Let it be restated, however, that Spears' vocal talent does little to surpass that of William Hungs'. It's interesting that the modern technology in recording studios has hardly been used to enhance her voice. Her producers' solution: Blare loud synthesizers over her vocals in order to drain them out. This leaves listeners questioning the injustice that exists in the world - why does her small voice deserve to make records when there exists an infinitely more talented pool of starving singers? Britney is no artist, but does her value as an entertainer transcend this?
In essence, Spears is the perfect example of the evolution of today's music industry. Talent no longer matters. Record studios find individuals who fit a certain look and package them by having them record with the industry's most talented producers. Artists who are producing hit records, such as Rihanna, aren't that talented. But their producers are. Spears owes whatever success she finds on this album to her own producer.
Although we all secretly want to hate Blackout, it actually isn't that bad if it's viewed as a dance album. Spears has managed to package a nice collection of club grooves, enough to keep a glam New York or Los Angeles club occupied for an entire night. It isn't art; Spears is no Shakespeare and never will be. But, Blackout is a fun, well-produced album full of eclectic rhythms. Maybe, just maybe, Spears can come back. B-
Spring Break
