I Am… (Disc 1): Beyoncé truly took some risks on this disc… when compared to her past work. However, in comparison to the stuff that plagues the radio these days, it is anything but groundbreaking or daring in most instances. Several of these tracks sound like all the other over-produced, synth-driven, melodramatic tracks out there (see: three-fourths of Jennifer Hudson’s debut and pretty much all of Leona Lewis’ album). Still, this set of pop/rock ballads is relatively enjoyable–or even incredible–all the way through and it showcases her vocal prowess, which is often overlooked or buried under the glitz and glam of the video world. “Halo” soars and showcases her wide range. The subtly addictive hook of “Disappear” is elegant and perfectly matches the guitar-laced production. “Broken-Hearted Girl” is very emotional. It begins as a piano-and-vocal ballad, and then transcends into a minimalist beat. (I’m a sucker for that kind of thing). The wandering melody of “Ave Maria” is beautiful, even if the little riff borrowed from the traditional of the same name is a tad bit awkward. “If I Were A Boy” is a guilty pleasure of mine, and probably yours, too. “Satellites” is the only absolutely disposable track. Overall, this is a nice disc, albeit a bit unoriginal.

Sasha Fierce (Disc 2): This disc contains tracks that are much more similar to her work on B’Day, which I thought was a superb album. It pales in comparison to her sophomore album–especially since these tracks lack the complex harmonies of said LP, but it still is packed with catchy and upbeat songs. She also takes a few chances here, but again, they have already been done. “Radio” and “Sweet Dreams” (also known as “Beautiful Nightmare” when it was leaked earlier this year) are both delicious slices of grandiose Euro-pop that is all over the airwaves these days. It is different enough to actually work, though, and Beyoncé’s vocal performances are truly inspired and full with passion. “Diva” is a cocky female response to Lil’ Wayne’s hit “A Milli.” It will surely be hit in the clubs, but the production is just too similar. “Single Ladies (Put A Ring On It)” is very addictive and has great contrasts and harmonies; however, it does get a bit repetitive. Beyoncé has some great vocal flourishes on “Video Phone,” but the crunk-inspired track is just plain silly. We’re talking about present-day R. Kelly type of silly.

Overall: I commend Beyoncé for coming with something new this time around. Unfortunately, many of the songs are not so original and almost religiously follow the synth-heavy ballads and Euro-pop dance tracks that are all over the mainstream at the moment. Quite a few of the songs suffer from over-production that will probably sound a bit absurd in a few years after all these aforementioned trends come and pass. Still, that is not to say this is not a good album. It is a bit uneven, with a few lame tracks (i.e. “Satellites,” “Video Phone,”) but overall, it’s decent and enjoyable. It is by no means Beyoncé’s crowning achievement, but it still works.