The Rise and Fall of Timbaland
You know who he is. He is a man that needs no introduction: Timothy “Timbaland“ Mosely, the most influential producer in hiphop and R&B for the past decade. But what goes up must come down, and it is time we acknowledge the fact that Timbaland is in a serious decline - maybe not success-wise, but surely quality-wise.
In 1996, Timbaland came bursting in on the scene with Ginuwine’s ‘Pony’ and Aaliyah’s ‘If Your Girl Only Knew’, two magnificent singles with then-unheard minimalist funky sounds. After that, he gained attention from his production on Ginuwine’s debut album and Aaliyah’s ‘One In A Million’, proving that he was equally skilled when it came to slow jams (such as the title song from ‘One In A Million’). The big breakthrough, however, came with Missy Elliott’s 1997 debut album ‘Supa Dupa Fly’. Timbaland produced the tracks, Missy composed the melodies, and pop music would never be the same.
The following years would prove to be Timbaland’s most prolific. He gave us unforgettable and still unique classics such as Aaliyah’s ‘Are You That Somebody’, Nicole’s ‘Make It Hot’, Jay-Z:s ‘Nigga What, Nigga Who’, Ginuwine’s ‘What’s So Different’, Petey Pablo’s ‘Raise up”, Missy Elliott’s ‘Get Ur Freak On’ and Destiny’s Child’s ‘Get On The Bus’. With each release, Timbaland seemed to reinvent himself. The drum patterns were unpredictable but unquestionably funky, the twisted synth sounds were out of this world, the chords were advanced - and at the same time, it was all about classic rnb love songs (or, when he collaborated with rappers, classic hiphop club songs).
The big change came when Aaliyah died in the summer of 2001. Her last Timbaland-produced songs, ‘Try Again’, ‘We Need A Resolution’ and ‘I Care 4 U’ brought out the best in both of them. But after her tragic death came grief and silence. Sure, Tweet’s ‘Oops (Oh My)’ and Missy Elliotts ‘Work It’ (both from 2002) were okay, but not really magical. With the exception of his impressive effort on Brandy’s Afrodisiac album (2004), Timbaland produced very little of interest. It didn’t matter that Justin Timberlake’s ‘Cry Me A River’ or Jay-Z:s ‘Dirt Off Your Shoulder’ became hit songs - they were, by Timbaland standards, another-day-at-the-office tracks.
Then came Nate “Danja” Hills, and with him, Timbaland’s second spring. Together they produced three complete albums: Nelly Furtado’s Loose (2006), Justin Timberlake’s Futuresex/Lovesoundz (2007) and Timbaland’s own second solo album, Shock Value (2008). Each spawned many hits, with a new, more straightforward and techno-oriented version of the Timbaland sound. The change is, of course, partly attributable to Danja, who went on to become a renowned producer himself (Britney’s ‘Gimme More’, T.I.’s ‘No Matter What’, Mariah Carey’s ‘Migrate’). But there was also something new in Timbaland himself: a new energy, an urge to become a superstar himself, just like the artist he worked with. And so he began singing.
Timbaland’s vocals had always been a part of his trademark sound - on the early songs, we could hear his grunts and beatboxing, and very soon he began talking in intros and outros, which gradually (around ‘Are You That Somebody’ in 1998) transformed into full-scale rapping. Timbaland was never a really good rapper and he knew it, so he kept his presence at a minimum, appearing only when he knew that his vocals absolutely fitted the song in question. He had a sound and professional approach. But all that change with the “re-launch” of 2005. On Nelly Furtado’s ‘Promiscuous’, Timbaland surprised us by singing melodiously (and not very beautifully).
Since then, Timbaland’s singing has increased, and since the success of these albums, his ego has been blown out of proportion. He and Danja have parted ways, and the new post-Danja Timbaland, the guy who produces hits for Madonna, seems to care about only two things: making money and being a star. Listen, just to take an example, to ‘Elevator’, Flo Rida’s 2008 single which Timbaland produced. The track is absolutely nothing spectacular, and if there is an inch of something good in it, Tim ruins it by singing the silly hook. What’s worse is that today’s Timbaland productions don’t sound so much like Timbaland at all. He, who once had the most unique and instantly recognizable sound, now sound just like everyone else who has been inspired by him. The drums are never out-of-this-world. The soundscapes never fascinate. All we hear is radio-friendly pop songs, music that never takes any chances, completely lacking edge and creativity. That is where Timbaland is today.
Timbaland has always used songwriting collaborators to turn his tracks into songs. First there was Missy Elliott, then there was Steve “Static Major” Garret (R.I.P.) and then there was Danja (who did more production that songwriting). The people around Tim today - the producing trio called The Royal Court among others - are not of that calibre. Keri Hilson, who helped Timbaland a lot on the Shock Value album, is a great melody-maker, but since Timbaland’s sound today is already very pop-oriented, her singalong-friendly hooks sometimes do more damage than help to the songs. Case in point: ‘Return The Favor’, the single from Keri’s debut album which Timbaland has produced and sings on. It’s a bonafide hit, but it’s not the kind of song that makes you go bananas in the club. Which it attempts to be, I believe.
Recently, Timbaland produced a whole album for rock singer Chris Cornell (that old dog from Soundgarden and Audioslave). Why? Is there any reason for a talented R&B/hip-hop producer to dabble with soulless, meaningless MTV-styled “alternative” rock? Timbaland is also responsible for OneRepublic’s ‘Apologize’. Again, meaningless rock, and again, no hints whatsoever of being a Timbaland-produced track. He takes the easy way out. By now, he is one of the most sought after and highest paid producers in the music industry, and he knows that if the words “produced by Timbaland” are written on a single, it will probably become a hit. He settles for that, and is too lazy to really try to top his previous achievements. And why should he? He gets paid just the same. But it’s actually very sad. Here we have a musician of enormous talent, but he doesn’t make creative music any longer - all he seems to care about is to market the Timbaland brand.
Timbaland’s crisis after Aaliyah’s death in 2001 didn’t silence him, but it made him more cynical and detached from music. While he still keeps coming up with track after track, the experimental glow is gone, and perhaps the joy of making music is gone as well. A new Timbaland song is just another day at the office. If someone had told me ten years ago that he would one day sink this low, I wouldn’t believe it. But here we are, it’s 2009 and Timbaland makes me angry instead of happy.
Although the Timbaland from late 90’s-early 00’s was better than today’s Timbo I don’t agree with the writer that Timbo is just out for the money. He’s just tired of doing the same R&B and hiphop beats and is exploring new genres, hence the Chris Cornell and One Republic collabos. Only logic when you’ve been the most dominant producer of a music genre for the past 10 years.
And how the hell is “Apologize” a soulless, meaningless rock song? That’s one of the best singles in the last years. Sure, it’s not a typical Timbaland track but quit hating just for the sake of it.
One of the best singles of last year? Are you serious? That song sucks. It’s in the league of The Calling’s “Wherever you will go” or Nickelback’s “How you remind me”. Timbaland isn’t exploring new genres, he’s just exploring new bank accounts.
Well written mate. I remember the days when if a song said ‘Prod by Timbaland’, I was dying to here it. Now, it doesnt even make me want to listen to the song.
We can reflect back on the good years though :P
His bank account was fine already. What your narrowminded ass won’t accept is that he’s tired of doing R&B hits, and that’s not my theory, he said this himself. Check http://tbohiphop.net/timbaland-retires-bored/04/
And if he was just doing this rock thing for the money, why did he choose to work with a guy like Chris Cornell? Cornell ain’t Linkin Park or any other commercial-megahit-rock-product which is guaranteed to sell. Cornell had his hey days in the 90’s with Soundgarden but he’s not really a ’star’ like that to this generation.
Apologize sucks? Nah, your column sucked because your argument was flawed and incorrect. Maybe you oughta listen to the music and the lyrics instead of just looking at the credits and decide to hate because your favorite producer’s doing different stuff than what you want him to do.
Correction:
You still haven’t explained how Apologize is a soulless and meaningless song. Maybe you oughta listen to the music and the lyrics instead of just looking at the credits and decide to hate because your favorite producer’s doing different stuff than what you want him to do.
Jay: Actually, Apologize were never called soulless. At best it was implicated as part of a soulless pseudoalternative genre. Also, it’s in the nature of the concept of soul that it can’t be explained, and therefore should be regarded as a subjective comment you really can’t debate.
silly boy - rhianna feat lady gaga. produced by timbaland hit song mad beat timbos still alive and proves it with this hit.
Everything has it’s day. Timbaland’s trendsetting productions died with his concept artist ‘Aaliyah’. Timbaland became ‘bored’ with R&B music (or rather music in general…. it’s too easy to blame R&B) because he ran out of ideas. He ran out of concepts he could reinvent and re-pack as his own. He allowed his massive ego to overshadow the very thing he was talented at and has became another ‘crap’ rapper / ‘bling’ singer. Timbaland now is just another over paid, overrated producer who likes to sing on his music.
I truly agree on some points… I’m not that eager to hear a new Timbo-produced track nowadays, “Return the favor” was for example a real let-down for me.
But I disagree in some points, I thought “Apologize” was amazing (YES, one of the best songs of 2007) and it really touched my heart. (Which I want music to do)
And I really enjoyed “ELevator” as well, for me it was the last song with Timbaland shining on it.
I guess some things are just a matter of taste :)
Nice with all the comments. Yes, some things ARE a matter of taste, but objectively speaking, Timbaland’s productions HAVE become less experimental and daring the latest years. Actually, what he should do is go all the way and produce U2 and Coldplay. Maybe Phil Collins. No beating around the bush. He should stay away from R&B and hip-hop artists completely, because this is no longer the area in which he belongs.
Timbalands bring life to music that was dead. Chris Cornell’s album is very interesting. The crossover using stars like justin Timberlake change music in the right direction. Look at Cry me a River, killer track. Bobby V with anonymous again another killer track. Ginuwine needs to go back to Timbaland and recreate sometime that has been lost in RnB, the soul…Timbaland has gone commerical nothing wrong in making money…only when concerns music
This could’ve been a good article if it had some insight, some exclusive behind the scenes type of thing. Instead it turned out to be totally lacking comprehension of what drives an artist to be creative (similar to a hater, but that word is thrown around too losely). Does Timbaland want to be a popstar because of money? No. He earns enough just producing. Ego? Yes, partly. An artist can’t stay in the same lane forever.
You haters kill me.. Can’t wait to say some negative shit about “great” and Talented people.. Who gives a shit about what Timberland is interested in right now, he has already made his mark.. You’re the real looser for writing sensationalized negativity just to gain readers of your post.. How great are “you” really? Sometimes people are just in another place that you don’t understand yet.. The problem with people like you is, you don’t want people to change, especially if it means what you value or think life is about is compromised… Sooo Selfish and misinformed.. Id take Rock any day over the same old tired as R&B and hip-hop urban, ghetto love stories, and I am of African American decent, so don’t think its a racial thing.. Grow a little…
Oh my… Who’s the hater here really? We criticize, if someone’s hating it’s you.
Well maybe it’s true that Timbo isn’t what he used to be. But I must say that the songs he produced with James Fauntleroy is fire! Especially “Who’s the loser now”. Amazing song!
bullshit
A bit late on the thread. But anyway… Timbalands beats kills it! FROM Aaliyah till today. End of discussion.
Well it’s the internet and everybody has a soapbox, but I think you are right about one thing that he has stepped away from his roots a little but if you listen to one republics “Apologize you know that a timbaland beat!
What a horrible article. Your hating on a guy that is not scared to try new things and put his brand to another level. His songs have got better and better each year, and he has taken other singers careers to a whole nother level. This article was garbage and the writer should really find another producer/singer to hate on. Because it should not be Timbaland.
hes beats are much more poppy nowadays, but I can still recognize a Timbo banger when I hear one. Like “Return The Favor”….the groove blows me away…so simple yet so good!
@Jay
Timbaland’s new stuff is fire. People just hate because he’s changing up his style. But he has a knack for the rock/alternative stuff and can still bang out hip hop tracks when he wants to. Hands down best producer out right now.