Justin Timberlake - SexyBack (10 Years Anniversary)

Today We Celebrating of A Song Smashed The Billboard Charts for 7 Weeks in Row 
Back In 2006,  Here is what was significant about "Sexyback:"

1. New Sound - Unlike the clean blend of R&B and pop that Timberlake used on hisJustified, the FutureSex/LoveSounds album had a harder, dirtier sound. "SexyBack" is the dirtiest of the songs on the album. The bass is heavy. The vocals are distorted. JT doesn't sing in falsetto. The punchy riff is like electropop mixed with rock. In interviews, JT describe his new sound as "club funk," a mix of funk, pop, New Wave and rock. [1]  He filtered the influences of Prince, David Bowie, David Byrne and James Brown into one place, and it worked.

2. Sexy - "Sexyback" was JT's statement that he is sex symbol rather than a pop heartthrob. With lyrics like "You see these shackles? Baby I'm your slave." and "I'll let you whip me if I misbehave," there's no mistaking this is a sex song, not a love song. This was deliberate. Timberlake felt that radio music had gotten bland and was lacking in anything remotely sexy. Hence the opening lyrics, "I'm bringing sexy back" 

3. Explicit Lyrics - This was Justin's first single to have a Parental Advisory sticker. It wasn't just for the talk of whips and chains. There are curse words in the song. Though the words were edited for the radio, he does say "I'm bringing sexy back/ The mother f**kers don't know how to act," and "You mother fuckers watch how I attack." For a non-rap song designed to be played on pop radio stations, this was very unusual. 

4. Refocus - After Justin Timberlake released Justified, he was experiencing major burnout with music. This is a part of the reason why he began acting in movies likeAlpha Dog, Edison Force, and Black Snake Moan. His motivation to return to music was to make something that sounded different from the pop/R&B music he had already done. After meeting with Timbaland, he found a producer/partner who could help him steer his career in a new direction. The new song and album allowed JT to reinvent himself and regain focus on his music career. 

Danja, the producer extraordinaire talks about the Making Of Justin Timberlake's Hit "SexyBack"

DANJA: "For 'SexyBack' We were vibing in the studio. The way those sessions went, we jumped right in. The first record we did was 'What Goes Around Comes Around' and then we hopped into another idea. Me and Timbaland were jamming in the studio and Justin was there. We were recording while we were busting riffs, melodies, and beat patterns.

"There was maybe 45 minutes to two hours of us just jamming and they turned into songs like 'SexyBack,' 'Summer Love,' 'Sexy Ladies,' and another track. We went back, fine-tuned them, and make them songs. Everything we did in those sessions ended up on the album except for one song. Everything else, we made it on the spot and ended up on the project. There was no leftover songs from theFutureSex/LoveSounds sessions except for maybe one."

Justin Timberlake & Timbaland On The Of "SexyBack" (2006)

Though all of this is was a major departure for Justin Timberlake in 2006, I can't quite call it a major revolution for pop music. In fact, this track wasn't even a revelation for 2006. One month before "SexyBack" was released, Nelly Furtado released "Promiscuous," the lead single from her third album, Loose. Like "Sexyback," her song was:

• Produced by Timbaland and Danja, and featured Timbaland as a guest vocalist. Like FutureSex/LoveSounds, her entire album was produced by Timbaland.
• A new sound. It was a departure from her usual blend of pop, bossa nova, hip-hop and rock. "Promiscuous," like "SexyBack," it was dance song.
• Sexy. I mean, the song is about two people flirtatiously talking about sex.
• Had risque lyrics: Promiscuous doesn't have curse words, but the lyrics were very racy for the radio.

Justin Timberlake - FutureSex/LoveSounds (Vinyl Album)

   Label: Jive. Zomba 

 Format:2 × Vinyl, LP, Album

 Country: US

 Released: 2006

Genre: Pop

 Style: RnB/Pop, HipHop

10 Things We Learned From Timbaland's New Book "The Emperor of Sound"

Any conversation about the greatest producers of all time must include Timbaland. Timothy Mosley emerged in the Nineties with a series of beguiling records that changed the course of hip-hop and R&B; in short order, he launched a career in pop, helping to create unforgettable hits for Justin Timberlake, Nelly Furtado and Jay Z. The open-minded, genre-hybrid approach that dominates contemporary production would be hard to imagine without Timbaland's example.

1. Timbaland loves Rod Stewart.The famous beatmaker's memoir, modestly titled The Emperor of Sound, arrives tomorrow. Somewhat like a Timbaland beat, the volume takes a lot of strange jumps — ignoring, for example, the recording of the classic first Missy Elliott album — but the book still contains a wealth of interesting details. Here are 10 key revelations.

The producer showed his genre-defying impulses early on: While Rick James, Queen and Prince all played an important role in his musical education, no one receives more praise than Rod Stewart. "The genius of the instrumentation is unparalleled," writes Timbaland of "Da Ya Think I'm Sexy?" "Like every truly great pop song, it's got all the elements you've heard before, lined up in a way that you've never quite heard before. ... That song picks you up and doesn't let you go until the very last guitar lick." He adds later that "trying to chart my influences is like trying to pinpoint the origin of a cell-phone signal in those movies when the bad guy is using a scrambler."

2. In high school, he was in a group with Pharrell.In his teens, Timbaland put together the wonderfully named band Surrounded by Idiots. Timbaland was the DJ and Pharrell served as one of several rappers. (Pharrell also had his own group, Dead Poets Society, at the time.) Magoo, who would eventually release several albums with Mosley, was also a member. Mosley believes Surrounded by Idiots were ahead of their time: "We even had a few songs that I think would still be up to the standards of today."

3. He has a bullet lodged in his arm.While working at Red Lobster in high school, Mosley was accidentally shot — someone was attempting to deliver a gun to another kitchen employee, but it went off and hit Timbaland, causing him to lose the use of his left arm for seven months. He DJ'd anyway, using his shoulder to scratch despite the pain.

4. Timbaland spent several torturous years as a producer for DeVante Swing of Jodeci. Initially, Timbaland and Missy Elliott thought that earning the attention of Jodeci — an R&B group at the peak of its commercial powers — would be their big break. According to Timbaland's description, working under DeVante Swing was more like being under house arrest. "We would go for days without eating," he remembers. "We would be woken up in the middle of the night to run crazy errands. We were knocked around, kicked around, and beat down." In addition, Timbaland suggests that he was barely paid royalties for work he did on various songs during this time period.

5. Mosley's unique approach to sound was partially inspired by physically distorted records.Around the time Timbaland was making the beat that would ultimately become Ginuwine's "Pony" — a modern R&B classic — he developed an interest in degraded records. "If you leave a a record out in the sun, it will warp," he notes. "[I]t's going to have a strange, distorted sound. I love that sound and I started making beats with that vibe. I was thinking, Warp it a little, when I added belching synthesizers to the beat I was working on."

6. After Aaliyah's death, Timbaland went through a serious bout of depression.Timbaland and his partner in rhyme, Missy Elliott, played a crucial role on Aaliyah's second and third albums — Timbo produced roughly half of 1996's One in a Million, which went triple platinum, and three songs from 2001's Aaliyah, which won a Grammy for Best R&B Album. He was very close to the singer, and when she died in a plane crash in 2001, he went into a downward spiral. "I drank, as early as seemed social acceptable," he recalls. "Then I drank until the finish, to pass out. ... I kept the shades drawn and banned all guests. I gave up on grooming myself."

7. He disagrees with Jay Z about "Big Pimpin'."In his own memoir, Decoded, Jay Z disavowed "Big Pimpin'" due to its lyrical content. "Some [lyrics] become really profound when you see them in writing," the MC explained. "Not 'Big Pimpin'.'" It was like, I can't believe I said that. And kept saying it. What kind of animal would say this sort of thing?" Timbo does not share his regrets. "Making records is all about the moment," he counters. "You capture that moment in time and it's a letter in a bottle. Sometimes, years later, you go back and you play a track and it's like reading the diary of a you that you can barely remember. Doesn't mean that the old you was bad or something to be ashamed of."

8. Justin Timberlake's "What Goes Around ... Comes Around" came out of a "Cry Me a River"–inspired jam.When Timberlake headed back into the studio with Timbaland to craft the follow-up to his breakout album, Justified, the singer was creatively frustrated, crippled by the pressure of matching his solo debut's impressive commercial performance. In an attempt to break out of the gridlock, Timbaland and his partner Nate "Danja" Hill started "fooling around and freestyling with some of the sounds from 'Cry Me a River,'" the Timbaland-crafted hit from Justified. The result became "What Goes Around ... Comes Around," yet another Number One smash for Timberlake. Another interesting tidbit: The singer was apparently bumping INXS and Bowie constantly during theFutureSex recording process, though you wouldn't be able to tell that from listening to the finished product.

9. Timbaland actively reads his own press.At least the good press. He gleefully quotes The New York Times' Kelefa Sanneh on two separate occasions, touting his bold production on Aaliyah's "Try Me" single and the success of Timberlake's FutureSex/LoveSounds album.

10. He's just getting started.

Timbaland isn't interested in resting on his laurels. "Do I feel like I've hit my ceiling yet?" he asks. "By no means." He holds himself to a high standard: "My goal is to achieve a body of work that can sit in comparison with the work of the one and only Quincy Jones."

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