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Within Universal, Motown was incorporated into various other subsidiaries including Universal Motown Records Group from 2000 to 2011 and later moved to Island Def Jam Music Group until both label groups were disbanded by UMG in 2014.\u003c\/p\u003e\n\n\u003cp\u003eIn January 2023 under Chivon Dean's new leadership as president and CEO, Motown has been divested from the Capitol Music Group while remaining under the Universal Music Group. 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Literally so in the case of opener \u003ci\u003eAmerykahn Promise\u003c\/i\u003e, spun by Badu straight over an obscure seventies funk track by Roy Ayers's protégés Ramp. \u003ci\u003eThe Healer\u003c\/i\u003e is effectively a tribute to the power of hip hop to ground otherwise lost lives, while the deeply felt \u003ci\u003eTelephone \u003c\/i\u003ecommemorates her friend, the late producer J Dilla (and was in fact written the day after his funeral). \u003ci\u003eThe Healer\u003c\/i\u003e and \u003ci\u003eThat Hump\u003c\/i\u003e deal with the damage caused by drug dependency and \u003ci\u003eSoldier\u003c\/i\u003e is a hard-hitting analysis of the state of Black America. None of which would count for much if the music didn't connect. Though Badu's quirks remain intact - the vocal \/ saxophone duet at the conclusion of the otherwise ice-cool \u003ci\u003eMe \u003c\/i\u003e(what else) is easily resisted - a terrific team of collaborators including idiosyncratic producers Madlib, 9th Wonder and the three man unit Sa-Ra keep \u003ci\u003eNew Amerykah Part One\u003c\/i\u003e endlessly imaginative, tough, twisted beats sitting alongside softer jazz-funk grooves. 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Aside from jewels like that, and the killer Starr original \"24 Hours (To Find My Baby),\" the album is also one of Starr's most rewarding vocal showcases, from the rough-hewn passion of \"Backyard Lovin' Man,\" across the tender vulnerability of \"If My Heart Could Tell the Story,\" to the soaring falsetto he generates on \"He Who Picks a Rose\"; the latter should have made great singles, as could the soaring, lushly produced \"Soul City (Open Your Arms to Me).\" Indeed, a good three-quarters of this LP could have been perfectly acceptable for AM airplay, so consider the album a gift in terms of accessibility and pop craftsmanship in a soul setting, as much now as then -- even the updating of \"You Beat Me to the Punch,\" which gives it a whole new sound. Surprisingly, Norman Whitfield only produced a pair of cuts on this album, and the more startling of them is the gospel-flavoured Whitfield\/Barrett Strong number \"Gonna Keep on Tryin' Till I Win Your Love,\" which is a delightful throwback to the sound of Sam Cooke; it makes a good pairing with \"Pretty Little Angel,\" a Clarence Paul\/Stevie Wonder\/Mike Valvano copyright (and another lost potential single), and they flow right into \"If My Heart Could Tell the Story.\" The whole record is a keeper, and one of the finer under-regarded albums in the late-'60s Motown library. 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