Honestly, if you were outside in 2009, you couldn't escape the metallic, stuttering thuds of Timbaland’s production. It was everywhere. But when Timbaland Presents Shock Value II actually dropped that December, the vibe shifted. People weren't just dancing; they were scratching their heads. It was a weird time for music. The superstar producer who basically built the sonic architecture for Justin Timberlake and Nelly Furtado was trying to pivot, and the results were, well, complicated.
Most people remember the first Shock Value as this untouchable masterpiece of crossover pop-rap. It had "The Way I Are" and "Apologize." It felt like the future. By the time the sequel arrived, the "future" had already moved on to Lady Gaga’s synth-pop and the beginnings of the EDM explosion. Timbaland was stuck in a strange middle ground between Virginia Beach hip-hop and a desperate desire to be a "world-masses" rock star.
The Identity Crisis of Shock Value II
The biggest misconception about this album is that it was just a "bad" record. It wasn't bad. It was just chaotic. You've got Drake, who was still the "new guy" from So Far Gone, appearing on "Say Something." Then, literally a few tracks later, you’re listening to Chad Kroeger from Nickelback. It’s a sonic whiplash that few producers would even attempt today.
Timbaland was trying to prove he could produce any genre. He told MTV back in 2008 that he wanted to give fans a "glimpse of their favorite artist in a completely different light." But do we really need a "completely different light" for Miley Cyrus in her Hannah Montana transition era? "We Belong to the Music" is basically bubblegum pop with a slightly heavier kick drum. It felt like Tim was trying to be everywhere at once, and in doing so, he kind of lost the "stutter" that made him Timbaland.
The production itself had a weird origin story. Timbaland actually used a PSP (PlayStation Portable) application called Beaterator to produce some of the tracks. Think about that. A multi-platinum, Grammy-winning legend was making beats on a handheld gaming console. You can actually hear that digital, somewhat thin texture on songs like "Ease Off The Liquor." It was experimental, sure, but it lacked the organic "grit" of his 90s work with Aaliyah or Ginuwine.
Why the Features Felt So Random
Looking back, the tracklist for Timbaland Presents Shock Value II looks like a fever dream. Here is a breakdown of what was actually happening:
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- The Rock Obsession: Timbaland was convinced that rap-rock was the next frontier. He brought in The Fray, Jet, and Daughtry. "Timothy Where You Been" (featuring Jet) is basically Timbaland rapping over a classic rock sample in a way that feels incredibly dated now.
- The Disney Connection: Between Miley Cyrus and JoJo, the album felt like it was aiming for a much younger demographic than his previous work.
- The Star Power: You still had the heavy hitters. Justin Timberlake showed up for "Carry Out," which is basically five minutes of fast-food metaphors for sex. It’s catchy, but lyrics like "Can I have a shake with that?" haven't exactly aged like fine wine.
- The New Guard: Getting Drake on "Say Something" was a massive win. It’s one of the few tracks on the album that feels like it belongs in the permanent hip-hop canon.
The problem was that Timbaland wouldn't stay behind the boards. On almost every track, he’s there—rapping, ad-libbing, or "scatting." Critics at the time, like those at The Guardian, called it a "defiantly unshocking, star-saturated drag." They felt his leaden rapping was weighing down the production. Honestly? They weren't entirely wrong. When you have Esthero or Brandy (rapping under her alter-ego Bran' Nu) on a track, you want to hear them, not Timbaland's baritone interrupting the flow.
What Really Happened With the Sales?
Money talks, and for a sequel to a multi-platinum album, Shock Value II didn't exactly scream "blockbuster." It debuted at number 36 on the Billboard 200. Compare that to the first Shock Value, which debuted at number 5 and sold over two million copies in the US alone.
It wasn't a total flop, though. "Carry Out" and "If We Ever Meet Again" with Katy Perry were genuine radio hits. You couldn't turn on a Top 40 station in early 2010 without hearing Katy Perry’s "sexy croon" mixed with Timbaland’s heavy breathing. It was "world-masses music," just like he wanted. But the album as a whole felt like a collection of singles rather than a cohesive statement.
The Lost Collaborations
There’s a lot of "what if" surrounding this project. Early reports suggested the album would feature the Jonas Brothers, Linkin Park, and Paramore. Could you imagine a Timbaland-produced Hayley Williams track in 2009? That might have actually "shocked" people. Instead, those sessions either never happened or were scrapped for the more "radio-safe" rock bands like The Fray.
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Even Brandy’s involvement was a bit of a curveball. She had worked with Tim on the legendary Afrodisiac album, which is a cult classic. But on Shock Value II, she’s "Bran' Nu," a rapper. It was a bold choice, but fans who wanted that 2004 Afrodisiac soul were left a bit confused.
The Legacy of a "Trainwreckord"
Some music historians (and YouTubers like Todd in the Shadow) have labeled this album a "trainwreckord"—an album so weird or misguided that it effectively ended an artist's imperial phase. Is that fair? Maybe. Timbaland didn't release another solo album for over a decade. He moved back into the background, focusing on Empire or his Verzuz platform years later.
But if you strip away the Nickelback features and the cringe-worthy fast food puns, there’s still some genius there. The way he processed vocals on "Morning After Dark" (inspired by the Twilight vampire craze, believe it or not) was actually pretty ahead of its time. He was playing with textures that would later become standard in "dark pop."
How to Revisit Shock Value II Today
If you’re going back to listen to Timbaland Presents Shock Value II, don't go in expecting a hip-hop masterpiece. Go in expecting a time capsule of 2009's identity crisis.
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- Skip the filler: You don't need to hear every rock collaboration.
- Focus on the "Demo" tracks: Most of the album was recorded and mixed by Demacio "Demo" Castellon. The technical engineering on the drums is still top-tier, even if the songs themselves are goofy.
- Appreciate the Drake feature: It’s a glimpse of a superstar right before he became the biggest thing on the planet.
- Listen for the Beaterator beats: Try to spot which tracks were made on a PSP. It’s a fun game for production nerds.
The reality is that Timbaland was a victim of his own success. When you’ve already redefined music three times (with Aaliyah, then Missy, then JT), people expect a revolution every time you hit "record." Shock Value II wasn't a revolution. It was just a guy with a PSP and a very expensive phone book trying to have some fun.
If you want to understand the shift from 2000s R&B to 2010s Pop, this album is the bridge—even if the bridge is a little rickety and features Chad Kroeger. Go back and listen to "Morning After Dark" or "Say Something." You'll see that while the "shock" was missing, the rhythm was still mostly there.
Actionable Next Steps:
- Check out the Deluxe Version: It contains "Marchin On" by OneRepublic, which is arguably a better track than half the standard album.
- Compare the Beats: Listen to "Say Something" alongside Drake's Thank Me Later to see how Timbaland's influence shaped early 2010s Toronto sounds.
- Watch the Videos: The "Morning After Dark" video is a peak 2009 "Vampire Aesthetic" artifact that explains a lot about the album's marketing.