Timbaland Presents Shock Value [Explicit Lyrics]

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Editorial Reviews

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Tim Mosley, better known as the Virginia Beach hip-hop producer and impresario Timbaland, has become one of the biggest -- and most consistently creative -- beatmakers in the business, thanks to some very high-profile work with pop stars Justin Timberlake and Nelly Furtado. For his latest curtain call, both singers repay the favor, and they're joined by an incredibly wide-ranging roster of guest voices and instrumentalists that hint at Timbaland's catholic musical tastes. Take, for instance, Sir Elton John and Swedish punk band The Hives; or emo graduates Fall Out Boy and Pussycat Doll Nicole Scherzinger, for that matter. Tim also plays it close to the vest, with tracks featuring rappers 50 Cent, Dr. Dre, and even ...
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Editorial Reviews

Barnes & Noble
Tim Mosley, better known as the Virginia Beach hip-hop producer and impresario Timbaland, has become one of the biggest -- and most consistently creative -- beatmakers in the business, thanks to some very high-profile work with pop stars Justin Timberlake and Nelly Furtado. For his latest curtain call, both singers repay the favor, and they're joined by an incredibly wide-ranging roster of guest voices and instrumentalists that hint at Timbaland's catholic musical tastes. Take, for instance, Sir Elton John and Swedish punk band The Hives; or emo graduates Fall Out Boy and Pussycat Doll Nicole Scherzinger, for that matter. Tim also plays it close to the vest, with tracks featuring rappers 50 Cent, Dr. Dre, and even his old pals Missy and Magoo, the latter of which certainly must be thanking his lucky stars to have remained in Timbo's good graces. Continuing his fascination with South Asian music is "Bombay" -- and it's easy to see that Tim's ambition has extended far beyond the realm of hip-hop.
All Music Guide - Andy Kellman
"2 Man Show," the epilogue of Timbaland Presents Shock Value, involves 24 men and women. The title refers to Timbaland and Elton John. John, despite being Elton John, doesn't sing on the song, but he does play some loose piano. Most of the vocals are left to Timbaland, who improvises with a nonstop series of directions, comments, and grunts. He participates in some nonchalant call-and-response singing as well. It's a relaxed way to close an exhausting album, and it's also an odd way to utilize Elton John and a 19-person choir. While the song is an extreme example, it does illustrate the inexplicable and intermittently unpredictable nature of an album that would be more accurately titled Timbaland Presents Slight Confusion or Timbaland Presents an Uneven Mess. The reigning producer of R&B and rap since 1996, the year of Ginuwine's "Pony" and Aaliyah's "If Your Girl Only Knew," Timbaland has amassed piles of ingenious and commercially successful releases. Due to his work on Nelly Furtado's "Promiscuous" and Justin Timberlake's "SexyBack," two of the least-avoidable pop singles released in 2006, his profile has never been higher. Consequentially, there has never been more anticipation for one of his own albums. His three albums with sidekick Magoo, in addition to the solo-proper Tim's Bio, each had measurable amounts of hype around their release dates. A new level of visibility, combined with a lot of eclectic star power and a couple silly beefs, has turned Shock Value into a major release. If you haven't read any interviews with Tim from the past few years, or if you missed some of the more telling hints, such as his work on Brandy's Coldplay-sampling "Should I Go," there could be some shock involved while listening to the album for the first time. Although he has continued to contribute beats for MCs -- Young Jeezy's "3 a.m.," Snoop Dogg's "Get a Light," and Redman's "Put It Down" are a few recent examples -- Tim has frequently said that he is bored with rap and into rock, and here he takes the opportunity to reach beyond R&B, rap, and straight-up pop. "Throw It on Me," with the Hives (a good-time garage rock band from Sweden), is a frisky, careening number that must have taken all of ten minutes to put together. A remix of "Apologize," a ballad by OneRepublic (a band that might soundtrack the next season of Grey's Anatomy, or the imaginary annex between Abercrombie & Fitch and The Gap), incorporates an unobtrusive Timbaland beat and some distant vocal accents. With She Wants Revenge (a bad-time faux-British synth duo) and Fall Out Boy (you probably know about them), Tim is an interloper who takes part in songs that wouldn't be worse off without his presence. It's most jarring to hear him as a temporary member of the typically sullen She Wants Revenge, where his downcast verses give way to Justin Warfield's heavily affected drone. The four songs involving the rockers are the only ones that have the potential to shock, and they're bundled together during the last quarter of the album, so it's not as if they're even being emphasized. Otherwise, Shock Value is similar in setup to Diddy's certifiably flawed and maliciously (and/or unjustly) panned Press Play, a sprawling but often pleasurable album involving so many MCs, singers, and studio hands that a head count would rival that of the sessions for "We Are the World." Tim, along with super-talented associates Danja and Keri Hilson, are some of the common links between the two albums, which share a similar balance between rap tracks heavy on mostly empty grandstanding, pop-R&B songs with male-female exchanges, and a couple club-oriented surprises that go outside the norms of modern rap and R&B. So, in a number of ways, Shock Value can be viewed a sister release to the Diddy album. Like Press Play, many of the album's key performances come from the females. Hilson, a songwriter, arranger, and singer who has also had a hand in Mary J. Blige's "Take Me as I Am" and Omarion's "Ice Box," is central to three of the album's most memorable songs. "Miscommunication" is the greatest of the three, where she delivers one of the most advanced hooks of the last several years. She took pity on a pathetic fellow (played by a temporarily humble-ish Timbaland), was repaid with a stifling relationship that went too far, and comes up with a disarming way of saying "You're killing me." A completely unnecessary ear-sore of a closing verse from Tim's brother Sebastian does little to harm its effect. "Bounce," one of Tim's toughest and most sinister beats, is offset by comically over-the-top wordplay from Missy Elliott and Dr. Dre, along with an equally ridiculous appearance from Justin Timberlake ("Like your ass had the hiccups/Like we was riding in my pickup"). Missy outdoes the guys, entering with "Hold up, hell naw/Like Britney Spears, I wear no draws." The rest of the verse is Missy at her lewd best, nothing new yet still 100 percent capable of keeping the testosterone level in check. Even though it's very possible that the involved recorded their parts in different studios, you can imagine them in fits of laughter while trying to top one another's outrageousness. The track is where the blast had by Tim and company, detectable throughout the majority of the album (a saving grace), is at its most contagious. When the album doesn't sound like a blast is being had, Tim's rhymes are usually within close proximity. They tend to leave a stale aftertaste. As with Jay-Z's Kingdom Come, listening to unrelatable boasts about extreme commercial and financial successes can get tiresome fast, especially when self-satisfaction wipes out any sense of hunger or passion. He brags about making half a million for a beat, and then, a few tracks later, the figure is a quarter of a million. Either he makes too much money to count, or his ghostwriters didn't compare notes. And while he is a competent enough MC to hang with the guest verses -- including low-wattage turns from 50 Cent and Tony Yayo, along with relatively engaging appearances from Attitude, D.O.E., and Magoo -- he's much more effective when restricting himself to incidental goading and singing that merely glides over the beat. Beyond the Elton John feature, the flat-out puzzling moments are limited, yet they certainly add to the album's lack of sturdiness. Bearing a heavy resemblance to Ciara's "Promise," "Fantasy" was produced by Walter "Lil' Walt" Millsap with Boss Beats and bears no credit to Timbaland. It's also the only song on the album where vocals are provided by one person. "Release," strangely placed third on the album -- just after lead single "Give It to Me" -- is a tossed-off house track, just as much of a Basement Jaxx rip as Basement Jaxx's own "U Can't Stop Me" (off 1999's Remedy) is a rip of Tim and Missy Elliott's earlier hits together. Shock Value would be less of a hot-and-cold affair with a couple more songs in the vein of "Give It to Me." A leisurely club track full of swagger, it is immediate enough to connect on the first listen, while Tim also sneaks in enough subtle layers to make it increasingly insidious with each play. This song isn't lacking bizarreness or complications, either. Furtado's words are benign enough, but it's evident that Timberlake is taking an ignorant shot at Prince, while Timbaland (despite claiming that he is not targeting one specific person) is most likely referring to one-man beat factory slash opportunist Scott Storch. These are two of the most pointless beefs in the history of pointless beefs, so the details needn't be recounted. It is worth noting, however, that "Give It to Me" provoked Storch to record a laughably inept response track. Regardless of Shock Value's missteps, Tim's track record says all that is necessary.
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Product Details

  • Release Date: 4/3/2007
  • Label: Interscope Records
  • UPC: 602517256743
  • Catalog Number: 000859402
  • Sales rank: 48,424

Tracks

Disc 1
  1. 1 Oh Timbaland (3:31)
  2. 2 Give It to Me (3:54)
  3. 3 Release (3:25)
  4. 4 The Way I Are - Doe (2:59)
  5. 5 Bounce - Justin Timberlake (4:04)
  6. 6 Come and Get Me - Tony Yayo (3:30)
  7. 7 Kill Yourself - Sebastian (4:06)
  8. 8 Boardmeeting (2:29)
  9. 9 Fantasy (4:11)
  10. 10 Scream - Keri Hilson (5:41)
  11. 11 Miscommunication - Sebastian (3:18)
  12. 12 Bombay - Jim Beanz (2:55)
  13. 13 Throw It on Me - The Hives (2:11)
  14. 14 Time (3:57)
  15. 15 One and Only - Fall Out Boy (4:16)
  16. 16 Apologize - OneRepublic (3:04)
  17. 17 2 Man Show (4:25)
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Album Credits

Performance Credits
Timbaland Primary Artist, Synthesizer, Drums, Keyboards, Musician
Elton John Piano
Justin Warfield Guitar
Stevie Blacke Strings
D. Davis Choir, Chorus
Jerome "J-Roc" Harmon Bass, Strings, Keyboards
D. Williams Choir, Chorus
Dan Warner Bass, Guitar
S. Jackson Choir, Chorus
Adam Bravin Bass
Tim Mosley Guitar
Keri Hilson Background Vocals
Kevin Rudolf Guitar
E. Watson Choir, Chorus
Patrick Stump Guitar
Andrew Hurley Drums
Jim Beanz Vocals, Background Vocals
Johnkenun Spivey Organ
K. Alexander Jr. Choir, Chorus
A. Helaire Choir, Chorus
Jermaine Jennings "Tank" Steel Guitar
Harmon Lane Drums, Keyboards
N. Lollis Choir, Chorus
E. Millsap Choir, Chorus
Walter Millsap Choir Conductor
Marcella Araica Background Vocals
Technical Credits
Mark Gray Engineer
Ron Taylor Digital Editing
Timbaland Producer, Executive Producer, Audio Production
Barry Hankerson Executive Producer, Audio Production
Tim Mosley Composer
Justin Timberlake Composer
Nelly Furtado Composer
Johan Gustafsson Engineer
Pete Wentz Composer
Keri Hilson Composer
Ryan Tedder Composer, Producer
Patrick Stump Composer
Nathaniel "Danjahandz" Hills Composer
Candice Nelson Composer
Danja Audio Production
Jim Beanz Vocal Producer
Andrew Flad Marketing
Justin Dreyfuss Marketing Coordinator
Monique Idlett Publicity, Marketing
Harmon Lane Producer
Walter Millsap Composer
Marcella Araica Programming, Engineer
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Customer Reviews

Average Rating 4.5
( 7 )
Rating Distribution

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Sort by: Showing all of 7 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Not Too Shocking

    Timbaland has enjoyed a very successful career spanning the late 90's. And within his body of work he has colaborated with Missy Elliot, Nelly Furtado, Justin Timberlake, and countless other rappers. Now Tim makes his return with "Shock Value", which really isn't shocking in the way people may think. This second solo effort is a well crafted one and it includes Justin Timberlake and Nelly Furtado. Certain tracks after a while, even start to sound like songs he produced for the artists mentioned above. Cool tracks and a fresher sound is what's presented here, and this just goes to show where Timbaland is planning on taking hip-hop and R&B in the future. Cool album.

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  • Anonymous

    Posted October 1, 2010

    Great Work

    If you are looking for something new and fresh, I would buy this album. It is very eclectic! Great job Tim!

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  • Anonymous

    Posted October 21, 2008

    No text was provided for this review.

  • Anonymous

    Posted December 2, 2008

    No text was provided for this review.

  • Anonymous

    Posted October 31, 2008

    No text was provided for this review.

  • Anonymous

    Posted November 23, 2009

    No text was provided for this review.

  • Anonymous

    Posted December 22, 2008

    No text was provided for this review.

Sort by: Showing all of 7 Customer Reviews