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Timbaland - Shock Value II - review and opinion

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Although Timbaland set himself up with the title of the album, that’s not going to stop the quips. On a more serious note, however, the biggest shock is disappointment. The host of special guests adds interest but, with few exceptions, not a lot of musical magic.

The Intro features DJ Felli Fell and it may as well not be there. To say an album needs no introduction and then waffle is pointless. Unfortunately it sets the tone for many of the tracks that follow. Track order below follows the MySpace streaming preview.

Timbaland - Shock Value II reviewBut first, why such a detailed review in the News section rather than in Reviews? Regular readers know we cover quite a range of musical styles.

So Shock Value II, we hoped, would bring some fresh insights into modern music-making. While it does, the main impression is of the modern metrosexual male - a mallrat rather than a street guy, given to limos and exclusive clubs rather than day-to-day life. And, it appears here, a booming bass on a big rig is supposed to compensate for any other shortfalls. It doesn't, and that's clear right from the start. Let's explain why ...

Carry Out feat. Justin Timberlake
Problem here is Justin has consistently produced great work, while Timberland seems to have hit a plateau. This won’t be in any “Best Of Timberlake” list, mainly because his voice has been produced to death and sounds lacking in any energy.

Meet In The Middle feat. Bran’ Nu
This track is a bit stronger, mainly because Bran’ (Brandy) has some edge and stays separate from the massed-backing. Timbaland also manages to inject some energy and avoids the vocal effects which regularly spoil most metrosexual albums of late.

Say Something feat. Drake
This is a mess with no hook, with the instruments fighting each other and with vocal effects at the extreme end of studio-only. It’s all round not good.

Tomorrow In The Bottle feat. Chad Kroeger
Don’t understand the point of this track at all. Sounds like Timbaland wrote a riff and tried to squeeze Chad into it. Shockingly OTT vocal effects again, while the lyrics even say “at a loss for words” and overall the occasional 20 seconds of Kroeger’s growl is wasted. If this was reworked by Nickleback it could be a great song.

We Belong To The Music feat. Miley Cyrus
Reckon Timbaland has big problems when Miley’s infectious energy and distinctive voice makes the best track on the album. That’s no disrespect to Miley because she’s proven herself over and over again as a vocalist, capable of singing various styles with ease and passion. Miley is proving to be a developing talent with abilities to follow whatever future she chooses.

Morning After Dark feat. Nelly Furtado and SoShy
Timbaland at his worst, pompous and loud, but at least the girls add a welcome contrast. Still another limp track though, over-produced and lacking bite.

If We Ever Meet Again feat. Katy Perry
A weak sing-along that fails to raise itself above average, with Katy’s dramatic voice lost in a weak verse and a muddy chorus. This track is a very weak pop pastiche. It also reinforces the impression of so many other songs - they repeat again and again without adding anything. This is a 2-minute idea that’s stretched to a boring 5 minutes.

So far, so bad.

Can You Feel It feat. Esthero & Sebastian
Similar to Morning ... this track is saved by the female voice that counterpoints against the yelling male chant and never-ending vocal effects.

Ease Off The Liquor
“Timbo’s back” maybe but the music isn’t as the track meanders through call and response that suffers yet more knob-twiddling on the male vocals. At least the uncredited female vocals are clean.

Undertow feat. The Fray & Esthero
This is sweet if you like honey-coated pop, but once again lacks any sort of bite.

Timothy Where You Been feat. Jet
Rapping alongside country-gospel-folk melodies doesn’t work for me, especially when the lyrics are self-referencing and self-congratulating.

Lose Control feat. JoJo
Interesting track as, once again, it is the female voice that brings power and passion, an emotional and vocal clarity that it would seem Timbaland has lost with his own voice.

In summary, Nelly Furtado, Miley Cyrus and JoJo sound great. The male guests sound so-so or even weak. Timbaland’s voice is lost in studio effects on most songs. So sorry people but this is a “sounded great in my bedroom” type of album. I don’t think it even got to the stage of “sounded great in the studio” and I wonder if there’s a large problem of Emperor’s clothes about the proceedings. ONE star for Timbaland, TWO stars for the girls.

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