FutureSex/LoveSounds
FutureSex/LoveSounds | ||||
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Studio album by | ||||
Released | September 8, 2006 | |||
Recorded | November 2005–June 2006 | |||
Studio |
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Genre | ||||
Length | 66:12 | |||
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Producer |
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Justin Timberlake chronology | ||||
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Deluxe edition cover | ||||
Singles from FutureSex/LoveSounds | ||||
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FutureSex/LoveSounds is the second studio album by American singer-songwriter
interspersed with the album's full songs.FutureSex/LoveSounds received mostly positive reviews from critics, who noted its wide range of influences and eclectic sound. The album produced six singles that attained chart success; including US
The album has been added to the Rock and Roll Hall of Fame's musical library and archive. It is also considered by critics and fans to be one of Timberlake's best albums to date. To further promote the album, Timberlake embarked on his second concert tour, entitled FutureSex/LoveShow, which became one of the highest-grossing tours in 2007.
Background
In November 2002, Justin Timberlake released his debut album,
In the following years, Timberlake went partially idle in the music industry.[8] His being "burnt out" partly caused him to try acting in films. In October 2003, he hosted and was the guest musician on the late-night variety show Saturday Night Live, where he showcased his acting potentials. He also paired with American actor Jimmy Fallon on The Barry Gibb Talk Show. After the show, Timberlake was reportedly "inundated" with acting offers, which he readily accepted partly because he needed inspiration and did not want to pass up the opportunities.[8][12] Before returning to music, Timberlake shot four films; including Edison Force (2005) and Alpha Dog (2006).[8] Timberlake opted not to pursue the reunion with *NSYNC, which he considered after Justified. According to him, he was concerned with how they would reinvent their music.[9] In late 2004, Timberlake then contacted record producers Rich Harrison and Rodney Jerkins, who had produced songs for *NSYNC. Both producers were "impressed" by the live band-driven late-night shows Timberlake had participated in and wanted to incorporate this in his music.[13]
Recording
We had no direction at all ... other than "Cry Me a River," and not in the sense of mimicking the track, but in how big the song was. There was no direction for how he wanted the song to sound, because there was no direction for how he wanted [FutureSex/LoveSounds] to sound.
In 2005, Timberlake felt inspired to record songs again. Motivated by the "sad state" of pop radio, he decided he needed to experiment with music.
Once in the studio, however, the team had no clear direction for the album as there were no concepts being discussed.[14][16] Aside from having "Cry Me a River" to draw from, they had no "game plan" and no working title for the new album.[14] Timberlake thought that if he could make a record that would live up to Justified, he "would have".[10] So he asked Timbaland if he could reproduce the likes of "Cry Me a River" by four or six times.[8]
While in the studio, Timbaland played on the stereo plenty of songs by American singer and musician Prince for them to listen to. Early in their sessions, they reportedly were "fooling around" and "freestyling".[14] One night, Danja was playing a guitar riff and caught the attention of Timberlake, who then started humming to the melody and later sung the lyrics. Timbaland, who was at their side, added drums onto the progressing sound. After an hour, with no lyrics written on paper, Timberlake recorded in the vocal booth a song that would become "What Goes Around... Comes Around".[14] Timberlake, having been teased by Timbaland, said to the latter: "Let's do something we would never do. Let's go far left and just see what happens."[10]
Production
Official production for FutureSex/LoveSounds started in December 2005. When production began,
According to Timberlake, FutureSex/LoveSounds is like a "fashion editorial,
For his new project, Timberlake collaborated with only a few producers.[18] With no concrete plans, however, Timberlake's goal for the album was "'to capture moments' with a vivid, raw, off-the-cuff sound".[20] Timberlake, who included record production in his repertoire, managed the recording sessions with no formula.[18] His sessions with Timbaland and Danja were described as free-flowing, and he referred to themselves in the process as "looking like [mad men], a mad scientist".[10]
On his collaboration with Timbaland, Timberlake asserted that they "have a very interesting connection" in music.[18] In ten days, they composed at least eight to ten songs with the lyrics, melodies, and vocals all in place. In three weeks, after that transitional moment with "What Goes Around... Comes Around", the collective was able to produce songs like "My Love", "SexyBack", and "Sexy Ladies".[21] Unlike Justified which was recorded in six weeks, Timberlake said that FutureSex/LoveSounds took one year to complete.[19]
Sessions for the album also saw Timberlake collaborating with
Actor
Music
During the production of FutureSex/LoveSounds, Timberlake was interested in
Although Timberlake expressed interest in recording songs with rock influences, Timbaland was initially reluctant to pursue the idea because he was not accustomed to producing such music.[10] Nonetheless, he suggested that they could produce a handful, since they were afraid of alienating Timberlake's urban fan base.[10] Because of this concern, they produced several reprises, encores and preludes with a rock influence, instead of full-length songs.[10] As to the sound of FutureSex/LoveSounds, "My Love", the second song composed, steered the album's direction. Danja revealed that it "changed the whole album",[16] and the energy derived from the song was sustained throughout the process. On his inspiration for the infusion of R&B with trance on the album, Danja remembers:
I heard dance and techno and was always interested in it but didn't really know where to go. But I went to a club one night and saw that people were losing their mind to these dance tracks. It wasn't really that I wanted to mimic that sound. I just wanted to have that energy and have people going crazy. So I knew the fusion was putting R&B with trance.[16]
Unlike his previous record that was intended to focus on R&B and pop genres,[10] FutureSex/LoveSounds is less concentrated on one particular sound,[11] thus representing a wider range. Timberlake explains, "It's more broad as far as the styles I wanted to mix in to my own type of thing."[11] A musically "complex" album, FutureSex/LoveSounds is a fusion of rap, rock, funk, soul, gospel, new wave, opera, and world music.[19] Entertainment Weekly noted that the album's sound is a "sonic departure" from both *NSYNC and Justified.[24] Although "What Goes Around" sounds similar to Justified, Timberlake admitted that it is the only song in the new album to have such similarity.[10] Critics noted that the influences and styles are varied across the album's track list. The title track "
Lyrics
Most of the songs' lyrics were not written down on paper,[10] as Timberlake believed it would only slow him down.[12] For most of the album's production, Timberlake composed the lyrics in his head and would record the song shortly after. Some songs were conceptualized within a relatively shorter time, while others took longer because Timberlake had wanted to incorporate variation. For instance, the lyrics to "Losing My Way" were in a narrative style which took Timberlake longer to write.[10] The only song that Timberlake wrote down on paper was the Rick Rubin-produced "(Another Song) All Over Again". Rubin felt it was unusual for Timberlake because he requested the latter to write the lyrics first instead of recording it directly in the vocal booth.[10]
Sharing common themes with Justified, FutureSex/LoveSounds contains songs that are thematically based on and, according to Timberlake, were motivated by sex and love.[27] MTV editor Jennifer Vineyard summarizes that the album illustrates "the very nature of how sex and love are interchangeable and immutable and contradictory and complementary all at once".[27] The first half of the album, FutureSex, generally focuses on themes about sex that are evident on songs like the title track "FutureSex/LoveSound", "LoveStoned", "Damn Girl" and "Sexy Ladies".[27] The second half, LoveSounds, is the album's "sweet side",[27] encompassing songs such as "My Love", the slow jam "Until the End of Time" and "What Goes Around... Comes Around". Meanwhile, "LoveStoned" transitions to the two-minute prelude "I Think She Knows".[27]
Although themes of sex and love are dominant on the album, the song "Losing My Way" diverges to a more serious topic, which was inspired by a documentary of crystal meth addiction that Timberlake watched.[27] Meanwhile, "(Another Song) All Over Again" is a homage to soul musician Donny Hathaway, according to Timberlake.[20] The lyrics to "What Goes Around... Comes Around" are thought to have similar meaning to "Cry Me a River". In an interview, he revealed that the song was based on one of his friends' experience.[20] "My Love" was also noted as "arguably" similar with "Cry Me a River".[19] Timberlake however confirmed in many interviews that the record is not autobiographical, although he himself had an experience from which to draw.[19][27]
Release and promotion
FutureSex/LoveSounds was released worldwide on September 13, 2006.[28] More than a year after its initial release, a deluxe edition of the album was issued on November 27, 2007.[29] This edition contains three additional tracks on the album, each featuring guest artist. One of the tracks is a re-recording of "Until the End of Time", now a duet between Timberlake and American R&B singer Beyoncé. Also included with the Deluxe Edition is a bonus DVD, which contains footage from Timberlake's live performances and behind the scenes on the music videos of four singles, including "SexyBack" and "What Goes Around... Comes Around". The main album included with the Deluxe Edition is the edited version; and an explicit version was not issued.
According to
Before, an artist's release was made available in less than ten formats.[31] In recent years, however, versioning strategies have been increasingly applied to the recording industry. On the 2010 book The Music Industry: Music in the Cloud which examines such context, author Patrik Wikström noted FutureSex/LoveSounds as one "high-profile" example.[32] From the project, a total of 115 versions or products have been sold.[31] According to the International Federation of the Phonographic Industry (IFPI), the project has sold as of 2008[update] more than 19 million units worldwide, 20 percent of which were sales on CD format.[32]
Singles
Six major singles were issued from the album, led by "SexyBack" which was released on July 7, 2006, two months prior to the publication of the album. Regarding the song, Timberlake surmised he did not sound like he did before.[33] "SexyBack", which lacks his distinctive falsetto, is seen as a complete departure from Timberlake's recognized sound,[34] and his management thought it might risk being unrecognizable as a "Justin Timberlake song".[33] But that risk nonetheless appealed to Timberlake,[33] who reportedly insisted to have "SexyBack" released as the album's lead single.[33] Jive Records executive Barry Weiss, who initially doubted the suggestion, later told in an interview in February 2007 that albeit an "unusual record", it was a "risk that clearly paid off".[35]
"SexyBack" was followed with the release of "
Commercially, the album's first three singles have been the most successful in the domestic music market. They each peaked at number one on the US
Tour
In support of the album, Timberlake embarked on the
In May 2007, it was announced that Timberlake signed a deal with HBO network to broadcast the live concert. Timberlake previously appeared on an HBO special, which aired the *NSYNC Live From Madison Square Garden concert in 2000. FutureSex/LoveShow was taped on the second night at the Madison Square Garden on August 16, 2007. The footage was broadcast by HBO on September 3, 2007, and later on September 6 due to demand.[39] On November 20, 2007, a two-disc edition of FutureSex/LoveShow: Live from Madison Square Garden was released on DVD and Blu-ray formats that were sold exclusively by the retailer Best Buy. The release included extra footage including a song-by-song commentary by Timberlake and pre- and post-show clips.[40]
In 2008, the broadcast earned Timberlake an
Critical reception
Aggregate scores | |
---|---|
Source | Rating |
Metacritic | 70/100[45] |
Review scores | |
Source | Rating |
AllMusic | [23] |
Blender | [46] |
Entertainment Weekly | B−[47] |
The Guardian | [48] |
Los Angeles Times | [49] |
NME | 8/10[50] |
Pitchfork | 8.1/10[51] |
Q | [52] |
Rolling Stone | [53] |
Uncut | [54] |
FutureSex/LoveSounds was met with generally positive reviews from critics. At
In a mixed review, Uncut magazine found the album "laudable, but overreaching".[54] Vibe felt that Timberlake and Timbaland's songwriting is "frustratingly awkward".[58] Alexis Petridis, writing for The Guardian, said that the album "almost works: close, but no enema".[48] Ben Williams of New York magazine commented that Timberlake is "better at being sappy than sexy" and concluded, "If he hasn't yet invented a persona intriguing enough to live up to his music, give him credit for being one of the few white men still brave enough to make black music."[59] Robert Christgau of Rolling Stone found Timberlake's "best new" songs "thrilling", although "some of the up-tempo stuff flirts with mechanical muscle-flexing" and "Losing My Way" is a "well-meaning" but "clueless embarrassment."[53] In his consumer guide for MSN Music, he cited "My Love" and "SexyBack" as highlights and gave the album a three-star honorable mention,[60] indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure".[61]
Accolades
The album earned numerous best-of lists in 2006[34] and the following years. Music magazine Rolling Stone listed FutureSex/LoveSounds as their 26th among 2006's top 50 albums of the year.[62] On the British newspaper The Observer, the album made it at number 47 on the publication's list best 50 albums of 2006.[63] On the general publication Time, the album is ranked eighth among its list of ten best albums in 2006. The publication notes that Timberlake "levitates into a falsetto that honors Prince and Michael Jackson without stealing from them".[64]
FutureSex/LoveSounds earned numerous best-of-the-decade lists. Rolling Stone ranked it 46th on their top 100 albums of the 2000s - calling it "an avant-garde sprawl of abstract electronica and hallucinatory space funk".
Awards
In
Among others, it was nominated for International Album of the Year at the
Commercial performance
Fueled by its lead single "SexyBack",[86] FutureSex/LoveSounds sold more than 684,000 copies in its first week, debuting at No. 1 on the Billboard 200, the official US albums chart. It became Timberlake's first number-one album as a solo artist.[87] The album has sold over four million units in the United States, and has been certified four-times platinum by the Recording Industry Association of America (RIAA).[88] FutureSex/LoveSounds became the eighteenth best-selling album of 2006 in the United States.[89] As of 2018, the album has accumulated 6.49 million album-equivalent units in the country, combining sales (4.7 million copies sold) and equivalent streams.[90][91]
Internationally, the album was also well received, selling almost equal units and topping many charts worldwide.[34][92] Sony BMG distinguished FutureSex/LoveSounds as the biggest-selling album among the record company's releases in 2006.[92] Weiss noted that in the past three to five years before the album's release, American artists found it increasingly hard to achieve commercial success in international music markets. He found that Timberlake was among those few "that successfully sells in every country around the world".[24] According to MTV, the album has since sold more than 10 million units worldwide.[93]
In the United Kingdom, the album debuted at number one.[92] FutureSex/LoveSounds became the biggest pre-order album in iTunes history, breaking the all-time record for one week digital sales previously held by the English alternative rock band Coldplay.[92] Elsewhere in Europe, the album debuted at number one in Ireland, and opened at number two in Sweden and Switzerland.[94] In Australia, the album peaked at number one and has since been certified five-times platinum by the Australian Recording Industry Association, denoting shipments of over 350,000 units.[95] FutureSex/LoveSounds was the thirty-fourth best-selling album of 2006 in Australia, and third in the following year.[96][97] In 2006, FutureSex/LoveSounds was ranked as the 18th most popular album of the year on the Billboard 200.[98] The following year, FutureSex/LoveSounds was ranked as the 7th most popular album of 2007 on the Billboard 200.[99]
Legacy
The success of FutureSex/LoveSounds affected both Timberlake's and Timbaland's careers. For Timberlake, it further established his career as a solo artist. He comments, "'SexyBack' was the point when people stopped asking me when *NSYNC [sic] were going to reunite and started asking what I was going to do next."[100] Timberlake has also beefed up his fan base, gaining "hipster" fans in the wake of the album's success.[101] Combining the international success of Timberlake's FutureSex/LoveSounds and Nelly Furtado's Loose, demands for Timbaland's work reportedly surged.[37] Writing for Entertainment Weekly, Chris Willman remarked that FutureSex/LoveSounds is "like Timberlake's 'cred' record",[102] although Chris Collis said Timbaland nearly stole the spotlight, sharing with Timberlake the "star" status.[103]
Aside from earning critical acclaim for the album, according to Sia Michel of The New York Times, Timberlake was responsible for popularizing in 2006 the catchphrase "I'm bringing sexy back",[24][104] which is culled from the lead single "SexyBack". It spawned a "phenomenon" in which video-makers spoofed the song. At least four parodies gained attention such as "SweatyBack" and "HairyBack".[105] In 2007, Timberlake is ranked among Time magazine's 100 men and women "whose power, talent or moral example is transforming the world". For the publication, Timbaland writes, "It's as if Justin had been born 26 years ago to deliver music to the world. There are those who follow and those who lead. Justin is a leader, setting the bar for what's expected of others."[106] The album has been added to the Rock and Roll Hall of Fame's musical library and archive.[107] Andrew Barker of Variety (2016) stated the album "helped recalibrate the sonic frequency of several years' worth of pop-radio trends."[108]
In 2013, Maura Johnston from Vibe called it an "ambitious classic", writing FutureSex/LoveSounds "musically propelled the pop&B genre with audio novellas, interlude twists, Timbaland's weirdo sound effects and that irresistible falsetto" and "embraced the hard/soft duality implied by the title to thrilling effect—and because of their mastery of that balancing act, FutureSex/LoveSounds would go on to influence, if not define, much of the pop music that came after it." also adding it "pushed boundaries more forcefully than works by fellow crooners R. Kelly and Usher."[70] For its 10th anniversary, Rolling Stone editor Brittany Spanos wrote "Ten years ago, Timberlake destroyed any doubt of his artistry or potential with the mature, innovative FutureSex/LoveSounds. The pop star experimented with R&B, funk and rock to create a piece of music well ahead of its time. Today, the LP's influence can still be heard in everything from the worldly electro-soul of Zayn Malik to the moody sound of newcomers like Bryson Tiller. The album also signaled Timberlake's transition from pop hitmaker and Hollywood It Boy to a legitimate force as a musician and actor."[109]
It changed the game. A bold departure from the warm, synthesized soul that The Neptunes helmed on
Fuse TV's music critic Jason Lipshutz writing for the 10th anniversary of the release.[2]
FutureSex/LoveSounds was ranked as the 97th best album of all time on the Billboard Top 200 Albums of All Time.[110]
Track listing
All songs are written and produced by Justin Timberlake, Timothy "Timbaland" Mosley, and Nate "Danja" Hills, except where noted.
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "FutureSex/LoveSound" | 4:01 | ||
2. | "SexyBack" | 4:02 | ||
3. | "Sexy Ladies / Let Me Talk to You (Prelude)" | 5:32 | ||
4. | "My Love" (featuring T.I.) |
| 4:36 | |
5. | "LoveStoned / I Think She Knows (Interlude)" | 7:24 | ||
6. | "What Goes Around... / ...Comes Around (Interlude)" | 7:28 | ||
7. | "Chop Me Up" (featuring Timbaland and Three-6-Mafia) |
| 5:04 | |
8. | "Damn Girl" (featuring will.i.am) |
| Jawbreakers | 5:12 |
9. | "Summer Love / Set the Mood (Prelude)" | 6:24 | ||
10. | "Until the End of Time" | 5:22 | ||
11. | "Losing My Way" | 5:22 | ||
12. | "(Another Song) All Over Again" |
| Rick Rubin | 5:45 |
Total length: | 66:12 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "FutureSex/LoveSound" |
|
| 4:01 |
2. | "SexyBack" (featuring Timbaland) |
|
| 4:02 |
3. | "Sexy Ladies" |
|
| 3:58 |
4. | "Let Me Talk to You (Prelude) / My Love" (featuring T.I.) |
|
| 6:10 |
5. | "LoveStoned / I Think She Knows (Interlude)" |
|
| 7:24 |
6. | "What Goes Around... / ...Comes Around (Interlude)" |
|
| 7:28 |
7. | "Chop Me Up" (featuring Timbaland and Three-6-Mafia) |
|
| 5:04 |
8. | "Damn Girl" (featuring will.i.am) |
| Jawbreakers | 5:12 |
9. | "Summer Love" |
|
| 4:12 |
10. | "Set the Mood (Prelude) / Until the End of Time" |
|
| 7:33 |
11. | "Losing My Way" |
|
| 5:22 |
12. | "(Another Song) All Over Again" |
| Rubin | 5:45 |
Total length: | 66:12 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
13. | "Pose" (featuring Snoop Dogg) |
| Jawbreakers | 4:46 |
Total length: | 70:59 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
13. | "Boutique in Heaven" |
| Jawbeakers | 4:08 |
Total length: | 70:20 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
13. | "Until the End of Time" (duet with Beyoncé) |
|
| 5:22 |
14. | "SexyBack (DJ Wayne Williams Ol' Skool Remix)" (featuring Missy Elliott) |
| 4:16 | |
15. | "Sexy Ladies" (featuring 50 Cent) |
|
| 3:50 |
Total length: | 79:40 |
No. | Title | Length |
---|---|---|
1. | "SexyBack" (behind-the-scenes) | 14:55 |
2. | "Michael Haussman Interview" (director of "SexyBack") | 2:06 |
3. | "SexyBack" (video) | 4:27 |
4. | "Paul Hunter Interview" (director of "My Love") | 2:13 |
5. | "My Love" (video) | 6:11 |
6. | "What Goes Around... Comes Around" (behind-the-scenes) | 4:16 |
7. | "What Goes Around... Comes Around" (video) | 9:25 |
8. | "Robert Hales Interview" (director of "LoveStoned/I Think She Knows") | 2:02 |
9. | "LoveStoned / I Think She Knows" (video) | 5:29 |
10. | "LoveStoned / I Think She Knows" (live from Concert Prive, Paris) | 7:43 |
11. | "My Love" (Parkinson UK TV performance) | 4:12 |
12. | "SexyBack / My Love / LoveStoned / I Think She Knows" (MTV Europe Music Awards performance) | 5:20 |
13. | "My Love / SexyBack" (MTV VMA performance) | 5:37 |
Total length: | 73:56 |
Notes
- "Damn Girl" contains a sample of "A New Day (Is Here at Last)", written and performed by J. C. Davis.
- ^[a] signifies a remix producer.
Personnel
Credits are adapted from album’s liner notes.[112]
Musicians
- Justin Timberlake – lead and background vocals, guitar (5), additional beat box (5), keyboards (9), choir arrangement and director (11), piano (12)
- Richard Adkins – violin (10)
- Peggy Baldwin – cello (10)
- Adrienne Banks – choir (11)
- Davis Barnett – viola (5, 6, 11)
- Brian Benning – violin (10)
- Charlie Bisharat – violin (10)
- Benorce Blackmon – guitar (12)
- Paul Blake – guitar (1)
- Roni "SuSu" Bobien – choir (11)
- Ida Bodin – double bass (10)
- Kevin Brandon – double bass (10)
- Tyann Brown – choir (11)
- David Campbell – conductor and string arrangements (12)
- Mark Cargill – contractor, concertmaster, and violin (10)
- Lenny Castro – percussion (12)
- Susan Chatman – violin (10)
- Phillippa "Pip" Clarke – violin (10)
- Jeff Clayton – flute (10)
- Mary Collymore – choir (11)
- Heather Covington – choir (11)
- Salvator Cracchiolo – trumpet (10)
- Mario De León – violin (12)
- Yvette Devereaux – violin (10)
- Jenny D’Lorenzo – cello (5, 6, 11)
- Andrew Duckles – viola (12)
- Melvin Dunlap – bass (12)
- Ernest Ehrhardt – cello (10)
- James Ford – trumpet (10)
- Matt Funes – viola (12)
- James Gadson – drums (12)
- Pam Gates – violin (10)
- Larry Gold – conductor and string arrangements (5, 6, 11)
- Nate “Danja” Hills – drums and keyboards (1–7, 9–11)
- Smokey Hormel – guitar (12)
- Robert James – choir (11)
- Gloria Justin – violin (5, 6, 11)
- Suzie Katayama – cello (12)
- Valarie King – flute (10)
- Emma Kummrow – violin (5, 6, 11)
- Timothy Landauer – cello (12)
- Hope Lawrence – choir (11)
- Songa Lee-Kitto – violin (10)
- Natalie Leggett – violin (12)
- Jennifer Levin – violin (12)
- Darrin McCann – viola (12)
- Marisa McLeod – violin (10)
- Clarence McDonald – organ (12)
- Roudy Michel – choir contractor (11)
- Melinda Michelle – choir (11)
- Patrick Morgan – viola (10)
- Giovana Moraga – cello (10)
- Oresa Napper – choir (11)
- Michele Nardone – viola (10)
- Charles Parker Jr. – violin (5, 6, 11)
- Cameron Patrick – viola (10)
- Darryl Pearson – bass (2, 3)
- Bill Pettaway – guitar (2)
- Ta-Ron Pollard – choir (11)
- Michele Richards – violin (12)
- Kathleen Robertson – violin (10)
- Jimbo Ross – viola (10)
- Renee Smith – choir (11)
- Caleb Speir – bass (8)
- Tereza Stanislav – violin (12)
- Nancy Stein-Ross – cello (10)
- Igor Szwec – violin (5, 6, 11)
- T.I. – rap (4)
- Three 6 Mafia – rap (7)
- Timbaland – drums (1–7, 9–11), keyboards (2–7, 9–11), additional vocals (2, 7), background vocals (3, 4), beat box (5)
- Mari Tsumura – violin (10)
- Josephina Vergara – violin (12)
- Hezekiah Walker – narrator (11)
- Ahmed Wallace – choir (11)
- Thomas Warren – choir (11)
- Imani Welch – choir (11)
- will.i.am – drum programming, keyboards, and rap (8)
- John Wittenberg – violin (12)
- Benjamin Wright – conductor and string arrangements (10)
- Craig Wiggins – choir arrangement and director (11)
Production
- Executive producer: Justin Timberlake
- Produced by Justin Timberlake (1–11), Timbaland and Nate “Danja” Hills (1–7, 9–11), will.i.am (8), Rick Rubin (12)
- Production coordinator for Rick Rubin: Lindsay Chase
- Recorded by Jimmy Douglass (1–7, 9–11), Ethan Willoughby (4), Padraic Kerin (8), Jason Lader (12)
- Mixed by Jimmy Douglass & Timbaland (1–7, 9–11), Serban Ghenea (8), Andrew Scheps (12)
- Assistant engineers: Scott Elgin & Rob Montes (8)
- Strings recorded by Jeff Chestek (5, 6, 11), Kaliq Glover (10)
- Assisted by John Stahl (5, 6, 11)
- Pro Tools engineer: Lisa Hampton (10)
- Additional Pro Tools engineer: John Hanes (8)
- Additional engineering: Ethan Willoughby (10), Dana Nielson (12)
- Assisted by Phillip Broussard (12)
- Technical director: Dave Hampton (10)
- Three 6 Mafia vocals recorded by Ari Raskin (7)
- Mastered by Herb Powers Jr. for PM Entertainment
- Assisted by Ricardo Gutierrez
- Production coordinator: Stephanie Cooper Willoughby for Buddah Brown Entertainment, Inc.
- Creative director: Doug Lloyd
- Design: LLOYD&CO
- Photography: Terry Richardson
- Stylist: Joe Zee
- Hair: Frankie Payne
- Grooming: Catherine Furniss
- Additional photography: Rankin
- Stylist: Annie Psaltiras
- Grooming: Kim Verbeck
Charts
Weekly charts
|
Year-end charts
|
Decade-end charts
|
All-time chart
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Argentina (CAPIF)[174] | Gold | 20,000^ |
Australia (ARIA)[175] | 6× Platinum | 420,000^ |
Austria (IFPI Austria)[176] | Gold | 15,000* |
Belgium (BEA)[177] | 2× Platinum | 100,000* |
Brazil (Pro-Música Brasil)[178] | Platinum | 60,000‡ |
Canada (Music Canada)[179] | 5× Platinum | 500,000^ |
Denmark (IFPI Danmark)[180] | 7× Platinum | 140,000‡ |
Finland (Musiikkituottajat)[181] | Gold | 18,005[181] |
France ( SNEP)[182]
|
Platinum | 200,000* |
Germany (BVMI)[183] | 2× Platinum | 400,000^ |
Hungary (MAHASZ)[184] | Gold | 5,000^ |
Ireland (IRMA)[185] | 6× Platinum | 90,000^ |
Japan (RIAJ)[186] | Gold | 100,000^ |
New Zealand (RMNZ)[187] | 3× Platinum | 45,000^ |
Poland (ZPAV)[188] | 2× Platinum | 40,000‡ |
Portugal (AFP)[189] | Gold | 10,000^ |
Russia ( NFPF)[190]
|
Diamond | 200,000* |
South Korea | — | 10,975[191] |
Switzerland (IFPI Switzerland)[192] | 2× Platinum | 60,000^ |
United Kingdom (BPI)[194] | 4× Platinum | 1,182,051[193] |
United States (RIAA)[195] | 4× Platinum | 4,720,000[91] |
Summaries | ||
Europe (IFPI)[196] | Platinum | 1,000,000* |
* Sales figures based on certification alone. |
Release history
Country | Date | Edition | Format | Label | Ref. |
---|---|---|---|---|---|
Germany | September 8, 2006 | Standard | CD
|
Sony
|
[197] |
Australia | September 9, 2006 | [198] | |||
United Kingdom | September 11, 2006 | RCA | [199] | ||
Canada | September 12, 2006 | Sony | [200] | ||
United States |
|
[201] | |||
Japan | September 20, 2006 | Sony Japan | [202] | ||
Canada | October 3, 2006 | LP | Sony | [203] | |
United States |
|
[204] | |||
United Kingdom | October 16, 2006 | RCA | [205] | ||
Germany | November 22, 2007 | Deluxe | CD+DVD | Sony | [206] |
United Kingdom | November 26, 2007 | RCA | [207] | ||
Canada | November 27, 2007 | Sony | [208] | ||
United States |
|
[209] | |||
Japan | December 19, 2007 | Sony Japan | [210] | ||
March 25, 2009 | Standard | CD | [211] | ||
December 23, 2015 | [212] |
See also
- List of UK Albums Chart number ones of the 2000s
- List of number-one albums of 2006 (Australia)
- List of number-one albums of 2006 (Canada)
- List of number-one albums of 2006 (Ireland)
- List of Billboard 200 number-one albums of 2006
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External links
- FutureSex/LoveSounds at Discogs (list of releases)