fell asleep in his room. “I woke up at two in the morning,” he said. “And I had some missed calls, and I called Rich back and I was like, ‘My bad, bro, you’re probably in the room by now,’ and he was like, ‘No, we’re still down here.’ So I went down there, and I was chopping it up with LeBron and the Cavaliers, and then Jay Z and Beyoncé just walked up. And this was really like a dream to me. I was just asleep upstairs and now I’m kicking it with Jay Z, Beyoncé, and LeBron. And Bey was like, ‘Yo, I like that “formation” idea.’ And I told her what I was thinking about the woman empowerment, and she was like, ‘Yeah I kinda like that idea.’ And she just left it like that.
“We were just thinking about it being a female anthem,” Will went on. “Because I knew I just wanted a banger with Beyoncé, like a ‘Single Ladies,’ but I wanted it to be a new kind of chant.” Back in New York, Beyoncé wrote verses for the song, but kept the central concept of “get in formation.” The song broadened to become both a Black Lives Matter power anthem and an intimate song about her family.
“Next thing I know,” Will continued, “Big Jon”—Jon Platt—“told me, ‘Yo, this shit’s crazy, you got to hear this.’ ”
Will went to New York and spent a week with Beyoncé in the studio recording the song. Beyoncé, he explained, “took this one little idea we came up with on the way to Coachella, put it in a pot, stirred it up, and came with this smash. She takes ideas and puts them with her own ideas, and makes this masterpiece. She’s all about collaborating.” He added, “That’s what makes her Beyoncé. Being able to know what she wants. A lot of people don’t know what they want. To the point where you can bring them some hot shit, and they’re like, ‘This shit ain’t it. I need a hit, bro.’ And I’m like, ‘Man, this is a hit. If you don’t like this line or that line, you should take this line out and put your own lines in there, and we doctor it up.’ Some people want it cooked. They just want to put a little icing on it and bite it. But it’s really a process to make one of these great songs. It’s layers. Layers and layers and layers.”
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The seed that became Beyoncé’s “Formation” was planted by Swae Lee, one of the Rae Sremmurd duo, and A Pluss, one of Ear Drummer’s staff producers, who has been a friend of Will’s since high school. A Pluss had started the beat back in Atlanta, and Will had it with him on his phone when he was driving from L.A. to the Coachella music festival with Lee and his brother, in 2014.
“So we’re in the middle of the desert,” Will explained. “And we’re just coming up—we just freestyle, you know?—and Swae Lee said, ‘O.K., ladies, now let’s get in formation.’ And we put it on the VoiceNote. Swae Lee’s got so many voice notes that he doesn’t even record, but I’m like, ‘Dog, we got to do that “get in formation” shit.’ That could be a hard song for the ladies. Some woman-empowerment shit. Like, ‘Ladies, let’s get in line, let’s not just fall for anything.’ I’m seeing that vision.” When they got back from Coachella, they booked a studio, and Swae Lee “ended up just laying it down.”
The year before, Will had hoped that he might get to work with Beyoncé. He’d been summoned to New York by Jon Platt, of Warner/Chappell, to work on the track “Beach Is Better,” for Jay Z’s album “Magna Carta . . . Holy Grail.” The collaboration with Jay Z went well, but nothing panned out with his wife. Now Will sent the song, along with five or six others, to Beyoncé and her team. Platt, their mutual publisher, made sure she listened.
A few months after this, Will was in L.A., where he attended a Clippers-Cavaliers basketball game. He knew LeBron James’s agent, Rich Paul, because he’d produced the John Legend song “My Shoes,” which was in the memorable 2013 Nike commercial that showed LeBron running through the streets of Miami. They were staying in the same hotel, and Paul invited Will to join LeBron and his friends after the game. But Will fell asleep in his room. “I woke up at two in the morning,” he said. “And I had some missed calls, and I called Rich back and I was like, ‘My bad, bro, you’re probably in the room by now,’ and he was like, ‘No, we’re still down here.’ So I went down there, and I was chopping it up with LeBron and the Cavaliers, and then Jay Z and Beyoncé just walked up. And this was really like a dream to me. I was just asleep upstairs and now I’m kicking it with Jay Z, Beyoncé, and LeBron. And Bey was like, ‘Yo, I like that “formation” idea.’ And I told her what I was thinking about the woman empowerment, and she was like, ‘Yeah I kinda like that idea.’ And she just left it like that.
“We were just thinking about it being a female anthem,” Will went on. “Because I knew I just wanted a banger with Beyoncé, like a ‘Single Ladies,’ but I wanted it to be a new kind of chant.” Back in New York, Beyoncé wrote verses for the song, but kept the central concept of “get in formation.” The song broadened to become both a Black Lives Matter power anthem and an intimate song about her family.
“Next thing I know,” Will continued, “Big Jon”—Jon Platt—“told me, ‘Yo, this shit’s crazy, you got to hear this.’ ”
Will went to New York and spent a week with Beyoncé in the studio recording the song. Beyoncé, he explained, “took this one little idea we came up with on the way to Coachella, put it in a pot, stirred it up, and came with this smash. She takes ideas and puts them with her own ideas, and makes this masterpiece. She’s all about collaborating.” He added, “That’s what makes her Beyoncé. Being able to know what she wants. A lot of people don’t know what they want. To the point where you can bring them some hot shit, and they’re like, ‘This shit ain’t it. I need a hit, bro.’ And I’m like, ‘Man, this is a hit. If you don’t like this line or that line, you should take this line out and put your own lines in there, and we doctor it up.’ Some people want it cooked. They just want to put a little icing on it and bite it. But it’s really a process to make one of these great songs. It’s layers. Layers and layers and layers.”
Hay rumores de que se viene el 'Sorry Remix' featuring Drake
Que alguien le explique cómo funciona lo del tenis, por favor.