![]() With her voice oozing longing, the gentle verses build to an explosive euphoria on the chorus, at which point words fail and Spears demonstrates just how much meaning you can pack into a simple ooooooh when you’re a tried-and-true pop icon. – KATIE ATKINSONĬome for the hallmarks of mid-’10s radio (G-Eazy, that weird yelp throughout), stay for one of Britney’s most vocally nuanced performances. The minimalist banger even revisits one of Britney’s most iconic moments, borrowing “Britney, bitch” from “Gimme More” for the chorus. “When you hear this in the club, you’re gonna turn this sh-t up,” Spears promises – and she’s right. This is will.i.am at his intergalactic best, turning Britney into a British Barbarella for this outer-space jam. Producers Danja (featured on vocals) and Jim Beanz bring the willfully weird to this bloopy Blackout banger, which follows rather closely in the footsteps of Timbaland’s work on FutureSex/LoveSounds Britney, however, negotiates a midway point between sing-song and come-on with her vocals, making sure it’s abundantly clear which former Mickey Mouse Club member is calling the shots on this one. ![]() and Japanese versions of Circus, “Amnesia” is a delirious daydream with just the right amount of schmaltz (“Damsel in distress”) and punch, such as when Spears dismisses her fiancé as just someone who “bought me this rock.” – J. Opening with a vaguely ominous mechanical thump, “Amnesia” splits the difference between mid-’00s dance-rock and Disney-style teen-pop. “Fell in love with you and everything that you are/ Nothing I can do I’m really crazy about you.” Disco, presumably. ![]() “Heaven on Earth” sees Britney entranced by the hypnotic pull of the dancefloor, embracing the ecstasy with such abandon that she’s both sighing and raving about it at once by the time she gets to the pre-chorus. – ANDREW UNTERBERGERįour handclaps, an arpeggiated synth and a pulsing 4/4 beat, and we’re instantly off into the clouds. Britney’s ex might not be knocking, but the beat certainly is. One of the best non-singles from Spears’ TRL years, this hit-the-road-Jack anthem off her second album benefits from a resolute Britney vocal, some cleverly placed chorus pauses, and one of her most muscular early productions - courtesy of Max Martin’s then-right-hand-man Rami Yacoub and regular collaborator Jake Schulze. By the time she’s panting on the chorus, it’s clear that the ice in question will have melted into a puddle before anyone gets around to breaking it. The better of the two, “Break the Ice,” pairs frosty synths and otherworldly backup vocals with an unrelenting, steamy vocal performance from Spears. It doesn't matter 'Bout the car I drive, or what I wear around my neck All that matters Is that you recognize that it's just about respect It doesn't matter 'Bout the clothes I wear and where I go and why All that matters Is that you get hype and we'll do it to you everytimeĭo you ever wonder why This music gets you high It takes you on a ride You feel it when your Body starts to rock And baby you can't stop And the music's all you got This must be POP!ĭirty pop Baby, baby you can't stop I know you like this Dirty pop This must be.Blackout was so chilly that it hosted not one but two songs with “ice” in the title. What's the deal with this pop life and when is it gonna fade out? The thing you've got to realize what we're doin' is not a trend We got the gift of melody, we're gonna bring it till the end Sick and tired of hearin' all these people talk about. ![]()
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