Every time I hear people talking about Justin's latest album I can't hep hearing the name PRINCE.
Now, I don't want 2 buy the album because I think nothing good comes out of an average producer like Timbaland.
Is it really that good?
I'm just curious because I don't think people should compare somebody like Justin 2 a genious like Prince.

ALEX? THAT SKINNY MOTHERUCKER WITH THE HIGH VOICE?

theodore said:

The answer to the question is easy.

If you like music, DON'T buy this album.

Simple.

I hear the album all the time in my sister's car and I have to say...it sucks.

I was always up and down about Justin until "Sexyback." That single has to be the most IRRITATING commercial hit on pop radio since "Hollaback Girl." It is simply AWFUL. The rest of the record isn't much better.

The song that sounds most like prince is "Sexy Ladies" but it sounds like a 20-something white boy who grew up singing in theme parks and in bad boy groups TRYING to IMMITATE what HE thinks SOUNDS like Prince. Another track blatanly rips off the drum pattern from "The Beautiful Ones."

The only decent track is "My Love."

Skip it.

there's a handful of decent tracks on the record but if you're not into sexyback you should skip it because the good songs are all in that vein.

badujunkie said:

That's my current favorite.

Hey, Timberlake is not my favorite dude...But I can't front on this album...There's some decent stuff on there, whether it's Prince influenced or not...And you don't have to be a fan to give the man, more specifically Timberland, his props...

badujunkie said:

Its a great song to throw them bows to tho.

Prospect said:

I like to do the shuffle to the "SexyBack" remix as well.

allmusic's review said it was a "weirdly sexless sex record" it can feel like that sometimes

FutureSex/LoveSounds
Justin Timberlake

Review by 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. And also kind of tuneless and hookless, if the truth be told -- there may be flair within the production, particularly in how foreign yet familiar its retro-future vibe sounds at first, but the novelty fades away rapidly, even within the course of one song. That's because there's not much there -- Timbaland may have set Timberlake up with a set of sounds, but Justin didn't deliver a set of songs, or even much to hang the productions on. He prances like a frisky young colt but doesn't carry through on his act. Which really shouldn't come as a surprise: when Justin was pranked on Punk'd, his first instinct was to call his mommy, and when he tore away Janet's top and unleashed her demon boob, the first thing he did was run away and apologize. He casually bragged how he took Britney's virginity while shaking his head at the mess she's gotten herself into with K-Fed, and he attacked American Idol winner Taylor Hicks as a hack, as if being a veteran of The New Mickey Mouse Club has considerably more street cred. Timberlake may have a tough act, but he crumbles like a sand castle the instant he's scrutinized, which is something this weirdly sexless sex record proves in spades.

CinisterCee said:

i don't care for the slow songs on the record. i really don't think justin timberlake has a good voice. his falsetto is whiney and nasally sounding. and his "sexy" voice sounds like some of the suburban, white, hiphop-styled kids i knew growing up. i can just tell he's a poser and a whiny bitch.

but i do like the beats to some of the songs. and sexyback sounds hot in the clubs.

sallysassalot said:

and is queen credited for the bass line in the title track? i hear some "another one bites the dust" up there! and prince seriously needs to be credited for that until the end of the world song. that shit is just criminal.

I think people would think it's a sexy record if they had sex to it.

and don't get even get me started on sexy ladies sounding turning into sexy dancer smack in the middle of the song.

but that shit is still hot, even if prince did it first and better.

sallysassalot said:

my friend and i had a long 6.5 hour drive back home today and we listened to this album. during "the beautiful ones" "until the end of time" my friend says "so Prince will eventually hear this.. what would he say? would he be repulsed, or would he think this is the new generation he spawned?"

"you mean, like, a new power generation," I replied.

[/quote]

He looks like he has clown shoes on

I just purchased the CD and I must say that it is very good. I like it much better than his debut. To me, his follow up shows a lot of growth from his debut. It is a complete 360 turn. For the life of me, I cannot understand why people are so put off with it. People say that he sounds too much like Prince on some of the tracks. Okay, there are tracks that do have that Prince influence or vibe....but, when u look at Prince expecially his early stage shows, don't visions of Little Richard or Jackie Wilson or even James Brown come to mind? Prince was influenced by his fore fathers and to Justin was too. I wonder would the same things be said, if he was black or if that stupid "wordrobe malfunction", incident did not happen.

"Sexyback" is the worst song I've heard in many years. It is as far from any Prince song as I can possibly imagine. It's four beats repeated eight times each for far too many minutes.

There is no chance I will listen to any other songs on that album.

I love the album...

RodeoSchro said:

Damn, that was harsh. I feel bad now. OK, I'll lisen to some other songs.

shorttrini said:

So he is back where he started?

iconsweat said:

iconsweat said:

I meant a 350 turn from the first CD. What I look for in a new artist is growth. His 2nd cd is a 360 turn from the first.

RodeoSchro said:

It's definitely one of the worst on there. That said though, the album's all production, very little actual content. How anyone could think this is as good as the debut is beyond me.

shorttrini said:

huh?

Who's on first?

What's the password.

I think you mean a 180


.
[Edited 10/10/06 11:44am]

iconsweat said: