Timbaland Presents Shock Value
Shockingly Uneven Album from the Man Behind Promiscuous and Sexyback
Aug 13, 2007
The name of Timbaland’s second solo project, “Shock Value” says it all. His album shocks on many levels, least of which how awfully it balances straight up pop songs and completely forgettable rap tracks. Most of this highly anticipated album sounds like filler from a less-established artist.
Credited for the success of last year’s hottest albums and artists, Nelly Furtado’s “Loose” and Justin Timberlake’s “FutureSex/LoveSounds”, Timbaland re-teams with both for SV’s first smash, the incredible “Give it to me”.
Despite kiss-off lyrics, the beat rocks and the vocals sound as crisp as anything on either Furtado or Timberlake’s respective solo albums. The chorus “If you see us on the floor you’ll be watching all night” became a self- fulfilled prophecy when the song and video shot straight to the top.
Half-Baked Production
Had the album continued in this vein, it could have had much more appeal. Instead from the third track on, ideas become strange and the production half-baked - a true shock from a man who has produced some of the best hip-hop albums and artists on the planet.
Luckily, a redeeming feature comes mid way through. “The way I are” climbs into your brain and infects until you can help but sing along. The baseline, conveniently stripped from Salt-n-Pepa’s “Push it” from 1987 brings a new spin on an old trick – sampling for familiarity.
Yet unlike many tracks out there today, the rip remixes thoroughly until you question if it truly was a sample. “The way I are” is a brilliant piece of musical genius and yet another number one. Unfortunately, one of the stupidest tracks ever recorded follows.
“Bounce” lacks class on many levels. Even Missy Elliot’s revved guest rap can’t save this stinker. Raps about T & A never sounded so crude. “Let your ass have the hiccups / like we was riding in my pickup” is just one example of this horrid excuse for a song and a complete waste of Justin Timberlake’s talents.
Not all is lost despite this drop in quality. Swallowed in a gospel-like chorus and robotic vocals from what sounds like a vintage space adventure film, “Kill yourself” works despite the macabre theme. Filled with bass and a clipped rap, this song has an eerie feel, as if performed by someone from beyond.
Not Too Late to Apologyse
“Scream” jumps out of the speakers with a guitar backed thump and swinging vocals. One of the standout tracks, it picks up the party for the second half of the album. If edited to remove the revolting voice over at the end of the track that wants to sound sexy but comes off sleazy, this could easily become another single.
Hats off to Timberland for including the One Republic remix of "Apologyse" - this delicate yet heart-wrenching single makes the journey through some of the bad tracks all the more sweet.
Final cut on the album, "2 Man Show", gives pause. A piano lead instrumental where Timbaland mans the mike, says nothing and grunts a few times for three minutes. A complete waste of time made even more maddening knowing that Elton John only played the piano.
It seems at times like Timbaland had some good ideas and even better intentions but he must have been preoccupied during the construction of this album. That is the only way to conceive that such a genius could create such a mess.
More Beats
Fans of heavy beat-related music may enjoy Groove Armada – Soundboy Rock, Mark Ronson - Version, or Rihanna – Good Girl Gone Bad. Those interested in more experimental music must check out Radiohead - In Rainbows.
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