Disclaimer: before I begin, I have to admit two things: I don't go to clubs and I'm not a musical elitist (and you can take that to mean I have bad taste in music if you wish). I mention the first part mainly so people know off the bat I'm not going to say this album will be hot in the clubs, because I'm not there. I could assume, but I'd rather not. I think the second part speaks for itself.
Where does one begin a review of a Britney Spears album? If I were being paid to write this I'd probably spend a paragraph or two talking about the actual music (to trick the reader into thinking I bothered to really listen to the album) before using the entire middle of the review to talk about her personal life. Then I'd end by pointing out how people in the clubs will love the album. However, since I'm not being paid, I'll try and stick to the music.
Femme Fatale sounds like every Britney album ever recorded and like nothing she's ever recorded. How? Simple, since she's singing it (and, yes, she does sing) and doing her trademark coos and groans and come-ons, it sounds like Britney. But when you get past that, it sounds like nothing else.
It is both an album of been-there-done-that and been-where-done-what. The familiar feeling comes from it forcing the listener to get on the dance floor; the new sensation is how it gets the listener on the dance floor. An album with both whistling and flutes is not one easily dismissible as the same-old same-old.
When you review an album you can't help but talk about how the album came to be. Many critics are quick to point out that producers Max Martin and Dr. Luke run the show, and label the album as nothing more than their toy. In this case, the toy is a jack-in-the-box. But when you wind it up, Britney pops out, does a number, then goes back inside. See, many critics want the reader to think Britney's being controlled and that she just records whatever is in front of her.
I say, as Homer Simpson would say, nuts to that. How do I know Britney doesn't just pop out when called upon? I study my history (and I don't mean the Spanish-American War). This history only goes back 13 years to when Britney first stepped her dainty little toes onto the American stage. It goes back to "Baby One More Time;" not the song, but the video. It's been documented time and again that the original concept was much different than what was actually filmed. It was most likely terrible. But Britney stepped up to the plate and made some key adjustments (namely everything), creating a classic video that has stood the test of time.
That's not the only time Britney has taken the reigns. There have been many instances where Britney's been in control. This is, at the end of the day, her music. Femme Fatale is her album. If it fails it's on her head, not Max and Luke's.
Therefore, to say she's just an instrument producers use to try stuff out on, means she doesn't care. If she didn't care she wouldn't keep making music. Britney doesn't shout from the rooftops about all the things she does, but make no mistake, she does a lot.
On Femme Fatale she amps up the bass (with help from Will.i.am), the beats, and any and all things starting with the letter B (and practically every letter). The most amazing thing about Britney is how she brings herself to every song. Regardless of how processed her voice is, the producers can't get rid of her. And on some songs, like (Drop Dead) Beautiful and Seal it With a Kiss, her voice is very processed. Regardless, it's her.
And it's amazing. For the most part, the album is fantastic. You spend the entire duration bobbing your head, singing along or flat-out dancing. If the lyrics are meaningless, who said they were supposed to be meaningful. Britney has said time and again that she loves to dance. This album will get you dancing (and if you're bothered by the lyrical content (or lack thereof), perhaps you're listening to the wrong album).
I can't say it's the best album Britney's ever recorded (need more listens for that), but it immediately gets in your head and builds a home. "Till the World Ends" and "Hold it Against Me" blow the album up, and once you reach "I Wanna Go" you'll wanna go somewhere with a lot of room to scream, yell and dance. Best part: like Blackout, the album never lets up. All you get is more: bass, treble and tricks
The second best part: the album is 99 percent Britney with only two collaborators. Many albums nowadays feature the artist and 100 other people. Britney always gives you Britney. Love her or hate her, you never have to wonder whose album it is.
By the end of the deluxe edition, Britney throws a rock song at you. Maybe it's not actually rock, but it features guitars and drums (probably not actual guitars and drums, though). Point being that she's up for anything. And so are the producers. That's why Britney's never boring and always keeps you on your toes.
She leaves her personal life at the door when she enters the studio. And when you listen to Femme Fatale, you should, too. Appreciate it for what it is, because it's quite good at it.
