Justin Timberlake’s Best and Most Important Albums

As his sixth studio album approaches, we revisit Justin Timberlake’s discography and see how it holds up.

At twelve, their first big TV appearance was at 16, a teen star; at 21, their first solo record, Justin Timberlake, was only on the 31st. The boy from Memphis, who has always liked to sing, has his first television appearance on Star Search. Timberlake’s ascent to solo stardom was preceded by his involvement in the boy band *NSYNC, which he formed in 1995 alongside JC Chasez at the behest of fellow musician Chris Kirkpatrick, following their stint on The All New Mickey Mouse Club.

The five-person ensemble, completed by the addition of Joey Fatone and Lance Bass, swiftly garnered international acclaim, particularly in Europe, with their infectious single “I Want You Back” before securing a recording contract with RCA in 1997, cementing Timberlake’s status as a teen idol. Despite *NSYNC’s phenomenal success, the group entered an indefinite hiatus in 2002 as Timberlake resolved to embark on a solo career.

Timberlake’s solo debut in 2002 was marked by the release of his chart-topping single “Like I Love You,” which was a precursor to his solo debut album, Justified, later that year. The album boasted additional hit tracks such as “Cry Me a River” and “Rock Your Body,” which achieved remarkable global success, surpassing 7 million copies in worldwide sales and garnering Timberlake his maiden pair of Grammy Awards in 2004. Justified triumphed in the Best Pop Vocal Album category, while “Cry Me a River” emerged victorious in the Best Male Pop Vocal Performance field, solidifying Timberlake’s position as a formidable force in the music industry.

Fast forward decades later, he’s now one of the most hated stars in music, mainly due to the Janet fans still upset at the Super Bowl XXXVIII halftime show incident back in 2004 and Britney Spears’ latest tell-all book. As much as people want to rewrite history, JT’s early work is nothing to play with, but he has slippage. Let’s look at his work from then to now before he releases his next album, Everything I Thought It Was, this Friday.

Essential

FutureSex/LoveSounds (2006)

FutureSex/LoveSounds showcases Justin Timberlake’s growth as an artist and his ability to blend various musical styles. The album features a mix of R&B, pop, and electronic elements, creating a unique and infectious sound. Singles including “SexyBack” and “My Love” became instant hits, dominating the charts and solidifying Timberlake’s status as a solo artist. The production, mainly handled by Timbaland and Danja, is innovative and forward-thinking, setting the album apart from its contemporaries. FutureSex/LoveSounds also includes more introspective tracks like the fan-favorite “What Goes Around… Comes Around,” demonstrating Timberlake’s versatility as a songwriter and performer. The album’s influence can still be heard in modern pop music, making it an essential part of Timberlake’s discography.

The 20/20 Experience (2013)

After seven years after his second album to focus on acting, Justin Timberlake returns with his third effort, which marks a departure from his previous work, embracing a more mature and sophisticated sound. The album features longer, more expansive tracks that allow Timberlake to showcase his vocal range and storytelling abilities. Some songs demonstrate his knack for crafting catchy, radio-friendly hits while maintaining artistic integrity. The 20/20 Experience also benefits from the collaborative efforts of producers Timbaland and J-Roc, who help create a cohesive and immersive listening experience. The album's mix of R&B, soul, and pop influences, combined with Timberlake's charisma and talent, makes it easily one of the best albums of the 2010s.

Rewarding

Justified (2002)

This debut album showcases Timberlake's ability to blend pop, R&B, and hip-hop influences outside of *NSYNC, creating a fresh and contemporary sound. While the singles became instant classics, the album cuts highlight Timberlake's performer skill and ability to craft memorable hooks. The album also collaborates with notable producers like The Neptunes, Timbaland (with Scott Storch), Brian McKnight, and The Underdogs, who help shape the album's sound and contribute to its success. While Justified may not be as cohesive or experimental as Timberlake's later work, it remains a rewarding listen, offering a glimpse into the early stages of his solo career and the talent that would eventually make him a global superstar.

Inessential

Man of the Woods (2018)

Justin Timberlake’s previous record, The 20/20 Experience: 2 of 2, was over four years ago. The run on the new creation Man of the Woods is correspondingly large, which has a lot to offer despite, or precisely because of, the active support of Timbaland (with Danja and J-Roc) and The Neptunes on the controllers and yet, at the same time, misses a lot. As with previous albums, the former Mickey Mouse Club star also reinvented himself in his 2018 effort to a certain extent. Timberlake likes to see himself as a musical chameleon. However, the color on the extended playing area should have been a bit more harmonious, and the colors should sometimes have been brighter. Thus, the different elements in the cocktail of country, soul, funk, reggae, gospel, and R&B do not always fit perfectly but are sometimes bulky into the mainly electronic beat structures. The essence is Timberlake’s slightly elevated vocals, as always; overall, the cool drink remains watery from too much ice on its last strokes. The extended running time of over an hour is also not good for the album. In the rich range of 16 songs, individual songs hardly keep afloat through new ideas and experiments. However, there is never really a danger because the songs mostly only play in relatively shallow waters.

The 20/20 Experience: 2 of 2 (2013)

Reload. The 20/20 Experience again. The showman Timberlake calls for an additional round at the breakdancer. With the well-known ingredients, 2 of 2 starts a lot. The ubiquitous elegance in part one sets the bar very high. In the first tracks of the sequel, the beats rumble tremendously. But the first signs of fatigue quickly begin. Once again, Timberlake celebrates gigantism and megalomania. Where he refreshed long tracks with unexpected twists and exciting ideas in the predecessor, he is now getting lost somewhere in nowhere—only length and sound count. Not infrequently, the actual songs are lost. Experiments such as the brilliant “Blue Ocean Floor” are a thing of the past. For this, there are excellently produced tracks and beats off the shelf. But with decidedly more focus, we would have a single exquisite pop and R&B long-player ahead of us, but instead, we got a disappointing album.