Evolution is supposed to capture Boyz II Men in full maturity, but it sounds surprisingly similar to their blockbuster II. Like that album, Evolution relies on ballads, downplaying the group's dance-pop side. There are still several up-tempo numbers on the record, but it's clear that the group and their producers were more concerned with smooth ballads like "4 Seasons of Loneliness" and "A Song for Mama," which they deliver with typical grace. However, Boyz II Men's signature sound is beginning to sound like a formula, especially since the group fails to offer any new twists on their trademark hip-hop doo wop. There's enough strong material on Evolution to satisfy Boyz II Men's large fan base, but they will truly need to evolve on their fourth album in order to stay viable.
Boyz II Men-Evolution full album 16
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Indeed, N' Sync, Backstreet Boys and a host of other teen acts have successfully co-opted Boyz II Men's silky harmonies, funky choreography and earnest balladry. But while these newer acts have certainly proven their commercial viability, most have yet to win the peer respect Boyz II Men captured with their 1992 debut album, Cooleyhighharmony. In the eight years since that groundbreaking recording, Boyz II Men has sold over 34 million records worldwide, earned numerous awards (including four Grammys), shattered sales records and established themselves as undisputed heirs to the '60s R&B legacy.
Now, following a lengthy hiatus, Nathan Morris, Michael McCary, Shawn Stockman and Wanya Morris have emerged to reclaim their place in the modern pop pantheon. As its title implies, Boyz II Men: Nathan/Michael/Shawn/Wanya is the work of a musical democracy. The disc, which debuted at number four on the Billboard pop album chart in early fall, was executive produced by the group. The first single, "Pass You By," was composed by Shawn. Tracks like "Dreams" and "Lovely" demonstrate the quartet's mastery of soul balladry, while "Beautiful Women," "Good Guy" and "Bounce, Shake, Move, Swing" are urgent dance-floor salvos. Says Nathan Morris: "Everything on this record is us. It's our personalities and hopefully because there's so much of us on this CD, people will be able to feel it and know us."
Spearheaded by the strength of a pair of Billboard number one singles ("I'll Make Love To You" and "On Bended Knee") and a Billboard number two chaser ("Water Runs Dry"), II debuted at number one on the Billboard 200 album chart, maintained a solid five-week run at the top spot and ended up staying on the charts for just shy of two full years. A couple months before the release of II, the Philly foursome offered up the Babyface-penned "I'll Make Love to You" as the album's lead single and the steamy ballad had radio and MTV on absolute lockdown during the late summer of 1994. "I'll Make Love to You" ended up eventually tying the record for the most weeks at number one by matching Whitney Houston's 14-week stretch of "I Will Always Love You" from The Bodyguard.
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Throughout their short-lived but commercially lucrative career, which ran principally from "I Want You Back" in 1996 to the third and final album, 2001's Celebrity, Justin Timberlake's boyband NSYNC plowed a familiar late twentieth-century pop musical furrow. (1) NSYNC flirted with the perceived authenticity of various black urban forms, from the balladry of groups such as Boys II Men to the swinging R&B of New Edition, while sticking closely to marketable "white" imagery all the same. This can be seen in the soft-focus, vocal-led acoustic balladry of audience-flattering songs such as "(God Must Have Spent) A Little More Time on You" (1998) and "This I Promise You" (2000), as much as it can on the more urgent and driving dance pop with echoes of New Jack Swing of "Tearin' Up My Heart" (1997), "Bye Bye Bye" (2000), and "It's Gonna Be Me" (2000). (2) All of this music walks a fine line between, on the one hand, sexual danger and supposed credibility and, on the other, a carefully managed and canny "marketing of androgyny" similar to that discussed by Daryl Jamieson chiefly in relation to the Backstreet Boys, a group that shared early managers and an ethos with NSYNC. (3)
But the familiar narrative of bright-eyed boyband shilling for the pop dollar within a racially and generically complex musical environment that I've been laying out doesn't tell the full story. Already with their second album, 1998's No Strings Attached, NSYNC were both engaging in legal battles against their former manager (Lou Pearlman) and label (Sony BMG) and explicitly trying to send up their image, the cover wittily playing against the album's title by picturing the group's members as puppets hanging limply from strings. The prominence of group member JC Chasez as a featured writer on No Strings, in contrast to the roster of producers credited on the band's eponymous 1997 debut, was... 2ff7e9595c
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