FEATURE:
Me, Myself and I
Beyoncé’s Dangerously in Love at Twenty
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ON 24th June…
IMAGE CREDIT: Behance
the world marks twenty years since Beyoncé released her astonishing and much-anticipated debut studio album, Dangerously in Love. I remember that day and the album coming out. Beyoncé was still a member of Destiny’s Child – they released their final album, Destiny Fulfilled, in 2004, though there are rumours of a new album in the future, perhaps -, but it was only a matter of time before she struck out solo. The final, classic incarnation of the group featured Beyoncé, Kelly Rowland (her debut album, Simply Deep, came out in 2002), and Michelle Williams (her debut solo album, Heart to Yours, also came out in 2002). Even if Rowland and Williams put out solo albums before Beyoncé, I think that all three of them are incredible. Williams and Rowland have not put out new albums for at least a decade – which I hope is rectified! -, but Beyoncé has enjoyed this long and garlanded solo career. I think that Dangerously in Love, whilst not her finest album (I would give that honour to 2016’s Lemonade), was a confident and very strong debut. Hooking up with some incredible producers and songwriters (including Missy Elliott, and The Neptunes), perhaps it is most associated with the lead single and anthem, Crazy in Love (ft. JAY-Z). Four further singles were released from the album – among them, the sensuous and beautiful Me, Myself and I -, and Dangerously in Love reached the top spot in the U.S. and U.K. (and several other countries around the world).
I don’t think that was purely to do with Beyoncé’s star power and her association with Destiny’s Child. It is clear from the opening, brassy bars of Crazy in Love that she meant business! This was an album very much with her voice at the centre – rather than it being a hodgepodge of other producers’ ideas and visions. Dangerously in Love is wonderfully sequenced, so that it starts with a blast and huge track, and the strongest songs are spread evenly throughout the album. Maybe there are one or two filler songs, but for the most part we get this nuanced, eclectic and cohesive statement from an artist who would soon go on to become one of the biggest and most influential in the world. Queen Bey, in her early-twenties when Dangerously in Love was released, is phenomenal throughout. Proving that she could go out alone and succeed – I think the group were a bigger force and priority than solo albums at that time -, there was a lot of love for her debut. If some gave it a mixed review, many did all at least have something positive to say about Dangerously in Love. I wanted to dive into it ahead of the twentieth anniversary on 24th June. I am going to get to some reviews and features relating to Dangerously in Love.
In 2013, Billboard celebrated the tenth anniversary of an impressive and singular debut album. They provided their thoughts on each of the tracks from Dangerously in Love. I have picked a few that are among my favourites – to see what Billboard had to say about them.
“Ten years ago, Beyoncé decided to make a move that would ultimately help her become one the most accomplished artists in music. The singer, while the R&B group Destiny’s Child was on a hiatus, ventured out as a solo artist.
Beyoncé launched her solo career with her studio debut album, “Dangerously in Love,” which turns 10 years old today (June 22).
Co-executive produced by herself, “Dangerously in Love” explores the singer’s range both in musical influences and vocally. Fused with hip-hop (Jay-Z, Big Boi, Sean Paul), soul (later Luther Vandross feature, Shuggie Otis, DeBarge samples), funk, pop and with relatable lyrical content — all while centered around a thriving romance — the album was embraced across a spectrum of fans.
“Dangerously in Love” propelled Beyoncé into superstardom, and foreshadowed the vibrancy of her 10-years-and-counting solo career.
The singer proved to her own label record, Columbia Records, that she could hold her own as a solo artist with “Dangerously In Love.” “They told me I didn’t have one single on my album. Yep,” she shared during her 4-day concert series NYC in 2011. “I guess they were kind of right. I had five.”
Her solo effort not only debuted at No. 1 on the Billboard 200, selling 317,000 copies according to Nielsen Soundscan, but it spawned multiple classic hits, including “Crazy in Love,” “Baby Boy,” “Naughty Girl” and “Me, Myself & I.”
1. “Crazy in Love” (feat. Jay-Z)
Beyoncé comes blazing straight out the gate with her first “Dangerously In Love” single, also the first song on the track list. “Crazy In Love” features her now-husband, Jay-Z, and a wildly addictive hook (which samples instrumentation from The Chi-Lite’s “Are You My Woman (Tell Me So)”). The song quickly became her first No. 1 off the album, staying at its peak position for eight weeks, and set a precedent of success.
3. “Baby Boy” (feat. Sean Paul)
Bey’ topped her first “Dangerously In Love” No. 1 by following it up with a longer-lasting one. The mid-tempo cut, in which Bey’ continues to stride in self-assurance, bridges the gap between several genres such as R&B, dancehall, reggae (with the help of rapper Sean Paul) and as “Naughty Girl,” Arabian music. “Baby Boy” is the singer’s second longest running No. 1 as a lead artist, staying at No. 1 on the Hot 100 for nine weeks.
6. “Me, Myself and I”
The album’s third single was a change from her preceding uptempo hits. This earnest, personal song features Bey’ as a scorned woman still possessing the power to win on her own after heartbreak. The song peaked at No. 4 on the Billboard Hot 100 chart and became her fourth consecutive top 5 single.
12. “Dangerously In Love 2”
The title track, which is a modified rendition of the version on Destiny’s Child’s “Surivor” album, is written and co-produced by Bey’ herself. The singer’s impassioned vocals amplifies love’s obsession”.
If there is one drawback or weakness one can apply to Dangerously in Love, it is that it feels fairly similar to a Destiny’s Child album. Given that Beyoncé was still with the group and this was her first solo outing, that could be forgiven! It would be later in her career that her palette broadened and she formed this more individual and personal voice. That said, I think that she very much puts her stamp on her debut. Determined that this would not be another Destiny’s Child album: instead, it is her opening salvo in a career that is among music’s most important and remarkable. In 2020, The Young Folks revisited Dangerously in Love. They pointed out the similarities to Destiny’s Child, but they had also understand how significant the album is on its own merits:
“Not many musical artists, past or present, can say they’ve had the same success and cultural impact through music than that of Beyoncé Knowles-Carter. Sure, there are acts that successfully carved their place, and rightfully so, in the mix of pop and hip-hop culture, but Beyoncé is arguably the most powerful pop star in the music business. So much so that it’s hard to even imagine a music culture without the businesswoman that she’s become. Newer generations often fail to realize, while the older sometimes forget, that Beyoncé’s career spans the entirety of three decades, first arriving to the scene in 1992 with an R&B group that would later become Destiny’s Child.
In 2001, Destiny’s Child released Survivor, their third studio album, which reached number one on the Billboard charts as well as earning a Grammy award. During the album’s recording, the group, now made up of Beyoncé, Michelle, and Kelly, announced that they will take a hiatus to work on solo projects. Beyoncé was the last of them to record a solo album so it’s easy to imagine the insurmountable pressure that sat atop the lead singer’s shoulders to prove to the music industry that her own two feet are strong enough for her to stand on.
Dangerously In Love erupts as you would expect any pop star to make a debut – loud and in-your-face. The blaring horn section of the opening track, “Crazy In Love,” featuring Jay-Z, initially grabs the attention of the listener but is quickly accompanied by a jumpy beat and the all too commanding voice of the then 22-year old. “Crazy In Love” offers nothing special lyrically outside of making the repetitiveness of “uh-oh, uh-oh, uh-oh, uh-oh, uh, no, no” seem not so…irritating. The lyrics are simple and catchy enough that most of the song can be memorized throughout the first listen. Even with plain lyrics, the obsessive love that had Beyoncé “looking so crazy right now,” won 2 Grammys, and was commonly referred to as the “summer anthem of 2003.
Prior to the album, she released “03’ Bonnie and Clyde,” which served as a catalyst to the rumors surrounding her relationship with her now husband and rap mogul, Jay-Z, who is featured on two of the album’s tracks. Although never explicitly confirmed through the lyrics of the album, Dangerously In Love serves as a tinted window into the early stages of their relationship. So universal are the topics that the opening of “Me, Myself, and I” features a call for listeners to help sing through Beyoncé’s relationship issue. In the oddly placed track, “Be With you,” there is an inseparable feeling of attachment towards her lover over a funk-infused groove. Despite the feel-good lyrics, you can’t help making a “stank” face as the familiar power in her voice wraps around the bobbing bass line.
Even with the success of Destiny’s Child and two films under her belt, Beyoncé made sure to let the world know just who she is in “Hip-Hop Star,” which features Big Boi of Outkast and Sleepy Brown. Musically, this is the most imaginative addition to the album. The southern drawl in Big Boi’s flow serves as a stark contrast to the breathy tease in Beyoncé’s vocals as she seductively calls for all attention to be on her. An unnatural amalgamation of heavy metal rock, hip-hop, and the blues carries the overall vibe deep into a grimy basement club in the middle of nowhere – a place where men and woman alike can come and indulge in society’s forbidden pleasures. Even with genres not yet developed in the 20s, you can’t help but imagine that if the underground world of speakeasies were to re-emerge featuring modern musical offerings, this song would fit right in.
Beyoncé collaborated with several different songwriters and producers but made sure to have a hand in every aspect of the creation of her debut. The selection of talent that she worked with encouraged a creative environment that helped her incorporate different music styles and cultures into her work. Both “Signs” and “Baby Boy” feature the free-form rhythmic structures of music found in Middle Eastern cultures, while the latter takes it a step further by adding dancehall elements as well as a verse from heavy-hitter, Sean Paul.
Given that this was Beyoncé’s opportunity to set herself apart from Destiny’s Child, Dangerously In Love is quite similar lyrically and in production. In her later work, it’s laughable to imagine anyone but Beyoncé singing her music, but the voices of Kelly and Michelle would feel right at home anywhere within Dangerously In Love. In fact, the title track was released on Destiny’s Child’s Survivor before Beyoncé added it to her own selection. Listening retrospectively, her introduction as a solo artist is a timid, yet sufficient, offering compared to what we’re used to from the Beyoncé of today. Still, Dangerously in Love is the foundation for her solo career, and it was throughout its development and release that Beyoncé re-introduces herself to the world”.
I want to get to a review. It is surprising that there have not been many features about Dangerously in Love, the story behind it etc. It would be good to shine a spotlight on this hugely important album ahead of its twentieth anniversary. Entertainment Weekly sat down with the album in June 2003. Fresh in the minds of Beyoncé fans, this is what they had to say about an a work that I still think is underrated – and in need of some fresh spins and assesments:
“With the pop-diva pantheon so painfully congested, you might have wondered how Destiny’s Child doyenne Beyoncé Knowles would distinguish herself. Babygirl scored silver-screen time costarring alongside Austin Powers, but rival J. Lo opens movies, and her Hollywood-boyfriend buzz trumps Beyoncé’s low-key affair with Jay-Z. Avril’s got her angst. Pink too. Both Mariah and Xtina boast bigger pipes, and Britney is, well, blond. Ms. Knowles didn’t seem to have an angle until — ”Uh-oh, uh-oh” — your local DJ threw on ”Crazy in Love,” backspinning that blazing horn intro 20 times until it was beaten into your brain.
See, Beyoncé’s not really thinking ’bout those other honeys. Whether or not she got the credit, the slick-tongue style she per-fected on ”Say My Name” was a minirevolution in R&B. And Dangerously in Love, her solo debut, confirms her taste for innovation. ”Dangerously,” which the singer coproduced and almost entirely cowrote, is more about moving on from Destiny’s Child’s frothy aesthetic than competing with the current crop of singing sensations. Eschewing high-profile hitmakers like the Matrix and the Neptunes, Beyoncé collaborates with under-the-radar minds like Rich Harrison and Dr. Dre’s secret weapon, Scott Storch, exploring, albeit hesitantly, new directions in contemporary black music.
The results are not half bad — certainly not the first half. The disc opens with ”Crazy in Love,” coproduced by Harrison, who gave Mary J. Blige-ish upstart Amerie a hit single last year. Then Storch flirts with the increasingly familiar mingling of Eastern sounds and dancehall reggae, as Beyoncé portrays, not quite convincingly, a ”Naughty Girl.” The next cut, ”Baby Boy,” goes full-tilt Bollywood ‘n da hood, with Sean Paul ripping a pulsing tabla raga. Here, when Beyoncé coos, ”In our own little world, the music is the sun/The dance floor becomes the sea,” you kinda wish she’d launch into her old acrobatic scat tactics to challenge Sean Paul’s rude-boy chat. But this isn’t THAT Beyoncé.
This Beyoncé flexes a different kind of muscle on ”Hip Hop Star,” a distorted guitar-screeching foray into the rock-meets-funk-eats-hip-hop genre that’s more Neptunes than the Neptunes. Her racy, raspy ”undress me” refrain — a bit Kelis, a bit Marilyn Monroe — is shocking but not unwelcome. Guest Big Boi of OutKast sums it up nicely: ”Never can tell these days, everybody’s got a little Rick James in they veins.”
”Be With You” is a ballad with deliciously big drums that recalls Faith Evans’ ’95 single ”You Used to Love Me” and rips off a few other R&B classics you used to love. ”Me, Myself, and I” rides Storch’s signature gangsta guitar, mellowed for Beyoncé’s lovesick lament — a warm-up for the CD’s sweet spot: ”Yes,” a damn-near-Björk-like bit of trip-hop, that could, if we’re lucky, set off a new age of snap-crackle pop. The song’s staticky situation — Beyoncé defending her chastity ‘gainst some greedy boy — resembles ”Say My Name” in its specificity and earnestness.
Most of the disc’s missteps follow. The gimmicky, Missy Elliot-produced ”Signs” is soggy, synth-drenched cosmic slop. ”That’s How I Like It,” also featuring Jay-Z, is ”Jumpin’ Jumpin”’-era jive that only reminds you how fresh ”Crazy in Love” is. A remake of ”The Closer I Get to You” with Luther Vandross also sounds, sadly, a little dated. But for the most part, Ms. Knowles does more reinventing than revisiting — a dangerous prospect, but hey, that’s love”.
I am going to finish with a review from AllMusic. They observe how Beyoncé, on the strength of Dangerously in Love, might be better going solo rather than reuniting with Destiny’s Child. The fact that the group released an album in 2004 might have been a final statement rather than an attempt to reignite a new phase of their careers. With all three members now solo artists, it was a goodbye I think (though you cannot rule out another album from Beyoncé, Kelly Rowland and Michelle Williams):
“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”.
Released on 24th June, 2003 (though some sources say 22nd June, I think 24th is correct), Beyoncé launched a solo career that even the biggest fans would not imagine lasting twenty years or more! She is currently touring her latest album, RENAISSANCE (2022), and there is plenty more albums to come for sure! Maybe her first real peak was on the 2013 Beyoncé album - but Dangerously in Love is a remarkable debut. It would be three more years before she followed that with B’Day. That is a surprisingly long time (though Destiny’s Child did not disband until 2006) but, when you look at when her other albums were released, there is usually at least a two-year gap between them (RENAISSANCE arrived six years after Lemonade). Her fabulous 2003 debut, Dangerously in Love, introduced the world to…
A modern icon and queen.