This In the Zone album track is the sexiest song in Spears’ discography, a dive into voyeurism and tantric sex complete with pulsating bass, techno-inflected beats and her breathy moans and ASMR-worthy vocal fry. This remix, however, gives this curious and wistful song a cinematic quality the aquatic beats, Ray of Light-esque guitars and longing strings emphasise the lust in Spears’ voice. Initially meant for Spears’ fourth album In the Zone, the original version of this song has never officially been released (it is floating around online). And Then We Kiss (Junkie XL remix) (2003) Recorded specifically for Spears’ second greatest hits album, The Singles Collection, this ridiculously sexed-up oddity about indulging in a menage a trois is so sugary it’ll rot your teeth and the only song about threesomes to make reference to American folk group Peter, Paul and Mary. While there are more groundbreaking moments on Spears’ fifth album Blackout (Freakshow incorporated dubstep even earlier than Hold It Against Me), this song best demonstrates the lubricious darkness of the album, Danja’s demonic chanting and deranged synths coalescing with Spears’ come-to-bed vocals into something monstrous and thrilling. Just don’t mention the horrible G-Eazy rap. Built around luxuriant, pillowy synths and warm electric guitars, Spears sounds the most engaged and relaxed she has in years. It more than delivered, though, with lead single Make Me exemplifying the place she landed artistically. Make Me (feat G-Eazy) (2016)Īfter releasing a few duds, a lot was riding on the quality of Spears’ ninth album Glory. Quicksand (2008)Ĭriminally relegated to a bonus track from Spears’ sixth album, Circus, this grief-stricken song, written by Lady Gaga about the end of a relationship, is a prime example of the sort of melancholic sonic sandpit Spears should play around in more.
Photograph: Action Press/Rex/Shutterstock 26. But Me Against the Music, with its clackity beats and busy acoustic guitar, is a strange but intoxicating slice of frenetic dance pop that’s more than worthy of its headliners’ star power. Whether it would be any good was less certain. Me Against the Music (feat Madonna) (2003)Īfter snogging at the 2003 MTV VMAs, a Madonna and Britney collaboration was inevitable. But Spears, now a dancefloor veteran, added a bit of spice to what was an otherwise generic era of pop, a prime example being this euphoric yet apocalyptic banger. Spears’ seventh album Femme Fatale, co-executive produced by her old pal Max Martin, led the charge as Eurodance-inspired pop crashed into the charts. But this slinky electro-pop confection has charm to it, Spears’ voice pushed to almost chipmunk levels of artificiality. Included on the Blackout and Circus albums due to a contractual obligation that meant it had to be a single, Radar has taken on meme status among Spears fans. A decade later, and its blistering amalgamation of industrial EDM and saccharine pop melodies still feels every bit as audacious and innovative. Spears previously flirted with dubstep on 2007’s Blackout, but it was Hold It Against Me that dragged the then-underground dance music into the mainstream.
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