Timbaland Presents Shock Value Label: Blackground/Interscope Release Date: 04/03/07

I understand why Timbaland’s profile is so high these days… he had a hand in a few of the most ubiquitous singles of the last year, after all, but why is this being dubbed a comeback? He has indeed been here for years, its not like a constant share of hit singles ever stopped having his name on them. The hype for his recent artist-cum-wall-to-wall-cast-of-guests-megafamous-and-less-so album, “Timbaland Presents Shock Value”, seems to have overlooked that, with or without Magoo (which would be a great title for a collaboration between Timbaland and U2), Timbaland has already done four of these. “Shock Value” is somewhat par for the course on that scale (perhaps excepting the first album with Magoo, “Welcome 2 Our World”, which is an overlooked gem of a progressive pop record). His albums tend to have some amazing moments and predictably immaculate, creative production, weighed down by the presence of some listless, empty songs, a few absolute clunkers, and the unfortunate vocal presence of Timbaland. Despite possessing a good voice, Timbaland thinks in sound rather than words, which is why he sounds best imitating record scratches or chanting two words or less, and every time he goes farther than that it is either squeamishly embarrassing or hilarious in none of the ways he intends. Some blend of ghostwriting and enthusiasm allows Timbaland to coast through the album inducing minimal winces, but it is always odd to hear the best producer in the world work with the most awkward vocalist in the world, and this happens often when Timbaland makes his own albums.

“Shock Value” comes on strong. The first five cuts sound great, sporting crackling, thumping, eccentric beats and tweaks that should please heads hip hop, pop, and dance, and generally anybody who can appreciate strong, daring pop music. Such an amazing opening passage makes one think Timbaland may be delivering the great album length combination of radio/club friendly saavy and wild experimentation that he seems capable of, maybe even contending with Basement Jaxx for genius embodying dumb pop and genius virtuosity simultaneously. This is the part that sports the monster single “Give It To Me” and most of the star power (Justin Timberlake, Nelly Furtado…) for the top 40 set. This passage culminates in “Bounce”, a crushing club vamp with Timberlake, Missy Elliott, and Dr. Dre (uniting the two most important figures in hip hop who can’t competently rap) that will literally give your ass the hiccups. Literally.

Then comes 50 Cent to fuck up the whole album on “Come and Get Me”. A theory I’ve tested here is that there are not really as many wack cuts on Timbaland albums as there seems, but the bad ones are so bad that they cast an obnoxious pall over much that follows. On the track, 50’s presence seems to inspire everybody else to get ugly and suck too. The album picks up afterward with a string of rather good collaborations with friends like Magoo and Keri Hilson. Timbaland is probably the best at delivering sleek, modern bizarro world incarnations of new wave electrofunk memories. Alone, this would sound like material for a solid, enduring album, particularly “Boardroom” and “Miscommunication”, but after five amazing tracks and a genital shrinking album rape by 50 Cent, it sounds like Mr. I Got Shot has bummed everybody out and they forgot that they were making a great record.

Towards the end, Timbaland reveals his big “shock”, which is that he has ended up where visionary hip hop artists usually do, that is sick and tired of hip hop and wanting to make rock music. I could go into great detail explaining why modern commercial rock is far more uninspired, stale and exhausted than its hip hop counterpart, but it is hard to argue against the grass is greener mindset. I suppose after years of brilliant reinventions being appropriated, imitated into pedestrianism, and dragged into the muck of ephemeral radio product, it may seem like the Hot Topic heroes are where its really at. Hence, the last part of “Shock Value” boasts songs with The Hives, Fall Out Boy, She Wants Revenge and other caucasian candy rebellion confections. None of this is bad, per se. If anything it proves that Timbaland could make any number of Warped Tour acts more fun to listen to, but it is a pale shadow of the genius that began this album.

As if to hammer this devolution home, Timbaland ends the album with an icon of irrecognizably diminished pop brilliance, Elton John. Their song, “2 Man Show” is not good or bad, it just almost seems nonpresent. A massive choir is used to no particular effect to say nothing, Elton plinks away on the piano indifferently, and Timbaland carries the lead vocal to mutter silly nonstatements despite being surrounded by 20+ better singers and a rock legend know for singing. “Shock Value” ends up being another mixed bag that keeps Timbaland from getting his just due from album oriented rockers. Timbaland, like fellow from the area but based elsewhere beatslingers the Neptunes, has made more forward thinking, odd, perfect music that changed how we listen than almost anybody else in any genre. Perhaps this hyperactive creativity is what leads him to follow bad ideas too far and what will forever inhibit him from making an entirely satisfying artist album. Upon repeat listenings, the bad moments of “Shock Value” diminish somewhat in their offensiveness and more details reveal themselves to tell how good most of it really is.

This entry was posted on Thursday, April 19th, 2007 at 8:44 am and is filed under CD/LP. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.