When was hold it against me released

This is also known as her "come-back" track. Musically, "Hold It Against Me" blends pulsating industrial and trance beats with elements of grime. The chorus has lilting synths that lift her vocals and contrast them with the hard beats.

The song features a dubstep -influenced breakdown, in which Spears moans and blows kisses, and the song ends with a final chorus with elements of rave.

The lyrics portray the singer seducing someone on the dancefloor, and the chorus revolves around pickup lines. Most reviewers praised "Hold It Against Me", although some criticized its lyrical content. The feat also made her the third female artist to score number one singles in three consecutive decades, and the seventh artist overall. The single has also charted in the top five in countries such as Australia, Ireland, Italy, Scotland, Finland and Norway.

The accompanying music video for the song was directed by Jonas Akerlund. It premiered on February 17, , following a two-week promotional campaign of teasers. The video features Spears as a pop star who fell from space to find fame on Earth.

There, she becomes overwhelmed by the pressures of being a celebrity and breaks down. The video received mixed to positive reviews; critics complimented its artistic concept and visuals, but dismissed the use of product placement.

She has also performed it as the opening number of the Femme Fatale Tour Britney Spears Wiki Explore. Britney Spears. I Did It Again Baby One More Time. Britney Spears: American Dream. In particular, the vocal twisting, distorted, blurred and robotised Britney, giving the eerie impression of a record that had swallowed up its own singer. Blackout sounds even better now, partly because you no longer worry the singer's going to die in the next six months, so listening to it feels less like rubbernecking.

But it also sounds better because Britney hasn't done anything as compelling since. She came back from Blackout with Circus , a tamer, less focused sequel, which had a few good songs but felt like a retreat. This is a familiar syndrome. The standard view of the pop album — lazy collections of hits padded out with worthless filler — has been unfair for a while now. But there's still a tendency for pop stars to release their most interesting music and immediately step back from it.

Kelly Clarkson's brooding My December was by no means perfect, but it was a lot more ambitious and coherent than All I Ever Wanted, her hit-craving follow up. But its parent album, Loud, is a toothless thing compared with 's wrathful, brutal Rated R.

For instance, the listless new revenge song Man Down wilts next to its counterpart Fire Bomb — an audacious power ballad about car-bombing a former lover, like a fantasy collaboration between Jim Steinman and JG Ballard. It's not exactly a mystery why this happens. Chart pop, even more than most of the music business, is thoroughly market-driven, and in the case of Spears and Clarkson a return to Cheeky Britney and Fun Kelly was exactly what the market demanded.

But it's still a shame — in all three cases the more interesting record wasn't some kind of misguided experiment, it was an organic progression from the music the act had made before.

Clarkson got self-lacerating pop songs to sing before she wrote her own on My December. Rihanna had been perfecting a steely persona before she unleashed it fully on Rated R.

And Britney's music had been moving away from bubblegum and into the club for two albums before Blackout. From an artistic perspective, it's the reassuring follow-ups that are the aberration, not the ambitious failures.