FLASHBACK: ‘Futuresex/Lovesounds’ By Justin Timberlake

If my prepubescent years were all about musical lady loves, pre-teen me was all about original heartthrob of pop: Justin Timberlake.

When I say I thought I knew what love was, I thought it was how I felt about JT. The hormones were hitting, and I convinced myself I was going to marry the man (which is IRONIC since I don’t believe in the necessity of marriage as an adult).

I’m revisiting Futuresex/Lovesounds because, for one, the cockiness of that title must be challenged, and two, I must analyse why I was so obsessed – especially since I currently have no clue what my [unbeknownst to him] husband and first love is doing these days.

Track 1: ‘Futuresex/Lovesounds’

I remember thinking having a track that was the same name as the album was lazy, but I take back that notion. ‘Futuresex/Lovesounds’ is a great opener. I already feel myself wanting to talk about the production. Forget Justin Timberlake, Timbaland is where it’s at.

Who cares about the face of the album when the producer makes the groove? I want the groove.

Track 2: ‘SexyBack’

Lord. I HATED this song when it came out. I was converted after purchasing the deluxe edition during the days when you went to JB-Hi-Fi for CDs. Back when you’d score two CD’s for the price of one. Talk about a bargain.

 

Knowing the vocals were recorded through a guitar amp also helped with the appreciation back then. But now I’m just mad that Justin described the beat as “hip-hop on acid.” I mean… excuse me? JT, you’re way out of line. Something “on acid” is not this beat. You were not part of the trippy wave, Justin, please. Get a grip.

Track 3: ‘Sexy Ladies’

I am only here for ‘Sexy Ladies’ because of the bass line.

(Also, how many times can one use the word ‘sexy’ before it’s overkill? Surely Justin’s hit his ‘sexy’ quota, and we’re not even half-way through the album yet).

Track 4, 5 & 6: ‘My Love’, ‘LoveStoned’, & ‘What Goes Around… Comes Around’

Now we move into what I call the Holy Trinity of this album.

Let’s get this straight, these are the kinds of singles where the album versions are better because of the medley/interlude concept going on. The interludes and medleys ARE the highlight. Everything about these three songs in succession is perfect.

‘My Love’ is how to convince me into marriage. 

‘LoveStoned’ is a term that should have lasted the test of time. No more “I love you”, more “I’m LoveStoned” lol.

I don’t think I need to say anything about ‘WGA…CA’. If you’re only familiar with the short version, do yourself a favour and listen to the whole 7 minutes and 29 seconds in its full glory. An orchestra to the heart.

The only bad thing about the Holy Trinity is that you have to leave them for the next few songs – and it’s such a let-down.

Track 7: ‘Chop Me Up’

Who decided to put ‘Chop Me Up’ on this album? I remember liking this back in the day, but this is a big skip.

Track 8 & 9: ‘Damn Girl’ & ‘Summer Love/Set The Mood (Prelude)’

Another skip. ‘Damn Girl’ isn’t bad but the track order makes me want to skip to ‘Summer Love’. And then I want to skip ‘Summer Love’ because I want to change the levels on the mix. Lower the main synth progression, put the orchestral parts up.

I’m now realising the true power of radio is not being able to escape songs – that’s what converts you. We were all brainwashed by the airwaves into thinking this mix was even okay. Having access to internet that wasn’t dial up and can load music a few years later has truly changed the game. My rose-coloured glasses are off and I am seeing the flaws. And there are lots.

And can we take a moment for ‘Set The Mood (Prelude). It’s on Holy Trinity levels. I am wiping tears from my eyes.

Track 10: ‘Until The End Of Time’

‘Until the End of Time’ is already beautiful but re-recording it with Beyonce = PERFECTION. This was my favourite song at the time, I was so insane about it I kept a notebook logging when I heard the song on radio, with dates and times and everything. Do not ask me to justify that level of meticulous crazy for something so stupid. BLESS marketing and sales departments for deluxe versions to keep albums in the charts. The duet is proof of the power of bonus tracks. It is beautiful and I still cry because I am transported to being in my feels with this song.

Track 11: ‘Losing My Way’

‘Losing My Way’ feels out of place due to the topic of drug addiction. But I love the orchestral arrangement, so I don’t care.

Track 12: ‘All Over Again’

Why are closings always this cheesy, low-tempo ballad like thing in pop? Who decided this was the way to make albums? Scrap closing with ‘All Over Again’. I don’t want to end with this. Replace it with a better slow jam, like ‘Set The Mood’ (Prelude)’. Make it longer and make that the close. 

I know I said JT was my first love and you’re supposed to have that special spot for them forever, BUT the true star of the album is Timbaland. The production and the musical bromance with all those interludes and orchestral pieces, I mean… UGH! JT and Timbaland are a dream-team that will last the test of time purely because of the wave of producers who cite them as influences.

But, let’s be real, some of these tracks could have been cut or replaced and the album would have been much better. All I ask, Justin, is for more medleys and ‘ludes – pre- and interludes, that is.