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Explicit sexual play-by-play describes a ménage à trois (“Bounce”). That cut also uses crass slang for a woman’s breasts. Randy propositions are made by men (“Board Meeting,” “Bombay,” “Miscommunication,” “The Way I Are”) and women (“Fantasy”). Blunts and tequila show up, as do obscenities worthy of the CD’s parental advisory label. All by itself “One and Only” is plagued by about a dozen f-words. Elsewhere the artist thinks way too highly of himself, mounting a pedestal while tearing others down. For example, “Kill Yourself” boasts, “I’m number one/You ain’t nothin’ but s—,” while “Come and Get Me” proclaims, “I get respect all across the board … I’m rich/I can pay to have you six feet deep.” Similar threats appear on “Oh, Timbaland” (“If I want you dead, it’s done … Don’t ever talk bad about me”) and “Bounce” (“Tell your boyfriend he better mind his business ‘fore he ends up in the trunk of my Bentley”). This project also contains gunplay (“Come and Get Me”), as well as references to “b–ches” and “hos” that would leave disgraced radio personality Don Imus wondering, “Why don’t they fire him?“
Does Timbaland want to be an innovator? A gangsta rapper? An R. Kelly clone? He aims for all of the above, joined by 50 Cent, Missy Elliott, Elton John, The Hives, One Republic, Fall Out Boy, Dr. Dre and others. But his rancid Shock Value is good for nothing more than, well, shock value.
