Positive JC mention!
Oct. 7th, 2006 09:16 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
foxmonkeyA small but positive JC mention in a review of Justin's album:
Justin’s voice may not have the power and vocal brilliance of his former colleague in ‘NSync, JC Chasez, but he more than makes up for it in technique and charisma.
Power! Vocal brilliance! Brilliance, yet! Yay! From INQ7.net. Follow the link to the original, or clicky-click the cut to read it here. :-)
Groove over thematic gravity in Timberlake’s latest album
By Rito Asilo
Inquirer
Last updated 10:53pm (Mla time) 10/06/2006
Published on page E1 of the October 7, 2006 issue of the Philippine Daily Inquirer
IN “FUTURESEX/ LOVESOUND,” Justin Timberlake’s Billboard chart-topping follow-up to his 2002 debut solo album (“Justified”), the singer trades in his teenybopper mantle for sensitive heartthrob credentials.
But, while the effort is sure to jack up record sales, the singer’s artistic ambition is nevertheless overwhelmed by hook-heavy singles that boast more of seething retro-funk energy than thematic gravity.
In the first three tracks alone -- “FutureSex/ LoveSound,” “Sexy Ladies/ Let Me Talk to You,” and the current No.1 single, “Sexyback” -- the former boy band vocalist dishes sexual innuendoes as if constant reminders would lend him maturity and credibility in the eyes of critics who refuse to take him seriously. Alas, he accomplishes the opposite: You’d think his fans were insatiable sexual creatures.
Cathartic
He tries to please in the anthemic “Losing My Way” -- a well-intentioned but too literal send-up of Michael Jackson’s “Man in the Mirror” -- a cautionary tale and a desperate man’s plea for help (“Can anybody hear me?/ Coz I can’t seem to hear myself…/ There’s got to be a heaven out there to save me from this hell”). The song features the singer’s technically faultless chest tones synergized further by soaring sentiments that crescendo into a cathartic, choral plea.
Don’t get us wrong, you’ll have fun listening to the album. Timberlake’s well-produced 12-track recording has the performer stirring up some frisky, groove-heavy albeit lyrically sparse numbers that will no doubt find their way into the pop charts: The graphic suggestiveness of the infectious “Sexyback” (“I’ll let you whip me if I misbehave…/ You’re burning up for me and that’s a fact”) is lost in the track’s scorching hooks, thank goodness.
Irresistible
If you want another serving of the “Off The Wall"-like charms of “Rock Your Body” or “Señorita,” you’ll find it here in tracks like “Love Stoned/ I Think She Knows.” If you find the hip-hop, R&B groove of “Like I Love You” irresistible, “Damn Girl” will serve you equally well.
Timberlake knows how to lure record buyers into listening to his aurally dynamic, albeit thematically scant songs. Now, more than ever, his songs feel like they’re engineered for pop-chart success.
And his artistry is compromised by his obvious musical influences: “Damn Girl” sounds like a refurbished, techno version of a Prince ditty, and his Michael Jackson-like dance licks and vocal affectations are likewise all over the place (sampling beats of Wacko Jacko’s “Gotta Be Starting Something” are evident in the ever-changing tempo of “Love Stoned”).
Power ballad
Like an afterthought, he places his slower R&B tunes and adult-contemporary numbers (the make-out romantic song, “Summer Love/ Set the Mood,” “Until the End of Time”) in the final third of the track listing. The last tune, “(Another Song) All Over Again,” a well-sung number about love and forgiveness, is the album’s requisite power ballad.
Justin’s voice may not have the power and vocal brilliance of his former colleague in ‘NSync, JC Chasez, but he more than makes up for it in technique and charisma. Problem is, he just doesn’t have as distinctive a voice as, say, Lee Ryan or Robbie Williams. So, what does he do for an encore?
Justin’s voice may not have the power and vocal brilliance of his former colleague in ‘NSync, JC Chasez, but he more than makes up for it in technique and charisma.
Power! Vocal brilliance! Brilliance, yet! Yay! From INQ7.net. Follow the link to the original, or clicky-click the cut to read it here. :-)
Groove over thematic gravity in Timberlake’s latest album
By Rito Asilo
Inquirer
Last updated 10:53pm (Mla time) 10/06/2006
Published on page E1 of the October 7, 2006 issue of the Philippine Daily Inquirer
IN “FUTURESEX/ LOVESOUND,” Justin Timberlake’s Billboard chart-topping follow-up to his 2002 debut solo album (“Justified”), the singer trades in his teenybopper mantle for sensitive heartthrob credentials.
But, while the effort is sure to jack up record sales, the singer’s artistic ambition is nevertheless overwhelmed by hook-heavy singles that boast more of seething retro-funk energy than thematic gravity.
In the first three tracks alone -- “FutureSex/ LoveSound,” “Sexy Ladies/ Let Me Talk to You,” and the current No.1 single, “Sexyback” -- the former boy band vocalist dishes sexual innuendoes as if constant reminders would lend him maturity and credibility in the eyes of critics who refuse to take him seriously. Alas, he accomplishes the opposite: You’d think his fans were insatiable sexual creatures.
Cathartic
He tries to please in the anthemic “Losing My Way” -- a well-intentioned but too literal send-up of Michael Jackson’s “Man in the Mirror” -- a cautionary tale and a desperate man’s plea for help (“Can anybody hear me?/ Coz I can’t seem to hear myself…/ There’s got to be a heaven out there to save me from this hell”). The song features the singer’s technically faultless chest tones synergized further by soaring sentiments that crescendo into a cathartic, choral plea.
Don’t get us wrong, you’ll have fun listening to the album. Timberlake’s well-produced 12-track recording has the performer stirring up some frisky, groove-heavy albeit lyrically sparse numbers that will no doubt find their way into the pop charts: The graphic suggestiveness of the infectious “Sexyback” (“I’ll let you whip me if I misbehave…/ You’re burning up for me and that’s a fact”) is lost in the track’s scorching hooks, thank goodness.
Irresistible
If you want another serving of the “Off The Wall"-like charms of “Rock Your Body” or “Señorita,” you’ll find it here in tracks like “Love Stoned/ I Think She Knows.” If you find the hip-hop, R&B groove of “Like I Love You” irresistible, “Damn Girl” will serve you equally well.
Timberlake knows how to lure record buyers into listening to his aurally dynamic, albeit thematically scant songs. Now, more than ever, his songs feel like they’re engineered for pop-chart success.
And his artistry is compromised by his obvious musical influences: “Damn Girl” sounds like a refurbished, techno version of a Prince ditty, and his Michael Jackson-like dance licks and vocal affectations are likewise all over the place (sampling beats of Wacko Jacko’s “Gotta Be Starting Something” are evident in the ever-changing tempo of “Love Stoned”).
Power ballad
Like an afterthought, he places his slower R&B tunes and adult-contemporary numbers (the make-out romantic song, “Summer Love/ Set the Mood,” “Until the End of Time”) in the final third of the track listing. The last tune, “(Another Song) All Over Again,” a well-sung number about love and forgiveness, is the album’s requisite power ballad.
Justin’s voice may not have the power and vocal brilliance of his former colleague in ‘NSync, JC Chasez, but he more than makes up for it in technique and charisma. Problem is, he just doesn’t have as distinctive a voice as, say, Lee Ryan or Robbie Williams. So, what does he do for an encore?
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Date: 2006-10-08 04:34 am (UTC)