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My favourite changes everyday but Strawberry Bubblegum and BOF remain the overriding favourites for me personally.

I love Tunnel Vision right now. I looook around and everythinggg I see is beautiful.cos.all.I.see.is.you. And I cant deny it. And I stand by it.

Everything just disappears. disappears. dissss-a-peears. dis.a.ppears.yeah.

blue ocean floor is like the best pop song for a long time! love it! :stahp:

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HE IS MY MALE IDOL!!!! I LOVE HIM :xf4: !! I'm living in Italy and the album will arrive next week i've order the album *-*... but i've download it on iTunes. Is AMAZING :xf10: Strawberry Bubblegum is my fav one maybe because when i saw the live on jimmy Fellon and i've saw him dancing in that way in the beginning of the song :embarrassed:... I fell in love with him more than EVER. He is a nice person and i don't care what people say about him, HE IS A MUSIC GENIUS, and i can't wait for the tour and the fourth album on November :xf9:

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HE IS MY MALE IDOL!!!! I LOVE HIM :xf4: !! I'm living in Italy and the album will arrive next week i've order the album *-*... but i've download it on iTunes. Is AMAZING :xf10: Strawberry Bubblegum is my fav one maybe because when i saw the live on jimmy Fellon and i've saw him dancing in that way in the beginning of the song :embarrassed:... I fell in love with him more than EVER. He is a nice person and i don't care what people say about him, HE IS A MUSIC GENIUS, and i can't wait for the tour and the fourth album on November :xf9:

Yasss! He killed every one of the Fallon performances, absolutely loved it. The dance break was freaking amazing. Marty Kudelka always brings it with the choreography.

Giving me all sorts of inexplicable emotions/feelings while he's killing it:

tumblr_mjq2y9dPzz1qzlj9no2_500.gif

tumblr_mjq2y9dPzz1qzlj9no3_500.gif

Part II is rumoured for November, and I hope it is correct! Justin won't yet release further details. Lol he is such a troll haha.

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My favourite changes everyday but Strawberry Bubblegum and BOF remain the overriding favourites for me personally.

I love Tunnel Vision right now. I looook around and everythinggg I see is beautiful.cos.all.I.see.is.you. And I cant deny it. And I stand by it.

Everything just disappears. disappears. dissss-a-peears. dis.a.ppears.yeah.

blue ocean floor is like the best pop song for a long time! love it! :stahp:

When I first heard it the first instinct I got was that it could easily pass for an indie record, seriously. Justin really went outside his comfort zone with this track. One of the many things I respect about him.

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GOD DAMN THIS REVIEW DRAGS JUSTIN FOR FILTH AND IS SPOT ON!

ITS EMBARRASSING SO MANY PEOPLE FALL FOR SLICK ASS MARKETING OVER A REAL ORGANIC ALBUM:

ABC News’ Allan Raible reports:

Away from the "boy-band" machine, Justin Timberlake theoretically shouldn't have so much gravitas. He's not any more talented than your average, well-coached teen-pop star. (READ THAT AGAIN TIMBERFAKE STANS)

You'd be hard-pressed to find a pop album that takes itself more seriously than "The 20/20 Experience." Most tracks are overextended to last seven or eight minutes.

"Pusher Love Girl" begins with the kind of stringed fanfare you'd expect to hear on the red carpet at an awards show, then morphs into a faux Michael Jackson attempt. Sadly, a lot of JT's fans don't remember how amazing Jackson was at his peak. He also had better material.

"Thriller" and "Bad" were huge albums as much for their songs as for Jackson's showmanship.

When Timberlake sings "Pusher love/Be my drug/Hook me up" it is very calculated. He still somehow lives in a "Tiger Beat" bubble. He's better than Bieber but not by much. His songs are still full of lame teen-pop come-ons. The added drug reference is meant to give him "edge." He is supposed to be the bad boy with the pseudo-'50s smile and the charm to match. But, hey, he's got a weakness for love, which is just like a drug. That comparison was tired when Roxy Music used it back in 1975. It's past even being a dead horse by now.

"Suit and Tie" is a catchy single, but all its charms are undercut by its ridiculous intro in which he sings "I be on my suit and tie s___." The track is backed by a ping-ponging beat, echoing Marvin Gaye's "Mercy, Mercy Me (The Ecology)."

Timberlake's music seems secondhand. He wants to be some sort of supper-club soul man. His "Suit & Tie" shtick not only brings to mind many of the classic Motown artists who performed in suits but also Raphael Saadiq's "The Way I See It" image from 2008, thus turning what could've been a clever stylistic choice into a recycled gimmick.

"Don't Hold the Wall" finds producer Timbaland backing Timberlake with a pseudo-Indian beat. The producer chants, "Dance … Don't hold the wall" in a voice that sounds as if it is coming through a broken phone receiver. The song contains the lyrics "I'm the best ever," which is preceded by a cocky chuckle just off the mic. Brashness can be an asset, but lack of humility can be dangerous. In any case, this sparse, hand-clap jam doesn't warrant its seven-minute length, even with its marginally interesting breakdown section.

"Strawberry Bubblegum" begins with a deep, Barry White-esque voice saying, "Hey… pretty lady…" while Timberlake sings "This goes out to you!" Such a move seems engineered to make gullible teen girls in the audience scream. The dusty string loop and the added record scratchiness on the track fit the faux-vintage vibe that coats this record. With its ethereal, soft tone, the track wants to be Jackson's "Butterflies" but lacks that song's genuinely eerie and weirdly beautiful sense of longing. Once again, Timberlake's amateurish lyrics don't do him any favors. He tries very hard by adding a retro-sounding organ solo, but such retro-touches feel about as genuine as a hipster trying on a different kind of hat.

Timbaland's beat on "Tunnel Vision" is strikingly cool. It should've been used on a better track. While Timbaland may repeat himself, he is working off a blueprint he essentially created, while working off a series of tired "loverman" clichés.

"I got that tunnel vision for you," he coos. In other words, he's zooming in on your love, girl, and there's a quiet storm headed your way!

"Spaceship Coupe" begins with another faux dedication. We get it. You wrote these songs for all the "ladies" within earshot. "I just want to fly away with you," he sings. "I don't want to alienate. I'm trying to find the alien in you." This song is full of more cheesy sexual space metaphors than the humorist in me can handle. To top it off, it has the kind of lite-radio rock guitar solo not heard this side of 1987. He should have outgrown ridiculous songs like this long ago. He should be leaving that kind of thing to Robin Thicke.

"That Girl" is a somewhat dull, standard love-croon. It's the kind of track Prince, Maxwell and an early-career Van Hunt could have done with their eyes closed.

"Let the Groove Get In" can be covered with a refrain of "Ma ma se/Ma ma sa/Ma ma ma coo sa!" The chanted title of this song aims to be "Wanna Be Startin' Somethin'." But it's a vague sketch at best. Jackson understood the value of a change-up. "Wanna Be Startin' Somethin'" was a constantly moving masterpiece. Here, more often than not, Justin feels like a singer standing still … or coasting at best.

"Mirrors" is crafted for pop radio. It's the kind of ballad dozens of singers have attempted. Again, it is way too long and it sounds a bit like a sad R&B answer to Natalie Imbruglia's 1998 hit, "Torn."

With its backward Four Tet-esque backdrop, "Blue Ocean Floor" is rather hypnotic. Artistically speaking, this is the best song on the record. Not only does it find Timbaland thinking outside of the box, but it also seems to be Timberlake's least self-aware performance.

Overall, though, this is a surprisingly uninspired collection. Timberlake wants to be a legend. He needs to become more of an innovator and less of a cultural regurgitator. For now, he is merely a pop imitator with too much flash and not enough flavor.

http://gma.yahoo.com...news-music.html

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GOD DAMN THIS REVIEW DRAGS JUSTIN FOR FILTH AND IS SPOT ON!

ITS EMBARRASSING SO MANY PEOPLE FALL FOR SLICK ASS MARKETING OVER A REAL ORGANIC ALBUM:

Omfg like I’m so scared like.....

tumblr_m42v33sK7V1rqfhi2o1_500.gif

I’m not denying that a lot of the success of the album is due to the stringent and strategic marketing campaign to launch it but a lot of the success can also be attributed to Justin’s legacy as a growing modern day pop icon. The general public undeniably loves his music and this 7 year break was a big one. The general public don’t give a sh!t about an “organic” album, as you put it. The general public have invested into this album because they are ENJOYING the singles and the early listen available on itunes. They like Justin, they like the music, and they’re happy to spend their money. Fucking simple.

ABC News’ Allan Raible reports:

Away from the "boy-band" machine, Justin Timberlake theoretically shouldn't have so much gravitas. He's not any more talented than your average, well-coached teen-pop star. (READ THAT AGAIN TIMBERFAKE STANS)

Stop embarrassing yourself. Justin has been performing professionally since the age of 8 and well trained he is, but his unique star power that set him apart from the NSYNC boys is undeniable. Yeah, his roots are linked to the “boy band machine” but he successfully stepped out of that bubble and proved his individual flare and musicianship. Who the f**k else has achieved that apart from Beyonce? Tell me the name of some other former “well-coached teen pop stars” that have even come close to reaching Justin’s success, accolades, showmanship, staying power and artistic depth. Don’t even dare mention Britney – she doesn’t co-produce/co-write all of her tracks, nor does she sing live whilst dancing, nor show any care about her performance craft, etc etc. Talent is not a factor that should be questioned in regards to Justin Timberlake.

You'd be hard-pressed to find a pop album that takes itself more seriously than "The 20/20 Experience." Most tracks are overextended to last seven or eight minutes.

"Pusher Love Girl" begins with the kind of stringed fanfare you'd expect to hear on the red carpet at an awards show, then morphs into a faux Michael Jackson attempt. Sadly, a lot of JT's fans don't remember how amazing Jackson was at his peak. He also had better material.

"Thriller" and "Bad" were huge albums as much for their songs as for Jackson's showmanship.

First off, Justin has never tried to pass this album off as something revolutionary. He is very modest about his descriptions of the album and the tracks and says that he regards it as an experience because thats what the process has been for him. He and his producers went into hibernation mode and experimented. The result was 10 minute songs that Justin was determined not to cut down because he wanted to satisfy the fans with a great sound and showcase his experimentation. It is HIS album and he can do what the hell he wants. The strings in Pusher Love Girl are homage to the soul and blues that Justin grew up with in Memphis and it’s awesome, I don’t find it cheesy. This reviewer’s assumption that JT fans are ignorant about MJ’s legacy is fucking ridiculous, and how he thinks that this song resembles Michael at all is a testament to his own ignorance. I’ll have you know that I was a Michael fan LONG BEFORE Justin had his breakthrough. I idolised Michael when I was growing up - I have all his albums, and I still watch his concerts and music videos. Michael’s material from his peak period is better, no question about it. Furthermore, Justin has never downplayed his adoration for Michael and often cites him as an inspiration, so stay mad.

When Timberlake sings "Pusher love/Be my drug/Hook me up" it is very calculated. He still somehow lives in a "Tiger Beat" bubble. He's better than Bieber but not by much. His songs are still full of lame teen-pop come-ons. The added drug reference is meant to give him "edge." He is supposed to be the bad boy with the pseudo-'50s smile and the charm to match. But, hey, he's got a weakness for love, which is just like a drug. That comparison was tired when Roxy Music used it back in 1975. It's past even being a dead horse by now.

"Suit and Tie" is a catchy single, but all its charms are undercut by its ridiculous intro in which he sings "I be on my suit and tie s___." The track is backed by a ping-ponging beat, echoing Marvin Gaye's "Mercy, Mercy Me (The Ecology)."

Timberlake's music seems secondhand. He wants to be some sort of supper-club soul man. His "Suit & Tie" shtick not only brings to mind many of the classic Motown artists who performed in suits but also Raphael Saadiq's "The Way I See It" image from 2008, thus turning what could've been a clever stylistic choice into a recycled gimmick.

Justin has said endlessly that the album is inspired by early R&B, soul and blues music such as that from Marvin Gaye, Al Green and the Jackson 5. Justin is a very visual artist. When he is creating the sound he is also contemplating the image he will portray with it. The suit attire is inspired by some of his other childhood influences such as Frank Sinatra and Gene Kelly. As a fan I prefer Justin’s signature jeans, jacket and sneakers look so I actually agree that it is a little gimmicky on Justin. It doesn’t mean that he is unoriginal. AT LEAST he is thinking in an artistic capacity rather than churning out some lame, generic mess that could have been done by Jason Derulo or Taio Cruz etc or do a Rihanna and just do what’s considered hot right now. He has taken his childhood inspirations and morphed them into a modern sound by putting his own twist on it with urban beats and electronics. Justin doesn’t have to force edge, he has edge. And that Bieber comment is just completely and utterly delusional.

The song contains the lyrics "I'm the best ever," which is preceded by a cocky chuckle just off the mic. Brashness can be an asset, but lack of humility can be dangerous.

"Strawberry Bubblegum" begins with a deep, Barry White-esque voice saying, "Hey… pretty lady…" while Timberlake sings "This goes out to you!" Such a move seems engineered to make gullible teen girls in the audience scream. The dusty string loop and the added record scratchiness on the track fit the faux-vintage vibe that coats this record. With its ethereal, soft tone, the track wants to be Jackson's "Butterflies" but lacks that song's genuinely eerie and weirdly beautiful sense of longing. Once again, Timberlake's amateurish lyrics don't do him any favors. He tries very hard by adding a retro-sounding organ solo, but such retro-touches feel about as genuine as a hipster trying on a different kind of hat.

"Spaceship Coupe" begins with another faux dedication. We get it. You wrote these songs for all the "ladies" within earshot. "I just want to fly away with you," he sings. "I don't want to alienate. I'm trying to find the alien in you." This song is full of more cheesy sexual space metaphors than the humorist in me can handle. To top it off, it has the kind of lite-radio rock guitar solo not heard this side of 1987. He should have outgrown ridiculous songs like this long ago. He should be leaving that kind of thing to Robin Thicke.

"Let the Groove Get In" can be covered with a refrain of "Ma ma se/Ma ma sa/Ma ma ma coo sa!" The chanted title of this song aims to be "Wanna Be Startin' Somethin'." But it's a vague sketch at best. Jackson understood the value of a change-up. "Wanna Be Startin' Somethin'" was a constantly moving masterpiece. Here, more often than not, Justin feels like a singer standing still … or coasting at best.

Justin is performing with an alter ego in Don’t Hold the Wall. It’s not autobiographical. It’s about dancing with a girl in a club which he doesn’t do anymore, being a married man. He has said himself that the song is about having confidence which is why he is acting cocky.

Strawberry Bubblegum remains flawless and this reviewer remains pressed. I don’t scream when I hear the opener. It’s just simply awesome.

I agree with the point about the cheesy metaphors but the cheese is ironically what makes it such an awesome track. Again with the delusion and Robin Thicke. For crying out loud the ONLY thing they have in common is their falsetto. The comparison is tired.

LTGGI is directly inspired by the Jackson 5. This is yet another track that just oozes fun. Justin aint trying to pass it off as some kind of masterpiece, so again, another invalid point.

Overall, though, this is a surprisingly uninspired collection. Timberlake wants to be a legend. He needs to become more of an innovator and less of a cultural regurgitator. For now, he is merely a pop imitator with too much flash and not enough flavor.

Justin is already on his way to becoming a legend. (In my eyes he already is one). More of an innovator?? What the f**k was FS/LS?? Oh, that’s right, just the album that propelled Justin as a leader in the landscape of pop music, that singlehandedly raised the bar for what was expected of other artists..........but this reviewer will conveniently forget that.

1512966_o.gif

All I have to say to this is stay mad and stay delusional.

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GOD DAMN THIS REVIEW DRAGS JUSTIN FOR FILTH AND IS SPOT ON!

ITS EMBARRASSING SO MANY PEOPLE FALL FOR SLICK ASS MARKETING OVER A REAL ORGANIC ALBUM:

ABC News’ Allan Raible reports:

Away from the "boy-band" machine, Justin Timberlake theoretically shouldn't have so much gravitas. He's not any more talented than your average, well-coached teen-pop star. (READ THAT AGAIN TIMBERFAKE STANS)

You'd be hard-pressed to find a pop album that takes itself more seriously than "The 20/20 Experience." Most tracks are overextended to last seven or eight minutes.

"Pusher Love Girl" begins with the kind of stringed fanfare you'd expect to hear on the red carpet at an awards show, then morphs into a faux Michael Jackson attempt. Sadly, a lot of JT's fans don't remember how amazing Jackson was at his peak. He also had better material.

"Thriller" and "Bad" were huge albums as much for their songs as for Jackson's showmanship.

When Timberlake sings "Pusher love/Be my drug/Hook me up" it is very calculated. He still somehow lives in a "Tiger Beat" bubble. He's better than Bieber but not by much. His songs are still full of lame teen-pop come-ons. The added drug reference is meant to give him "edge." He is supposed to be the bad boy with the pseudo-'50s smile and the charm to match. But, hey, he's got a weakness for love, which is just like a drug. That comparison was tired when Roxy Music used it back in 1975. It's past even being a dead horse by now.

"Suit and Tie" is a catchy single, but all its charms are undercut by its ridiculous intro in which he sings "I be on my suit and tie s___." The track is backed by a ping-ponging beat, echoing Marvin Gaye's "Mercy, Mercy Me (The Ecology)."

Timberlake's music seems secondhand. He wants to be some sort of supper-club soul man. His "Suit & Tie" shtick not only brings to mind many of the classic Motown artists who performed in suits but also Raphael Saadiq's "The Way I See It" image from 2008, thus turning what could've been a clever stylistic choice into a recycled gimmick.

"Don't Hold the Wall" finds producer Timbaland backing Timberlake with a pseudo-Indian beat. The producer chants, "Dance … Don't hold the wall" in a voice that sounds as if it is coming through a broken phone receiver. The song contains the lyrics "I'm the best ever," which is preceded by a cocky chuckle just off the mic. Brashness can be an asset, but lack of humility can be dangerous. In any case, this sparse, hand-clap jam doesn't warrant its seven-minute length, even with its marginally interesting breakdown section.

"Strawberry Bubblegum" begins with a deep, Barry White-esque voice saying, "Hey… pretty lady…" while Timberlake sings "This goes out to you!" Such a move seems engineered to make gullible teen girls in the audience scream. The dusty string loop and the added record scratchiness on the track fit the faux-vintage vibe that coats this record. With its ethereal, soft tone, the track wants to be Jackson's "Butterflies" but lacks that song's genuinely eerie and weirdly beautiful sense of longing. Once again, Timberlake's amateurish lyrics don't do him any favors. He tries very hard by adding a retro-sounding organ solo, but such retro-touches feel about as genuine as a hipster trying on a different kind of hat.

Timbaland's beat on "Tunnel Vision" is strikingly cool. It should've been used on a better track. While Timbaland may repeat himself, he is working off a blueprint he essentially created, while working off a series of tired "loverman" clichés.

"I got that tunnel vision for you," he coos. In other words, he's zooming in on your love, girl, and there's a quiet storm headed your way!

"Spaceship Coupe" begins with another faux dedication. We get it. You wrote these songs for all the "ladies" within earshot. "I just want to fly away with you," he sings. "I don't want to alienate. I'm trying to find the alien in you." This song is full of more cheesy sexual space metaphors than the humorist in me can handle. To top it off, it has the kind of lite-radio rock guitar solo not heard this side of 1987. He should have outgrown ridiculous songs like this long ago. He should be leaving that kind of thing to Robin Thicke.

"That Girl" is a somewhat dull, standard love-croon. It's the kind of track Prince, Maxwell and an early-career Van Hunt could have done with their eyes closed.

"Let the Groove Get In" can be covered with a refrain of "Ma ma se/Ma ma sa/Ma ma ma coo sa!" The chanted title of this song aims to be "Wanna Be Startin' Somethin'." But it's a vague sketch at best. Jackson understood the value of a change-up. "Wanna Be Startin' Somethin'" was a constantly moving masterpiece. Here, more often than not, Justin feels like a singer standing still … or coasting at best.

"Mirrors" is crafted for pop radio. It's the kind of ballad dozens of singers have attempted. Again, it is way too long and it sounds a bit like a sad R&B answer to Natalie Imbruglia's 1998 hit, "Torn."

With its backward Four Tet-esque backdrop, "Blue Ocean Floor" is rather hypnotic. Artistically speaking, this is the best song on the record. Not only does it find Timbaland thinking outside of the box, but it also seems to be Timberlake's least self-aware performance.

Overall, though, this is a surprisingly uninspired collection. Timberlake wants to be a legend. He needs to become more of an innovator and less of a cultural regurgitator. For now, he is merely a pop imitator with too much flash and not enough flavor.

http://gma.yahoo.com...news-music.html

tumblr_lezkownH4L1qcfba3o1_500.gif pressed!

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A crowded room anywhere, a million people around, all I see is you

And that everything just disappears,

disappears,

disappears,

disappears

264pb4i.gif

Seriously have been loving this album. I think Mirrors and That Girl are the only ones I skip

and flawless thread

:bow:

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A crowded room anywhere, a million people around, all I see is you

And that everything just disappears,

disappears,

disappears,

disappears

264pb4i.gif

Seriously have been loving this album. I think Mirrors and That Girl are the only ones I skip

and flawless thread

:bow:

Hehe thanks bb <3

A million people in a crowded room

But ma camera lense has only been set to zoom

And it all be----comesss so cleaarr

Becomes so clear

Becomes so cleeeeear

I got that

Tunnel vision

For you

I'm the same actually - I tend to skip That Girl compared to other tracks, though I still love it.

I live for the "you are you are da love of ma life" in Mirrors so I tend to still listen to it a lot.

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Jay-Z & Justin Timberlake’s Tour Outselling “Watch The Throne” Tour By 6 To 1:

http://www.xxlmag.co...oVGqxtE.twitter

Hahahaha Kanye gon be pressed now lmfao

Justin confirmed as a SOLE GUEST on The Ellen Degeneres Show on April 25th

That's right bitches - Ellen and her buddy Justin are spending an entire episode together, just like she did with Madonna.

Justin-Timberlake-Dancing-as-a-Gingerbread-Man-random-25170379-320-240.gif?1364526936147

tumblr_lrs6fsTrR01r1i8ofo1_500.gif

YAAAASSSSSSSSSSSSSS!!!!!!

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The 20/20 Experience Dominates WorldWide Charts! #1 in US!

Big congrats to JT! The 20/20 Experience reached the #1 spot in the United States last week, selling 968,000 copies!

Internationally, the album hit the #1 spot on iTunes in 89 countries! It stormed the UK charts to become the biggest debut of 2013 and earned Justin his first #1 album in Germany. The album is also officially #1 in Australia, Canada, Korea, New Zealand, Ireland, Switzerland and across Asia.

In the process, the release also broke countless records:

1) The 20/20 Experience was the fastest-selling album worldwide in iTunes history!

2) In the United States, The 20/20 Experience is the year’s fastest selling album and earns Justin the biggest first week sales for a male artist in five years and the third biggest digital debut in SoundScan history ranking, just behind Lady Gaga and Taylor Swift.

3) The 20/20 Experience was also one of Target’s top three best-selling albums in the last decade, topping first week sales of his last release FutureSex/LoveSounds. It also led Timberlake to become Target’s biggest selling male artist since 2002!

Thanks to the fans worldwide for your support! Couldn't have done it without you!

Listen to The 20/20 Experience : Spotify

Download The 20/20 Experience: iTunes

-------------------------------------------------------------------------------------------------------------------------------------------

JUSTIN TIMBERLAKE’S THE 20/20 EXPERIENCE DOMINATES GLOBAL

ALBUM CHARTS SKYROCKETING TO #1 IN THE UNITED STATES

CRITICALLY ACCLAIMED ALBUM BECOMES FASTEST SELLING RELEASE OF 2013, SETS RECORD FOR

FASTEST SELLING ALBUM IN ITUNES HISTORY WORLDWIDE

BECOMES THE BEST SELLING MALE ARTIST IN TARGET HISTORY

Grammy® and Emmy Award®-winning Justin Timberlake’s new album The 20/20 Experience dominated the

global charts this week as the acclaimed release soared to the #1 spot in the United States selling 968,000 copies,

according to SoundScan. Internationally, the album hit the #1 spot on iTunes in 89 countries, stormed the UK

charts to become the biggest debut of 2013 and earned Justin his first #1 album in Germany. The album is also

officially #1 in Australia, Canada, Korea, New Zealand, Ireland, Switzerland and across Asia.

The 20/20 Experience shattered iTunes records as the fastest-selling album worldwide in their history. In the

United States, Justin’s latest effort is the year’s fastest selling album and earns Justin the biggest first week sales

for a male artist in five years along with the third biggest digital debut in SoundScan history ranking just behind

Lady Gaga and Taylor Swift. The long-awaited album became one of Target’s top three best-selling albums in the

past decade, topping first week sales of his last release FutureSex/LoveSounds. It also led Timberlake to become

Target’s biggest selling male artist since 2002.

Music critics across the country praised the album with Pitchfork raving “Timberlake seamlessly conflates the last

40 years of pop, soul and R&B into a series of warping seven-minute songs that extol the joys of music…” People

Magazine awarded it 4 stars saying it’s “the best sounding album you’ll hear all year.” USA Today handed Justin

a 3-star review while Rolling Stone hails the album with 4 stars. Billboard says it is “one of the genres…most

full-realized efforts in ages” and the New York Daily News called Justin’s music “luxurious.” Vibe Magazine says

the album “has the orchestrated feel of a motion picture” while Complex says “what better way to return to the

musical world, than to do it in style.” The Associated Press called the album “near perfect” and a “brilliant piece

of work that plays like a musical movement.” Internationally, the album received stellar reviews from the UK

press as well with The Independent, Evening Standard and The Times all awarding Justin’s latest release with 4-

stars reviews. The Independent calls the album “elegant” while the Evening Standard says the album’s music

is ‘‘infectious.”

The album’s first two singles continue to shake up the charts as well. The platinum-certified ‘Suit & Tie’ had its

best airplay week on the Billboard Hot 100 and Top 40 Mainstream charts (week ending March 24, 2013). The

song’s latest performance this week represents a career-high for Justin, according to Billboard Magazine. When

first released in January, the song broke U.S. radio airplay records earning the biggest song debut, airplay increase

and audience increase for a solo artist ever landing at #14* on the Billboard Top 40 Airplay chart. “Suit &Tie” is the

first song to be added by every Top 40 station in the first week. Meanwhile, 'Mirrors' topped the official UK singles

chart for a third week making it the longest running #1 single of 2013. Justin wowed audiences in the UK with an

exclusive performance of 'Mirrors' at the Brit Awards in February only to follow up that performance with a sold-

out concert at The Forum in London that had Q Magazine give him a 4-star review. Ratings for The Brits went

through the roof helping lead 'Mirrors' to the #1 spot on the iTunes Store following the performance. As ‘Mirrors’

continues to gain steam in both America and the UK, Justin debuted the epic new video the song that garnered

critical acclaim following its release last week.

Supporting the album’s release, Timberlake made a series of appearances including well-received live

performances during this year’s Grammy Awards and the Brit Awards in the UK, an interview on the long-running

The Jonathan Ross Show in London, a performance and interview on Germany’s popular program called Wetten

Dass, a ratings-busting hosting gig on Saturday Night Live where he helped the show reach a 14-month high in

audience numbers as well as a week-long guest spot on Late Night With Jimmy Fallon where ratings were driven

up 33% over last year among the coveted 18-34 demographic. Justin’s performances including several comedy

sketches were often the most talked about events the following day and week earning even more praise from

media across the world.

Clear Channel partnered with Target to air iHeartRadio Album Release Party With Justin Timberlake, which taped

in Los Angeles on March 18. The Release Party was aired and streamed by 175 Clear Channel stations, the CW

Network and Yahoo! Clear Channel utilized its multiplatform assets — from broadcast radio stations to online,

iHeartRadio, outdoor, live audio, web broadcast, social integration and a first-of-its-kind 850 station "roadblock"

announcement for an album premiere, reaching an estimated 100 million people across the country—to promote

the album release party, live stream and drive listeners and Timberlake fans to Target, where they could buy the

exclusive deluxe version of the album. On April 25, Justin will appear as the sole guest and musical performer on

The Ellen DeGeneres Show.

Justin will headline the sold-out Wireless Festival in London on July 12 and will take the festival stage with

JAY Z two days later on July 14. He will also headline the Rock In Rio Festival on September 15. This summer,

Timberlake and JAY Z will kick off their Legends Of The Summer Stadium Tour in Toronto, Ontario on July 17 that

will take the musical heavyweights to 12 cities across North America to perform at famed stadiums for thousands

of fans.

Giving fans even more news to get excited about, Justin also revealed in a recent interview in the U.S. that he will

release another album later this year.

Source: http://justintimberl...charts-1-in-us/

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