Tag Archives: UMGD/A&M

Artist Black Eyed Peas Energy Never Dies Rock Pop Rap Hip Hop Product

Track Title. 1 Boom Boom Pow. 2 Rock That Body. 3 Meet Me Halfway. 4 Imma Be. 5 I Gotta Feeling. 6 Alive. 7 Missing You. 8 Ringa-A-Ling. 9 Party All The Time. 10 Out Of My Head. 11 Electric City. 12 Showdown. 13 Now Generation. 14 One Tribe. 15 Rockin’ To The Beat. The Black Eyed Peas make effective pop/crossover music, but with all the limitations of the form — vapid lyrics, clumsy delivery, vocals smoothed over by Auto-Tune, and songwriting that constantly strains for (and reaches) the lowest common denominator. Led by will.i.am’s production, which is continually the best thing about the album, the Black Eyed Peas move even farther away from hip-hop into the type of blandly inspirational dance-pop that has become ripe for advertising and marketing opportunities. The END (Energy Never Dies) certainly won’t change the minds of everyone who thinks that the group’s pandering approach and clumsy execution make it the worst thing about pop music in the 2000s. ~ John Bush, Rovi.

Artist Quincy Jones Back On The Block Jazz Music Product Type Compact

Attributes: Discs:1. Label: Umgd/A&M ( AAM ). Product Type: Compact Disc. Catalog : 515402. UPC: 602498837887. Configuration: D: CD. Having let eight years pass since his last A&M album, Quincy Jones made his debut on his own label with his most extravagant, most star-studded, most brilliantly sequenced pop album to date — which could have only been assembled by the man who put together “We Are the World.” Jones was one of the first establishment musicians to embrace rap, and one of the first to link rap with his jazz heritage; it’s hard not to be moved by the likes of Miles Davis, Dizzy Gillespie, James Moody, Ella Fitzgerald, Joe Zawinul, Sarah Vaughan, and George Benson electronically appearing on “Birdland” and trading brief licks with the likes of Kool Moe and Big Daddy Kane on “Jazz Corner of the World.” Later, jazz buffs would vilify Jones for not taking fuller advantage of this one-time constellation of jazz stars, but at the time, it seemed like a marvelous dialogue between the old and the new. Of course, as he well knew, celebrating jazz history is not the surest route to a blockbuster hit record, so there are plenty of radio-friendly urban pop productions here, with Herbie Hancock and George Duke on keyboards, and Siedah Garrett and 12-year-old Tevin Campbell on vocals. Despite the presence of an enthused Ray Charles, Chaka Khan, and the Brothers Johnson, the overly busy techno remake of “I’ll Be Good to You” doesn’t cut the Johnsons’ original — nor does “Tomorrow.” Ultimately the most popular track would be the most tedious for the jazz listener, “The Secret Garden,” with a parade of smooth soul balladeers producing make-out music at length. Yet Back on the Block remains a strikingly durable piece of entertainment, and in hindsight, a poignant signpost of the changing of the guard. Richard S. Ginell, All Music Guide.