While much of the dark and sensual sounds of her recent album evoke Blackout, this electrifyingly upbeat track has more of the ebullience of Femme Fatale.
Not that it needed one. For the most part, the new direction paid off, but there were a few misses. And Nile Rodgers on guitar ups the cool factor. Is Spears on the level of Annie Lennox vocally? Is it catchy as all hell?
Of course it is. Beginning with a Spanish guitar flourish that give way to driving s, Spears delivers a double entendre-laden song — one of her raunchiest. But if you can give yourself over to the silly playfulness of this Blackout cut, it produces a giddy high. We hear a fuller, prettier melody than Britney usually gets to sing. Commonly, the tunes she voices mimic the rhythm of the song and, so, accent short, blunt phrases. Here, the writers concocted a tune that billows out beautifully, allowing Brit to ride the rhythm with style.
It tries a little too hard to be sexy, with Brit attempting to get her Erotica on, but sounding more like Kylie Minogue. So knowing she was already at the center of a three-ring tabloid spectacle, Britney did what she does best: Her stuffed nose vocal on this track mirrors the reedy synth pulsing under the melody. The guest rap from the pop artist Sabi adds nothing to the song, but the tune and production have enough force to drive the sexed-up anthem home. Small wonder this gimmicky collaboration with Brit uses a vintage house-style piano at its start, followed by uplifting synth lines.
The heart of the song anchors on the instrument advertised in the title, presented at its stated size. Although the lyrical plan is nothing different — Britney as seductress — the spacey beats are freaky fun. If nothing else, the red-faced perspective makes Brit seem vulnerable and relatable. In reality, the title track never got that deep, but another song on that album did: