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Found 13 results

  1. "Trapped." (two minute read) Within the span of three years [2018-2020] Grande has accomplished any recent female artists would've done, releasing three albums consecutively. And today, she delivered her newest offering in follow-up to her side jobs with Bieber and Gaga, to named a few of her collaborators. The sixth installment of Grande's brand kicked off with the release of title track single, positions. It introduces a sultry take of God is a woman, while dressed up as the first lady of the White House for appropriation. Sonically, the lead song follows the acoustic elements of Stuck With U. And between the two, positions is obviously the underdog. The obvious influences of hip-hop genre to Grande has became prominent overtime. While the trap sound is gradually becoming the new pop trend, the overused of these style and production are what the album's greatest issues. Most of the tracks end up having a very similar sound. And although the production is ambitiously mixed with other instrumentations, that effort is not not enough to rescue the potential bangers; shut up and love language for example. As Grande started to drawn herself into songwriting and self-producing, positions demonstrates the lack of progressive direction. Most tracks share identical songwriting style and analogies of being too conversational. The absence of depth and figurative topics make the album's narrative less enjoyable despite the insightful opening tracks. Even the use of vile words sound rushed, and generalizing a very ridiculous idea. The production efforts with some of the tracks exceptionally stand out, but the lyrics are too off-putting to reconsider them as bangers. shut up and my hair embrace this common flaw, and both share an awkward hook: How you been spending your time? (How?) How you be using your tongue? (How?) You be so worried 'bout mine (Mine) Can't even get yourself none You know you sound so dumb (So dumb, so dumb) You know you sound so dumb (So dumb) (lyrics taken from "shut up") Grande's enunciation is one of her signatures. And despite the severity of mumbling, it surprisingly suits the some of the tracks such as 34+35, just like magic and nasty, heightening the swag-gy and playful attitudes. Still, the subtlety of her pronunciation is one of the things she has to improve regardless. Moreover, some of the tracks still manage to showcase greater potentials; like the closing ballad, pov, a reminder of Grande's soaring vocal abilities that's missing in the album, and the flirtatious take to 7 rings, 34+35, that implies a chant-y and clever chorus. Disappointingly, she has failed to redeem herself from the featured track's disaster since the Sweetener era. Like the monotonous attempt of the Weeknd's off the table, and the predictable rap verse of Cat, motive ends up one of those urban songs. safety net shares a different light though, arguably one of the best tracks but featured a wrong collaborator. The lack of theme also makes the record indistinctive. Take the kinky and **** appeal of Dangerous Woman, the recovery and healing of Sweetener, and the romantic frustrations of thank u, next. positions' somewhat started with another **** attempt she's been doing over the years. It has no identity or story to begin with, to captivate it's listeners. Grande is probably at the point of comforting herself to a follow up, instead of finding a progressive sound. It isn't a bad thing at all, reinventing artistic image is not a requirement for any artists to be interesting. Some artists have a more tentative core, while others are conventional. In general, releasing positions is a very brave decision to follow up thank, u next, considering how big her fifth album has become. It's probably not a highlight in her career, but still a tolerating gift to those who enjoy her discography. Btw, here's my personal ranking of each tracks: 1. positions 2. 34+35 3. pov 4. safety net 5. just like magic 6. nasty 7. west side 8. love language 9. six thirty 10. obvious 11. motive 12. my hair 13. shut up 14. off the table positions: 4/10 These are just my thoughts, but y'all think of the album? Related:
  2. **My first review** don't attack me S Club 7's very own Rachel Stevens' solo career should have made pop history. Taking after Kylie Minogue, she dove right into the trance-synth pop genre and mastered it on her second album. Her first attempt at solo music was her debut album, Funky Dory, a mediocre album that included the Britney reject stand-out track titled "Sweet Dreams My LA Ex". But Rachel Stevens didn't want to be mediocre, she would enlist the help of Richard X and Xenomania, the Music God's in charge of most of Girls Aloud and Kylie Minogue's catalogues to record new music. With the release of her new single "Some Girls", Rachel was finally standing out amongst the crowd and demonstrating her full potential. The track proved to be magic and peaked at #2 on the UK top charts. The single was included on a re-release of her debut album, Funky Dory, but was also added onto her second album, "Come and Get It" which would soon prove to be pop perfection start to finish. After the success of Some Girls, Rachel knew what direction she wanted to take her next album. "Come and Get It" was released on in October 2005. The album received critical acclaim and would eventually make it onto the "100 albums to listen to before you die" list. The album proved to be ahead of its time and inherently influential. Stevens would make the most confident tracks of her career with the dazzling "Crazy Boys", a song with a thumping synth beat and ****, bold, confident talk-sing vocals by Ms. Stevens where she declares "For you I'd wait forever, nobody does it better". With "I Will Be There", another album standout and what some argue is the best song on the album, Stevens sings over an 80's synth pop production that sounds incredibly magnetic and electric. Stand-out tracks like "I Will Be There", "Crazy Boys", "Funny How" make you feel like you are at a disco that is raining down glitter and diamonds. That is the imagery that comes to mind with most of "Come and Get It". Stevens slows it down on the album half-way through with the ballad "Nothing Good About This Goodbye", a breakup song where she laments her regrets for her ex-lover. It's another standout track and would have been a good final single off of the album instead of the up-beat pop track "I Said Never Again (But Here We are)" that performed mildly well on the UK charts peaking at #12 and had a cute music video to go along with it. "I Said Never Again" is one of the album's more generic tracks and I can understand why they released it as a single but the album tracks are loads more interesting and magical than the latter. Unfortunately, for whatever reason, the album underperformed and debuted at #28 on the UK charts. Rachel released her last single from the album, "I Said Never Again (But Here We Are)" in October 2005 and she was never heard from again in the music realm... which is an utter damn shame. The album was revolutionary and influenced albums like "Dignity" by Hilary Duff, "X" and "Aphrodite" by Kylie Minogue, and in my opinion, you an hear it's sounds replicated and mastered on "Heaven On Earth" from Britney's Blackout. If you haven't listened to Come and Get It by Rachel Stevens, I highly suggest adding the album and giving it a listen from start to finish. You will not regret it. STAND OUT TRACKS TO LISTEN TO: So Good Crazy Boys I Will Be There Nothing Good About This Goodbye Some Girls Funny How Dumb Dumb
  3. Hey guys!!! I just wanted to share with you my first video I did a review of Baby One More Time, hope you guys can watcb it Watch It HERE
  4. Hey, Ladies A few days ago me and my husband saw Brit in Vegas. We were front row, right where the catwalk and stage meet (the best spot these Lesbian Piece of Me veterans told us - it was their 4th show) Anywho - we had the best seats and it was great to see my queen up close. If I'm going to be real though, I think at this point in time attending a Britney show as a fan is an exhibition of willful ignorance. I hated admitting it to myself, but Brit looked so incredibly sad the entire show and I just couldn't pretend that she was happy/into it like she was 15years ago. It was actually kind of depressing. What was really ****** up was that she was performing these **** dances on cue, but just looked ready to cry the entire time. I've been a fan since 99 and it made me feel terrible seeing her like that. I don't think she's into it anymore. I just want her to be happy. It was upsetting too because I became bored halfway through the show, which I wish wasn't the true, but alas, it was. I still got my Brit merch though!
  5. KNOWING that brit was gonna slay at the Apple Music Festival, I taped my reaction hope yall enjoy
  6. Britney Spears is and always will be a legend. Whether you are a huge fan, or you can’t stand her, you cannot deny she’s had an incredibly large impact on the music industry. Although her vocals may not be a favorite of music critics, it has a certain tone and edge that makes her songs addictive. Over the past 18 years, she’s been through so many obstacles that many of us may never have to face. She has proven to be an incredibly strong individual and as a huge fan, I am grateful she was able to overcome those obstacles. After the fan favorite (and one of my personal favorites) Blackout, Britney released Circus, Femme Fatale, and Britney Jean. While Circus and Femme Fatale had strong singles, some lacked a certain “spark” that Britney fans loved about the singer. Britney Jean was a bit worrisome, because not only was the music subpar and dated (aside from Work ***** which was a personal favorite off that album), but Britney herself didn’t really seem attached to the project in general. It is also a bit of a gray area as to how much Britney actually sang in that album, but I won’t get into that here. Two years after the underwhelming release of Britney Jean, “Pretty Girls” made its way onto the airwaves and unfortunately, it suffered the same issue that Britney Jean had. The sound was outdated, the song itself was a bit annoying and Iggy Azalea had just started receiving backlash from the public for her controversial comments regarding race. Fast forward to today, where we have the best album that Miss Spears has put out in years, and could possibly be her best album yet. Glory takes elements from all of her past albums (sans Brenda Joan), explores new areas, and remains entirely cohesive. The album opens with “Invitation”, a beautiful and angelic ballad that showcases Britney’s beautiful falsetto, and goes into “Make Me” (“Do You Wanna Come Over?” on the CD version). “Make Me” is one of Britney’s strongest leads in years. It’s not the only lead-single worthy track on the album, but we’ll get into that later. “Private Show” remains fun and catchy, but it’s definitely not the best off the album. “Man On The Moon” does exactly what “Alien” tried to do, but this time, it succeeds. Britney’s sweet vocals glide over this happy-go-lucky track, but what makes this song so interesting is that the lyrics are actually quite depressing. Remind anyone else of another Brit song released back in the day? Plus, the instrumental is absolutely gorgeous, especially during the bridge. Next up is my personal favorite off the album, and it seems to be a fan favorite too! “Just Luv Me” is a career moment for Britney. It is reminiscent of the 2016 sound created by Justin Bieber and Selena Gomez, but it is so much more. This song absolutely could have been the lead single as well, I’d think of this as the “Toxic” of Glory. The simplistic yet incredibly beautiful instrumental compliments Britney’s **** vocals as she requests to only be “loved”. It’s one of her best songs in years, dare I say it could potentially be her most iconic single since “Gimme More”? “Clumsy” and “Do You Wanna Come Over?” were both released as instant grats, and they both welcome the return of the beloved Blackout sound, especially the latter. Britney dives into new territories with the midtempo jam “Slumber Party”, which could totally be a future single. It’s fun, **** and Brit even drops the F-bomb during the chorus. “Just Like Me” (not to be confused with Just Luv Me) is a guitar driven song with an electro-pop chorus. Britney’s vocals sound fantastic, and while this song took a few listens for it to grow on me, it’s now one of my favorites. “Love Me Down” is one of my favorites off the album. While originally rumored to be a ballad, it’s completely the opposite. It’s a fun, dance-floor jam that would have an amazing music video if it were released. “Hard To Forget Ya” is another boppy song that also has single potential (notice how many songs have single potential). “What You Need” is a fun album closer that falls within the same realm as “Private Show”, you’re either gonna love it or hate it. Personally I love it! Now, the bonus tracks. The bonus tracks are all amazing. Seriously, all of them are incredible and could have been standard tracks. “Better” is Britney’s “Lean On” and I am HERE FOR IT. “Change Your Mind” is one of my favorite songs as well, and it features Brit singing in Spanish! (Watch out, Christina). “Liar” is another career moment for Britney. I don’t know how this isn’t on the standard version. It’s Britney going back to her pure pop roots and I LOVE IT. “Cry, Cry Cry you ain’t fooling anyone” she chants as we all pretend this song is about JT. “If I’m Dancing” is the most uptempo track on the album and it’s SO good. It’s like 2016’s “Brave New Girl” and I am so in love with it. The deluxe album closes on a very surprising note with Britney singing (beautifully) in French paying homage to 2007’s “Blackout”. I have yet to read the translation of the song, but I am sure it’s pure poetry. This album is certainly her best one yet, and it makes me incredibly proud to be a fan. As it’s been said 500,000 times before, Britney’s back. Really though, she’s back. Her heart and soul went into this album, and it paid off. This album stands equal to In The Zone and Blackout, and as time goes on, it may even stand taller.
  7. Another good review, this time by V Magazine. YAY at all the praise this album is getting. http://vmagazine.com/article/britney-spears-finds-glory/ (Sorry if AP)
  8. Long, but good read, a really well-written article with a lot of praise Tina Turner comparison? slay those vocals, B! http://www.digitalspy.com/music/album-reviews/news/a805798/britney-spearss-new-album-glory-reviewed-is-it-any-good-then/? There are only a handful of artists that can command mass hysteria when it comes to their album releases, and one of them is Britney Spears. Whether you love her or hate her, there's always curiosity when Ms. Spears decides to release new music. Her 2013 album, Britney Jean, was met with a muted response, however; it seemed that Britney had sort of given up. Similarly, last year's misguided duet with Iggy Azalea, 'Pretty Girls', was perfectly serviceable but nowhere near the calibre of material that had turned Brit from a Louisiana-born child star into a global icon. So, when rumours started to circulate two years ago that Britney was working on a new album, it was no surprise that people approached the concept with trepidation. What would a Britney Spears album sound like in 2016? Would it be any good? Would she be engaged with the material? 1. ''INVITATION' Whereas Femme Fatale, Blackout and In The Zone all opened with stone cold bangers,Britney Jean introduced the world to a softer side of Britney Spears. In a way, 'Invitation' combines the electronic sensibilities of 'Gimme More' and the whirring of 'Me Against the Music', and slows it down. Spears' vocals, while filtered, sound crisp and clear, the singer reaching into her much underused falsetto. It's atmospheric without being moody, wistful without pretension and rather lovely. The track is probably the best album opener of any Britney album to date. 2. 'MAKE ME… (FEAT. G-EAZY)' The lead single from the campaign, 'Make Me…' was a welcome return to form following 'Pretty Girls'. A mid-tempo banger, the track sees Britney coo breathily over an electric guitar and soothing electronics. What's so refreshing is that Brit's signature vocals are given the space they need to shine; she sounds ****, engaged and like she truly loves it. An unnecessary but understandable feature from Gerald 'G-Eazy' Gillum neither adds nor takes away from the final product, which is luscious, sultry and so damn catchy. 3. 'PRIVATE SHOW' Released as an 'instant-grat' from the album, 'Private Show' showcases Britney's long forgotten experimental side. It's a doo-wop track that sees a surprisingly powerful vocal turn from the singer, and it's heaps of fun. The production is so layered, with clicks and vocal harmonies making up the most of the arrangement, and Britney sounds alive. Again, her falsetto is put to good use, too, and the track proves what a dynamic vocalist she can be. 4. 'MAN ON THE MOON' All you have to do is look at Brit's Instagram to see that space seems to be of particular interest to her. So, it's unsurprising that on Glory we've got another space themed track, 'Man On The Moon' (Britney Jean opened with the similarly sci-fi themed Alien). You'd be forgiven for thinking that the track was lifted from the singer's 2001 album, Britney. It's a proper pop song, with a singsong-y chorus that's on the right side of bubblegum. Like Leslie Gore's 'It's My Party', the track taps into that middle space between melancholia and euphoria, and there's a longing in Spears' vocals that taps into the track's existential lyrics as she stares longingly out at the stars. Oh, and there's a completely brilliant jangly guitar riff that's bound to get stuck in your head. 5. 'JUST LUV ME' Vulnerability is something that has been missing from nearly all of Britney's albums post In The Zone. Tracks like 'Everytime' signalled that under the sheen of dance routines, expensive videos and high octane stage performances there was a sensitive and delicate soul that could convey emotions without melodrama. While 'Just Luv Me' isn't a ballad as such, it's a song that taps into Spears' softer side. Lyrically, Britney is craving affection, opening herself to the often overwhelming feeling of love while needing nothing in return. It's subversive in the way that Selena Gomez's 'Good For You' acknowledged the varying states of emotional and ****** power play. And, like Gomez's track, the production, handled by Cashmere Cat and BloodPop, is full of yearning and darkness. This song is crying out to be a single. 6. 'CLUMSY' Like on 'Private Show', 'Clumsy' sees Britney's voice change from one line to the other. It's most definitely all her, but again, it's testament to the uniqueness of her vocals; she can play almost any character within the swoop of four bars. Saying that, 'Clumsy' is probably the only moment where Glory veers into generic territory. The EDM breakdown that substitutes the chorus sounds unfinished and like something from Britney Jean. Saying that, we love it when Britney references herself and the sweet "Oops" before the drop is a moment of bliss. 7. 'DO YOU WANNA COME OVER?' Britney Spears songs have always been about *** in some form; even when she was 16 years old, there were ****** connotations bubbling under nearly all her tracks. Saying that, 'Do You Wanna Come Over?' is a *** jam for the Grindr generation. Like the mobile dating app, Spears is ready to provide whatever you want and whatever you need, you just need to come over. It's the most fun that the singer seems to have had on a song since 'Toxic', pulsing bass and dissonant acoustic guitars creating something delightfully weird. 8. 'SLUMBER PARTY' When we saw the tracklisting for Glory, we were half expecting 'Slumber Party' to be a Ciara-style **** slow-jam. We weren't quite expecting a 'Hotline Bling' style ode to fornication and *** tapes, as she sings, "We use our bodies to make our own videos/ Put on our music that makes us go f**king crazy, oh." It's dreamy and genuinely ****, something that Britney hasn't truly been since Blackout. The syncopated synths in the chorus are delightful, as is the surprising addition of a bombastic horn section in the final chorus. Similarly, the final chorus contains the best Britney ad-libs this side of 2003. Now, all they need to do is get Drake on a remix on this and we've got a smash on our hands. 9. 'JUST LIKE ME' Jealousy isn't a topic that Britney has broached too many times before - usually she's the *** siren getting down on the floor in the club. That's why 'Just Like Me' feels so real. The track, which was co-written by Brit, alongside Justin Tranter, Julia Michaels and Nick Monson, is probably the most personal that the singer has been in years, despite Britney Jean's protestations. The song sees Britney play a scorned lover who catches her partner in the throes with a woman who looks just like her. It's genuinely emotional, as Britney is haunted by the image, echoing harmonies adding atmosphere and depth. While oscillating synths and drum machines whir in the periphery, the track's acoustic guitar and Britney's delicate vocals create something elegant and fragile. 10. 'LOVE ME DOWN' Don't let the dubstep wobbles on 'Love Me Down' put you off, this song is a bop and features one hell of a bridge as Britney coos, "My baby don't love me down, don't love me down, don't love me down," over a frenetic beat. Where 'Love Me Down' shines, however, is in the ad-libs. Britney is serving 'Stronger' style vocals, and at the end of the song there's a gloriously distinctive Britney vocal run that'll give you chills. 11. 'HARD TO FORGET YA' Again, 'Hard To Forget Ya' is a throwback to the pop songs of yesterday. Everything from the melody to the production reminds us of the sorts of tracks you would have heard on Christina's Stripped or, indeed, one of Britney's early albums. It's most definitely an album track, but that doesn't take away from the song's finger-snapping beats and it's euphoric chorus. Like all the best early 00s throwbacks, it'll be hard to forget this one. 12. 'WHAT YOU NEED' Like on 'Clumsy' and 'Private Show', Britney's belting is back in full force, delivering the most un-Britney song of her career. Doing her best Tina Turner impression (seriously), this song was clearly inspired by 'Proud Mary' (the middle eight is just crying out for a huge sing-a-long). We'd have never thought that Britney could have pulled off a divalicious track like 'What You Need' but she does, and she does it with bags of sass and attitude. At times it verges a bit on 'soul-by-numbers', but then there's Britney's unique tone that makes the whole thing bizarre and yet highly listenable. 13. 'BETTER' While it sounds like it could have been lifted directly from Justin Bieber's Purpose, 'Better' is a shimmering slice of Major Lazer inspired tropically tinged pop that brings Glory well into 2016.And why this song has been relegated to a bonus track we're not quite sure, as it's arguably one of the album's strongest moments. The middle-eight is a wonderful moment of pure abandon, Britney appearing to lose control as she proclaims that it's all "so good, so damn, so good." Likewise, those vocal ad-libs feel like they were lifted straight out of 2001 and it's an utter joy to listen to. This is the sort of song that Britney should be recording in 2016. It's current, a perfect fit for her vocals and bop-y enough that it's sure to get a fire dance routine. 14. 'CHANGE YOUR MIND (NO SEAS CORTÉS)' Latin-pop was never really in Britney's repertoire. It seemed that, during the Latin explosion of the late 90s and early 00s, Ricky Martin and Christina Aguilera had that covered. That's why 'Change Your Mind (No Seas Cortés)' and it's flirting with flamenco is so damn brilliant. Like Femme Fatale's 'Criminal', the song is weird, wonderful and so damn catchy. However, under the sheen of the sprightly production is a song that would put Christian Grey to shame, as Britney sings "No seas cortés", or "don't be gentle". Brit's vocals remind us of 2003's 'Early Mornin'', and as her come ons become stronger the production builds and swells until a final chorus that's so pent up with ****** energy that it feels like Britney herself might burst. 15. 'LIAR' Britney has always been an innovator, something that was sorely lacking from Britney Jean. Luckily, it seems that with Glory, Britney's dedication to creating new musical genres is in full force as we can only describe 'Liar' as a saloon-bop-come- power-ballad. The beginning of the song is lifted straight out of a Western, and then the chorus smashes in and you're suddenly in the middle of a emotional battle that would suit Kelly Clarkson. It's something that Britney has never attempted before, and it's pretty darn special. What 'Liar' showcases again is Britney's willingness to experiment; one minute you're sat in a bar in the south with a whiskey in your hand and the next you're belting out a massive 80s style power ballad. Only Britney… 16. 'IF I'M DANCING' Not only does 'If I'm Dancing' see the welcome return of Britishney ("If I'm dahhncing"), but the song, again, is as experimental as they come for Ms. Spears. It simultaneously reminds us of 2011's 'How I Roll', In The Zone's 'Brave New Girl' and '3', while appropriating elements of PC Music and the frantic edge of '*****, I'm Madonna'. Scattering bleeps, scratches, edited whip cracks and weird vocal interjections make up most of the production, as Britney breathily delivers the completely nonsensical lyrics about lotion and how her shop is red and pink (or something). It literally feels like 'If I'm Dancing' is the aural equivalent of Ms. Spears' wacky, quirky and ridiculous Instagram account, and it's brilliant, if a little bonkers. 17. 'COUPURE ÉLECTRIQUE' In English, 'Coupure Électrque' translates to "power outage" or "blackout", and the song is most certainly the most ominous track on Glory. Oh, and the whole thing is sung in French, too. Britney does a rather good French accent, and (after feeding the song through Google Translate) we've deduced that the track is (obviously) all about ***; Britney wants to make love until all there's a power cut. The song is truly the weirdest moment in Britney's 18 year career, with sonar-like synths popping around a forceful percussion. In fact, the song has a mechanical feel, not in the delivery but in how industrial, robotic and futuristic it feels. It's one hell of a way to close an album, and we absolutely love it. The past 10 years haven't been easy for Britney fans. While the singer may have delivered a career defining album with Blackout, the three subsequent follow-ups, while polished in the cases of Circus and Femme Fatale, felt rushed and devoid of that special something that made a Britney Spears album a, well, Britney Spears album. That's why, when listening to Glory, you're confronted with how unequivocally Britney the whole collection is. Across a mammoth 17 tracks, we get to see every side of the singer, from vulnerablity, sassy jazz pop, broadway wannabe, bang on trend pop connoisseur and boundary pushing experimentalist. It might be one of her longer albums, but each track has well and truly earned its place here. Best of all, however, is how present and engaged Spears sounds throughout the 54 minutes. Even when the album verges on box-ticking with it's light sprinkling of Major Lazer/Bieber style bangers, it still retains enough personality to be distinctive. When Britney began teasing the album over two years ago, she used the terms "left lane" and "artsy fartsy". Well, Glory is most definitely those things and more. It's a triumphant return of one of pop music's most essential players.
  9. Update: NYTimes gave Glory 50/100 on Metacritic. This will **** up the average...******* c*nts! http://www.metacritic.com/music/glory/britney-spears Britney Spears strives mightily to be one-dimensional on “Glory,” her ninth studio album. But Ms. Spears has plenty of back story; she’s a 34-year-old working mother, the headliner in her own Las Vegas spectacle and a performer who has weathered teenage fame, backlash, public meltdowns and wave after wave of tabloid headlines. “Glory,” her first album since 2013, is her latest attempt to reclaim her place on the pop charts, which are now crowded with younger performers who have studied her the way Ms. Spears studied Madonna. Her latest strategy is relentless and unambiguous: Stick to ****. Ms. Spears’s albums in the 2000s, like “Blackout” and “Femme Fatale,” showed that she and her advisers know something about the dynamics of celebrity and media, as she toyed with provocation and selective revelation. Hits like “I’m a Slave 4 U” and “Toxic” teased at the power dynamics of lust and romance. But “Glory” has shallower aims; it’s all come-ons and promises of pleasure, as if the only intimacies that matter are physical ones. “To know each other better/Put your love all over me,” she coos in “Invitation,” the breathy, Janet Jackson-meets-Philip Glass enticement that opens the album. For songwriting and production, Ms. Spears drew from the talent pool that also supplies material for her pop peers and rivals, among them Selena Gomez, Nick Jonas, Fifth Harmony, Demi Lovato and, yes, Madonna. Her vocal producer, Mischke, has a résumé stretching from Michael Jackson and the Spice Girls to Gwen Stefani. “Glory” is Ms. Spears’s ninth studio album. Unlike Will.i.am, the producer who filled Ms. Spears’s 2013 album “Britney Jean” with club-music clichés, her new collaborators make musical space for her. They look toward the melting tones, echoey hollows and vocal-sample constructions of recent releases by Ms. Gomez and Justin Bieber. Heavy bass lines and kick drums are all but banished, perhaps to return in remixes. Instead, syncopations are sketched in the midrange by handclaps, keyboard chords, electronic plinks or bits of guitar. The album’s peppiest song, “What You Need,” matches a track that sounds like foot-stamping, freeze-dried Motown to a vocal that flaunts its electronic warbles. Throughout the album, Ms. Spears’s voice — no doubt still processed, but far less obviously robotic — has emphatically returned to the foreground. In verses, she recalls the flirty singer, with the knowing scratch in her little-girl voice, who conquered 1990s pop. She sounds more involved, more present, than she has in a decade. Choruses, like those in “Make Me…,” sometimes layer her voice into an ecstatic choir. Yet even with her voice upfront, Ms. Spears isn’t singing anything particularly personal. “Glory” is one long, often catchy, announcement of availability. Ms. Spears declares “nobody should be alone if they don’t have to be” in the electro-rocker “Do You Wanna Come Over?”; “Slumber Party,” which eases into a reggae-lite chorus, promises, “We ain’t gonna sleep tonight.” In “Love Me Down,” she says, “You say we don’t talk any more but/I’m thinking we talk too much,” preferring communication by touch. A song on the deluxe version of this album, “Change Your Mind (No Seas Cortés),” sets out to seduce a guy who is “trying to be a gentleman” and doesn’t want to “cross the line” by urging, in Spanish, “don’t be polite,” adding “I’m desperate/so desperate.” And often, behind the sleek electronics and the tidy vocals, a certain desperation comes through. “Just Luv Me,” one song, begs. Ms. Spears’s previous album, “Britney Jean,” was her commercial nadir, and the singles preceding the release of “Glory” — “Make Me...” and “Pretty Girls,” a collaboration with Iggy Azalea that’s not on this album — weren’t smashes. Another preview, “Private Show,” was introduced alongside a new perfume of the same name. It casts the singer as a stripper: “Slide down my pole/Watch me spin it and twerk it.” Working for others, the songwriters behind “Glory” have come up with other messages, particularly for female singers. Teen pop now abounds with hit-making messages of doubts overcome, of pride, of confidence, of empowerment that doesn’t depend on pleasing a guy. Ms. Spears, with turbulent decades of experience, might connect her life with her songs, as divas do, and find herself forging a stronger bond with listeners. But “Glory” doesn’t make that reach. It’s as if, after all her fans and fame, Ms. Spears can still only present herself as that most generic pop commodity: a sexpot. http://www.nytimes.com/2016/08/25/arts/music/britney-spears-glory-review.html?_r=2 ____ I'm tired of some people wanting her to sing about feminism and that ****, she makes music to make people happy, dance, feel ****...she sticks to what she enjoys and likes...let the empowering **** to the try hards like Thiefonce
  10. Invitation - 8/10 With it's catchy melodic verses and breaking chorus break - Britney is going all out on delivering a smooth, laid back pop classic. Is there a negative? One thing. The heavy use of phase fx / Melodyne. Apart from that - This track has a very strong Single potential to it. Make Me Feat G-Eazy - 7/10 I Was living for make me when it first come out - But - After hearing the great content of this album it really lacks compared to other tracks on glory. I could see her putting out a much stronger track from the album. On the plus side though - Make me still lives as a great lead breaking out the start to this amazing era. Private Show - 3/10 One of my dislikes. I never was really "Wowed" by this track when it was released. And, again, Now I've heard the whole album this one has to be the least stand out track for me. Some of the vocals make me cringe, "Werk it werk it werk it"...*Skip* Man On The Moon - 9/10 Amazing beat. Creative use in the lyrics. Britney really has outdone herself in delivering some great conducted tracks. This track is another strong for me Just Luv Me - 10/10 Bieber meets spears... This track is just serving potential yet again. Gorgeous vocals... Living, Living, Living Clumsy - 7.5/10 I was LIVING for this when I heard it - even though many others were moaning about it. I Still live for it. I live for the bridge vocals! Britney puts out everything in this great Back to basic meets Bubblegum pop classic. Do You Wanna Come Over? - 8/10 Ray of light type track? Great vocals, Song.... Downside - The chorus. The heavy use of the chants... Idk.. I just don't feel it 100%. Other than that - Great track with a gorgeous build up on the bridge. Slumber Party - 10/10 Britney meets Rihanna...and guess what? She slays it. This track is everything. I could see this being a great single if released. Could it do well? With the right promo I could see it being big. Just Like Me - 10/10 Another strong one. she's not me 2.0? Love Me Down - 10/10 Britney getting down on this Gwen Stefani type track. This is magic to my ears. I LOVE the bridge build up. Again, This would be a waste if it weren't to be released! Hard To Forget Ya - 8/10 Reminds me of Black Jesus/Amen Fashion meets Express Yourself with the obvious Britney twist to it. It has a great vibe. Is it single worthy though? Maybe not. But, It slays as a album track and stands out. What you need - 5/10 Personally, I'm not the biggest fan of this back to basics type track. Britney is showing her fun side to a album track and props to her for it. I'm just not diggin' this though. (Don't drag me!) Better - 10/10 I only really have one thing to sum up this track: RCA if you do not release this, you are ******* stupid. STRONGEST TRACK. No Seas Cortes - 10/10 Britney meets JLO / Shakira... Again, I can't see anything negative to say about this track. It's so solid in great musical vibes that'll have your ears gasm-in'. I could see this being quite big in Europe Liar - 10/10 Living. Living. Living... That is all. Lovato move over. If I'm Dancing - 7/10 The New Freakshow 2.0. Reminds me of Airplanes... Coupure Electrique - 10/10 The fact she learned french for one whole track shows dedication. This track has *** Written all over it. The beat and melody construction is just a ******... Urgh. The fact she hired a UNSIGNED producer for this track too just shows to dedicated to giving those a chance to shine... Safe to say, He shined with the production of this blackout-esque track Overall - 9/10 Britney has really put her heart and soul to deliver a album that lives up to the quality of ITZ/Blackout and Circus. This is a album that takes us back to the prime era and reminds us why we love Britney. When Britney has creative input into her albums she delivers the best work. Thank god she's took back the front seat on some of these tracks. GP need to hear this! Whats your favorites from GLORY and which songs do you want to see be released? (Yes, I'm aware its not the official cover - but living for the alternative fan made)
  11. BTW, THIS IS ALL MY OPINION, But thought I would share what I think with all you and especially for the ones who had enough WiLL.Power to wait a few more days. Glory Track-by Track review: 1. Invitation Spears’ ninth studio record opens up with haunting and angelic sounds, that somewhat remind me of her eighth album opener, “Ailen”. This slow, melodic song features Spears’ singing in a high register and makes you want to fall in love with not only her, but the entire record. This is the type of song that plays when you see the love of your life for the first time in years. Singing, “Yes or no, but no maybes”, she finally seems confident in what she’s singing. Place: 3rd/12 2. Make Me… ft. G-Eazy You know boo… Place: 6th/12 3. Private Show You Know this too… Place: 11th/12 4. Man on the Moon A mix of Femme Fatale and Britney is what this sounds like, with a 2016 spin. With a soft poppy tune in the back, Spears dreams of her Man on the Moon with autotuned verses but a with strong high vocal chorus. With the song slowing down during the bridge, you feel like you are in Hawaii with palm trees swaying and suddenly...Britney is a different language. Place: 5th/12 5. Just Luv Me Opening with haunting vocals stating “Just Luv Me”, Britney NEEDS love. Similar to something of Justin Bieber or Selena Gomez, this could possibly be Britney’s best song in a LONG time. Her vocals make you want to cry, but in a good way. They sway in and out before the chorus. The chorus consists of a slow and moody sway with a tune that reminds me of Selena Gomez song, “The Heart Wants What it Wants”. I couldn’t even compare it to anything Britney has done yet. Place: 2nd/12 6. Clumsy Place: 10th/12 7. Do You Wanna Come Over? You know what this sounds like… Place: 8th/12 8. Slumber Party The eighth song off of “Glory”, titled “Slumber Party” is by far the strongest and most fun song off the entire record. It’s ****, but not in a way Spears has done before. **** in a mysterious, tropical getaway *** in a hammock….way. When I hear this, I think of Blackout and a trip to Hawaii...and having a “slumber party” () in the hotel room. The melodic, but moody reggae tunes that sound straight off a No Doubt album fill the track. Makes me wanna film a *** tape in the classiest way possible. Place: 1st/12 (prob an unpopular opinion) 9. Just Like Me Even though this is the second track on the record that had the words “Just” and “Me” in it and words that are similar in the middle, DO NOT underestimate this song. Guitar riffs that open the song fit perfectly with her sultry vocals on this track. Picking up around the chorus with trap beats, Spears seems emotional , possibly making this her most emotional track on the record. Singing in the chorus, “She looks just like me, just like me, No I just can’t believe.”, the track slows down and the emotion pours out in front of you. She’s hurt over a lover cheating on her with a girl that looks….Just Like Her. Place: 4th/12 10. Love Me Down Perhaps the most similar song off the entire record to her eighth studio album, “Brenda Joan”, the track opens with a wobbler in the background and autotuned vocals. The song isn’t the strongest, but FAR from bad. It has an effect on the listener, reminding me of the music of 2010-2011 with the chorus where she states “Lah lah lah love me, lah lah lah love me, lah lah lah love me down, down.” Could pass as a Femme Fatale or Brenda Joan reject. Place : 9th/12 11. Hard to Forget Ya The song is straight AMAZINGNESS. The vibes I get come from a record with a blue tint on the artwork and time traveled 13 years later to “Glory” from “In the Zone”. Her vocals are straight Britney-In the Zone eras, with current music trends building up in the background. The song has a feature about it that it could almost be an album opener or closer, yet ironically, its neither. Reminds me of Brave New Girl (in a good way ) Place: 7th/12 12. What You Need Perhaps the weirdest song on the record...Sounds like she was serious when she said she loved Meghan Trainors song, “Me Too” because this sounds like a Meghan Trainor song, but in Britney’s style. The sultry style Britney brought to this record is EVIDENT on this track. I don’t know really what to think….ehh. Place: 12th/12 Standard Edition Charts (from favorite to less favorite) 1. Slumber Party 2. Just Luv Me 3. Invitation 4. Just Like Me 5. Man on the Moon 6, Make Me... 7. Hard to Forget Ya 8. Do You Wanna Come Over? 9. Love Me Down 10. CLumsy 11. Private Show 12. What You Need 13. Better Opens with trap infused beats that makes the song a real banger. The vocals remind me of "Britney" but sounds like a Justin Bieber sound of 2016 at the chorus. I understand why it's a bonus track though 14. Change Your Mind (No Seas Cortes) YOU'RE IN SPAIN! The chorus is absolutely amazing and her Spanish is so ****. Honestly, one of my favorite songs on the record because it's so fun and ****. 15. Liar People seem to love it but eeehhhhh....Has country vibes and kinda reminds me of Miley Cyrus' record "Bangerz". Is definitely an "I hate men" song. 16. If I'm Dancing One of my favorite songs, it's just so fun!!!!! The most autotuned song on the entire record but it's such a fun song that you don't care! Understandbly a bonus track but could pass as a standard track. 17. Coupure Electrique I have no idea what she's saying so...
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