https://twitter.com/Spotify/status/92331900891243724810 years ago, one of the most influential pop albums of all time was released. This is @britneyspears. #Blackout http://spoti.fi/2ry8HVc
https://twitter.com/Spotify/status/92331900891243724810 years ago, one of the most influential pop albums of all time was released. This is @britneyspears. #Blackout http://spoti.fi/2ry8HVc
I share the same thoughts and feelings that Blackout was the liberation of Britney Spears as an artist. I think it was something she wanted to achieve with Original Doll. And she did it! The album succeeds in connecting to her fans as the songs were everything what Britney was going thru then and everything what they want Britney to respond. This is really a PERSONAL album.Instinct wrote:"Why Should I Be Sad" is criminally underrated by fans. It was the perfect way to end "Blackout" and the track itself is excellent too.JSparksFan wrote:I've been playing "Why Should I Be Sad" a lot the last few hours, and I can't help but feel that it just gets better every year. The true underrated gem of Blackout!I agree. I think "Blackout" is easily the most personal album she's done in her career so far. Not everything has to be about "getting cheated on" or "heartbreak" in order to be personal. Like that article said, she was living and breathing the lyrics she was singing.MrLeonix wrote:Wow that last article was just a great one.
I love how all of the articles are recognizing how real the album was and how it served as a form of expression for her, also the fact that everyone is aknowledging her role as the executive producer of the album.
Hands down to the most genuine record Britney ever pulled.
Brilliant pop album from start to finish.
Nope. Not even close.mznxbcv wrote:Everybody mentions the year 2007, but wasn't 2006 nearly just as bad as 2007 for Britney?
Source: http://www.officialcharts.com/chart-new ... ry__20862/Ten years ago this week, Britney Spears released what would become her most critically acclaimed album to date: Blackout.
Its chart success was almost inevitable - Britney had a strong track record on the charts, the album's lead single Gimme More had been a hit, and rarely a day passed when she wasn't been papped in the build up to its release during her much documented difficult year.
But its critical acclaim - Britney's first widespread praise for one of her records - came as a surprise to many, particularly given the months preceding its release.
The likes of Rolling Stone, Pitchfork and The Guardian all praised the record's fresh and futuristic sound, The Times ranked it as the fifth best pop album of the decade, and in 2012 it was inducted into the Rock and Roll Hall of Fame library.
To celebrate its tenth birthday, Official Charts presents ten essential #ChartFacts about how the album has performed in the UK. Could it be Britney's most underrated collection?
1. Blackout entered the Official Albums Chart at Number 2 – one of five Britney albums to peak in second place.
2. It was held off the top spot by The Eagles’ Long Road Out To Eden - Blackout's 42,207 sales to Eagles' 134,080.
3. It's total UK sales are 291,075, 90% of which are physical sales. That makes it Britney’s sixth biggest studio album out of nine.
4. This year, it has amassed 1,919 sales so far across physical, digital and streaming equivalent sales.
5. Blackout has amassed 665,433 individual track downloads.
6. Despite being released in 2007, Blackout's songs have notched up a total of 11.2m streams since 2014, when streaming was added to the Official Chart. [/b]
7. Blackout includes two Top 10 singles, Gimme More (3) and Piece Of Me (2), plus Top 20 hit Break The Ice (15).
8. Piece of Me is Blackout’s most downloaded song – 260,463.
9. Gimme More is Blackout’s most streamed song – 4 million.
10. The most downloaded and streamed non-single is Get Naked (I Got A Plan) - 368,000 streams.
Your're probably right but still, 2006 really laid the foundation as to what was going to happen the next year, especially if one watches that Matt Lauer interview and reads articles like these:MrLeonix wrote:Nope. Not even close.
http://www.foxnews.com/story/2006/11/30 ... rwear.html...It's up to you America, to reject this disrespectful young woman, who has no regard for you and your children (not to mention her own), and who would spread her legs for the world to see — very deliberately.
Do not buy her new CD when it comes out. The only thing that will change this "coarse" of action is to hit her where it hurts the most. And since a kick to the groin apparently doesn't hurt enough, perhaps a flopped comeback will let her know that we've had enough.
Honestly Britney was on hiatus in 2006, she spent most of the year pregnant from her second child (Jayden was born on September 2006), she spent like the first 8 months of the year, resting, quiet, low-profile and doing minor career work, such as recording music for the "Blackout" sessions, co-executive producing her then husband debut album "Playing with fire" which came out as of late 2006 and included a song with her and did a Guest acting work on the hit series "Will & Grace", it wasn't until like the last couple of months of 2006 that she was just seen partying a lot wich raised worries and negative reaction considering she was a new mother, but literally nothing major outside of the p*ssy incicent (which BTW has happened to a bunch of celebrities) and some partying happened in 2006.mznxbcv wrote:Your're probably right but still, 2006 really laid the foundation as to what was going to happen the next year, especially if one watches that Matt Lauer interview and reads articles like these
Hands downBlueScorpion wrote:Hands down her best.
Thanks Wayne!Wayne wrote:Added a Blackout poll, as per MrL's request.
Me either.MrLeonix wrote:I voted for "Gimme More", "Piece of me" and "Get Naked (I got a plan)".
Source: http://www.mtv.co.uk/britney-spears/new ... t-all-oddsTo say 2007 was a difficult time for Britney Spears would be a severe understatement. After leaving her husband at the end of 2006, she briefly became Hollywood’s new party girl before her life hit total chaos in plain view of the world.
A divorce, custody battles, rehab, firing her career-long manager, another go at rehab, giving her own mother a restraining order; a lot went on along with shaving her head, so forget about that meme.
Increasingly isolated and wildly unpredictable is by no means a healthy combination, however in retrospect it’s the combination that lead Britney Spears to make the best album of her career, Blackout.
An escapist album of relentless bangers tailored for the dance floor, the Princess of Pop deafened the noise of camera flashes and news reporters with 808s and throbbing club anthems about two seemingly simple joys in life: love and sex. Lots of sex.
“I’m tired of singing sad songs,” she confesses on the album closer ‘Why Should I Be Sad’, the most low-key track of the bunch and one of only two to directly address events in her personal life.
This solemn declaration comes after 11 songs that wouldn’t ever be characterised as sad. Characterised by her strength, cockiness, sex appeal, romance, sex drive and resilience, any listener unaware of the context would listen to these songs wishing to emulate the confident bad-ass behind the mic.
And for those aware of the context who may have pressed play expecting a collection of unfinished demos or worse, she shut them up in the first second of the album with three iconic words: “It’s Britney, bitch.”
Without any guidelines or pressure for a radio-made hit from management, Britney runs freely along the pulsating, futuristic productions of Danja and electro-pop duo Bloodshy & Avant, who had produced ‘Toxic’ four years prior.
Fully embracing the electronic sound she had flirted with previously on songs like ‘Over To You Now’ and ‘Girls and Boys’, she created a subgenre of her own with the unique incorporations of R&B, heavy synths and what can only be described as grimy dance music.
The hot and heavy tone of the record is so palpable it’s as though the music’s physical manifestation is the brick wall of an underground club: hidden in the dark, moist of strangers’ sweat, and vibrating from the speakers.
While many songs are unabashedly sexual (hello, ‘Get Naked (I Got A Plan)’), the sensuality lies in Britney's incredibly versatile vocal performances and delivery.
Utilising the full range of her voice - the highs, the lows and the downright weird - the superstar was able to experiment with her voice more than ever before, both naturally and innovatively with the help of tech.
After being told early in her career to downplay the Southern soulful tones of her voice in favour for a more through-the-nose pop-friendly sound, the public had been accustomed to her somewhat limited abilities. However, on Blackout there was no limitations as far as what she would do vocally or sonically and this adventurous spirit in the studio birthed an energy so fierce that the music hits just as hard today.
AutoTune and vocal processing really hit the mainstream when Cher released her number one single ‘Believe’ in the late ‘90s, although it was mainly used for pitch correction rather than a way to manipulate the voice.
Britney pushed the limits of processing all across this game-changing in ways like pop had never heard before. From the helium heights of ‘Radar’ to full-blown distortion on ‘Freakshow’, we were introduced to new versions of the pop’s most distinctive voice ranging from robotic to totally unrecognisable.
The level of vocal manipulation quite literally reinvented the way vocals are treated in pop music and further to make great songs even better without relying on the help of others. Blackout being a one-woman show in this respect is a testament to her dedication, independence and drive during the making of the album. She wanted to create her own world and she wanted to do it herself.
Back in 2007 these claims would have been scoffed at, with the digitalisation dismissed as nothing more than a way to compensate for a lack of commitment or talent on her end, when in fact she was totally in charge.
Both the public and critics alike were quick to bash it at the time yet ten years later it’s almost expected from songs, whether it’s by rappers like Future and Lil Uzi Vert or virtually any pop singer in the industry.
This album’s influence - the heavy R&B, grimy electronica, limitless vocal treatment - was plastered over the radio almost immediately with the emergence of Lady Gaga and Ke$ha, as she was then. The latter’s music would likely have been very different had Blackout never been released and the success of songs like ‘Poker Face’ is certainly questionable.
Even now it can still be heard, like with Taylor Swift’s latest reinvention that’s soundtracked to a very bass-heavy brand of ‘dark pop’, as Blackout legend Danja recently noted.
The album’s most tender moment comes with the gorgeous centrepiece ‘Heaven On Earth’. Britney finds serenity on the supersonic disco track reminiscent of Donna Summer’s ‘I Feel Love’ as she blissfully sings about the depths of true - or blind - love.
Sandwiched between two bangers about banging, it’s a sweet fantasy that exposes the hopeless romantic in her that longs for the rush of love as well as lust.
Where Madonna’s Confessions On A Dance Floor was designed to play as one hour-long DJ set that became more personal as it went on, Blackout was very simply created with no other intention than to let Britney escape.
In turn, we have a much more intimate album than one that would’ve laid her woes on the table and we are lucky to have been able to use her utopia as our own escape for the past ten years.
At a time when Miss American Dream seemed to be at her worst, she only proved to us that she’s the best.
I agree ... "Freakshow" is my 4th favorite track on "Blackout" and "Break the ice" is indeed another gem.BlueScorpion wrote:There are far other songs deserving though. BTI is a gem and Toy Soldier >>>>>>>>>
Hadn't heard this one, it's great!MrLeonix wrote:I agree ... "Freakshow" is my 4th favorite track on "Blackout" and "Break the ice" is indeed another gem.BlueScorpion wrote:There are far other songs deserving though. BTI is a gem and Toy Soldier >>>>>>>>>
BTW, here's another badass instrumental:
trebor wrote:16. MusicRecords: #Mess #BV #Bish #YSL #STFU #Sis #LOL #$$$ #FrequentFlyerSpammer #I&I&I
I don't know; She was heavily criticized as a mother for most of 2006:MrLeonix wrote:
Honestly Britney was on hiatus in 2006, she spent most of the year pregnant from her second child (Jayden was born on September 2006), she spent like the first 8 months of the year, resting, quiet, low-profile and doing minor career work, such as recording music for the "Blackout" sessions, co-executive producing her then husband debut album "Playing with fire" which came out as of late 2006 and included a song with her and did a Guest acting work on the hit series "Will & Grace", it wasn't until like the last couple of months of 2006 that she was just seen partying a lot wich raised worries and negative reaction considering she was a new mother, but literally nothing major outside of the p*ssy incicent (which BTW has happened to a bunch of celebrities) and some partying happened in 2006.
Source: http://www.dazeddigital.com/music/artic ... rospectiveOn September 9, 2007, Britney Spears was supposed to make a triumphant return to the MTV VMAs stage. After a couple of years of controversy – an impromptu 55-hour marriage to her childhood sweetheart and its subsequent annulment, accusations of out-of-control partying and erratic behaviour by the tabloids and blossoming online celebrity gossip rags like TMZ, and the infamous head-shaving debacle – this was the moment that Britney, an artist who epitomised the last decade of pop culture, would show that she was still the greatest entertainer of a generation. What actually occurred during her debut performance of the grungy and pulsating “Gimme More” would, however, later be described by the New York Times as an “inept pantomime” and by the BBC as “one of the worst (performances) to grace the MTV Awards”.
While it might be tired to preface any discussion of Britney Spears’ fifth album, Blackout, by dredging up this now iconically disastrous performance and the media rabidity surrounding the pop star herself, it’s important to frame the album in the context of the public’s expectations. According to the tabloids, professional celebrity troll Perez Hilton and the newly founded TMZ, Britney was a mess – no way could someone inhabiting an unprecedented and chaotic paparazzi and media circus produce work of any merit, especially someone who, according to some, was just another manufactured marionette. It is perhaps one of pop music’s greatest justices, then, that Blackout **** bangs.
In 2006, amid the birth of her second son and her divorce from Kevin Federline, Britney’s rep’s confirmed that she was officially working on what would become Blackout. Reports by MTV spoke about how a heavily pregnant Britney was working with people like J.R. Rotem and Timbaland protégé Danja (who in turn brought in his own group of collaborators who would end up making up most of the bulk of those who worked in the album). In a recent comment to The FADER, Britney described the process of making the album as “simple”. “I just did what I felt and it worked. Sometimes less is more I guess,” she said. And from the sounds of things, the journey to create a cohesive and forward thinking album was exactly that. Danja, who co-wrote and produced lead single “Gimme More” as well as six other songs on the album, has repeatedly said how Britney would leave his team to work on concepts before coming in to record what she felt worked. “If (Britney) felt it, she was gonna ride with it,” he told Rhapsody in 2008. “If she didn't, you’d see it in her face.”
On the surface, it might not sound like Britney was the most hands on, but what many people don’t know about Blackout is that, for the first and only time in her career, Britney took on the role of executive producer for the record; her public life might have been unmanageable, but when it came to her work, Britney was the boss. So, like an expert curator, she shaped and plotted the album with her deftness for pop music. Flooding the record with studio trickery and electronics – from Danja’s fusion of hip hop and house music to Bloodshy and Avant’s amalgamation of Scandinavian pop sensibilities and underground European dance experimentation – she picked producers who were plucking at genres and melding them together to create a Frankenstein musical behemoth threaded together by Britney’s idiosyncratic vocal touches. As her A&R, Teresa LaBarbera Whites, said at the time, “It’s her magic that turns these songs into what they are.”
However, this disparity between the personal and the professional was just another excuse for critics to comment on Britney’s transformation from pop provocateur to pop robot and vocally, Blackout sees the singer’s voice treated, chopped, spliced and mutated in new and sometimes alarming ways, her whispery southern drawl either coalescing with the throbbing electronic production or pitched unnaturally. Yet, from song leaks it’s clear that the album could have pivoted in another direction. Among leaked demos for songs like “Hot As Ice” (originally titled “Cold As Fire”) and “Perfect Lover” (originally called “Got Me High”) were stripped back tracks like The Crown Heights Affair sampling “Baby Boy” and “Let Go”, both of which are unlike anything you’ll have heard from Britney before. Singing in her (naturally) lower register, the songs highlight her vulnerability as a vocalist as well as her talent as a songwriter. They’re rare peeks at portraits of one of pop’s most enigmatic artists and perhaps always intended to remain unfinished sketches.
“Britney Spears once lamented that she wasn’t a girl but not yet a woman... Blackout was the signal that this transition had reached its climax. Yet rather than emerging as a Stepford pop princess, the Britney that appeared was disruptive and peddling demented pop music”.
Nevertheless, it’s to the benefit of Blackout’s legacy that this rawness was all but excluded. Keri Hilson, who co-wrote singles “Gimme More” and “Break The Ice”, said that those involved were told explicitly that the songs submitted shouldn’t represent what was going on for Britney personally. Instead, she told The FADER, they created a “fantasy world that she would be happy in”. Clearly it’s this escapism that permitted Britney to head straight from filing divorce from her husband to the studio to record “Radar”, as recounted by producers The Clutch. On the few moments where we are permitted a glimpse into Britney’s life, she forgoes syrupy balladry for snarling fury on the crunchy “Piece Of Me” and brazen detachment on the dissonant Pharrell Williams produced “Why Should I Be Sad”.
It’s these subversions of expectations that are the album’s smoking gun. From the assertive declaration of “It’s Britney, bitch”, Blackout is an unrelenting venture to push pop’s envelope. Given her now tarnished media image, the Britney of yesteryear – the one all tied up with conservative coquettishness – could no longer perform as America’s perpetual virgin. Rather among the implacable glare of the paparazzi, Britney emerged possessed by a demonic explicitness to dismantle any assumptions about her life, career or music. 2003’s often overlooked In The Zone, which spawned career-defining hits like “Toxic” and “Everytime”, might have laid the musical groundwork for Britney to push herself, but Blackout was the moment she arrived – as she whispers at the beginning of “Break The Ice”: “It’s been a while. I know I should have kept you waiting, but I’m here now.”
Given that the media frenzy surrounding Britney would continue well into what should have been Blackout’s reign of supremacy, the album was the singer’s first to not arrive at Number 1 on the Billboard album chart. Circus, which arrived 12 months later, was a more commercial but conservative effort devoid of its predecessor’s nihilism. And although glimmers of Blackout’s darkness have lingered, the MO for the next few years was to show that Britney Spears, a divorced mother of two, was still the poster girl for America’s contradicting obsession with chastity and provocation. Really, it wasn’t until 2011’s Femme Fatale – which nestled commercially pulsing EDM of “Till The World Ends” with outlandish panpipes of “Criminal” and the skittish “How I Roll” – and later 2016’s Glory – with its mesh of trop-pop with the weirdly frenetic hyper-pop on songs like “If I’m Dancing” and the ominous and melancholic electro on French language “Coupure Électrique” (which, as it happens, translates to “power cut” or “blackout”) – that carried on Britney’s penchant for colouring out of pop’s presumptuous box.
If Britney Spears once lamented that she wasn’t a girl but not yet a woman, then Blackout was the signal that this transition had reached its climax. Yet rather than emerging as a Stepford pop princess, the Britney that appeared was disruptive and peddling demented pop music that, unlike similar records by Justin Timberlake and Nelly Furtado, wasn’t the result of meticulous planning. Rather it was the result of a hazardous moment in pop culture history that saw a serendipitous and symbiotic relationship between an artist eroding her past and producers forging their future that payed off. It’s a result that often sees Blackout being cited as one of the most influential albums of the last decade for the way it suffused hip hop, pop, R&B and EDM. But more importantly, Blackout was the record that forevermore proved that Britney Spears’ career was way more than just an “inept pantomime”; she might be one of its biggest provocateurs, but she’s also one of pop’s most important pioneers.