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The 20/20 Experience 2 of 2 (Deluxe Edition) Justin Timberlake Posted by: Unknown Minggu, 22 Desember 2013 Download The 20/20 Experience 2 of 2 (Deluxe Edition) Justin Timberlake. Artist: Justin Timberlake Album: The 20/20 Experience (Deluxe Edition) Genre: Pop, R&B 180MB 320KBPS / 489MB FLAC 166MB ITUNES / 141MB V0.VBR.
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Usb serial ch340 driver windows 7. On Justin Timberlake's first album in seven years, the pop superstar reunites with longtime producer/collaborator Timbaland for an album that seamlessly conflates the last 40 years of pop, soul, and R&B into a series of ambitious, long songs.
Consider 'N Sync's 2001 hit 'Pop', a defensive track co-written by Justin Timberlake that takes aim at boy-band haters. 'All that matters is that you recognize that it's just about respect,' he sings. The song was on 'N Sync's final album, Celebrity, which sold nearly two million copies in the U.S. in its first week-- and by that point the group had gone platinum about 30 times over. Even back then, this desire for meaningful admiration was nagging at Timberlake. 'Pop' is slyly referenced on 'Strawberry Bubblegum', a love-as-sugar-rush space-soul trifle from the singer's third LP, The 20/20 Experience. 'I'm gonna love you 'til I make it pop,' he goes, emphasizing the last word with the exact same sense of joy as he did 12 years ago. But now there's no irked aftertaste. Justin Timberlake is respected, and he's using that cred to make an eight-minute love song with the word 'bubblegum' in its title that astutely references Barry White, Drake-style ambient R&B, and Sly Stone. He's walking the walk and chewing gum at the same time.
The same can be said for the rest of The 20/20 Experience, which has Timberlake seamlessly conflating the last 40 years of pop, soul, and R&B into a series of warping seven-minute songs that shamelessly extol the joys of music and marriage. More ambitious and judicious than his first album, Justified, and more consistent than 2006's FutureSex/LoveSounds, the record mixes up not only genres and traditional song structures, but entire critical value systems. The poptimists who rode Timberlake's wave to post-guilty-pleasure virtuousness may decry its lack of three-and-a-half minute hits; old-schoolers may dismiss its simplistic themes. But by combining the direct warmth of a picture-perfect wedding with music that is complex and expansive, he's harkening back to an era when the biggest-selling album could begin with a six-minute, multi-part, groove-based epic called 'Wanna Be Startin' Somethin' and another extended, expertly arranged, gloriously campy touchstone called 'Thriller'.
Within his own discography, Timberlake's current path can be traced back to one song, the Timbaland-produced 'Cry Me a River'. More than any other, that track-- which sounds as odd and gothic and heady today as it did in 2002-- made way for his current role as first-class pop vanguard. FutureSex, spearheaded sonically by Timbaland once again, developed the syncopated formula further, lengthening beats, adding scene-setting interludes, and generally approaching pop with the sort of rule-crushing abandon that is often desired but rarely achieved. But then Timberlake went into movieland, and Timbaland, along with many of his peers, went into Euro-schlock-land, and 'SexyBack' became an ever-foggier memory, made more poignant because it marked a time and a collaboration that seemed completely over. Which is yet another reason why The 20/20 Experience is such a welcome comeback. It's not only about the return of a human being who can hold an entire stadium rapt for hours, but a producer who had seriously lost his way.
20/20 has Timbaland, along with protege Jerome 'J-Roc' Harmon, returning to the sounds that flipped so many ears at the beginning of this century: the Bhaṅgṛā rhythms that drive 'Don't Hold the Wall', the squealing vocal samples of 'Spaceship Coupe', the sinister synths of 'Tunnel Vision'. And the new twist is also a blast from the past: many songs here are augmented with live instrumentation and vocal harmonies that go back to Motown, Stax, and Trojan. The stunning soul strut 'That Girl' samples reggae great King Sporty's 'Self Destruct', with Timbaland and Timberlake essentially approaching retro-pop with a hip-hop mentality. It's then, it's now, it's the type of song that'll be around for a long while.
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'That Girl' also sums up the album's overall message: 'I'm in love with that girl, and she told me that she's in love with me,' sings Timberlake, cleanly and sweetly. The rest of the record unspools that contented emotion-- presumably inspired by Timberlake's 2012 nuptials with actress Jessica Biel-- in various ways. He's high off of love on 'Pusher Love Girl', he's enjoying a five-star reception with his head-turning date on 'Suit & Tie', he's exploring the cosmos in a two-person vehicle on 'Spaceship Coupe', where he sings, 'Everybody's looking for the flyest thing to say/ But I just wanna fly away with you.' The lines double as a love-dumb self-critique; though Timberlake cites Bob Dylan as an idol, he's no bard. This pop star is at his best when leaving intricacies to the music, like the voyeuristic, slightly creepy feeling of all-encompassing infatuation that imbues the swarming 'Tunnel Vision', or on 'Mirrors', which conveys both the arena-flattening power and pillowtalk intimacy of finding solace in another person across its eight minutes.
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20/20 is akin to another recent album that successfully teased-out excitement from satisfaction, Beyoncé's 4. And like Beyoncé, Timberlake is looking to put himself above the fray of those pushing boom-boom beats to quick, repetitive, and oftentimes-numbing hits. It's a sensible strategy. Admittedly, pop culture wasn't built on sensible; instead, it rewards youth and conflict-- there's a reason why Rihanna has more #1 solo singles than JT and Beyoncé combined. Happy marriages, as a rule, do not sell records. But they could. And Timberlake is in a particularly opportunistic position to indulge in such aspirations. As a star who grew up in the money-printing CD era, he's got enough notoriety and loyalty to be able to challenge his audience without alienating them. So he's giving hopeless romantics just a little hope, one clattering seven-minute ode at a time.