I don’t even like the original song in the slightest, but there’s something about the Dallas Austin remix that breathes life into the song’s otherwise robotic nature. Leave it to Austin to make a dolldrum track turn into a reg’lar corker! Blame it the booming synth or the brilliant bass, but RiRi and T.I. just got a whole lot more glamorous. Don’t get put off by the extensive intro…This mix is worth the time.

DL: T.I. & Rihanna – Live Your Life (Dallas Austin Remix)

Don’t worry Muusers: I have, in fact, survived the Circus of Britney Spears. Sure, there’s been some scrapes and claw marks along the way. I’ve been manhandled by a duo of evil clowns, nearly fed to the lions and tigers, and somewhere along the way, I distinctly recall being forced to slap a drunken hooker. Luckily, I managed to elbow my way out from under the tent flap…Some might even say I lived to tell. And so, the adventure begins:

Click “Read More…” for the track-by-track, or continue on for the overall analysis.

“Womanizer”
It’s the proper opener for the album, providing great promise for what is to come. It’s been played to death around the country (Thankfully!), and I’m grateful for all of the success it has amassed. However, in comparison to the other fifteen tracks, “Womanizer” is comparably mediocre. It’s a teaser of a comeback, though intensely devoid of the richer quality stemming from lead-off singles like “Gimme More” or “…Baby.”

“Circus”
The album’s title track also happens to be its highlight: I found it impossible to move forward from “Circus” without having to repeat it three times. You’d think the excitement would stall at the sweat-drenched, anticipation building bridge, but no: The chugging, ringtone-ready chorus comes storming in with an awe-inspiring amount of attitude-infused energy, roaring in like a classic Britney stormer: “When I crack that whip, everybody gon’ trip, just like a circus.”
Once the track breaks into its all-too-brief middle eight, B takes to the floor. “I’m runnin’ this,” she proclaims across the squeaks and squeals, providing for what could only be an epic dance sequence when finally performed live. “Circus” is absolutely instant; an unstoppable explosion of energy and sound that deserves a killer amount of promotion and attention. With any luck, this will shortly become iconic.

“Out From Under”
Britney’s version of the Joanna Pacitti original translates into a beautifully breathy mixture of Brit’s near-breakable vocals and melancholy delivery. Thanks to the soothing addition of Guy Sigsworth’s layered, organic electronica and twisted guitar flairs, “Out From Under” is by all means gorgeous. However, as her number one fan, I am morally responsible to dish it out as needed: The vocals are far too safe. Britney Spears is, and I will defend this with my last breath, a wonderful singer. Sure, she tends to teeter-tot her way through her live ballads with enough nervous warbling to force anyone to hold their breath until that final note is reached, but she’s still demonstrated her studio ability to belt in the past (See: first album.) So, when I found B traveling up to that safe, secure upper register for the higher notes of “Out From Under,” I was initially disappointed. The soft crooning of “My Baby” is understandable, but here? I could have done with some yelling. Still, I cannot be mad, for this is undeniably a beautiful track.

“Kill The Lights”
“Kill The Lights” is very much in the same vein as Blackout, sonically speaking. This isn’t surprising, considering the track’s producer, Danja, was responsible for many of the highlights from her last album. Now, first up for discussion is the producer’s voice-over announcement at the song’s opening: Many fans are wary about his proclamation of Britney’s newly formed status as “Queen of Pop,” and let’s face it…So am I. So let’s pretend he doesn’t say it, okay? After the first three glittering tracks of Circus, the up-tempo urban stomper comes tearing in with a jarring air of cockiness along with its thick smacker of a beat. In all honesty, “Kill The Lights” would have probably performed better on Blackout. Nonetheless, Britney’s scorching verse vocals, the track’s addictive thumpa-thump beat, and the many memorable lyrical moments (“Is that money in your pocket, or you happy to see me?”) make the song entirely too good to be ignored.

“Shattered Glass”
With the combination of those electro-glitch opening beats and Brit’s sexified chants of “hoo-oh,” the opening of “Shattered Glass” is already far too much anticipation to bear. Playing like the glittery interpretation of her unreleased “She’ll Never Be Me,” “Shattered Glass” is a major teaser of a track: The excellently crafted, whirling bridge takes us nowhere and leaves us hanging dry, falling one chorus short of perfection. Aside from a tantalizing beat breakdown near the track’s finish, “Shattered Glass” never fully resolves itself into a complete track. Nonetheless, the sound is incredibly in sync with classic Britney or Oops…Britney, providing a great wash of nostalgia upon first listen.

If U Seek Amy
First, the bad news: Regardless of what Max Martin claims, this is not the greatest track of his career. That title will be awarded to either “Since U Been Gone” or “…Baby One More Time.” Enough said. Now for the good news: “If U Seek Amy” is probably one of his best.
If you haven’t already caught the obscure song title’s ulterior meaning, try saying it three times fast. No? Try it slow. Still nothing? Fine: F-U-C-K me. Yep…Giggle it out, because it’s just as delicious as it appears. The stomp-happy, horn-heavy swayer saunters in with a delicious amount of cheekiness, proving to be as much fun as the title suggests. I can’t thank Max enough for this one, and more specifically, for scribing the line, “All of the boys and all of the girls are begging to If U Seek Amy.” It’s destined to be a classic Britney moment. Then there’s that “Oh baby, baby, baby” trill throughout the slowed middle eight. Is that an allusion to the duo’s original masterpiece? I sure hope so!

Unusual You
Bloodshy & Avant have answered a fan boy’s prayer, and the results are most bountiful, creating a brooding piece comparable to the singer’s most mature track to date: “And Then We Kiss.” Intentionally over-processed vocals mold Britney’s vocals into a most unusual, minor-key swept alien voice, slightly reminiscent to that of Kylie’s “Speakerphone.” It’s still quite a stripped piece, entirely fragile as Britney ponders her impossible love: “Didn’t anyone tell you? You’re supposed to break my heart, so why haven’t you?” Adding the vocals along with the ghostly, Enya-esque background breaths and the forlorn piano chords…It’s enough to reduce a boy to tears.

Blur
“Blur” seems to be the one track that’s received the most widespread criticism as far as I can tell, ranging from utter love at first play to puzzled disinterest. For me, it was fairly easy to immediately embrace “Blur” as the dizzying, clouded continuation of In The Zone‘s “Early Mornin.” “Turn the lights out, this shit’s way too fucking bright,” Britney murmurs into the drifting first verse. The track spins round and round in its electronica-infused manner, somewhat reminiscent of Rihanna’s “Rehab.” “Blur” is very modern and very well crafted; a splurge of slipping memory and incoherence.

Mmm Papi
The first of the two songs created by Nicole Morier of Electrocute, “Mmm Papi” is just plain silly. A briefly ballistic combination of twinkling electronic beats, electronic guitar riffs, and, much to my delight, many signature Britney sex yelps and shouts. Nothing in the song compares to the middle eight breakdown however, as the singer takes to the mic and declares: “Now see, I’m mommy…And that makes you Papi. And that makes us lovey…Ow!” she squeals before the track bursts back into its trippy electro-twinkles. Completely fun, completely ridiculous. How I’ve missed this!

Mannequin
As soon as it enters the airwaves, “Mannequin” declares itself to be an strictly business Britney affair with its dance-floor prepped beats and smooth talking, nonsensical verses. I’m still slightly mixed about the choruses howling cries of “Scream!” and “Cry!” (It’s a little frightening, to be honest!), but the intoxicating lyrical looseness of the song is pure, slippery seduction. “Mannequin” is the type of song I want memorized immediately, because it’s probably a whole lot more fun when you can sing along. The middle eight also offers another delicious dance break down opportunity for Circus, securing “Mannequin” as one of the album’s most immediate, dance friendly tunes. On a side note, does anyone else hear elements of Frou Frou‘s “Must Be Dreaming” within Britney’s vocal delivery/processing? It’s uncanny!

Lace & Leather
“French fingertips, red lips, bitch is dangerous,” Lady B breathes as she sashes her way into her sassiest attempt on the album. The backing tune is pure ‘80’s, though I’m having trouble pinpointing the exact source: There are elements of classic Madonna (Even hearing a bit of “Dance 2Night” from her latest), an ever so slight bass-and-horns swagger of Grace Jones, and some definite Control era Janet Jackson moments. By the time we’ve entered the chorus, I’m completely sold. Why? The “Push It” inspired breathe-and-gasp background vocals, morphing the track into an all sass, stripper-esque stomper. And how about that brief electro-guitar solo? Yummy!

My Baby
With the opening lyric, “Tiny hands, yes that’s you,” I’m willing to bet the vast majority of non-hardcore listeners will chuckle and skip over to the bonus tracks. I’ll admit…Even I winced for a moment. Honestly though, it’s incredibly difficult to be critical of Britney’s self-penned ode to her children, considering its importance to her. “My Baby” is a wispy, paper-thin ballad aided by some minor Sigsworth’s strings, drawing the regular edition of Circus to a close. Moreover, “My Baby” the most representative of Britney’s essence: It’s impossibly pure, flowing with soft, well-intentioned warmth and innocence, a final reminder of the pop princess’ ceaseless fragility.

Radar
Sadly, the tenderness of “My Baby” is quite literally ripped apart with the introduction of the blippy, shrieking synths of Blackout’s stomping success track, a completely unfitting addition to the Circus lineup. Hearing it alongside the other fifteen tracks only serves to highlight Blackout’s bleak frigidity, as “Radar” invades the airwaves with its repetitive, bleating blare. Rumor has it that the track was included to make up to the producers Bloodshy & Avant, who were promised a proper single release of “Radar” last year. However, due to Britney’s personal affairs, the release never came into fruition. While the ordeal makes sense to me, it’s still difficult to accept this all-too-intrusive track into the bunch.

“Rock Me In”
“Rock Me In” is deeply rooted in the musical styling of its writer, Nicole Morier, who comprises one half of Electrocute, which is probably why the track that would have fit in perfectly with the electro-retro duo’s latest EP, On The Beat. “Rock Me In” is a pleasant, swirly trip across the galaxy, energetic and flashy like an intergalactic beach party. I don’t find it strong enough to be an album track, but I’m quite glad this one saw the light of day.

“Phonography”
Oh, how I’ve missed phone related songs! The delicious raunchfest known as “Phonography” offers up some less than subtle references to…Well, what else? Good, old fashioned phone sex. Another track that vaguely brings Kylie’s “Speakerphone” to mind, “Phonography” operates like the slutty older sister of In The Zone’s bonus track, “Don’t Hang Up,” adding elements of dirty, Euro-Disco and chanting taunts. I absolutely adore the track, and I find its exclusion from the main tracklisting to be a true pop injustice.

“Amnesia”
Recalling the greater moments of Gwen Stefani’s solo career, “Amnesia” is a ‘80’s tinged, headstrong stroll directly into the territory of “cool.” With the help of Lady GaGa, Britney slips into a slinky, longing little vocal routine that completely works for her, even though it’s an entirely new sound for her to explore. Another track unjustly subjected to the status of “bonus,” “Amnesia” should really be up there with the best of ‘em.


Somewhere between the chilly, ice-coated electro stings of “Break the Ice” and the gritty, slap-happy bass of “Get Naked,” Blackout suddenly ran cold. The chirpy, cheerful chanteuse that I knew and loved now somehow found herself wedged into the confines of a dark, frigid vocoder, battling her own inner demons at the time. It was a cold, dark album, devoid of soul and spirit.

Now don’t get me wrong…The music was there—In fact, Blackout remains Britney’s sonic peak. Even Circus cannot compete with the instantaneous, ferocious quality of the Blackout session tracks. However, Britney Spears was not featured on that record. She was credited, she was singing on those tracks, but there was nothing familiar to be found.

One year later: With a refreshed image and a recovered sense of hope, Circus offers the fans a proper comedown from the tumultuous experience over the past four years: It’s a a bouncy, bubbly romp, happily hopping between killer choruses and delicate verses. With a mixture of In The Zone’s exploratory pop and Britney’s seemingly unapologetic camp quality, Circus is what I had assumed Blackout to be in the first place.

I know that now, compared to the impossible standards set by Britney’s prior release, some fans will inevitably feel the pangs of disappointment as a result of this album’s comparably tame sensibility. However, those looking for a richer, colorfully diverse experience will find solace here. From the pervish, wacky space vibes of “Mmm Papi,” to the ultimate floor commander known as “Circus,” to the sass-n-boots, glittering ’80′s stomp of “Leather & Lace, Circus offers a little taste of everything.

Yet as odd as it sounds, the greatest gift of Circus is that the album remins wonderfully, humanly flawed. Unlike the processed-to-perfection robotic acrobatics of Blackout, the missteps and flaws pour out from the Circus sessions: The songs are hardly as instant or accessible (“Blur’), incomplete (“Shattered Glass”), and even off-putting to casual listeners (“My Baby”). Yet in this way, the experience feels legitimate, allowing a listener to find beauty within the flaws.

With a world tour in the works for early spring ’09 and a scrumptious schedule of promo appearances merely weeks away, Circus has got the musical goods packed to keep the energy rolling for a lengthy amount of time. As a fan, I couldn’t be happier with the output: Circus is Britney’s return to grace, both in form and functionality. Not only because it demonstrates the sly confidence of the Britney of yesteryear in stunning dancefloor stompers such as “Circus,” “Mannequin,” and “If U Seek Amy,” but because of the album’s promise for an eventual musical evolution: “Unusual You,” “Phonography,” and “Blur” all offer hints at this subtle maturation; only time will tell if it will now blossom into something deeper.

Recommendations for the next go around? Stick with what you know, and allow them to push you even further: Bloodshy & Avant, Max Martin, and Guy Sigsworth have all grown with you Britney, and your continuing collaborations are shining examples of these wonderful relationships.

Above all, Britney Spears has proven herself to be the entertainer I have always adored and will continue to love. The album is sweet, sexy, and entirely fulfilling. Perhaps the definitive album of the year, Circus delivers in its purpose: Pure, unapologetic pop unto its innermost parts.

DL: Britney Spears – Circus
DL: Britney Spears – Phonography
DL: Britney Spears – Trouble

In lieu of the recent charting success of the Aloud, I thought I’d run down the Singles Chart for the USA and the UK. I took time to precisely highlight the issues of contention, as well as various areas of success. Then, I graded accordingly.

Here is the result of the analysis.

According to most fans, “Halo” is the probable candidate for the second single from Beyoncé‘s I Am… double album. It’s a fairly instant, by-the-numbers slow stomper similar to that of Rihanna‘s “Umbrella,” though far less brilliant. The umbrella, as I’m sure we can well agree, is much more aurally pleasing than the halo…Especially when in it’s four syllable format.

I rather enjoy Beyoncé’s lower register as exhibited within the verses of “Halo.” I wish she wouldn’t have to resort to shouting so often! PopJustice says the track was meant for the likes of Leona Lewis, who would have probably delivered a better rouse of emotion and a better control. Shame!

Yeah, I said it.

DL: Beyonc̩ РHalo

Here we go again: The 25th Video Music Awards, the annual celebration of self-indulgence that only continues to lower our expectations with each coming year.

This year, we were treated to host Russell Brand, a lesser known English trash-talking personality. Kicking off with what was surely the most political monologue of the award show’s history, Brand pleaded for the audience to vote for Obama while scolding America for electing “that retarted cowboy fellow.” Thanks for the input, Englishman…Very influential. For anyone who didn’t see it, the humorless, shout-happy series of awkward statements unfolded like a Sarah Silverman performance missing the funny.

That however, was not Brand’s finest hour, which was actually the two remaining hours spent harping on the promise rings worn by the Jonas Brothers. When I say two, I mean it—each time the man was given an opportunity to speak, he took a jab, the insults growing worse each time. It was no surprise then that the audience erupted in loud cheers when Jordin Sparks decided to break from her speech and defend her own ring, declaring: “I just have one thing to say about promise rings. It’s not bad to wear promise rings…Not everybody wants to be a slut.” Overgeneralization? Surely. Deserved? Absolutely.

As for the performances, most were generally sub-par: Rihanna’s opening “Thriller”-esque rip-off made her forgettable as always, T-Pain and Lil’ Wayne were far less than inspiring, and Kanye West’s final smoke-and-lights moment left me rather unfulfilled. Some even bombed, namely Katy “Ur So Gay” Perry and her hideously bland rendition of “Like a Virgin.” I have just one question to ask you, Ms. Perry: Is that a banana on your shoulder, or are you just completely untalented?

The rocker chicks generally fared better: Pink pulled out a rather fierce rendition of her snotty kiss-off track, “So What?” with the help of pyrotechnics and breakaway glass, while Paramore kept true to form while performing their endlessly catchy single, “Misery Business.”

I’ll even award some modest golf claps to Christina Aguilera for fitting that pin-up friendly bosom into a form-fitting, futuristic PVC outfit (which, by the way, was rather “Toxic” of you, Miss Aguilera) while performing an electro-tinged rendition of her “classic” “Genie In A Bottle” along with her new single, “Keeps Getting Better.”

The actual awards went by (as they often do) greatly unnoticed, though one of the most genuine moments came when German pop-rockers Tokio Hotel scored a miraculous win over their competition, including Miley Cyrus. As the group trotted up to the stage and sputtered out their acceptance speech in broken English, few could help but coo at their adorable bout of breathless gratitude.

However, as we all know, this night was truly about my queen; my dearly damaged damsel, Miss Britney Spears. Didn’t she look stunning? Even some uninterested viewers around me forked over some halfhearted kudos once she appeared. While she didn’t perform, she never had to: Britney Spears makes the VMA’s. She smiled and looked pretty, walking away with her first, second, and third Moon Man of her career, all while awarding the haters a well deserved “Fuck You” for counting her out in the first place. Some are angered by Brit’s triple victory, and I certainly agree…I mean, shouldn’t the award go to a more established, credible artist such as Katy Perry or Miley Cyrus?

Exactly. Get over it. The VMA’s have been as dead as their hosting network for years.

After all, this year’s show will be remembered for nothing, except for the moment when Britney finally brought her sexy back.

—–
Photo credits:
#1: Photo by Jordan Strauss/WireImage.com
#2: MTV/Getty Images
#3: UntouchableBritney.net

Sorry lovelies, I’ve been busy unearthing treasures from dozens of bags as I continue to settle into my new apartment. But alas, I have returned. Naturally, the process has caused quite a bit of stress (so much wall space, so little poster tape), but I am carrying on like a trooper. So what’s been going on lately?

Rihanna decided to incorporate O-Zone‘s “Dragostea Din Tei” into her latest collabo with rapper T.I. for a song called “Livin’ Your Life.” The result is quite shit, though it’s nice to see that RiRi is still showing some love to all things Euro. That being said, it’s still shit.

I’ve been in an heavy though inexplicably Sophie Ellis-Bextor mood lately. Perhaps it’s the dryness of the new apartment, but I’ve really been longing for that British tart’s moody mumblings. She’s been busy recording, so we’ll have to wait and see what’s next. For now, let us catch the girl boo-gee at her prime:

Mike Rizzo‘s mix of Lindsay Lohan‘s Bossy has finally arrived, and it is delightful, summer fun. I’m a fan.

I’m beginning to deeply disengage from the Gagasphere. Not only do all of her songs sound exactly the same, but I’m starting to realize the similarity between her voice and Aguilera‘s, which is a very, very unappetizing circumstance. That, and the production feels pretty cheap. Here she is with the New Kids On The Block for “Big Girl Now,” off of their soon to be released fifth album.

Dan Black is an up-and-coming sort of artiste. He has a sexy kind of voice, and consequently, a sexy kind of face. This is him:

Sassy. His first single is called “HYPNTZ”. If you’ll notice, there are no vowels in this title, suggesting that the song should be pronounced “hip-nits.” Part RiRi‘s “Umbrella,” part Starman soundtrack, and most parts a cover of Notorious B.I.G.‘s “Hypnotize,” “Hip-Nits” is a clusterfuck of choral brilliance, hipster tongue-in-chic, and loads of astro noise. It all sounds quite nice in my head.

Then there is the single’s b-side, “These Things Take Time,” which is probably just as good. It’s a cover of The Smiths‘ “These Things Take Time,” coupled with a certain Timbaland song sample that you may recognize. This sample is from 2006 however, which means that you’ll encounter feelings of nostalgia rather than nausea, because a Timbaland beat was still precious and new to us in those innocent times.

Black’s people have allowed us two free downloads of his latest single, so he must be sort of a nice guy, yes? Yes. I like him.

DL: Dan Black – HYPNTZ
DL: Dan Black – These Things Take Time

Check out Dan Black and his sick, sick tunage at his musical MySpace here.

Wow worthy, honestly. She deserves all of the accolades that will follow from the phenomenal video for “Disturbia,” directed by my favorite photographer of all time, David LaChapelle. RiRi simply brought the damn thing and worked it out. A fantastic conjoining of intrigue and morbidity, just slightly darker than the mainstream level of comfort. The video is still somewhat tame for LaChapelle standards, but stunning nonetheless. He’s done it again—What can I say? This is art. Now if only the actual song was a bit darker…