回复 1楼 hululy 的帖子 Remembering Quincy Jones: 10 career-spanning songs to celebrate his legacy 1 of 4 | FILE - Composer Quincy Jones at his home studio in October 1974 writing music, listening to a recording on his headphones. (AP Photo/George Brich, File) BY MARIA SHERMAN Updated 12:40 PM EST, November 4, 2024 Share Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones. The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month. Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made. Read on, and then listen to all of the tracks on our Spotify playlist, here. 1963: Ella Fitzgerald and Count Basie’s orchestra, “Honeysuckle Rose” Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963’s “Ella and Basie!,” an album by Fitzgerald with Count Basie’s orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones’ jazz brilliance. 1963: Lesley Gore, “It’s My Party” Teenage heartbreak met its match on Lesley Gore’s “It’s My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You’d cry, too, if it happened to you. 1964: Frank Sinatra, “Fly Me to the Moon” Jones’ legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra’s 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.” 1967: Ray Charles, “In the Heat of the Night” Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo. 1979: Michael Jackson, “Don’t Stop ‘Til You Get Enough” Perhaps Jones’ best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979’s “Off the Wall,” 1982’s “Thriller” and 1987’s “Bad.” The pair met while working on the 1978 movie “The Wiz” — Jones worked on its soundtrack, and Jackson was its star. “Don’t Stop ‘Til You Get Enough,” with its inventive disco-funk, ambitious production and Jackson’s signature falsetto set the stage for the massive career to come. 1981: Quincy Jones, “Just Once” Put it in the pantheon of great piano ballads: On Jones’ 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track. 1982: Michael Jackson, “Billie Jean” What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson’s record-breaking “Thriller” album. Here, Jones’ production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time. 1982: Donna Summer, “Love Is in Control (Finger on the Trigger)” And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger),” which earned a Grammy nomination for best R&B vocal performance, female. 1985: USA for Africa, “We Are the World” Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa. Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.” 1989: Quincy Jones with Ray Charles and Chaka Khan, “I’ll Be Good to You” Back in 1976, Jones produced the Brothers Johnson’s R&B hit, “I’ll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.
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他女儿就是the office里面和Jim谈过恋爱那个吧？
这里头怎没有麦当娜？
是他女儿，不过他有好多孩子， 搞艺术的老色狼一个
去看Netflix里的纪录片，里面都介绍了。
什么名字纪录片啊？
绝对经典啊， 一晚上几个人就写出这首名曲，然后Jones 列一堆巨星，让秘书打电话让她（他）们来免费义务且熬夜来试唱（当然管饭，也就是pizza和可乐这种）。有人问，他们会来吗？Jones说，应该都会来。
基本上都来了。要知道那时候随便里面的一个巨星出场费都是百万、甚至上千万美刀级别的天王巨星啊！
你用他名字查找，应该第一个就是，或者用we are the world, documentary查就行。
李宗盛也有一个类似的
的确是太应景了，美国今天最需要的不仅是Vote， 更需要的是 Love and Unity！
李宗盛，也就能找罗大佑几个老弟兄，哈哈
那首歌也不错， 但影响力和we are the world 无法相提并论啊！
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哦，我觉得原版，
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https://www.youtube.com/embed/KLJuQpI_2fw?si=v5lJUEXTN7OD7u09 合唱版的很好听，感觉比分开唱你一句我一句好听多了。
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哦我觉得原版，合唱版的那个比后来的版本好听，很温柔和谐。
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那时候治安并不好， 杰克逊就说， 让他最觉得讽刺和痛苦的就是， 晚上一个人走在街上，听脚步向自己走来，又怕又紧张，忍不住回头一看，是个白人，那种心态一下放轻松的真实感受了。
不过那时候，政客们还算decent，至少表面上都文质彬彬的，不像现在， 动不动就往死里整。
罗大佑吧 这首
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Remembering Quincy Jones: 10 career-spanning songs to celebrate his legacy
BY MARIA SHERMAN Updated 12:40 PM EST, November 4, 2024 Share Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones. The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month. Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made. Read on, and then listen to all of the tracks on our Spotify playlist, here. 1963: Ella Fitzgerald and Count Basie’s orchestra, “Honeysuckle Rose” Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963’s “Ella and Basie!,” an album by Fitzgerald with Count Basie’s orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones’ jazz brilliance. 1963: Lesley Gore, “It’s My Party” Teenage heartbreak met its match on Lesley Gore’s “It’s My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You’d cry, too, if it happened to you. 1964: Frank Sinatra, “Fly Me to the Moon” Jones’ legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra’s 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.”
1967: Ray Charles, “In the Heat of the Night” Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo. 1979: Michael Jackson, “Don’t Stop ‘Til You Get Enough” Perhaps Jones’ best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979’s “Off the Wall,” 1982’s “Thriller” and 1987’s “Bad.” The pair met while working on the 1978 movie “The Wiz” — Jones worked on its soundtrack, and Jackson was its star. “Don’t Stop ‘Til You Get Enough,” with its inventive disco-funk, ambitious production and Jackson’s signature falsetto set the stage for the massive career to come. 1981: Quincy Jones, “Just Once” Put it in the pantheon of great piano ballads: On Jones’ 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track. 1982: Michael Jackson, “Billie Jean” What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson’s record-breaking “Thriller” album. Here, Jones’ production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time. 1982: Donna Summer, “Love Is in Control (Finger on the Trigger)” And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger),” which earned a Grammy nomination for best R&B vocal performance, female. 1985: USA for Africa, “We Are the World” Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa. Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.” 1989: Quincy Jones with Ray Charles and Chaka Khan, “I’ll Be Good to You” Back in 1976, Jones produced the Brothers Johnson’s R&B hit, “I’ll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.
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那几年出了几首这样的歌。 We are the world > 明天会更好 > 东方之珠 = 让世界充满爱
怀念那个时代的真应该看一遍纪录片 The Greatest Night in Pop，里面还采访了当年的几位当事人。
并不单指治安，那时的人更单纯善良正义，社会氛围不一样
那时候大家拥抱全球化
好温暖的歌，美好回忆的一部分
PS：罗大佑那个时期台湾的歌手，群星璀璨
找到这个不知道是不是原版
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我也记得 当时全班合唱“轻轻的捧着你的脸” 这句话的时候整个世界好温柔
确实 都很经典