Remember when Beyonce’s self-titled album almost broke the Internet and we were all excited about everything? Of course you do, and of course you’re still probably listening to it. It was one of the few albums – at least in recent years – where my Internet rap nerd friends and non-Internet rap nerd friends alike were jamming out to it.
One of the more enigmatic, intriguing names that appeared in the who’s-who of writing credits for the album was not, of course, Nayvadius Cash, but someone named BOOTS. BOOTS? What’s a BOOTS?
A little bit of digging reveals that Jordy Asher, aka BOOTS, has fronted such bands as Blonds, Young Circles, Blond Fuzz and Stonefox, then he sort of disappeared before signing a publishing deal to Roc Nation last June under the name of BOOTS. So, maybe the Illuminati is responsible for his rebirth.
Other than that, he remains an enigmatic figure in the the shadows of Beyonce’s studio. More is unknown about him than is known. How did he link with Roc Nation? What led him from Florida to New York, aside from all the f*cked up stories we always read from Florida? How did he go from being a relative unknown to producing 85% of a Beyonce album?
Either way, there’s no denying that the guy is talented, and that you can hear his influence on Mrs. Carter nearly everywhere throughout her critically acclaimed album.
Take, for instance, “Alright,” an ambitious song that’s carried by its folksy vibe of twangy guitars and horns that BOOTS manipulates to perfection. Then, before the listener can catch up, practically, he’s moved on to a different instrumental composition within the same song. Though the second half is more horn heavy than the first, BOOTS’ talk-singing is the unifying force behind the two halves. Despite that cohesion, he still refuses to be boxed into a single genre.
While you’re at it, also check out “Dust” and “Ride Ride Ride” below.