Timbaland fails to shock on latest comp
By switch soundz
by william earl
2007-04-03
Ten years ago, hip hop producer Timbaland was one of the most stunning creative forces in popular music. Creating intricate and memorable backdrops to smashes by Aaliyah, Ludacris and Jay-Z, his jarring percussion-based jams were a far cry from the genre’s stale synths.
Last year proved to be Timbaland’s biggest yet; by producing almost every song on 2 of the fall’s biggest albums (Nelly Furtado’s “Loose” and Justin Timberlake’s “FutureSex/LoveSounds”) as well as numerous singles, the producer rendered himself a radio juggernaut.
Yet commercial dominance came at a price. With the exception of the pulsing Timberlake hit “My Love,” Timbaland has dumbed down his sound in order to saturate the market. Gone is the startling creativity, replaced with a crippling desire to be on top of the world.
This is reflected in the producer’s newest project, “Timbaland Presents Shock Value.” Taking a cue from The Neptunes and their 2003 release “The Neptunes Present … Clones,” this album is a mish-mash of all of Timbaland’s interests, presented as a commercial mixtape to prime America to his artistic vision.
The results are varied at best. By inviting all of his friends to the studio to contribute tracks, most of the songs feel rushed, uninspired or mismatched. Not surprisingly, Timbaland sounds most comfortable in a pop/hip-hop environment. “Release” could easily be a “FutureSex/LoveSounds” b-side, with Justin flexing his familiar croon ‘n’ swoon for maximum results. First single “Give It To Me,” featuring both Furtado and Timberlake, makes for a pleasant listening experience, but melts both singers’ personalities into anonymity. Perhaps the best of these tracks belongs to G-Unit cellmates 50 Cent and Tony Yayo, who, even on the cruise control “Come & Get Me,” have a mesmerizing level of ferocity.
Proving that some experimentation is more misguided than inspired, the second half of “Value” focuses on rock music, of which one imagines Timbaland rarely listens to, let alone produces. “Time,” by She Wants Revenge, sounds no different than any of their other muddled, plodding tracks. Fall Out Boy’s “One & Only” is only remarkable for the amount of sheen that could be put on the pop-punk track. And an Elton John collaboration? Was that really necessary?
Hopefully Timbaland’s fame obsession won’t continue to cloud his typically ace judgment. Until then, hip hop fans will grab this album, snooze through the first seven tracks and wonder why they bought it in the first place.
William Earl is hoping that Timbaland and Missy Elliott will collaborate more fully on her next album, for that is where he delivers his best work. E-mail him at williamjearl@gmail.com
Last year proved to be Timbaland’s biggest yet; by producing almost every song on 2 of the fall’s biggest albums (Nelly Furtado’s “Loose” and Justin Timberlake’s “FutureSex/LoveSounds”) as well as numerous singles, the producer rendered himself a radio juggernaut.
Yet commercial dominance came at a price. With the exception of the pulsing Timberlake hit “My Love,” Timbaland has dumbed down his sound in order to saturate the market. Gone is the startling creativity, replaced with a crippling desire to be on top of the world.
This is reflected in the producer’s newest project, “Timbaland Presents Shock Value.” Taking a cue from The Neptunes and their 2003 release “The Neptunes Present … Clones,” this album is a mish-mash of all of Timbaland’s interests, presented as a commercial mixtape to prime America to his artistic vision.
The results are varied at best. By inviting all of his friends to the studio to contribute tracks, most of the songs feel rushed, uninspired or mismatched. Not surprisingly, Timbaland sounds most comfortable in a pop/hip-hop environment. “Release” could easily be a “FutureSex/LoveSounds” b-side, with Justin flexing his familiar croon ‘n’ swoon for maximum results. First single “Give It To Me,” featuring both Furtado and Timberlake, makes for a pleasant listening experience, but melts both singers’ personalities into anonymity. Perhaps the best of these tracks belongs to G-Unit cellmates 50 Cent and Tony Yayo, who, even on the cruise control “Come & Get Me,” have a mesmerizing level of ferocity.
Proving that some experimentation is more misguided than inspired, the second half of “Value” focuses on rock music, of which one imagines Timbaland rarely listens to, let alone produces. “Time,” by She Wants Revenge, sounds no different than any of their other muddled, plodding tracks. Fall Out Boy’s “One & Only” is only remarkable for the amount of sheen that could be put on the pop-punk track. And an Elton John collaboration? Was that really necessary?
Hopefully Timbaland’s fame obsession won’t continue to cloud his typically ace judgment. Until then, hip hop fans will grab this album, snooze through the first seven tracks and wonder why they bought it in the first place.
William Earl is hoping that Timbaland and Missy Elliott will collaborate more fully on her next album, for that is where he delivers his best work. E-mail him at williamjearl@gmail.com