Timberlake previously debuted Pusher Love Girl at his New Orleans comeback gig and at the Grammys in February. The track, complete with his as-good-as-ever-sounding trademark falsetto, sees the former 'N Sync star sing: Im a junkie for your love as he channels his inner mid-80s Prince.
Its nothing like anything that's been on the radio in a long, long time and youre instantly transported back to the heady days of when Timberlake dominated the charts. Have there really been six years in between? Im also reminded of the stepping songs from R. Kelly's fifth album Chocolate Factory, which you cant help but move to.
Switching from orchestral to heavily-produced and back again, the song seamlessly moves into UK number three comeback single Suit & Tie featuring Jay-Z.
Co-produced by Timberlake's longtime maestro Timbaland, its as expertly tailored as its title suggests. The suave track begins with down-tempo synths, before segueing into a swinging groove.
After listening to the whole album, it becomes clear why JT chose to release this song first - its the most unique track on the record, even if it is hard to distinguish whether you like it at first.
With no pause, the record moves onto another track helped by Timbaland, Dont Hold The Wall - a dance motivator. It's one of the strongest songs on the album and sees Timberlake pursue a girl in a club, something hes undoubtedly had little trouble doing over the years. Its The Chop Me Up of FutureSex/LoveSounds and the Rock Your Body of Justified funked up for The 20/20 Experience.
The Hollywood star drops his seductive whispering into the mix on this one and, by the end, the song has somewhat changed shape.
The techno sound JT sampled in FutureSex/LoveSounds has gone but hes still into his reprises and interludes that leave you wondering where one song ends and another one begins.
Next up is Strawberry Bubblegum, a song as seductive as its title, although I fear if you had too much of it you might end up feeling a little sick. Timberlake claims he has the recipe for a good time and for this one its best to just relax and let him woo you with lines like little girl I want you to be my strawberry bubblegum.
Another of my favourites from the record is Tunnel Vision. Its beat resembles 50 Cent's Grammy-nominated Ayo Technology on which Timberlake joined in. This is JT in love, and on the infectious track he croons I look around and everything I see is beautiful, because all I see is you.
Here we have Timberlake in a much happier place than Cry Me A River and What Goes Around... /... Comes Around.
The dubiously titled, metaphor-laden Spaceship Coupe is the sixth track. The soaring number depicts JTs fantasy of flying away to make love on the moon but isnt particularly interesting.
Next, That Girl opens with the line all the way from Memphis Tennessee and my ears instantly prick up as I hope its the new Senorita.
Unfortunately it lacks the pizzazz of the Spanish jazz number produced by the Neptunes that is still played in bars today.
A Samba beat was used for Let The Groove Get In, perhaps The 20/20 Experience answer to the funky Like I Love You. Its one of the songs on the album that most clearly transports you back to the feel good R&B JT was famed for and is a clear contrast to the melancholy songs coming out of the genres cool new top boys like Frank Ocean and The Weekend.
Then its on to the self-reflective Mirrors, Timberlakes second single from the album and my personal favourite (which might just be because it has the crunch beats and heavy-build up reminiscent of Cry Me A River). It's a typical Timbaland production but also the deepest song on the album and the only one where you really want to listen to the lyrics.
The final song on JTs third studio album, Blue Ocean Floor, shows off his vocals with a forlorn melody but hardly sees the record go out with a bang.
