Britney Spears Bonus & B-Side Tracks: Ranked (By Demand)
Let me guess, you took an online quiz that crunched the numbers and told you your favourite Britney single is Gimme More? Groundbreaking. You also have a carefully curated mental list of every album track which totally needed to be a single. Who doesn’t? But when it comes to Britney’s less-championed and sometimes elusive bonus songs, how well do you really know your Japanese deluxe editions from your Target exclusives?
When Britney debuted, the digital music revolution was just creeping around the corner, CDs still reigned as king of formats and continued to do so for about the first half of her career to date. Before streaming (and, y’know, rampant online piracy) the availability of bonus tracks really depended which country you lived in (or even which shop you bought your music from) save for the superfans who went out of their way to import alternative editions. Nowadays it’s a virtually non-existent problem, but you could still be forgiven for not having had these rarer tracks on regular rotation when they weren’t always accessible at the click of a button, which is a shame because many of them really are top-tier Britney songs!
So, what better way for you to familiarise yourself with each and every one than to dive into this meticulously compiled list, ranked for your benefit from worst least good to best…
40. Girls And Boys
Britney Spears: In The Zone (International bonus CD)
Written by: Linda Perry
Produced by: Linda Perry
It would have been great to kick things off by saying there are no bad songs on this list, but Girls And Boys earns every bit of its last spot placement – on the plus side, it is the only real stinker here. The track opens promisingly with a pacey Matrix-style big beat, while Britney coos with breathy ASMR vocals that would even have Selena Gomez saying “speak up, woman!” It’s all very on-brand for In The Zone – being vaguely sexy though ostensibly about sex – but overall there’s nothing witty or melodically enjoyable about it. Cringey lyrics like “Good girls and good little boys / will make love together” just make you wonder, Linda: what’s goin’ on?!
39. You Got It All
Oops!… I Did It Again (Asian, Australian, Japanese, Mexican, and UK special editions)
Written by: Rupert Holmes
Produced by: Eric Foster White
Moving on, we’re now safely in tolerably average territory with the first of a few of this list’s ballads from the …Baby–Oops! era, which collectively can best be described as the sound of the 90s being dragged reluctantly into the 21st century. This cover of a song first released by brother-sister group The Jets is now sadly stripped of all the original’s charming 80s production, but disappointingly, not repurposed enough to make it sound modern. The good thing about the ballads from this era is that we get treated to Britney’s real singing voice at its best, and this one is no different, but the song itself is the most generic sounding out of all of them.
38. Girl In The Mirror
Oops!… I Did It Again (Asian, Australian, International, Japanese, Mexican, and UK special editions)
Written by: Jörgen Elofsson
Produced by: Per Magnusson, David Kreuger
“There’s a girl in my mirror / I wonder who she is,” Britney ponders; a mystery for the ages. “Oh, the girl in my mirror is crying ‘cause of you,” she asserts; a bold accusation in what has rapidly become a three-person narrative. By way of an unexplained epiphany just before the middle eight she concludes that “The girl in the mirror is [SPOILER ALERT] me.” Not the deepest of songs but the chorus screams Eurovision, which is not terribly surprising given that it was written by two Swedes.
37. Outta This World
Blackout (Target exclusive edition)
Written by: Nate Hills, James Washington, Keri Hilson, Marcella Araica
Produced by: Danja, Jim Beanz
If this had made the final cut on Blackout, it would have been the only skip in amongst so much excellence. A pleasant but forgettable filler track.
36. Heart
Oops!… I Did It Again (Asian, Australian, Japanese, Mexican, and UK special editions)
Written by: George Teren, Eugene Wilde
Produced by: Steve Lunt, Larry “Rock” Campbell
Not really one of the standout ballads, but it gets points for sounding the least like it was written from the point of view of what a middle-aged man thinks a teenage girl should be singing to her 12 year old fans. A simple but surprisingly mature self-love anthem.
35. Intimidated
I’m A Slave 4 U (B-side)
Written by: Britney Spears, Rodney Jerkins, Josh Schwartz, Brian Kierulf
Produced by: Rodney Jerkins
Intimidated feels most similar to its sister Britney track, Lonely (albeit not as good) and lyrically carries the same self-assured, assertive attitude. Britney wants her crush to make the first move: “So baby take your chance / and show your confidence,” she commands, third-wave feminism now a distant memory. The best part of the song comes just after the second chorus as she chants “B-R-I-T-N-E-Y”, seemingly for no particular reason, and yet somehow still iconic.
34. I’ll Never Stop Loving You
…Baby One More Time (Asian, Australian, Chinese, Digital Deluxe, Korean, and Japanese special editions)
Written by: Jason Blume, Steve Diamond
Produced by: Per Magnusson, David Kreuger
In a post Oops! world it’s so easy to forget Britney even made songs like this, and not just because of her departure from that distinct 90s sound. The Britney belt voice! A backing choir!! A key change!!! First released by fellow teen artist J’Son just three years prior, Britney’s version does sound of its time but still feels more like she put her own stamp on the original instead of trying to revamp it, and it works nicely.
33. I Run Away
Britney (Asian, European reissue, and bonus disc editions)
Written by: Josh Schwartz, Brian Kierulf
Produced by: Brian Kierulf, Josh Schwartz
What happens when you cross a ballad with a frantic Timbaland-esque beat for shits and giggles. It’s a solid effort, but don’t try this at home.
32. The Answer
In The Zone (International edition)
Britney Spears: In The Zone (Bonus CD)
Written by: Britney Spears, Ryan Leslie, P. Diddy
Produced by: P. Diddy, Ryan Leslie
Britney loves a good spoken word intro, and this whole track has so much talking you can probably find it on Audible. On the surface it’s a very sensual sounding song but the lyrics are actually quite romantic. “Patiently I’ve waited for this day to finally come / Knowing someday somehow I would find that special one / When they ask me who I love / You’re the answer.” It’s like being horny but for cuddling. What’s most striking is how the melody at the beginning of each verse is literally identical to the first verse of Slave. Queen of sampling herself!
31. Hold On Tight
Britney Jean (Deluxe edition)
Written by: Britney Spears, Kool Kojack
Produced by: Kool Kojack, A.C., Anthony Preston, Peter Carlsson
“So wicked, in the way he moves / Don’t miss it, do not be a fool / He comes to me in my dreams / And tells me what I need to know.” This is clearly an ode to her sleep paralysis demon(?) It’s quite a sweet song but verges uncomfortably closely on being sappy.
30. Coupure Électrique
Glory (Deluxe edition)
Written by: Britney Spears, Lance Eric Shipp, Nathalia Marshall, Rachael Kennedy
Produced by: Lance Eric Shipp, Mischke
We like to joke that Britney invented the French language, and prior to this song’s existence the entire country of France and large swathes of Canada communicated exclusively through mime and smoke signals, but even with my French GCSE (I got a B, tyvm) I can tell this is a linguistic nightmare. The title seems intended to translate as “blackout”, Britney cheekily reminding us that she’s capable of making a better album than Glory. It goes without saying this is one of her most experimental tracks, and dodgy Duolingo aside it’s actually pulled off quite well. It’s a shame that the sparse production doesn’t build up to anything more theatrical towards the end, but otherwise it makes a charming, if anticlimactic finish to round off the album.
29. Autumn Goodbye
…Baby One More Time (Australian, Chinese, Digital Deluxe, and Japanese special editions)
…Baby One More Time (B-side)
Written by: Eric Foster White
Produced by: Eric Foster White
Definitely one of the more upbeat songs from this era despite being about what sounds like a not-all-that-great summer fling.
It’s fun, saccharine, and frankly, corny as fuck. As the B-side to the …Baby One More Time single, the contrast in style between the two songs really highlights how different a direction her overall sound could have been taken in were it not for the mastery of Max Martin.
28. Rock Boy
Circus (German and Mexican iTunes Store, Spotify and Musicload editions)
Written by: Nathaniel Hills, Marcella Araica, Tina Parol-Gemza, Michael Shimshack
Produced by: Danja
Coming off the back of In The Zone and Blackout which decidedly served as attempts to take her sound into an edgier, more mature direction, it was an unexpected (but not unappreciated!) surprise to get a handful of songs on Circus that were unashamedly fun pure pop. This guitar-driven number sounds exactly like the type of song that would have been earmarked for one of the then up-and-coming Disney tweens (not a criticism!) and as such is a cute track but makes sense that it ended up as a bonus track for our Knee.
27. Brightest Morning Star
Britney Jean (Deluxe edition)
Written by: Britney Spears, Dr. L*ke, Sia, Henry Walter
Produced by: Dr. L*ke, Cirkut, Christopher Braide, Anthony Preston
The thing about Britney Jean is that you’re either getting will.i.am’s 3D-printed bleep bloop jingles or a poignant, heartfelt gentlebanger written by Sia – there is simply nothing in between. Brightest Morning Star hailing from the latter camp, it’s obvious Sia knows her way around a good tune and probably had a hand in making sure what could have sounded unbearably cheesy ended up at least being not awful. I like to tell myself Britney wrote it about her kids, even though it’s more likely about A. a figurative significant other, or B. God (or C. literally the sun??).
26. Don’t Hang Up
In The Zone (Australian, Japanese, and UK special editions)
Britney Spears: In The Zone (Bonus CD)
Written by: Britney Spears, Brian Kierulf, Josh Schwartz
Produced by: Brian Kierulf, Josh Schwartz
Amazingly, the first of two phone sex anthems on this list. This one opens with a dreamy William Orbit-esque sound, a light chillout drum and bass beat, and breathy falsetto vocals. “Baby / I’m lying all alone / A pillow / Is all I have to hold.”
Sometimes that’s all you need (ladies, amirite?), but still she persists.
“Don’t hang up / It’s just gettin’ serious / Don’t hang up / Until I’m finished with you.” You get the idea. What also sets this apart from phone sex anthem #2 is that it was clearly made in a time when landlines were still a thing, and I’m not going to be the one explaining to Gen Z what hanging up the phone means.
25. I’m So Curious
…Baby One More Time (Korean special editions)
Sometimes (B-side)
Written by: Britney Spears, Eric Foster White
Produced by: Eric Foster White
Poor Britney has a fuckboy on her hands, and she just wants some answers. “I’m so curious / What do you think of me / Boy am I just a game / Or do you feel the same as I do?” Her sole writing credit on this album, it does actually come across as more authentic compared to similar songs written for her. Sprinkled throughout with utterances of “Suh kyah-ri-uhs” in her unmistakable trademark low-voice Britccent, giving quintessential teen pop.
24. Deep In My Heart
…Baby One More Time (International special edition)
Oops!… I Did It Again (B-side)
Written by: Per Magnusson, David Kreuger, Andreas Carlsson
Produced by: Per Magnusson, David Kreuger
This sounds very much like it could have been a Steps song. Steps were one of the opening acts on the …Baby One More Time Tour – coincidence? Almost certainly. Still very much in that vein, equal parts catchy and sickly-sweet, but in a good way.
23. If I’m Dancing
Glory (Deluxe edition)
Written by: Ian Kirkpatrick, Simon Wilcox, Chantal Krevizauk
Produced by: Ian Kirkpatrick, Mischke
The Miss Congeniality of the Glory era, If I’m Dancing became an instantly beloved fan favourite immortalised in memes. An erratic stereo panning buzz immediately sets the tone for this peculiar collection of sounds weaved together into an unforgettable pop moment. The lyrics delivered by Britney with ethereal delicacy, manage to be individually beautiful but collectively batshit. In amongst all the knowing absurdity, it boils down to one simple notion: “If I’m dancing / I know the music’s good.”
22. Now That I Found You
Britney Jean (Deluxe edition)
Written by: Britney Spears, Danny O’Donoghue, Giorgio Tuinfort, David Guetta, Frédéric Riesterer
Produced by: Giorgio Tuinfort, will.i.am, Anthony Preston
The feel-good moment Britney Jean desperately needed. Now That I Found You is reminiscent of Avicii’s biggest hits with a blend of acoustic and electronic sounds and a soaring build up to an explosive earworm of a chorus that gets everyone jumping. It’s the sort of tune I can imagine blaring from a Pride float while Derrick Barry hands out PrEP flyers and condoms.
21. When I Found You
Britney (Asian, Australian, European, European reissue and digital deluxe, Israeli, Japanese, Special limited, and UK editions)
Written by: Jörgen Elofsson, Dan Hill
Produced by: Peter Kvint
One of the few ballads from the Britney era, it has the production of a song that wants to be more uptempo, similar to I Run Away but with a sweeter melody. A love note to her soulmate: “I believe we all have one true love / Somewhere in this world, I do / I found myself / When I found you.” This was around the time she was dating that guy from N’sync; clearly not about him. The next one could be…
20. Liar
Glory (Deluxe edition)
Written by: Jason Evigan, Breyan Isaac, Nash Overstreet, Danny Parker
Produced by: Jason Evigan
Beginning with a slow menacing beat and ominous bluesy harmonica, Britney is about to let us know she has had it oh-fficially! From the get-go every lyric is confident and unapologetic, “Tall tale, such a damn shame / Hindsight, I can see it all so plain,” the jig is up, but she remains unbothered.
19. Better
Glory (Deluxe edition)
Written by: Britney Spears, Julia Michaels, Justin Tranter, Michael Tucker
Produced by: BloodPop, Mischke
In a very mid-2010s sort of way this song doesn’t really have a chorus so much as a brief series of enjoyable but indiscernible sounds. Another Glory medium tempo moment, it’s a quite grown up and reflective take on “the sexy time” as Britney points out the benefits of open and honest communication before doing the deed: “When you know somebody / And they know your body / It’s so much better.” No lies detected!
18. Over To You Now
Britney & Kevin: Chaotic
Written by: Guy Sigsworth, Imogen Heap, Robin Carlsson, Alexander Kronlund
Produced by: Guy Sigsworth
The sheer anarchy around the Chaotic era (using this word generously) was an exciting time for many fans with Britney going off-script and generating her own grassroots buzz for mysterious album The Original Doll. As that never really materialised, it’s sadly overshadowed by her deeply unpopular relationship with future baby daddy and their career-staining “docu-series”, named with regretful accuracy. That being said, out of all the “chaos” she still managed to deliver a small but mighty bop-filled EP, tarnished only by its shit title track and even worse artwork. Created by a juggernaut of a songwriting team, Over To You Now starts off with Britney talking over a seductive middle eastern reed melody only to suddenly turn into a psychedelic pop dance track. The lyrics remain largely open to interpretation*.
*Yeah, it’s about anal.
17. Don’t Keep Me Waiting
Femme Fatale (Deluxe version)
Written by: Rodney Jerkins, Michaela Shiloh, Thomas Lumpkins
Produced by: Rodney Jerkins
According to the Laws of Pop, every artist must have at least one track that features background #StudioBants to remind everyone that they are indeed an 𝒶𝓊𝓉𝒽𝑒𝓃𝓉𝒾𝒸 𝓋𝑜𝒸𝒶𝓁𝒾𝓈𝓉, a box Britney ticks at the top of this track asking the producer “Will you turn me up,” and she’s right to do it. Don’t Keep Me Waiting has a distinctly rockier sound compared to the otherwise ubiquitous EDM on Femme Fatale, but that’s not even the best part! In what may be the first instance of Britishney recorded to song, she raps the entire middle eight in questionable perfect BBC English, thus dethroning Alesha Dixon as the UK’s favourite female MC.
16. Rock Me In
Circus (Deluxe, Japanese deluxe, and UK editions)
Written by: Britney Spears, Greg Kurstin, Nicole Morier
Produced by: Greg Kurstin, Nicole Morier
There’s something about this song that has a playful, child-like quality as if it could have been on one of her first two albums, except for sounding so extremely late 2000s. Rather oddly tacked on the end of Circus, it doesn’t feel particularly harmonious with the other tracks but its energetic and uplifting chorus makes it well worth the listen.
15. Change Your Mind (No Seas Cortes)
Glory (Deluxe edition)
Written by: Mattias Larsson, Robin Fredriksson, Julia Michaels, Justin Tranter
Produced by: Mattman & Robin, Mischke
A Spanish-infused flirtatious dance song, and by far one of the highlights on Glory. Not to mention showcasing Britney’s capabilities singing in a THIRD language. Rosetta Stone found eroding!
14. Trouble
Circus (French Amazon Music deluxe edition)
Written by: Christian Karlsson, Pontus Winnberg, Henrik Jonback, Balewa Muhammad, Candice Nelson, Ezekiel Lewis, Patrick Smith
Produced by: Bloodshy & Avant, The Clutch
Another fire song consigned to the Circus bonus track heap that just makes you wonder who in charge was like “Ok, but what about Mmm Papi??”, Trouble kicks off with a synth hook uncannily if not unintentionally similar to Madonna’s Get Together (it’s not acknowledged by credit) though the production is still very much in keeping with the Britney sound. Footage of Britney recording her vocals appears on Britney: For the record, when finished she humbly asks with a big grin on her face “Is that the end? Cool. Yay!” like singing about an insatiable sex drive is just another day at the office.
13. Everybody
Blackout (Digital and Japanese editions)
Written by: J.R. Rotem, Evan Kidd Bogart, Annie Lennox, Dave Stewart
Produced by: J.R. Rotem
The few covers in Britney’s discography have always on paper seemed quite… random. Sonny & Cher, The Rolling Stones, Arrows, Bobby Brown – a motley crew of artists even amongst themselves – don’t seem like obvious choices when you think about whose songs you’d pick to have the Britney treatment, but Everybody is a match made in heaven (on earth). Not exactly a cover but more than a sample, this re-working of Eurythmics’ Sweet Dreams (Are Made Of This) updates it with the trademark Blackout sound, and Britney’s personal confidence at this point in her career really shines through in both the lyrics, and her commanding delivery. “Fellas get wild, start flashing your money / Ladies go crazy and act a fool / Everybody get down and do what you want to / The night is still young to be seduced.” The song’s demo was first recorded by The Cheetah Girls and was originally intended for Rihanna’s second album, but writer/producer J. R. Rotem ultimately pitched it for Blackout, where as great as it is, is still probably best suited as a bonus track.
12. Walk On By
Stronger (B-side)
Written by: Jörgen Elofsson, David Kreuger
Produced by: David Kreuger, Per Magnusson
The spiritual sequel to Sometimes, Walk On By has the same wispy sweetness, a few extra bpm thrown in for good measure, and the all important key change. Thanks to an irresistible chorus it has aged surprisingly well though not as timeless, best demonstrated by the fact it went on to be covered by Gareth Gates.
11. Up n’ Down
Femme Fatale (Deluxe version)
Written by: Shellback, Max Martin, Savan Kotecha
Produced by: Max Martin, Shellback, Oligee
Notable for being Max Martin’s only appearance on this list, Up n’ Down sounds exactly like you’d expect a Femme Fatale track to sound, which isn’t surprsing as he’s responsible for at least half the album. We’re in familiar territory here: Britney’s at the club feeling her oats, “Looking so fire hot, a 20 out of 10,” and generally being aware that she is The Moment.
Like most of the album it’s a solid dance song, so much so that it even made its way onto the Femme Fatale Tour setlist – not too shabby for a deep cut.
10. Mood Ring (By Demand)
Glory (Japanese and 2020 standard editions)
Written by: Dijon McFarlane, Nicholas Audino, Te Whiti Warbrick, Lewis Hughes, Jon Asher, Melanie Fontana
Produced by: DJ Mustard, Twice as Nice, Jon Asher
The song formerly known as just Mood Ring before Team Britney decided to hijack/exploit the fandom’s enthusiasm for a quick buck, originally a Japanese exclusive only to be given a second life on the Glory deluxe re-issue. It fits nicely alongside the other lower-tempo tracks on the album and would have been a strong contender to get the single-release treatment had it been part of the standard tracklist (or if RCA did third singles, LOL). Britney’s vocals are front and centre over an understated production, with dreamy melodies and heart-on-sleeve lyrics: “I have no secrets / ‘cause there’s a version of me that I don’t know how to hide.” The re-issue also offered up three pretty good remixes including one named – in a not-at-all-veiled attempt to give The Gays everything they want – the Pride Remix, which in fairness is probably the best one, and also gives a welcome 2020 follow-up to the most iconic song intro of all time. “There’s only one bitch / The real one…ᴮʳᶦᵗⁿᵉʸ.”
9. Quicksand
Circus (European iTunes Store deluxe edition)
Written by: Lady Gaga, Fernando Garibay
Produced by: Fernando Garibay
On her journey to eventually becoming Lady Thee Gaga, Stefani Germanotta began her music career also penning hits for other artists including none other than Miss American Dream herself. Gaga submitted two tracks for Britney’s Circus era, and I think we all know how this story ends. Though both songs were recorded, Telephone ultimately got rejected in favour of Quicksand, which was certainly… a choice. But whichever way you look at it, the second best song Lady Gaga wrote for Britney Spears isn’t exactly something to be scoffed at. Bookended by a gentle piano melody, the midtempo beat and Gaga’s backing vocals topped off with an unforgettable hook make it a solid pop track, and probably the closest we’re getting to an official collab (for now 🤞).
8. Scary
Femme Fatale (Japanese deluxe edition)
Written by: Britney Spears, Fraser T. Smith, Kasia Livingston
Produced by: Fraser T. Smith
Regarded by some* as the 21st century’s answer to Thriller, this is one of those songs that introduces itself as an out-and-proud bubblegum pop banger before the first verse even hits. Another Japanese exclusive, Scary has all the upbeat Femme Fatale EDM energy but with a notably spooky twist. It’s a fun song and sounds like something you’d find on the soundtrack to Hotel Transylvania, were it not for lyrics like “I just want your body and I know that you want mine” which don’t seem quite child-friendly enough. Basically it’s Ooh La La but very not shit.
*Me.
7. Before The Goodbye
Britney (Australian, European digital deluxe, Japanese, and UK editions)
Written by: Britney Spears, Brian Transeau, Josh Schwartz, Brian Kierulf
Produced by: Brian Transeau
Britney has a fair few sadbangers under her belt, but this one is undoubtedly the most deserving of that title. Opening with a sultry yet sombre vibe, Britney sings with subtle desperation “And I know that you best be on your way / But I’m wishing I could make you stay / Stay with me for a while,” followed by a rousing chorus that just hints at what’s to come. Before you can say “sicker than the remix”, the lights dim, the disco ball lowers, and the poppers come out when chorus #2 drops a thumping beat, turning what was an impassioned ballad into a full-blown Eurodance anthem.
According to writer and producer BT, the reason Before The Goodbye never made it onto the US version of Britney was because it didn’t make sense with the “Neptunes-y, R&B-type slant” it had ended up with. She’s got a point, but then Slave and Boys are really the only songs with that particular sound so I’m pretty sure America could have handled it.
6. I’ve Just Begun (Having My Fun)
Britney Spears: In The Zone (International bonus CD)
Written by: Britney Spears, Michelle Bell, Christian Karlsson, Pontus Winnberg, Henrik Jonback
Produced by: Bloodyshy & Avant, Steven Lunt
Originally a bonus track on Britney Spears: In The Zone, I’ve Just Begun (Having My Fun) was also included on the standard tracklist of Greatest Hits: My Prerogative, notably being the only song on the entire album that was never released as a single (again with the choices) and so didn’t get a video. Nevertheless, it fits perfectly with that era taking the “I don’t give a fuck” energy of My Prerogative and running with it. It tells the “made up” story of “a party that was too much fun” where she ends up meeting a sexy guy and *checks notes* falls asleep in a chair.
Shakespeare not quite shaking from the beyond then as far as storytelling goes, but the killer chorus packs enough punch to carry the song. It has a consistent electronic sound across the vocals and production, switching up effortlessly from strings and synths to a grungy guitar that brings life to the song’s attitude perfectly.
5. Selfish
Femme Fatale (Deluxe edition)
Written by: Ester Dean, Mikkel S. Eriksen, Tor Erik Hermansen, Sandy Wilhelm, Traci Hale
Produced by: Stargate, Sandy Vee, Kuk Harrell
Hear me out: this had the potential to be a lead single. Maybe not for Femme Fatale (ironically) – lacking the dramatic Hold It Against Me dubstep breakdown that so sensationally helped to usher in its era – but Selfish has all the makings of a song with enough personality worthy of the buzz that launches a Q4 Britney comeback. First, the name: short, simple, a little bit cheeky. Just like Womanizer or Work Bitch you don’t even need to have heard the song yet to know you’re going to be in safe hands (I have trust issues about these things after Make Me…). Next, the vocal hook right at the start of the chorus is ridiculously radio-friendly and pleasantly catchy without dominating the entire song. Last but not least, I’ll be damned if there’s a lyric more gratifying to sing along to than “Boom boom baby / Pick you up in my Mercedes.”
4. Phonography
Circus (Deluxe, Japanese deluxe, and UK editions)
Written by: Christian Karlsson, Pontus Winnberg, Henrik Jonback, Balewa Muhammad, Candice Nelson, Ezekiel Lewis, Patrick Smith
Produced by: Bloodshy & Avant, The Clutch
Phone sex anthem #2, only this time more brazen and upgraded for the digital age. This Bloodshy & Avant produced song could have easily made itself at home on Blackout but instead graces the limited edition section of Circus (*cackles in Radar*) as one of its standout tracks. Were it not otherwise so well produced, you could be forgiven for being put off by the lyrics which are a bit too heavily reliant on outdated buzzwords of what was then novel technology. “And I like my bluetooth, buttons comin’ loose / I need my hands free / Then I let my mind roam, playing with my ringtone / He got service, I got service / Baby we can talk all night.” We all like having four bars of signal, but that in and of itself is not exactly making anyone horny. In that respect it might feel dated, but what you’re left with is a sexy, playful, first-rate 00s bop.
3. Get Back
Blackout (Digital and Japanese editions)
Written by: Corte Ellis, Nathaniel Hills, Marcella Araica
Produced by: Danja, Corte Ellis
A common theme running through Blackout and a big part of what makes it such a cohesive album, is that on every track, whatever it’s about, Britney knows who she is and what she wants. On Get Back, she has never sounded more confident. A bold dance number with Danja’s stamp all over it, Britney is against the music no more but making it her bitch. “Catch me if you can, don’t move too slow / I’m on another level, can you feel my flow? / See how good when I’m on the floor / If you can’t take it then get back.” Beneath the assured lyrics is a boisterous beat coupled with a synth hook reminiscent of The Cars’ Moving In Stereo (again, not sure if this is intentional) which keep the momentum building up to a climactic middle eight and dramatic outro.
2. Amnesia
Circus (Australian, European, Japanese deluxe, and UK deluxe editions)
Written by: Fernando Garibay, Kasia Livingston
Produced by: Fernando Garibay
Amnesia achieves the incredible feat of emerging 10 years into Britney’s career like a track that could have been written for her first album but without sounding at all dated. Once you get past the almost hesitant and oddly matter-of-fact intro, “I saw him standing there in the parking lot / He asked if I came here a lot / And this is how I responded,” it launches straight into the infectiously catchy chorus with lyrics that sound a bit more like they’re meant to be in a pop song. It’s about a man she finds so enchanting that his mere presence causes her to forget the most important of personal details including her name, address, and phone number (the way she predicted GDPR, her mind!) and incites dreams of the cool, interesting, and very cool conversations they might have.
Meanwhile, her actual boyfriend (possible fiancée) has no idea he’s about to get the boot in favour of Prince Charming.
With sugary sweet melodies and lyrics that hearken back to her days as a lovestruck teenager, this song really has no business being as brilliant as it is for a grown up Britney, and remains a true underrated gem in her discography.
1. He About To Lose Me
Femme Fatale (Deluxe edition)
Written by: Rodney Jerkins, Ina Wroldsen
Produced by: Rodney Jerkins
I must confess, ordinarily, I have little more than a casual interest in Britney’s ballads compared to her more dance-oriented songs. Like the airport duty-free shop: I appreciate that it’s there, but it’s not what I came for. So I should be surprised to find myself choosing one as a personal favourite, but He About To Lose Me is just so good there was never even any hesitation in placing it at the top of this list.
Notably, it doesn’t instantly sound like a typical Britney song, almost like it was written for someone else but she nabbed it herself. Opening with just a delicate guitar riff and Britney’s vocal, she sings with a despondent urgency in her voice that is completely appropriate for the song and helps to sell you the story. “I’m touching hands with someone seriously beautiful / Eh ah-eh eh / I feel it burning and I know I’m standing far too close / Eh ah-eh eh.”
The tale itself is as old as time: Britney is at the club with her friends and meets a hottie, but she already has a man at home (definitely picking up a theme here). Wracked with guilt over the ethical dilemma of inevitably succumbing to lustful temptation, deep down she already knows the relationship is dead in the water. “I got someone waiting at home / He says he in love, but lately I just don’t know / He don’t see me or make me feel hot.” Songwriter, Ina Wrolsden (whose catalogue of Pop credits is noteworthy), took inspiration from her own experience in penning the song: “I was a little angry at [my husband] Marc, because I was going to a club and he got jealous.” Hopefully the real-life equivalent had a less damning fate.
As well as making a fan in none other than Kylie Minogue, Britney has more than once named it as one of her all-time favourite tracks from her career (to be fair, this answer changes almost every time she’s asked, but still it has a spot in the rotation!) and I couldn’t agree more.
This article was originally published on the Pop Warrior blog on 12 November 2021
🗨️ Join the discussion
I’m So Curious about Everybody’s thoughts so it’s Over To You Now… Don’t Keep Me Waiting and let me know if you agree with the ranking, and what would be your top 3 tracks!
📖 Further reading
‘The Original Doll’ podcast
A must-listen for diehard fans. James Rodriguez interviews songwriters, producers, and choreographers with exclusive behind the scenes information on the creation of some of Britney’s biggest hits, as well as a number of songs from this list.Let’s talk about Coupure Électrique
A native French speaker breaks down the good, bad, and ugly of Britney’s foray into the language of love.