Cover of Britney Spears Work B**ch!
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THE REVIEW

"Work bitch" is the first single from Britney Spears' new and eighth album.

Forget the wholesome image of "Baby one more time," a phenomenal hit from the late '90s (Lady Gaga wasn't around yet!), let's forget about the sapphic kiss with Madonna and the video for "Me against the music" with the queen of pop. Let's also forget some masterpieces like certain songs from the "Britney" or "In the zone" albums. Let's even forget the last album "Femme Fatale" from three years ago. Britney is back trashier than ever; "Work bitch" is a trash track, intensely beat-driven, very instrumental, with little singing. It lacks a chorus and musicality, it's a constant repetition of a few words; it doesn't even seem like her.

I am very disappointed with this comeback... I even liked "La la la," the soundtrack made by Britney herself for a children's cartoon. Even the horrible "Gimme more" from 2007 turns out to be better than this one. Let's just hope the album isn't entirely like this because it really seems that Spears is losing her touch.

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Summary by Bot

The review criticizes Britney Spears' single 'Work Bitch!' as a beat-heavy, repetitive track lacking a proper chorus and musicality. It compares the song unfavorably to her past hits and expresses disappointment in her musical direction. The reviewer hopes the rest of the album will be better.

Tracklist

01   Work Bitch (Clean Version) (04:08)

02   Work Bitch (Craig Vanity vs Nom De Strip & Nezzo Edit) (03:31)

03   Work Bitch (Craig Vanity vs Nom De Strip & Nezzo Extended) (05:00)

04   Work Bitch (Shahaf Moran Trap Remix) (03:58)

05   Work Bitch (StopMe Worker Mix) (06:27)

06   Work Bitch (Craig Welsh Pop Bootleg Mix) (05:37)

07   Work Bitch (Dirty Pop Deconstruction Mix) (04:52)

08   Work Bitch (Matt Nevin Remix) (04:53)

Britney Spears

Britney Spears is an American pop singer whose late-1990s breakthrough made her one of the defining mainstream pop figures of her era. The reviews focus on her blockbuster teen-pop launch, later dance-pop/electropop reinventions, and the recurring debate about vocal performance versus production, image, and media spectacle.
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