#Justin Timberlake - Spaceship Coupe Lyrics

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Album Review by Bradley Christensen Justin Timberlake – The 20/20 Experience Record Label: RCA Release Date: March 15 2013

Justin Timberlake released his third (and subsequently fourth album, because he released it in two parts over the course of 2013) almost five years ago now, and that’s a crazy thing to think about, because I remember when the album came out. I had just gotten into JT around 2012, because I picked up 2006’s FutureSex / LoveSounds during the winter of that year, but I had no idea (no one else had an idea, either) that he was gearing up to release his first album in seven years, entitled The 20/20 Experience. If you don’t know, or remember, Justin Timberlake took a really long hiatus after FutureSex / LoveSounds to focus on a film career. He wasn’t in a lot of stuff, let alone great stuff, but he was in The Social Network, In Time, Friends With Benefits, and a few other movies here and there (he still acts, though, as he was in Trolls in 2016, as well as performing the theme song for the film, “Can’t Stop The Feeling”), but he didn’t release any music. No one really expected it, almost in the same way that no one expected Fall Out Boy to be coming back around the winter of 2013, too, because they announced their return almost out of nowhere. When JT released the first single of the album, “Suit & Tie,” I was ecstatic, because the song is really, really good, and it spoke to me, as I wore a lot of suits and ties during that time. It was a song that was tailor-made for me, but the song ended up being a huge hit. It was a cool, suave, and classy neo-soul tune that showed that he was back. He also brought Jay-Z in for a guest verse, and Hove’s verse was quite solid, too. I wasn’t into hip-hop at the time, but I always enjoyed how classy and suave Jay-Z’s verse came off. The second single, and I think the final single, to be released from The 20/20 Experience, was “Mirrors,” and I remember he performed it for the first time at the Grammy’s, but it was a great song. I really loved that song, and I still do today, honestly, but I was very excited for this record. Justin Timberlake is still one of my favorite pop and R&B singers today, because of how interesting and unique his sound has always been, and even continues to be. I plan on talking about his new album, Man Of The Woods, especially with how unfair people seem to be treating it.

In preparation of that album, as well as after it was released, I wanted to revisit some of his other albums, and I picked my two favorites – FutureSex / LoveSounds, and The 20/20 Experience (the first part, anyway; long story short, the second part is okay, but it’s awfully messy). I already talked about the former album, so it’s time to talk about the latter. If you couldn’t guess already, I love it. I loved The 20/20 Experience when it came out, and after revisiting it, I still love it today. This album is definitely not a part two of FutureSex / LoveSounds, but what I love about it is that it has the same feeling to it. One thing I talked about with that LP is that it sounds both familiar but futuristic at the same time. What was interesting about FutureSex / LoveSounds is that it was more of a futuristic-sounding album that had very familiar and pop-friendly sounds and elements to it, but The 20/20 Experience is the opposite. It’s a very retro-sounding record that has a lot of modern elements thrown into it, so it feels fresh and new. That’s what I enjoy about acts that bring a modern flair to a retro sound, because if you can’t add anything new or interesting to it, I’d rather just hear stuff that came out at that time. I’ve talked about how I’m really sick of the 80s pop trend, because a lot of artists and bands that emulate that style don’t add anything to it. This album is a good example of what you should do. It’s funny, because “Suit & Tie” is the most “accessible” song on the album, at least one of the most accessible, because there are a couple of songs that are very short, quick, and sweet, but a lot of this album is very spacious, ambitious, and expansive. The songs are between 5 – 9 minutes long. The songs on this thing are long, but they don’t feel boring, lackluster, or exhausting. The album doesn’t get weird in the typical sense, either, where it’s super experimental, obscure, and random noises, but the songs expand, grow, and flow naturally. They’re a bit longer on purpose, because they’re more exploratory this time around, which I really love. The album takes its time to move, grow, and flow, so if you’re not a big fan of longer songs, this album won’t do much for you.

JT’s voice on this record sounds absolutely fantastic, and it’s mainly because the album’s sound is a good mix of neo-soul, pop, R&B, and a bit of funk. Hell, “Let The Groove Get In,” for example, sounds basically like Michael Jackson’s “Wanna Be Startin’ Somethin’,” from 1982’s Thriller, and it sounds awesome. It’s got that 80s funk / dance sound to it, but he adds his own flair and identity. The thing is, JT’s voice works very well within the confines of these styles, so that’s why his voice sounds really nice. I’ve said before that he doesn’t have the best voice, and I’ll admit that, but he knows the limitations and strengths that his voice has and doesn’t have. He knows what he can do with his voice, and I like when singers know what they’re doing, as well as what their limits are. He sounds great within these classic styles, but it’s a bit more ambitious and interesting this time around. The lyrics, as I’ve said about FutureSex / LoveSounds, are hit or miss. Sometimes they’re great, such as on “Suit & Tie,” “Mirrors,” “That Girl,” and a few other tracks, but sometimes they kind of suck. Not even that they suck, they’re just super silly, weird, or dumb. “Strawberry Bubblegum,” “Spaceship Coupe,” and “Pusher Love Girl” are the best examples, but at the same time, they’re not horrible. They have some good lines within them, but they’re a bit over the top, silly, and they can definitely come off as dumb to people. Overall, though, I really enjoy this album. It’s a bit long, and if I had to cut out a song, I’d probably cut out the album closer, “Blue Ocean Floor.” As much as I like it, it doesn’t quite fit the tone of the album, since it’s got a slow-burning Frank Ocean (that’s a weird coincidence) feel to it, but it’s still a cool song. If anything, though, it’s a bit too slow, and it’s got too modern of a sound, so it doesn’t feel like it fits perfectly well, but I enjoy the song, nonetheless. I’d still say that FutureSex / LoveSounds would be the best introduction to his music, but this is a good second choice, especially if you like that album, so I’d still recommend this. It’s a classy, suave, ambitious, interesting, and awesome record that deserves a chance. I bet even the most stubborn rock / metal fans might be able to find something to like about this record.

[usuallyrics-blog]

Spaceship Coupe

New Lyrics has been published on usuallyrics.com https://usuallyrics.com/lyrics/spaceship-coupe/

Spaceship Coupe

Hey, yeah, yeah Hey, I wrote this song for you Listen

[Verse 1] Everybody’s looking for the fliest thing to say (fliest thing to say) But I just want to fly (fly away with you, you, you, you) I don’t want to be the one to alienate, yeah (alienate) You see, I’m trying to find an alien in you (you, you, if it’s cool, cool)

[Pre-Hook] We can’t take an airplane Where we’re going is way to high Going where the day sky turns into night I got the windows special tinted for the stars that get too bright And I saved you a seat, so let’s ride

[Hook] Hop into my spaceship coupe There’s only room for two (Me and you) And with the top down We’ll cruise around Land and make love on the moon Would you like that?

Hop into my spaceship coupe There’s only room for two (Me and you) And with the top of you wrapped up In my space lover cocoon.

And I love it when I hear you say Ooh, ooh, ooh, ooh, ooh Ooh, ooh, ooh, ooh, ooh

Sing to me

I love it when I hear you say Ooh, ooh, ooh, ooh, ooh Ooh, ooh, ooh, ooh, ooh

Sing to me

[Verse 2] Now everybody knows that you’re from outer space (outer space) But Honey, I just want to turn out this space with you (you, you, you, you) So drive me to your galaxy where I could play, yeah (that milky way) And sugar I’ll take my time And show you the backseat view, view, if it’s cool, cool

[Pre-Hook]

[Hook]

Now break it down

Hey… This is the part Where you and me and all of the stars collide tonight This is the part We take off And then we fly far away, far away, far away

[Hook]

Baby, can’t you see all the stars? They shine, they shine Just for you I said oh, yeah, yeah Just hop into my spaceship coupe I saved a seat for you Right here next to me I’m going to take you to the moon And I’m going to make you say

Ooh, ooh, ooh, ooh, ooh Ooh, ooh, ooh, ooh, ooh

I love it when I hear you say Ooh, ooh, ooh, ooh, ooh Ooh, ooh, ooh, ooh, ooh

And you love it when I make you say Ooh, ooh, ooh, ooh, ooh Ooh, ooh, ooh, ooh, ooh

Baby this is the part Where you and me and all of the stars collide tonight This is the part Where we take off And then we fly far away, far away, far away

Who is Justin Timberlake

Justin Randall Timberlake (born January 31, 1981) is an American singer, songwriter and actor. Timberlake was born in Memphis, Tennessee. He joined Star Search and the brand new Mickey Mouse club. In the late 1990s, he became famous as one of two soloists and the youngest member of the “N Sync”, which will become one of the best-selling male music bands of all time.

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The 20/20 Experience  - The Complete Experience by Justin Timberlake

Then: Sure, I'd heard Justin Timberlake debuted a new song called “Suit & Tie” at the 2013 Grammys. But I wasn't a fan of the falsetto, and I was more in the mood for furious, heart-thumping drums rather than Timberlake's mid-tempo grooves. The 20/20 Experience was released, and I merely noted it with disinterest.

Then the *NSYNC reunion at the 2013 VMA's occurred, and my interest in Timberlake was piqued again. Why not listen to his album? Indeed, why not make an afternoon of it? I set up my nice speakers, got comfortable on the couch, and did nothing but immerse myself in the music. No multitasking with laundry, emails, or other household tasks. It was a refreshing experience, and it was certainly helpful that the music was pleasing as well.

Now: Both albums of The 20/20 Experience contain excellent tracks, from the seductive neo-soul “Pusher Love Girl” to the quite unexpected country song “Drink You Away.” Despite the genre disparities, which also include rap, hip-hop and boyband-era pop, there's still a sense of general cohesiveness to the complete collection since the team of Timbaland, J-Roc, and James Fauntleroy have a hand in every song.

However, there are a few times I can tell the albums were rushed, even if I hadn't already known of the short production schedule. The transition between “Tunnel Vision” and “Spaceship Coupe” is strangely abrupt, and occurs again between “True Blood” and “Cabaret.” Too many words are crammed into the chorus of “Not A Bad Thing,” and the lyrics of “True Blood” are so clichéd one would think it's a Weird Al parody song. There's a very useful process called re-writing and editing...

But these issues are rather minor and occur even in albums that are years in the making. My only real grumble actually has nothing to do with the albums: namely, that Timberlake performed the brilliantly written and composed song “Amnesia” only once.