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Futuresex/Lovesounds

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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
If Justified was Justin Timberlake's declaration of independence from the world of boy bands, Futuresex/Lovesounds marks his arrival as a serious, cutting-edge artist. Rap producer Timbaland returns in a greatly expanded role -- he produced 10 of the disc's 12 tracks and even adds accompanying vocal flavor to the hypnotic breakout single "Sexyback." Throughout the disc, JT impressively asserts himself amid the clattering, electro-funk grooves of songs like the Prince-ly "Until the End of Time" and the "Cry Me a River"-reminiscent "What Goes Around….Comes Around Interlude." Like fellow former Mouseketeer Christina Aguilera, Timberlake has vocal chops that cut deeper...
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Editorial Reviews

Barnes & Noble - Dave Gil de Rubio
If Justified was Justin Timberlake's declaration of independence from the world of boy bands, Futuresex/Lovesounds marks his arrival as a serious, cutting-edge artist. Rap producer Timbaland returns in a greatly expanded role -- he produced 10 of the disc's 12 tracks and even adds accompanying vocal flavor to the hypnotic breakout single "Sexyback." Throughout the disc, JT impressively asserts himself amid the clattering, electro-funk grooves of songs like the Prince-ly "Until the End of Time" and the "Cry Me a River"-reminiscent "What Goes Around….Comes Around Interlude." Like fellow former Mouseketeer Christina Aguilera, Timberlake has vocal chops that cut deeper than most, and he displays them convincingly, from his falsetto-infused workout over the synthesizer squiggles of "My Love" featuring a seamless T.I. cameo to his convincing rap flow on the slow-rolling Three 6 Mafia collaboration "Chop Me Up." And just when you think that Timberlake's main topical motive is lasciviousness of Rick James proportions, the Memphis native takes it down a notch and shows off his southern roots. A cameo by gospel superstar Hezekiah Walker and the Love Fellowship Choir on "Losing My Way," a sparse nod to crack addiction, gives way to the closing track, the Rick Rubin-produced "Another Song All Over Again," a heartfelt ballad that evokes vintage Michael Jackson. With Futuresex/Lovesounds, Timberlake has finalized his transition from wholesome pinup boy to mature man of pop.
All Music Guide - Stephen Thomas Erlewine
Give Justin Timberlake credit for this: he has ambition. He may not have good instincts and may bungle his execution, but he sure has ambition and has ever since he was the leading heartthrob in *NSYNC. He drove the teen pop quintet to the top of the charts, far exceeding their peers the Backstreet Boys, and when the group could achieve no more, he eased into a solo career that earned him great sales and a fair amount of praise, largely centered on how he reworked the dynamic sound of early Michael Jackson at a time when Jacko was so hapless he turned away songs that later became JT hits, as in the Neptunes-propelled "Rock Your Body." That song and "Cry Me a River" turned his 2002 solo debut, Justified, into a blockbuster, which in turn meant that he started to be taken seriously -- not just by teens-turned-adult, but also some rock critics and Hollywood, who gave him no less than three starring roles in the wake of Justified. Those films all fell victim to endless delays -- Alpha Dog aired at Sundance 2006 but didn't see release that year, nor did Black Snake Moan, which got pushed back until 2007, leaving Edison Force, a roundly panned Shattered Glass-styled thriller that sneaked out onto video, as the first Timberlake film to see the light of day -- but even if silver screen stardom proved elusive, Justin didn't seem phased at all, and his fall 2006 album FutureSex/LoveSounds proves why: he'd been pouring all his energy into his second album to ensure that he doesn't have a sophomore slump. If Michael Jackson was the touchstone for Justified, Prince provides the cornerstone of FutureSex/LoveSounds, at least to a certain extent -- Timbaland, Timberlake's chief collaborator here a move that invites endless endlessly funny "Timbaland/Timberlake" jokes, does indeed spend plenty of time on FutureSex refurbishing the electro-funk of Prince's early-'80s recordings, just like he did with Nelly Furtado's Loose, and Timberlake's obsession with sex does indeed recall Prince's carnivorous carnality of the early '80s. But execution is everything, particularly with Timberlake, and if the clumsy title of FutureSex/LoveSounds wasn't a big enough tip-off that something is amiss here -- the clear allusion to Speakerboxxx/The Love Below would seem like an homage if there weren't the nagging suspicion that Timberlake didn't realize that the OutKast album bore that title because it was two records in one -- a quick listen to the album's opening triptych proves that Justin doesn't quite bring the robotic retro-future funk he's designed to life. Hell, a quick look at the titles of those first three songs shows some cracks in the album's architecture, as they reveal how desperate and literal Timberlake's sex moves are. Each of the three opening songs has "sex" sandwiched somewhere within its title, as if mere repetition of the word will magically conjure a sex vibe, when in truth it has the opposite effect: it makes it seem that Justin is singing about it because he's not getting it. Surely, his innuendos are bluntly obvious, packing lots of swagger but no machismo or grace. They merely recycle familiar scenarios -- making out on the beach, dancing under hot lights, acting like a pimp -- in familiar fashions, marrying them to grinding, squealing synths that never sound sweaty or sexy; if they're anything, they're the sound of bad anonymous sex in a club, not an epic freaky night with a sex machine like, say, Prince. But Prince isn't the only idol Justin Timberlake wants to emulate here. Like any young man with a complex about his maturity, he wants to prove that he's an adult now by singing not just about sex but also serious stuff, too -- meaning, of course, that drugs are bad and can ruin lives. Like the Arctic Monkeys deploring the scummy men who pick up cheap hookers in Sheffield, Justin has read about the pipe and the damage done -- he may not have seen it, but he sure knows that it happens somewhere, and he's put together an absurd Stevie Wonder-esque slice of protest pop in "Losing My Way," where he writes in character of a man who had it all and threw it all away...or, to use Justin's words, "Hi, my name is Bob/And I work at my job," which only goes to show that Timberlake lacks a sense of grace no matter what he chooses to write about. Graceless he may be, but Timberlake is nevertheless kind of fascinating on FutureSex/LoveSounds since his fuses a clear musical vision -- misguided, yes, but clear all the same -- with a hammyness that only a child entertainer turned omnipresent 21st century celebrity can be. Timberlake yearns to be taken seriously, to be a soulful loverman like Marvin Gaye coupled with the musical audaciousness of Prince, yet still sell more records than Michael Jackson -- and he not only yearns for that recognition, he feels entitled to it, so he's cut and pasted pieces from all their careers, cobbling together his own blueprint, following it in a fashion where every wrong move is simultaneously obvious and surprising. There is no subtlety to his music, nor is there much style -- he's charmless in his affectations, and there's nothing but affectations in his music. At least this accumulation of affectations does amount to a semblance of personality this time around -- he's still a slick cipher as a singer, yet he is undeniably an auteur of some sort, one who has created an album that's stilted and robotic, but one who doggedly carries it through to its logical conclusion, so the club jams and slow jams both feel equally distant and calculated. There is, however, a flair within the production, particularly in how foreign yet familiar its retro-future vibe sounds. [Zomba's 2007 Deluxe Edition includes three bonus tracks, alternate album art, and a DVD containing videos, behind-the-scenes footage, director interviews, and live performances.]
Billboard - Katy Kroll
The sound may be a bit different, but the music's sex appeal remains a force to be reckoned with.

The sound may be a bit different, but the music's sex appeal remains a force to be reckoned with.
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Product Details

  • Release Date: 11/27/2007
  • Label: Jive
  • UPC: 886971739121
  • Catalog Number: 717391
  • Sales rank: 56,686

Tracks

Disc 1
  1. 1 Futuresex/Lovesound (4:02)
  2. 2 Sexyback (4:02)
  3. 3 Sexy Ladies/Let Me Talk to You (Prelude) (5:32)
  4. 4 My Love - T.I. (4:36)
  5. 5 Love Stoned/I Think She Knows (Interlude) (7:24)
  6. 6 ...What Goes Around...Comes Around (Interlude) (7:28)
  7. 7 Chop Me Up (5:04)
  8. 8 Damn Girl (5:12)
  9. 9 Summer Love/Set the Mood (Prelude) (6:24)
  10. 10 Until the End of Time (5:22)
  11. 11 Losing My Way (5:22)
  12. 12 (Another Song) All Over Again (5:46)
  13. 13 Until the End of Time (5:22)
  14. 14 Sexyback (4:16)
  15. 15 Sexy Ladies (3:50)
Disc 2
  1. 1 Sexyback (14:39)
  2. 2 My Love - T.I. (2:06)
  3. 3 What Goes Around...Comes Around (4:26)
  4. 4 Lovestoned/I Think She Knows (2:13)
  5. 5 Bonus Material (6:11)
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Album Credits

Performance Credits
Justin Timberlake Primary Artist, Guitar, Piano, Keyboards, Vocals, Background Vocals, Beat Box, Choir Director
Davis A. Barnett Viola
Charlie Bisharat Violin
Mari Tsumura Violin
Kevin Brandon Bass
Mark Cargill Violin
Lenny Castro Percussion
Jeff Clayton Flute
Yvette Devereaux Violin
Melvin Dunlap Bass
Ernest Ehrhardt Celli
James Gadson Drums
Pamela Gates Violin
Larry Gold Conductor
Valarie King Flute
Clarence McDonald Organ
Darryl Pearson Bass
Jimbo Ross Viola
Josefina Vergara Violin
Pastor Hezekiah Walker Narrator
John Wittenberg Violin
Ida Bodin Bass
Susan Chatman Violin
Smokey Hormel Guitar
Three 6 Mafia Vocals, Rap
Suzie Katayama Cello
Timbaland Drums, Vocals, Background Vocals, Various, Rap, Beat Box
Natalie Leggett Violin
Peggy Baldwin Celli
Emma Kummrow Violin
Timothy Landauer Cello
Igor Szwec Violin
Darrin McCann Viola
Patrick Morgan Viola
Bill Pettaway Guitar
Thomas Warren Choir, Chorus
will.i.am Rap
Craig Wiggins Choir Director
Mary Collymore Choir, Chorus
Brian Benning Violin
Ahmed Wallace Choir, Chorus
Cameron Patrick Viola
Renee Smith Choir, Chorus
T.I. Vocals, Rap
Gloria Justin Violin
Jennifer Levin Violin
Andrew Duckles Viola
James Ford Trumpet
The Benjamin Wright Orchestra Performing Ensemble
Michele Richards Violin
Tereza Stanislav Violin
Jenny DLorenzo Cello
Heather Covington Choir, Chorus
Hope Lawrence Choir, Chorus
Melinda Michelle Choir, Chorus
Oresa Napper Choir, Chorus
Imani Welch Choir, Chorus
Paul Blake Guitar
Caleb Speir Bass
Mario de León Violin
Matthew Funes Viola
Richard Adkins Violin
Giovanna Clayton Celli
Technical Credits
Jeff Chestek Engineer
Jimmy Douglass Engineer
Larry Gold String Arrangements
Herb Powers Mastering
Rick Rubin Producer
Timbaland Programming, Producer, Audio Production
Paul J. Falcone Engineer
Tim Mosley Composer
Roudy Michel Choir Contractor
Johnny Wright Management
Craig Wiggins Choir Arrangement
Patrick Viala Engineer
Justin Timberlake Composer, Producer, Executive Producer, Choir Arrangement
Catherine Furniss grooming
Ethan Willoughby Engineer
Jason Lader Engineer
Padraic Kerin Engineer
Keith Sengbusch Remixing
John Hanks Digital Editing
Andros Rodriguez Engineer
Lynn Harless Management
Paul Harless Management
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Customer Reviews

Average Rating 3.5
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