just because a song features something that you can rarely hear on the radio doesn't make it non-commercial (for example MLJ has christina on it and it's obviously commercial). criminal still has that same top 40 production and beat
Nope, because hearing flute on the radio is extremely rare. The Edge Of Glory has saxophone parts in it too.
Exactly. And "The Edge of Glory" is commercial.
Quote:
Originally posted by KRL
just because a song features something that you can rarely hear on the radio doesn't make it non-commercial (for example MLJ has christina on it and it's obviously commercial). criminal still has that same top 40 production and beat
I never said to what degree 4 is non-commercial (I never brought up at all actually), but you're a damn lie if you think it's more commercial than FF.
The entire album sounds like all of her hits. The only exceptions are two tracks: Run The World (nothing new, nothing experimental, it uses the same instrumental as Pon De Floor,) and I Miss You, which is the best track on the album and arguably one of her most progressive tracks yet.
It packs a heavier beat than anything out on the charts does. It's as musically brutal and as adventurous as it gets, and by far the most aggressive or even assaultive beat on the radio right now. It’s definitely not the prime representative of the genre, but the fact remains that Britney is the first artist to introduce dubstep to the mainstream radio, which is coming from an artist of her caliber quite an accomplishment.
The entire album sounds like all of her hits. The only exceptions are two tracks: Run The World (nothing new, nothing experimental, it uses the same instrumental as Pon De Floor,) and I Miss You, which is the best track on the album and arguably one of her most progressive tracks yet.
And Femme Fatale sound like all of Ke$ha's. You are trying too hard.
You act like 4 is an alternative, indie, underground album, when it’s more commercial than Femme Fatale is.
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Originally posted by Duca
The entire album sounds like all of her hits. The only exceptions are two tracks: Run The World (nothing new, nothing experimental, it uses the same instrumental as Pon De Floor,) and I Miss You, which is the best track on the album and arguably one of her most progressive tracks yet.
Almost anything can be justified as "commercial" in one way or another.
You could argue Dog Days is a big, catchy song with appeal to AC, HAC, rock and even pop stations that got major promo on shows like the VMAs that other songs of its kind don't get.
You have to look at it in terms of the artist's past work, how quickly the artist changed from that past work and how different it is from what's being put out by artists in the same lane.
Atrlers and their thing for dubstep It has not ever, and will never be a part of mainstream radio in the US Unless Britney releases Inside Out A few album tracks with wobbly synths do not change that.
Speaking of let's not, should we not bring up Rihanna's dubstep that came before Britney's?
"Mad House"
"Wait Your Turn"
"G4L"
All produced by dubstep producers, Chase & Status.
Freakshow from Blackout (2007)
Pitchfork spilled the tea on it:
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Originally posted by Pitchfork
Britney's borrowings from urban music don't have a safety net of contact book authenticity: There are no "[ft.]"'s on Blackout. When Team Britney requires a dubstep track, for instance, they simply borrow some production tricks and make one. The result is "Freakshow", built around the "wobbler" effect that's a genre standby. A dubstep on the tune, mixing outrage and delight: it still seems to matter when the mainstream borrows new underground sound for the first time, brings it into the pop vocabulary. It displays a lot of promise. The production is off the hook: very sparse and bass-heavy, revealing the influence of London-centric electronic-music genre dubstep and Timbo's exotic/skeletal funk techniques.
It packs a heavier beat than anything out on the charts does. It's as musically brutal and as adventurous as it gets, and by far the most aggressive or even assaultive beat on the radio right now. It’s definitely not the prime representative of the genre, but the fact remains that Britney is the first artist to introduce dubstep to the mainstream radio, which is coming from an artist of her caliber quite an accomplishment.
Still setting trends after thirteen years.
I'm not reading this. Just know the general public doesn't acknowledge Femme Fatale as dubstep but as dance pop. The same way they acknowledge Annimal, Cannibal, and to a lesser extent Teenage Dream.
It has not ever, and will never be a part of mainstream radio in the US Unless Britney releases Inside Out 
A few album tracks with wobbly synths do not change that.
