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Even the lesser efforts are superior to typical chart fare.
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While it’s nowhere near Thriller or Purple Rain, it does manage a healthy attempt at a reinterpretation of both.
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It is this excess of ambition over achievement, as opposed to any real consistency, which makes FutureSex/LoveSounds more of an album than Justified was. Songs which sound puzzlingly self-indulgent in isolation-- most obviously, the smirking, tenuously tuneful first single "SexyBack"-- are cloaked in a compelling intensity and purposefulness when played in succession.
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There's going to be a coronation very soon, and anyone who cares to invest will be handsomely rewarded by the future king.
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Timberlake's second solo record is dark and dirty to begin and smooth and sexy to finish. With only a few awkward cameo tracks to damage its reputation, this is going to be the soundtrack of the next few months.
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It's a lot like Justified in that it's a solid collection of expertly produced pop songs whose flaws will be devoured by its almost guaranteed string of hits.
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No dispute: Usher, Beyonce, Christina, Britney were just keeping the seat warm: The King’s back on his throne.
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The enjoyable, forgettable FutureSex/LoveSounds may be a just-okay Timberlake album, but it's a great Timbaland demo reel.
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No modern-day male artist beats him when it comes to single-minded self assurance or suavity.
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Although the mix of dance beats, pounding basslines and palatable vocals is occasionally marred by mundane R&B tracks like "Until the End of Time," there are far more pop gems than slow jams.
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How well do Mr. Timberlake and Timbaland work together? So well that they can make even the world’s most irritating percussion instrument, the human beatbox, sound pretty good.
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While FutureSex/LoveSounds is not a masterpiece, it’s damn good.
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"FutureSex/LoveSounds" isn't an easy listen at first. Its crazy layers meld together into a sticky bit of a mess, and the lyrics are mostly standard love stuff. But repeated listening helps the tunes unravel. [11 Sep 2006]
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New Musical Express (NME)Whereas his 2002 solo debut shot a glance back to Michael Jackson's 'Off The Wall', this is more indebted to 'Smooth Criminal', early '80s Prince and on its ballads, Stevie Wonder. [9 Sep 2006, p.37]
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BlenderThe vibe is all infectious, feverish build-up. [Nov 2006, p.155]
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Rolling StoneAlthough his best new tracks are thrilling... some of the up-tempo stuff flirts with mechanical muscle-flexing. [21 Sep 2006, p.86]
Awards & Rankings
User score distribution:
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Positive: 417 out of 501
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Mixed: 22 out of 501
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Negative: 62 out of 501
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Feb 9, 2015
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Jun 12, 2011
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TimLFeb 3, 2007