LMFAO spends its fifth week atop the Billboard Hot 100, to be released tomorrow (Aug. 4) on Billboard.com, with “Party Rock Anthem,” featuring Lauren Bennett and GoonRock, while Britney Spears scores her third top 10, “I Wanna Go,” from her album “Femme Fatale,” marking her first-ever set to produce a trio of Hot 100 top 10s. Katy Perry’s “Last Friday Night (T.G.I.F.)” remains at No. 2.
“Party” takes over the top spot on Radio Songs, lifting 2-1 with a 2% gain to 146 million in all-format audience, according to Nielsen BDS. The track tallies a fifth week at No. 1 on Digital Songs, although it declines by 4% to 202,000 downloads sold, according to Nielsen SoundScan.
At No. 9, Spears’ “Go” enters the top 10 from No. 11. The cut concurrently reaches the top tier on Radio Songs (13-9; 76 million, up 22%) and rises 9-7 on Digital Songs (116,000, down by less than 1,000 downloads). With the song’s Hot 100 advance, Spears has tallied three top 10s from her seventh studio album, “Femme Fatale.” Lead single “Hold It Against Me” debuted at No. 1 the week of Jan. 29, and “Til the World Ends” reached No. 3 in May.
Spears had twice previously banked as many as two Hot 100 top 10s from an album. The title cut from “…Baby One More Time” spent two weeks at No. 1 and “(You Drive Me) Crazy” reached No. 10 in 1999. Spears repeated the feat with the first two singles from “Circus”; “Womanizer” topped the Oct. 25, 2008, Hot 100 and the title song rose to No. 3 that December.
“Go” is Spears’ 12th Hot 100 top 10 and fifth in-a-row. Her streak began with “3″ in 2009 (from “The Singles Collection”) and, along with the first three singles from “Femme,” includes Rihanna’s “S&M,” on which Spears guested; the song ruled the April 30 Hot 100.
Dating to Spears’ first week in the Hot 100′s top 10 (Dec. 12, 1998), she trails only Rihanna (18) and Beyonce (14) for most top 10s among women.
After struggling for years to regain her pre-baby body, Britney Spears is heading into her Femme Fatale summer tour looking better than ever. Now Life & Style can reveal that she’s enlisted the help of trainer to the stars Derek DeGrazio to get her “Baby One More Time” body back.
“Derek is working out with her every day and helping her with nutrition,” a source close to the tour tells Life & Style. And with Britney’s demanding rehearsals, she’s really been taking care of her body. “She’s rehearsing five hours a day, six days a week,” the source adds. Britney’s workouts include “25 to 30 minutes of interval cardiovascular routines on treadmills and 25 to 30 minutes of strength training using free weights, bands and bars,” an insider at Barry’s Bootcamp in LA, where DeGrazio works, tells Life & Style. Plus, “he’s known for picking great music to work out to. ”
DeGrazio’s roster of celebrity clients includes former Spice Girl Mel B, Kim Kardashian, Christina Applegate and Chris Noth.
“Now listed as featured artist on “S&M,” Spears earns her fifth Hot 100 No. 1 and second this year, following her own “Hold It Against Me” in January. She had previously reigned with her debut single “…Baby One More Time” in 1999 and returned to the summit with “Womanizer” (2008) and “3″ (2009).
Confirming the rumors that have been buzzing all over the music world, a rep for Selena Gomez has revealed that Britney Spears did indeed write a track for Gomez’s June album release.
While the “Who Says” singer’s camp couldn’t provide a name of the Spears-penned single, it has been reported the tune’s title is to be “Whiplash”.
The 18-year-old has said she’s a huge Spears fan and told MTV News that she plans to include a Britney tribute on her upcoming tour. “We are working on a few cover songs. We are working on a Britney tribute, which I’m so stoked about, ’cause I love Britney. I was like, ‘I have to do it.’ I wanna do a mash-up of all her songs and just go for it.”
Selena continued, “We’re gonna do her hits, ‘ … Baby One More Time,’ and then I think we’re going to try to incorporate ‘Toxic’ and that phase. And then we might do some of her recent, new stuff.”
Congratulations on Femme Fatale! How did making this record compare to making your first …Baby One More Time?
I’m at such a different point in my life now than I was back then. I’m more mature and much more hands on now. I know exactly what I like and what I don’t like. I guess that can make the recording process pretty difficult, because I’m very particular about songs I put my voice on.
You’re a parent now, too. How has motherhood changed you?
It really puts life into perspective. You have to think about all your decisions so much more carefully, because they are affecting your kids too. My priorities have changed and I do everything for the boys. They remind me what life is about.
Tell Us about Preston and Jayden.
Jayden is the youngest and he might be the mama’s boy. He’s very outgoing, always making us laugh, and he’s very creative. Preston is definitely the big brother. He’s very independent. He’s really, really smart and thinks everything through.
What are they into these days?
Their new favorite thing is dressing up as different superheroes, and they’re just so cute! They especially love Batman and Spiderman. We love watching Disney movies together. I also love reading them Fancy Nancy books (a children’s series by Jane O’ Connor and Robin Preiss Glasser) before bed.
What do the boys think of your music?
They are my biggest fans. I make up songs and sing to them all the time. They like to watch me dance. In fact, they join in and do their own moves!
Will they get to see you in action on the tour?
They will be coming with me. I couldn’t go on tour without them! I’m always very busy when I’m on the road, but I make sure to have quality time with them every single day.
What’s your parenting style? And what about Jason’s?
With some things I’m strict and with others I’m easy going. I guess I’m right in the middle. Jason is amazing with the boys. They look up to him so much – they adore him. He’s their hero.
What else do you love about Jason?
We have such a great time together! He makes me laugh, and we are so comfortable being ourselves. We like to stay home, order in, watch movies, go to dinner with friends. And we love to get away for the weekend. Some of our favorite spots are Las Vegas, Hawaii, or Mexico.
Do you see yourself getting married again?
Maybe. Never say never!
Jody Rosen of Rolling Stone reviewed Femme Fatale and here’s her quoted reaction:
“Britney Spears is pop music’s stealth avant-gardist. For years, critics have dismissed her as a cipher with a wisp of a voice. But from the minute she burst on the scene — heralded by the keyboard power chords of “. . . Baby One More Time” — her music has steered bubblegum into weirder, woollier territory. “Toxic” was a mélange of Bollywood and spy-movie guitar; “Piece of Me” was an essay on 21st-century tabloid infamy crooned over 22nd-century club rhythms. Then there’s this year’s “Hold It Against Me,” which dissolves into a furious dubstep breakdown — easily the most assaultive beat on the Hot 100 right now.
Femme Fatale may be Britney’s best album; certainly it’s her strangest. Conceptually it’s straightforward: a party record packed with sex and sadness. Max Martin and Dr. Luke, the world’s two biggest hitmakers, are responsible for seven of 12 songs: big melodies and bigger Eurodisco thumps. But other producers go nuts, tossing the kitchen sink at Britney. The Bloodshy-helmed “How I Roll” is sputtering, oddly beautiful techno. In “Big Fat Bass,” Will.i.am turns Britney into a cyborg obsessed with low-end. (“The bass is getting bigger!” she exults.) On nearly every track, Britney’s voice is twisted, shredded, processed, roboticized. Maybe this is because she doesn’t have much of a voice; it’s certainly because she, more than almost any other pop diva, is simply game. Femme fatale? Not so much. But say this for Britney: She’s an adventuress.”
We went over to Britney’s label earlier this morning. Our mission: listen to the very final no-messing-around version of Britney Spears’ new single ‘Hold It Against Me’.
Here is the massive RCA logo you see when you go into the label. It is a new logo. It is better than the new Britney Spears logo, but wouldn’t really work as a Britney Spears logo as it says ‘RCA’ not ‘Britney Spears’.
Sometimes labels talk about keeping music ‘under lock and key’. What that usually means is that there are CDs sitting around on desks all over the building for cleaners to nick if they feel like it, and unwatermarked audio streams have only been sent to about fifty people in radio. With Britney it seems like there is Proper Security around the whole thing. There is, allegedly, only one CD in the UK and this is it.
As a ‘cunning bluff’ it doesn’t actually say THIS IS THE NEW BRITNEY SPEARS SINGLE ‘HOLD IT AGAINST’ ME on it, and has been kept in a Willow Smith CD sleeve. Note the subtle ‘BS’ at the leftmost extremity of Willow’s whipped hair
As you can see, the song is three minutes and fifty two seconds long. That makes it twenty two seconds longer than the optimum pop length (established by ‘…Baby One More Time’) of three minutes and thirty seconds, but complaining about a new Britney song going on a bit is a bit like moaning your lunch is a bit too nice.
So what’s it like? Well, if you’ve heard the demo (which frankly isn’t very good and made us worry a bit about this whole Britney comeback business) you will probably be expecting something that sounds like a halfarsed Ke$ha tribute. Fortunately, while the song’s lyrics and melody aren’t that different, the finished Britney version of ‘Hold It Against Me’ is approximately 1000 times better than the demo. It’s a harder, more urgent, extremely epic statement track that sounds like the work of a superstar.
Allow us to illustrate our point piscatorially.
The big difference from the early demo that leaked last week is the presence – heralded by a classic Britney spoken word “if I said ‘I want your body’, would you hold it against me?” – of a fantastically ridiculous dubstep breakdown after the second chorus. After the whole song drops out it’s dubstep gloomwobble-a-go-go for a full thirty seconds, with Britney throwing around some “yeah”, “ow”, “uh-huh” ad-libs and a new “gimme something good, don’t wanna wait I want it now, drop it like a hood and show me how you work it out” line. After that there’s a second middle eight (don’t be surprised if certain radio programmers whip out the first one entirely) which is a hands-in-the-air smoke machine moment more in keeping with the rest of the track, and that’s followed by the full chorus slamming in and taking you to the end of the track. Sudden end, no fade. Amazing.
This is neither the time or the place to fully explore the concept of delayed gratification but the effect of teasing the listener by dropping the beat out of the song’s first two choruses, then plunging us into half a minute of abstract dubstep, and then only finally revealing the full-on raveochorus in the song’s final moments is something very special indeed. Warning: YOU MAY SHED A TEAR OR OTHER FLUIDS.
1. There is lots of whooshing.
2. There’s no “babaay”, but there is a “hazaay”.
3. The vocals are a bit treated – it’s a Britney single – but it’s not Auto-Tuned to fuck like we (and lots of you) feared. It’s obviously Britney and it’s obviously brilliant.
4. We love it and it makes us very excited – more excited than we thought we would be – for the album.
Yesterday on Twitter we asked if any of you had questions about the song – well, we’re going to do our best to respond to as many of them as we can. Check back later and we’ll have some answers for you. EDIT: It’s leaked so we won’t bother – but we’re right about that breakdown innit.