Celebrity

by N Sync

Product Description:

This is an Enhanced CD, which contains both regular audio tracks and mulitmedia computer files.

N Sync: Justin Timberlake, Joey Fatone, JC Chasez, Chris Kirkpatrick, Lance Bass.

Additional personnel includes: J Moss (rap vocals); Rodney Jenkins, Wade J. Robson (various instruments); Michael Thompson (acoustic guitar); Michael Landau (electric guitar); Stevie Wonder (harmonica); Michael A. Lang (piano); Brian McKnight (keyboards); Randy Jackson (bass); Anthony Nance (programming); Pharrell Williams, Carlos Vasquez, The Hampton String Quartet.

Producers include: The Neptunes, Brian McKnight, Rodney Jerkins, Riprock 'N' Alex G, BT.

Engineers include: Kevin Guarnieri, Joel Kazmi, Stuart Brawley.

CELEBRITY was nominated for the 2002 Grammy Award for Best Pop Vocal Album. "Gone" was nominated for the 2002 Grammy Award for Best Pop Performance By A Duo Or Group With Vocal.

"Girlfriend" was nominated for the 2003 Grammy Awards for Best Pop Performance By A Duo Or Group With Vocal.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

N Sync's fourth album further mines the territory first explored on the band's previous NO STRINGS ATTACHED--namely, fame, its price and consequences. This continues a boy band tradition of questioning, if not actually biting, the hand that feeds, stretching from the Beatles through the Monkees, David Cassidy, the Bay City Rollers, and more recent contenders such as New Kids On The Block. This type of manuever usually precedes a catastrophic drop in sales and /or acrimonious split.

Regardless of whether CELEBRITY is a portent of disaster, it's an effective amalgamation of thoughtful, sometimes acerbic pop in the band's bubbly, R&B lite tradition ("Celebrity," "The Game Is Over"--the latter using arcade game noises to good percussive effect) interspersed with the ageless boy-girl dramas, such as "Girlfriend" and "Just Don't Tell Me That," that N Sync does so well. The low-key, string-colored ballad "Gone" is particularly effective, using a similar treated guitar effect to Madonna's "Don't Tell Me," while the down and dirty, self-descriptive "Up Against the Wall" is the band's insurance against any accusations of hyper-cuteness.