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Good morning ATRL, I'm excited to see you again with another Britney Mega Thread, it's been a while since the last one! This time the topic will be centered about Femme Fatale, the iconic 2011 album that gave us unforgettable bars like "Steam it like a pot full of vegetables" or "Imma show you tonight that I'm a girl and you're a boy"; so fasten up your seat belts, it's going to be a bumpy ride! Just like the last time, I'm going to add some important context that will come in handy for the understanding of this thread for people who are not familiar with Britology... The year is 2008, we're in December, Britney had made her so-called comeback after the conservatorship was successfully established in February, and Britney is already rehearsing for her upcoming hot tour, that according to what was promised to her, it would be the last thing she'd had to do under the Conservatorship. (Keep in mind all of this was going on after releasing two of the biggest song of the year: Womanizer and Circus, along with the super-successful album with the same name) Her management team at the time consisted of Larry Rudolph, who was brought back by Papa Spears after being fired by Britney in 2007 along with Adam Leber, who was a business pal of Larry that was a brand new addition; you might recognize his name if you're a Smiler or Harmonizer because he also worked for them at some point, remember those two bc they'll be mentioned later. Anyhow, moving forward, Britney starts the Circus Tour in 2009, and while touring in Europe during July, specifically while she was in Sweden, she confirms she's recording brand new material with Max Martin, which marks the parting shot of the Circus era and the beginning of a new phase in her career. During her brief visits to Max Martin's studio Britney was rather productive as she recorded over 5 songs, those being 3, I Wanna Go, Criminal and Up N' Down, along with an unknown Rock song that we haven't heard yet, which allegedly is Friday I'll Be Over U by Allison Iraheta. (Also as a bit of trivia, Criminal and I Wanna Go were first registered as In Love With A Criminal and I-I-I Wanna Go-o-o, and those titles can still be found on ASCAP and BMI). Despite those tracks always being intended for a future album, Britney ended up releasing 3 as the promotional single of her second GH album "The Singles Collection", which performed exceptionally well and gave her her 3rd #1 Single on the BBH100 barely a year after Womanizer, which only made her a more desirable target for songwriters at the time, proving that her Star Power wasn't yet fading, and obviously Britney's team noticed this extreme demand for new material and quickly the preparatives for a new album began, being seen at the studio in August with her A&R Teresa Labarbera Whites to record new material and discuss the direction of the project, that allegedly was going to be urban and hip hop influenced by Britney's request, but this idea never materialized into anything. Also, keep in mind, she'll be mentioned later again in one of the pivotal moments of the album's creation. But not shortly after this, behind the scenes, things were starting to get really dark... By January of 2010 Britney had lost her patience after being promised that after the Australian leg of the tour, her Conservatorship would've been dissolved before Christmas, which didn't happen and in fact, was extended for a few months; all of it led to her depression aggravating and triggered a big fight with her father, Jamie, that apparently got out of hand and he fired back with a psych ward threat if she didn't stop complaining, and Britney was so scared of his punishments that she managed to check in a hotel for a week away from him and only allowing visits of her mother Lynne, and a therapist. Even though Britney's hopes of freedom were already crumbling, she remained relatively stable for the next few months, and she was spotted at the studio in many different occasions, and seemed to be doing lowkey fine until April, where she was seen arguing with her then boyfriend Jason Trawick on the car and crying, not shortly after, the same month she appeared with short hair that looked like it was chopped with scissors before being fixed for her Candie's photoshoot, apparently this incident was a result of a panic attack, which, contrary to popular belief, must have happened before the Disney Land trip. Despite Britney's mental health deteriorating, her team was still fixated in putting out new music, with her A&R, Teresa LaBarbera (I told you guys to remember her name!) contacting a bunch of new songwriters to send her material, with Darkchild, Rusko and Tiësto being the first ones to confirm their involvement in the project. Despite an A-List producers army being built up, Britney's heart wasn't into music at the time as she was trying to find a way to escape her father's control. Summer goes by, and we see Brit more and more in the studio, with rumors pointing out a single release by the end of August, but the album apparently wasn't progressing as quickly as it was expected and suffered it's first delay, which caused her A&R (now executive producer), Teresa to take action and organize a Writing Camp for Britney in Texas, to get good quality material to record fast and proficiently; and in September a team of the top producers in the game came to write for Britney, enlisting William Orbit, Danja, The Nervo Sisters, Eric Bellinger, Bonnie McKee, Coco Morier, Toby Gad, Neon Hitch, Claude Kelly, Pop & Oak, Heather Bright, Evan Kidd Bogart, Livvi Franc and Jewel to pen future hits for our Pop Princess, with Teresa saying that they were looking for songs in the same line as Unusual You, and electronic dance tracks with an edge and attitude... But things couldn't go that well without any drawback, could they? The same month, Britney's conservatorship is officially made permanent despite all of her efforts to avoid it, which wrecked to such point that to make her productive and willing to work her handlers her into very strong medications to keep her numb and easy to handle, which was quickly noticed by the fans as she was acting robotic and her eyes lost all of her shine and her face swelled up, giving her the "Femme Fatale" era look. There are pictures of Britney picking up her sons at the daycare from the same day of the conservatorship hearing in which the judged ruled this decision where she can be seen holding back her tears, they always break me down just by looking at them :( An almost zombiefied Britney was booked and busy recording the songs that were churned out of the writing camp at a very fast pace, so fast that you might think that she might have been able to put out the album by the end of the year... But no, here's when one of the most insane plot twists in Pop music happens, bet you didn't seen this coming: Beyoncé, now part of Columbia and looking forward to put out a new album, contacts Teresa to be her A&R because they know each other since the Destiny's Child days, and she wants her back with her because she is aware of her skills, but the thing is, Mamma Knowles doesn't wanna wait, she wants it NOW! So they make Teresa an irresistible offer in exchange to drop every project she had going on at the time to come back with her and also become the Senior Vice-President of Columbia, a deal that she obviously accepts; making most of the producers of the record migrate to Columbia to work on 4 and taking their songs with them. So Femme Fatale now has no A&R, no executive producer and no new material for a lethargic Britney to record, she's in literal SHAMBLES! Jive, her label, fearing losing momentum, assigned one of their A&Rs, Peter Thea (Who did basically nothing) as a replacement of Teresa, and then, in November, Dr. Luke and Max Martin were chosen as the executive producers along with her two managers Larry Rudolph and Adam Leber, who took the wheel as Britney is physically and mentally to do so. After this choice the album's direction shifted, keeping the core idea of making it an electronic music record, but adjusting it's sound to make it more palatable and safe for the general public, and discarding even more of the material that Britney had already recorded from the Teresa writing camp, with William Orbit complaining about it literally stating the following: "The Britney thing. Look, I went to a writing camp at Teresa's. Had lovely time. Word got out. Assumptions were made. Dr Luke is exec produtive and he locks in locks out whoever he likes. And where B's at in all this? I surely don't know." Some other producers who attended the Texas writing camp backed up his claims, which is just another confirmation that at this point the album was Dr Luke's playground, despite this the recording process wasn't wrapped up until a month prior to it's release, with Big Fat Bass being the last song made for the project, in February of 2011, and according to Luke, the album did not have a final tracklist by that point and many songs were on consideration, DESPITE ALREADY BEING OFFICIALLY ANNOUNCED ON BRITNEY'S TWITTER ACCOUNT, which comes to show how rushed the project was. Even with the album's glossy and maximalist production, it overrelied on background vocalists in some of the tracks, which can be explained by Britney not having time to revisit some tracks due to the uncertainty around which songs were going to make the cut and which ones wouldn't; and the fact that she was left uncredited as one of the writers of Don't Keep Me Waiting despite penning it's bridge because the booklet of the album was already being printed, and they didn't have enough time to fix their mistake and add her name to the credits trully makes you realize how fast things were moving in the Britney-world. After all of her efforts and two tough years of hard work and more downs than ups, Britney managed to record over 50 songs in the period of time comprehended between 2009-2011, and out of these 50 tracks, 18 made the cut, and only other 2 have surfaced online, those being Unbroken and King Of My Castle (The latter not even being planned for Femme Fatale but The Singles Collection Compilation) meaning that there's at least 30 vaulted songs that we might never hear. In conclusion, Femme Fatale was prematurely born out of a need to sell, not because of Britney's own wish to do music, but despite it's horrifyingly traumatic origins, it managed to become not only a staple of the early 2010s sound, but also the blueprint of Hyperpop with it's bubbly (almost effervescent) synths, meticulously computerized vocals and hedonistic sense of self; it just proves that as long as Britney is somewhere in there, her presence will always be felt, and that the music will act as a catalyst of the ideas that despite not being fully executed, are still in present, constantly fighting to be heard and seen, just like B herself. By the way, if you haven't checked my thread about the making of the original version of Glory you might want to do it now, I revamped it with a little more info:

Welcome fellow ATRL users! Since the Britney-Army's been kinda dead lately and we desperately need something to discuss, I thought it'd be a nice idea to talk about Britney's scrapped album that was in the works right before Glory, which some of you might know by the fan-coined name "Pretty World", a project that was set to be released in summer of 2015, but never came to fruition. Let's go! First of all, let's contextualize things and pinpoint some people that will be relevant during the thread: Let's pick things up from the Britney Jean era, everything is a hot mess, a mess hotter than the sun! Britney has virtually no control over her life, nor music, and decides to actively boycott herself in every concievable way, purposely singing horribly on the studio to make her takes unusable and delay an album with a direction that she didn't enjoy (which led to the infamous Myah disaster, all a desperate attempt to have some new material ready as a tool to promote her upcoming Piece Of Me Residency). Who were those in charge of handling this hellhole of an era, if not Britney, you might ask? Well, the executive producer of the album, Will.i.am (Who will be spared from more lashings from my behalf) and most importantly, the A&Rs, who were Adam Leber, Larry Rudolph (Her two managers) and the often overlooked Rani Hancock (Keep her name in mind, we'll get back to her in a second or two). So, to sum things up, Britney's career is in the trenches from an artistic and commercial standpoint, which led to her people thinking "What is the most profitable thing she can do from now on?", question that was quickly answered by the mindblowing success of the Piece Of Me Las Vegas Residency, causing a complete shift of their priorities, focusing on her Las Vegas show over any new music related project, a lesson they learnt from Myah Jean's lukewarm sales and all the difficulties caused by B herself during the recording of the album; so in a certain way, she accomplished what she wanted, with no more forced studio sessions for another pre-fabricated album, despite being stuck in Vegas doing a show she wasn't enjoying at the time. Now, time for a little timeskip all the way to the middle of 2014. Britney, being the unpredictable icon she is, decides all by herself that she wants to make new music, but in her own terms and without a defined deadline, and RCA, her label, not having anything to lose since they weren't planing on doing much promotion anyway, greenlights her proposal and assigns her one of their A&Rs for this new project, can you guess who? Exactly, Rani Hancock! So let's see what she's all about... As I just stated, Rani was one of the A&Rs of RCA at the time, who had quite an insane streak of hit albums at the time, with As I Am by Alicia Keys followed by Kesha's Animal, Cannibal and Warrior, Adam Lambert's Trespassing, Miley's Bangerz and Hilary Duff's This Heart that would soon become Breathe In Breathe Out. Hilary's project apparently stuck with her, as she was the one who linked Britney and Duff's husband, Matthew Koma, together, and his tracks were some of the ones that she recorded first. According to Britney, the project's recording process began on september 5th of 2014, right after a Writing Camp was held to write material both for Britney and surprisingly also Ariana Grande, which funnily enough also ended up being for a scrapped 2015 album called Moonlight. After gathering some material from these sources (One of the songs born from that writing retreat was Liar), the main producers involved at the time along with Komma were Rock Mafia and The Invisible Men, as she had many sessions with them, and fun fact, they had Charli XCX making some demos for Britney as well! Despite all of this, she wasn't impressed with Rani's work, and two years later, in 2016, expressed that the A&R system she had going on at the time wasn't doing it for her. Even with a disfunctional A&R, the album was developing quickly, and the lead single of it was recorded in the september sessions; and yes, I'm talking about no other than PRETTY GIRLS, whose existence was confirmed as early as in december of 2014 by none other than Iggy Iggs, along with other collabs she did with her that we still don't know about, also, around that time, Tom's Diner was recorded for Giorgio Moroder's album. Months after, in March of 2015 Azalea was yet again the one who confirmed Pretty Girls would be the first single of Britney's upcoming album; despite the skepticism that this claim recieves from the fandom, the tune really got such treatment, with an old fashioned rollout featuring a web redesign with brand new vectors and an unused personalized font, a live performance at an award show (which she hadn't done since 2011), special ubers playing the song in exclusive through L.A to create hype, a spot in her Las Vegas how's setlist and intensive radio play, which is basically the same treatment, if not better than Make Me's. The bulk of the album was actually recorded during the first months four months of 2015, and despite being first conceptualized by Brit as a Pop-Rock project, it quickly leaned into Bubblegum Pop, and as if that wasn't surprising enough Britney wanted to dip her Lousiana lily-white toes into PC Music and record the SOPHIE-penned track When I Rule The World, which sadly never happened bc of that girl who shall not be mentioned! The album was set to be released in summer of 2015 a few months after Pretty Girls, as the production was almost wrapped up by the time of it's release in may, but after Britney became aware of it's tankery and all the hate it got made her self-concious (If only Katy Perry had these levels of self awareness...) and decided to switch things up by hiring a brand new A&R, Karen Kwak, to start over with different producers; which is kind of a similar situation as the of Femme Fatale when Teresa LaBarbera Whites, who was her A&R at the time, left Jive right before the planned release of the album back in August of 2010, taking with her many songwriters that were working for Britney and basically granting full control of the project to Max Martin and Dr. Luke since the new A&R Peter Thea was (and still is) a nobody, no shade. So! June of 2015 is where the story of the B9 1.0 ends and the one of Glory begins, how poetic! Sadly, we don't have a confirmed tracklist nor the working title of the album, but we know that at least over 20 songs were specifically recorded for this album, as she stated she recorded over 50 tracks for Glory and the sessions prior to it, which out of those 50 only 20 of them were released, and from those 20 songs we surely know that two of them belonged to the B9 sessions (Pretty Girls and Swimming In The Stars). #Maths To conclude, I'd like to point out that this project, even if scrapped and probably sort of messy, showed that Britney still had that passion for music flowing through her veins and an unbreakable spirit that was still deep inside of her despite 4 lethargic years of hazy numbness in her life; and proves that even at your lowest, when you least expect it, a muse comes and whispers in your ear: "It's Britney Bjtch!" just to remind you of who you really are.

Is it time we face the elephant in the room?

TIMELINE March 22, 2024 Future & Metro Boomin release their album "We Don't Trust You" with subliminal shots at Drake, including features from Kendrick Lamar, The Weeknd, Rick Ross, Travis Scott, and Playboi Carti. In the song, "Like That" Kendrick directly disses Drake & J. Cole's friendship and their latest hit "First Person Shooter". April 5, 2024 J. Cole responds and releases his mixtape "Might Delete Later" with "7 Minute Drill" responding to Kendrick Lamar's diss on "Like That". April 8, 2024 At his Dreamville Festival, J. Cole makes a publicly apology for engaging in the beef and states he will delete the diss song from the mixtape. April 12, 2024 Future & Metro Boomin release a sequel "We Still Don't Trust You" containing more direct shots at Drake from The Weeknd & A$AP Rocky, along with an unexpected J. Cole feature. April 13, 2024 Drake responds with "Push Ups" a leak that surfaced the Internet dissing every artist on "We Don't Trust You" except Playboi Carti. In the lyrics, Drake claims "Like That" wasn't the true start of the beef and that it has been brewing for some time. Drake shares he disagrees with J. Cole's apology in the diss track. When the song leaked, rumors spread the track may be AI. Later that day, Drake uploads an official version on the Internet with a new beat and updated bars confirming it was real. April 14, 2024 An AI Kendrick Lamar song "One Shot" as a response to Drake, surfaced the Internet and goes viral. After the online discourse of identifying if the track was real or not, the creator reveals it was AI. TikTok Producer Reveals How He Made Kendrick Lamar's AI Diss Rick Ross releases "Champagne Moments" to diss Drake. In the lyrics, Rick Ross claims Drake had a nose job, surgery for his 6-pack, referring to him as "BBL Drizzy". Ross contiunes by calling Drake "white boy", refers to OVO as the "Pastrami Posse" and reveals he unfollowed Drake on social media after Drake sent a Cease & Desist to French Montana. Drake later responds via social media a text conversation with his mother about what Rick Ross said: April 19, 2024 Drake releases "Push Ups" as a single and uploads it on streaming platforms. Previous collaborators SZA, 21 Savage, and several artists took to social media about the name dropping in "Push Ups" and not wanting to participate in the beef between Drake & Kendrick Lamar. April 20, 2024 Drake drops another diss track "Taylor Made Freestyle" on the Internet containing AI 2Pac & Snoop Dogg asking Kendrick Lamar where his response is from their POVs: Kanye West premieres "Like That (Remix)" featuring Ty Dolla $ign as a response diss to Drake and J. Cole: April 24, 2024 2Pac's Estate issues a Cease & Desist to Drake for disrespecting the late rapper in the "Taylor Made Freestyle". 2Pac's Estate Threatens Drake With Legal Action Over "Taylor Made Freestyle" April 30, 2024 Kendrick Lamar responds to Drake with diss track "euphoria" In the lyrics, Kendrick continues from Rick Ross' diss track "Champagne Moments" coming for Drake's racial identity, sexuality, appearance, and parenting. Gunna reacted in confusion to Kendrick Lamar's stray on social media: May 2, 2024 DJ Hed spreads a rumor on social media that Drake plans on dropping his response that night. (DJ Akademiks later confirms on Kai Cenat's livestream Drake is not dropping tonight but soon). May 3, 2024 Kendrick Lamar post another diss track to Drake "6:16 in LA" on his social media: In the lyrics, Kendrick insinuates that there is a mole in Drake's OVO team feeding him information. Fans on social media tries to decode the 6:16 entendre(s) Kendrick has left: 6:16 > Father's Day (June 16) 6:16 > 2Pac's Birthday (June 16) 6:16 > Date of OJ Simpson Charges 6:16 > Bible Verses > Relates to Hate, Evil, Fallings of Greats, and Prostitution Drake responds with "Family Matters" a diss track addressing Kendrick Lamar, Rick Ross, The Weeknd, A$AP Rocky, Future, and Metro Boomin with an accompanying visual: The instrumental contains a remixed version of Drake's interlude song featuring Kendrick "Buried Alive" from his sophomore album "Take Care". The visuals contain clips of Drake using the same model van from Kendrick Lamar's sophomore album "good kid, m.A.A.d city" towed around the city then sending it to a car crusher. In the lyrics, Drake comes for Kendrick Lamar's activism, rap style, parenting, and trans auntie; then alludes to abuse allegations against his fiancée. Drake continues with expressing his confusion of the beef with Future, making gay jokes about The Weeknd, his music, and fanbase. Rick Ross' use of Ozempic, inability to make hits, and his pre-fame life as a correctional officer. A$AP Rocky's career and relationship with Rihanna. 30 minutes later… Kendrick Lamar drops "meet the grahams" a diss track directed at Drake and addressing each family member. In the lyrics, Kendrick comes for Drake and allegedly claims he is hiding another child [daughter] from the general public as well as Drake's comestic surgery, misogyny towards black women, and allegations of sexual assault & trafficking. Drake responds via social media addressing Kendrick's allegation of the hidden child: May 4, 2024 Kendrick Lamar drops another diss "Not Like Us" towards Drake on his grooming & attraction for young girls; referring to him as "Certified Pedophile" and calling Drake a colonizer. After uploading "Not Like Us" on YouTube, diss tracks "meet the grahams" & "Not Like Us" are now available on streaming platforms. May 5, 2024 Metro Boomin uploads a Drake diss beat "BBL DRIZZY BPM 150" on SoundCloud encouraging rap fans to freestyle; the person with the best verse wins a free beat from Metro. Drake drops "THE HEART PART 6" titled as a play on Kendrick's "The Heart" series. In the lyrics, Drake responds to the allegations Kendrick has made in "Not Like Us" and "meet the grahams". Drake reveals "the mole" and he intentionally orchestrated false information for Kendrick to take the bait. Drake claims "he's too successful to be a pedophile" and states Kendrick is a victim of sex assault in his childhood. May 7, 2024 Around 2:00am, Drake's "Bridle Path" mansion in Toronto experienced a drive-by shooting. When the police arrived, they discovered one of Drake's security guards have been shot and rushed him to a nearby hospital. Police are unsure if Drake was at home during the incident. [UPDATE: the suspect has been arrested] Security Guard Injured in Shooting Outside Drake's Home in Toronto United Kingdom One of Drake's OVO stores got tagged in London reading "They Not Like Us" following the Kendrick Lamar diss track. Later that day, several old tweets from Metro Boomin's account resurfaced online exposing his past behaviors of showing sexual interest in younger women and supporting sexual assault: May 8, 2024 Future vs Gunna beef erupts! Gunna is set to release his new album "One Of Wun" this Friday. Future decides to drop a mixtape on the same date. A subliminal exchange took place on social media: x to be continued…

Selena Gomez is/was a machine of making hits but she rejected a couple of songs that ended up being hits or at least modest fan favorites. These songs are based on the receipts of public music repertoire sites and songs in circulation on the l-word market. There might be some other missing tracks that are not publicly known, some demos already leaked. I am not including reference demos to her. Also let me know if I forgot any other additions! Pre debut era: Hurry Up and Save Me - Released by Tiffany Giardina due to Selena having too many songs on the soundtrack (Selena's still on the BGVS) Kiss & Tell era: Female Intuition - Jordyn Taylor (Rejected for the lyrics being too mature) A Year Without Rain era: Red Light - Malese Jow (Selena's demo remains unleaked) Fefe Dubson - Stuttering (Also rejected by Miley Cyrus): When The Sun Goes Down : Give Your Heart A Break - Demi Lovato (Selena's demo remains unleaked) ref Jaden Michaels Celeste Buckinham - Crushin' my fairytale Stars Dance: Miss Movin' On - Fifth Harmony (Ref Julia Michaels) Big Banana - R3hab , Havana Brown & Prophet For You - Greatest Hits: Tini - Great Escape - Rejected for scrapping the whole album that was supposed to have this song that later turned into a greatest hits album to fulfill her contract. Selena's demo leaked in 2020 Bang - Recorded by Britney Spears for Glory. The song was produced by RockMafia and nobody ended up releasing it. Britney's demo leaked in 2021 Revival: Aston Merrygold - Get Stupid - Rejected probably because it did not fit the sound of the album Haim - Walking Away Love is A Game (Reworked as Love Is The Name) - Released later by Sofia Carson with the new rework. Ref Bonnie Mckee Stars by Demi Lovato Roll Em Up - Alli Simpson ft Jack Jack - Originally was a collaboration with Cody Simpson (Both cowrote the song) and Alli loved the song so much that asked them for give her the song. It was almost a single, thankfully it didn't cuz the lyrics are kinda cringy. (Selena and Cody are still doing BGVS on the chorus) Major Lazer, Dj Snake & MØ - Lean On Probably one of her biggest scraps. It was scrapped due to Selena still working on Revival and wanting to go radio silent for the released of Good For You. Thankfully Sel and Dj Snake continued to work together. Diplo ended up shading her for not releasing this song and other two he worked with her for Revival. Ellie Goulding - Love Me Like You Do Addison Rae - Obsessed Droplet era , Scrapped SG2 and Rare: Jax Jones & Ella Henderson - This Is Real. Selena's team rejected the song because they thought Jax Jones was too unknown for her. Selena's version leaked fully in 2021. He tried three times to release this song and ended up shading Selena because she refused. Britney Spears & Tinashe - Slumber Party, not really a reject but Britney was heavily inspired of Revival and was sharing a lot of creative team for Selena. Selena was the first option to join on this song before T but since she ended up going to rehab she never recorded the song The Chainsmokers - Paris : The duo wanted Sel to hop on this song. Apparently she never recorded it. They later collaborated on an unreleased version of Back To You OneRepublic - No Vacancy Anitta - Goals: Part of her sessions with Pharrell - Selena's demo leaked in 2021 Lauv & Troye Sivan - I'm So Tired (snippets of her version are around) Bahari - For What Is Worth Anitta - Veneno : Another reject that was picked up by the Brazilian artist. Selena's version was on circulation around 2019-2021 Julia Michaels - Issues: Originally for the 2016 sessions of the album, Selena encouraged Julia to release this and start a solo career. Little Mix - Sweet Melody: The producer said Selena was not looking for this sound for the album YUNGBLUD - Falling Skies ft. Charlotte Lawrence : Part of the 13 Reasons Why Soundtrack that Selena executive producer. Probably scrapped due to her having too many songs in. Selena's version was featuring One Republic / Yungblud. There still some Selena Adlibs on the BGVS Seven Minutes - Maria Parrado Claudia Valetina - 4:15 DJ Snake & Justin Bieber - Let Me Love (Originally was meant to be a Selena's solo version with different lyrics but her label wanted a Justin duet version, she ended up stepping down of the song) A few snippets leaked from her solo version. And yes, she did finish the song. DJ Snake said she didn't so people could stop asking about it. There still some mixed Selena BGVS. Clean Bandit , Demi Lovato - Solo : Selena's version contained Cheat Codes as well Thomas Rett - Renegades (Selena's feature on this song was removed) Revelación: Coco - Elena Rose : Selena talked about this song but it ended up being scrapped SG3: Julia Michaels - Lie Like This NOTD , Kensie - Worst Thing , there are some Selena and Julia BGVS . Normani - Take My Time Perrie - Tears , Selena's version snippets are around, it's a different instrumental

Britney's always been a muse for songwriters since her debut, and considering landing a song on one of her albums gave you not only a big paycheck, but also a sweet spot in the music business, it's no wonder why she had the entire industry at her feet at some point. Sadly, you can't always catch the big fish, so many of the songs originally meant for her weren't used, and ended up being released by other singers instead. In this thread I'll compilate all of those tracks. Feel free to give me a heads up if I forget anything! Also, I'll only be adding Released songs that are Rejects, not Reference Tracks, and most all of them are confirmed, rumored ones will be tagged as such. Enjoy! Baby... One More Time Era I'll Be There For You: Recorded with Eric Foster White during March of 1998, but didn't make the cut, and was released by Aina Quach 12 years later for her 2010 album "What I Want". Love Is On: Recorded with Eric Foster White during the same sessions as Autumn Goodbye in April of 1998, also didn't make the cut and was given to the Filipino star Sharon Cuneta for her 2001 album, "All I Ever Want". Final Heartbreak (Rumored): Released by Jessica Simpson for her debut album "Sweet Kisses", allegedly, it was recorded by Britney during the Eric Foster White sessions. I'll Leave It Up To You (Rumored): Alleged track written for Britney in the Eric Foster White Sessions, released by Don Philip for his selftitled debut album in the year 2000. If You Could See Me Now (Rumored): Another alleged track given to Britney during the Eric Foster White sessions. Sweet Kisses (Rumored): Produced by Andy Goldmark and Jamie Houston, also released by Jessica for her debut album with the same name, alleged snippets of a rough demo by Britney have surfaced online, but there's no confirmation of their authenticity. Oops!... I Did It Again Era Girl Next Door: Produced by Per Magnusson and David Kreuger, released by Swedish girl group Lucy Street. He Loves You Not: Produced by David Frank and Steve Kipner, given to the girl band Dream right before Britney had the chance to record it. Is it Love? (Rumored): Produced by Max Martin and Jörgen Elofsson, allegedly written for Britney but it ended up being released by the Swedish pop group Play for their selftitled debut album in 2001. Britney Era Hey Hey, You You!: Produced by Steve Morales and Kara DioGuardi, who also sings the reference track. After being rejected by Britney it was given to the girl group Soluna, and they released it on their 2002 album "For All Time". Maybe: Produced by Steve Morales, Britney's version was titled My Love Was Always There and featured different lyrics as she re-wrote the original demo, it was performed live during the Dreaming Within A Dream Tour, but was never included on the album and a studio version hasn't surfaced online. Enrique released his version his 2001 album "Escape". Popstar: Produced by Douglas Carr and Marten Hagström, written by Robyn, who is also the demo singer. The track was released by Dutch singer Sita as part of her 2003 album "Come With Me" after not being picked up by Britney. In The Zone Era Follow Me: Produced by Bloodshy & Avantand written by Henrik Jonback and Britney. Never intended to be released on any album, Britney recorded a demo of the song and has credited background vocals on the final version. Used by her nepo sis for the theme song of Zoey 101. Goodies: Produced by Lil Jon, at a point both him and Jive Records, Britney's label, pitched the song to her, but Ciara took it back before they could give it away. Released in 2004 as the lead single of her debut album with the same title. Grafitti My Soul: Written and produced by Xenomania, recorded in 2002, but Jive Record, didn't like the song because of it's atypical song structure and for lacking a proper chorus, so it was dropped. The track was given to the British girl group Girls Aloud for their 2004 album "What Will The Neighbours Say?". Cheryl, who heard Britney's demo said her version was undermixed and very rough. I Don't Care: Written by Karen Poole, Henrik Jonback and Bloodshy & Avant, with the production being handled by the latter two, it's demo called "Outta Here" was sent to Britney, but ultimately rejected, and released by Chinese artist Sherman Chung under the title "I Don't Care". Inner Child: Produced by The Party People, this track is a rework of Britney's Instant Déjà Vu, produced and written by Rick Nowels and Gregg Alexander, who sold the song to American Idol finalist Justin Guarini after it failed to be part of Britney's album. Look Who's Talking Now: Produced by Bloodshy & Avant, Britney wrote this track in New York back back in 2002 with Michelle Bell as a response to Justin Timberlake's "Cry Me A River", referencing events that only him and Britney would be able to understand. First generation K-Pop star BoA was given the track after her and Britney met in 2003 in Korea, and she released it as part her 2009 selftitled album. Low: Originally written for Britney, but she didn't record it because it didn't fit the sound she was going for at the time, and was subsequently given to Kelly Clarkson, who released it as part of her debut album "Thankful". Magnet: Lindsay's song is Produced by John Shanks, Kara DioGuardi and Jimmy Harry, while Britney's was produced just by the latter. Magnet is a rework of Britney's Strip, a track recorded in 2002 that was a favorite of hers, but was left out of the album because Jive thought it's title was too similar to "Stripped", Christina Aguilera's sophomore album released in the same year. Milkshake: Pharrell and Chad Hugo, the writers of the track, offered it to Britney at some point of the making of the album, but her management rejected it. Kelis released it as the lead single of her third album, "Tasty". Pulse: Produced by Cutfather & Joe, the song was recorded by Britney but didn't make the cut, given to the Danish duo Brother & Sister, who released it on their 2005 album "Sonny VS Gigi", and in 2010 by OMD (Orchestral Manoeuvres in the Dark) for their album "History Of Modern", their version sounds awful. Supersensual: Written by Lisa Greene and Steve Lee, produced by Steve Anderson, the song was sent to Britney but it's unkown if she ever recorded it, the tune was also offered to Kylie Minogue for her 2003 album "Body Language", but it ended up being released by a different aussie, becoming part of Natalie Bassingthwaighte's album "1000 Stars". Sweet Dreams My LA Ex/Chocolate Love: Produced by Bloodshy & Avant and with lyrics written by Cathy Dennis and Henrik Jonback, made for Britney as a response to "Cry Me A River", but it was rejected by her because of it's lyrics, and got rewritten into two different songs called Phony Lullaby and Topbillin Love, but Britney rejected both again and reused their instrumental for Take Off, a track that she wrote with Michelle Bell, but it was left unreleased because of touching topics such as interracial marriage and the Iraq War. Sweet Dreams My LA Ex was released by British singer Rachel Stevens for her debut album "Funky Dory", while Topbillin Love became "Chocolate Love" and was released by the K-Pop groups Girls' Generation and F(x) after being translated to Korean. Tilt Ya Head Back: Originally recorded with Britney as the featured artist, but Jive didn't approve it's release, deeming the song "too urban" for her despite Britney liking the track. Christina Aguilera's addition to the track was an afterthought. Another Girl (Rumored): Produced by Steve Morale and written by Cathy Dennis, allegedly written for Britney, but there's no official source to back it up, the song was released in 2003 by Mexican singer Thalia as part of her crossover album. Beautiful (Rumored): Allegedly after Linda Perry decided not to keep the song to herself shopped it to a small selection of artists, including P!nk, Christina and Britney, but there's no receipts about it being ever sent to Britney online. Released by Christina as a single of her "Stripped" album. Glide (Rumored): Produced by Bloodshy and Avant with lyrics by Cathy Dennis, Originally titled "I Need More" and allegedly first written for Britney, but we dont have an official confirmation. Released by Rachel Stevens for her debut album "Funky Dory", and apparently Christina Milian also recorded the track at the time. Good... Good (Rumored): Originally written in English and produced Bloodshy & Avant, the released version is produced by Jimmy Harry. A 30 seconds snippet of the original instrumental can be found on BMG's Data Base. According to some sources the track was pitched to Britney, but there's no real confirmation about it. Mexican Pop Star Belinda re-wrote it Spanish and it was included in her sophomore album Utopía. Lipstick (Rumored): Written by Lisa Greene, who probably sings the Demo of the track, allegedly written for Britney, but there's no official source to back it up, the song was released in 2004 by Mexican singer Alejandra Guzmán as her crossover single. Blackout Era Afterglow: Written by Lisa Greene and Produced by Steve Anderson, the track was on hold for Britney to record but ultimately rejected because the lyrics were to racy. Lisa Greene and Steve Anderson ended up releasing it by themselves under the pseudonyms Couture and Rachelle. Better In Time: It's unclear if Britney ever recorded it, the song was written by Andrea Martin, who sings the Demo, and J.R Rotem, whom had an affair with Britney at the time. The track ended up being released by the British singer Leona Lewis as a single of her album "Spirit" after being on hold for Whitney Houston. Blackout: Produced by Chris Rojas, and written by Cathy Dennis and at the time, an 8 year old Taylor Momsen. Pitched to Britney Spears but after being rejected it was recorded by Heidi Montag for her debut album "Superficial" released in 2010. Brave: Written by Candice Nelson and produced by Bloodshy & Avant, Britney rejected it without ever landing her vocals on it, and it became the centerpiece of Jlo's 2007 album with the same title. Confessional: Produced by Pete "Boxsta" Marin, written by Tina Harris and Steve Lee, rejected by Britney and it ended up being released by Bryan Rice instead for his album with the same title. Entre Nous Et Le Sol: Originally titled State Of Grace, Britney recorded it at some point of 2006, it was part of Blackout's early 2006 version, and the song was written by Lisa Greene and Steve Lee, and produced by Steve Anderson. The french singer Christophe Willem adapted it's lyrics to french and released it on his 2009 album "Caféine". Fanatic: Produced by Chris Rojas and Kool Kojak, with lyrics by Cathy Dennis. Rejected and given to Heidi Montag for her debut album "Superficial". Flaws and All: Written by Shea Taylor and Ne-Yo, who confirmed in an interview that he wrote the song for Britney, but Beyoncé snatched it out of his hands before Britney had the chance to record it. Ne-Yo also revealed that he wrote a total of 8 songs for Britney's "Blackout". Fuego: A rework of Britney's Just Let Me Go a.k.a Love 2 Love U, written and produced by J.R Rotem, Britney's version was recorded in 2006 and it features a sample of La Isla Bonita by Madonna not present in the Cheetah Girls version, the track was written for Britney as a gift from Rotem's behalf during their fling. The Disney Channel girl group released this song as part of their "TCG" album in 2007. Good Girl Gone Bad: Another one of Ne-Yo's original songs written for Britney, it's unknown if Britney ever recorded it; released by Rihanna as part of the album with it's same title. Gotta Work: Produced by One Up and written by Amerie, who revealed that she didn't allow Britney to record the song because she couldn't work with her in person due to Britney's insanely tight schedule. Released by Amerie herself as the second single from her 2007 album "Because I Love It". Happily Never After: Another Ne-Yo song, according to him, Britney selected this track and Good Girl Gone Bad as the tracks that she wanted the most to record, but it's unkown if she ever managed to land her vocals on any of the two. The song was ultimately released by the Pussycat Dolls as part of their 2008 effort "Doll Domination", also recorded by The Backstreet Boys. Impossible: You thought we were done with Ne-Yo? Haha, NOPE. Another one of his demos, it's unlikely that she ever recorded it. Given to Tiffany Evans for her selftitled debut album. Like A Drug: Produced by Cutfather and Jonas Jeberg, written by Engelina Andrina, who also sings the demo. The track was rejected and subsequently given to Kylie for her tenth album "X", released in 2007. Fanatic: Produced by Steve Morales, with lyrics by Cathy Dennis. Rejected and given to Heidi Montag for her debut album "Superficial". Nudity: Produced and written by Bloodshy & Avant and Karen Poole. There's some controversy around whether or not Britney recorded this track, with many sources contradicting themselves, some people even say they left some of Britney's vocals in the track, despite Karen being the only credited background vocalist. The track was ultimately released by Kylie Minogue. Push Up On Me: Produced by J.R Rotem, the song samples Lionel Richie's Running With The Night, first offered to Britney but rejected. Released by Rihanna. Question Existing: After another brief pause, we're back to Ne-Yo, baby! Probably never recorded by Britney, and instead released by Rihanna, this track was also offered to the girl group Danity Kane before Rihanna adquired it. See My Side: Written by Robin Carlsson, Klas Ahlund and Bloodshy & Avant. Bloodshy stated that Britney could only record half of the song before bursting into tears because it reminded her of her divorce. Her demo was left unfinished, and the track was given to American Idol winner Jordin Sparks for her selftitled debut album. Shy Boy: A Bloodshy & Avant production, also made for Britney but it's pretty unlikely that she ever recorded this track, released by Jordin Sparks. Speakerphone: Created by Bloodshy & Avant with Britney in mind but she rejected the track. Ultimately recorded by Kylie Minogue. Tall Boy: Written by Greg Kurstin and Har Mar Superstar. After the track got rejected by Britney because of it's lyrics alluding to alcoholism he released the song by himself for his 2009 E.P "Dark Touches". Turn Ya Head: Written by Cathy Dennis and Steve Morales, produced by the former. Britney didn't record the track, and Heidi Montag used it for her 2010 debut album "Superficial". Umbrella: Written by The Dream, Kuk Harrell and C. "Tricky" Stewart, originally written for Britney, if she ever recorded it it's up to discussion. Allegedly, Jive turned it down saying they had enough material for the album before Britney could hear it, but some sources say her version of the track exists. The song was also sent to Mary J. Blige, who loved it, but the producers decided to give the song to Rihanna instead. Welcome to Hollywood: We keep going with the Ne-Yo demos! He revealed in an interview last year that this song was meant to Britney before Beyoncé got hold of it and released it as part of her 2006 album "B'day". When I Grow Up: Produced by Darkchild, the original demo featured lyrics that referenced Britney's life, but she turned it down without recording it and it was re-written and given to the Pussycat Dolls, both versions sample "He's Always There" by British rock band The Yardbirds. Young & In Love: Produced by Bloodshy & Avant, written for Britney but she rejected the track and it was released by Jordin Sparks instead. Easy (Rumored): Written and produced by Danja, the track was allegedly pitched to Britney as a song named "Easy" was rumored to be part of Blackout, but this is not confirmed. Released by Paula DeAnda as a single from her 2006 selftitled debut album. Crank It Up (Rumored): Fans have speculated for years that this track was made for Britney but there's absolutely no information to back it up. Released by Ashley Tisdale as a single of her 2009 sophomore album "Guilty Pleasure". Pretty Boy (Rumored): Written and produced by Danja and the songwriting team The Clutch, some sources have stated Danity Kane and Britney shared many demos during this time period, but nothing is confirmed. Released by the girl group Danity Kane for their sophomore album "Welcome To The Dollhouse". Circus Era: Big Spender: Produced by Darkchild and written by Kalenna, who sings the reference track that was pitched to Britney, but it was rejected. The song was released by Adrienne Bailon and it's featured on the Official Soundtrack of "Confessions of a Shopaholic". Down Boy: Produced by Aaron Pierce and written by TC, who sings the reference track that was rejected by Britney, released by the German girl band No Angels on their 2009 album "Welcome To The Dance". Download Me: Produced by RadioNation and Laze & Royal, and written by Jeff Hoeppner, the reference track is sung by Myah Marie. Britney almost recorded the song but the day before she could do it she was hospitalized, and she never rescheduled a new date to record it. Released by British singer Alesha Dixon for her 2010 album "The Entertainer". Painted Windows: Produced by Osinachi and Darkchild and written by Kalenna, who sings the reference track that was pitched to Britney, but it was rejected. The song was released by The Pussycat Dolls on their 2009 re-issue of their album "Doll Domination". Pucker Up: Produced by Osinachi and Darkchild and written by Kalenna, who sings the reference track that was pitched to Britney, but it was rejected. The song was repurposed and given to Ciara for her 2009 album "Fantasy Ride". Stuck On Repeat: Originally written for Britney, but rejected and given to the Brazilian singer Wanessa Camargo, who released it on her 2011 album "DNA". Rock The Boat: Produced by Greg Kurstin and written by Coco Morier, who is the singer of the reference track. Britney recorded the original version of this track called "Dangerous". The J-Pop band Momoiro Clover Z bought the song and released it with it's lyrics adapted to Japanese under the title "Rock The Boat" back in 2015. Telephone: Produced by Darkchild and Lady Gaga, originally written in 2008 for Circus, Britney recorded it but it was left out of the album as Jive favored "Phonography" instead and both touched themes related to phones. After Gaga's career took off, in 2009, Britney wanted to revisit the song again and the track was turned into a collaboration between the two, but their creative teams couldn't reach an agreement on whether it would be on Britney's "The Single Collection" or "Gaga's "The Fame Monster", and the idea was put to rest one last time, soon after Beyoncé was brought in to fill the void left by Britney, and the track was released on Gaga's project in 2010; Britney's solo demo surfaced online that same year, and it's confirmed that a final and mastered version with her vocals exists. Britney's background vocals are also present on the released version of Telephone, but she's not officialy credited for it. Whiplash: Produced by Greg Kurstin and written by Britney with Coco Morier, the song was composed and recorded in spring of 2008. Britney's version apparently features a different production, as it's said to be a rough Demo with small changes in it's lyrics. The track was first mentioned by Coco Morier on her MySpace page in November of 2008, and she has talked about it in different occasions since then. Selena Gomez was given the song and released it on her third Studio album with The Scene, "When The Sun Goes Down". Britney's adlibs saying "Ow!" were kept in the choruses and they can be heard right after Selena sings the "I'm blown away" part. Charlie (Rumored): Produced by Greg Kurstin and written by Coco Morier, according to her, they recorded around 9 or 10 songs together for "Circus", this track is rumored to be one of them. Released by Miranda Cosgrove for her first and only album to date "Sparks Fly", back in 2010. Fanpai (Rumored): Produced by Bloodshy & Avant, written by Kara DioGuardi and Coco Morier, who sings the original english reference track of the song called "Anything But Your Girlfriend", which likely was one of the 10 songs they recorded together. Released in 2011 by Chinese Popstar Genie Chuo with it's lyrics adapted to chinese. Friday I'll Be Over You (Rumored): Produced by Shellback and Max Martin, allegedly this song was one of the songs offered to Britney during the Circus Tour along with 3, Criminal, Up N Down and I Wanna Go, as her team was looking for new material for "The Singles Collection". Allison Iraheta released her version of the track also in 2009 as a single of her debut album "Just Like You". Sweet Kisses (Rumored): Produced by Greg Kurstin and written by Coco Morier and Kasia Livingston, the version that Britney could've been offered likely was a demo of this song called "Dream Machine" sung by Coco, that posteriorly became "Sweet Kisses" after being rewritten by the British singer Pixie Lott, whom recorded the track for her debut album "Turn It Up", released in 2009. It's speculated this is one of the 10 tracks that Britney and Coco recorded together. The song was ultimately released by the J-Pop star Namie Amuro in 2014 as a single of her "Brighter Day" EP. Tough To Love (Rumored): Produced by Greg Kurstin and written by Coco Morier, who also sings the demo.It's speculated to be one of the 10 songs Britney and Coco recorded together. It was released by Japanese singer Baby M in 2010. Femme Fatale Era Drop It Low: Produced by Polow Da Don, Acording to Ester Dean, the track was first written for Ciara but she rejected it, and after that Britney showed interest in recording it, but she never did and Ester kept it for herself. The song was officialy released as a collaboration with Chris Brown for the soundtrack of "More Than A Game" in 2009. Get Outta My Way: Produced by Cutfather, Lucas Secon and PhD, written for Britney in mind but rejected, ultimately released by Kylie Minogue as a single from Kylie Minogue's eleventh album "Aphrodite" in 2010, also offered to Pixie Lott and Alexandra Burke. Love Is War: Written by Shelly Peiken, the demo pitched to Britney was produced by Fraser T. Smith. Teresa LaBarbera Whites, Britney's A&R at the time, liked the track, but it was ultimately rejected and never recorded. Shelly Peiken released the song herself in 2020 after trying to sell it to artists such as Rihanna, Beyoncé and Katy Perry for years without any success. Must Be A Reason Why...: Originally titled "King Of My Castle", the song was produced by Lucas Secon and intended to be on The Singles Collection with a feature by a female rapper, but Britney's version was left unfinished, time after the track was then picked up by Shayne Ward but he didn't get permission to use Britney's vocals on it, so she was replaced by J. Pearl. Pulse: Not the same song as In The Zone's Pulse!!! Produced by Fraser T. Smith and written by Shelly Peiken and Kasia Livingston, who sings the reference track. Written for Britney but rejected and instead released by Mandy Capristo as a Bonus track from her 2012 debut album, "Grace". S&M: Produced by Stargate and Sandy Vee and written by Ester Dean, the track was on hold for both Britney and Rihanna, but Rihanna was faster and secured the song for her fifth album "Loud", released in 2010. It's alright though, they both worked it out on the remix! What Do You Take Me For?: Produced by Alex Greggs and Rusko, who stated that Pixie Lott had released a song he made for Britney but got rejected. This track ended up being a single from Pixie Lott's sophomore album "Young Foolish Happy", released in 2011. Ambulance (Rumored): Produced by Bloodshy & Avant, written by Sky Ferreira, who also recorded it, and Coco Morier. Allegedly pitched to Britney at some point but there's no proof about it, the track ended up being released by Coco Morier in 2011 as a single from her E.P "Strangers May Kiss". Middle Of Nowhere (Rumored): Produced by Sandy Vee and the duo Espionage. The reference track is sung by Carmen Michelle Key, writer of the song, which was allegedly sent to Britney during the early Femme Fatale sessions but rejected. Released by Selena Gomez & The Scene on their third album "When The Sun Goes Down". Sayonara (Rumored): Produced by Greg Kurstin and written by Coco Morier along with Bonnie McKee, who also sings the reference track. Despite Bonnie saying the track wasn't for Britney, it was created at her writing camp in 2010 the same day as "How I Roll", which probably means she just had a lapsus. Released by Miranda Cosgrove on the Japanese edition of "Sparks Fly", issued in 2011. Tonight (I'm Fuckin' You) (Rumored): Produced by DJ Frank E, written by Lauren Christy, Justin Franks and Jacob Luttrell, who sings the reference track. Myah Marie said Britney recorded this song and it was meant to be her single at some point, but one of the songwriters of the track, Lauren Christy said she wasn't aware of Britney recording it, but that at some point David Guetta wanted to hop on the track with Akon and Lady Gaga, which only adds to the confusion. Released by Enrique Iglesias as a single of his 2010 album "Euphoria". Wet (Rumored): Produced by Stargate and written by Ester Dean, who presumably sings the demo. A Britney Spears related podcast said this track was first offered to Britney but she rejected it, but due to their dubious reputation, this should be taken with a pinch of salt. Released by Nicole Scherzinger as a single from her debut solo album "Killer Love", released in 2011. Britney Jean Era Home (Rumored): According to some sources the track was made for Britney Jean, but nothing is confirmed. Released by british Singer Leah McFall as her debut single featuring Will.i.am in 2014. Glory Era + B10 Era Breathe Heavy: Produced by Mick Schultz and written by Jon Asher and Melanie Fontana, who is the reference singer. The track was written specifically for Britney, with it's title making allusion to one of her fansites and sent to her along with Mood Ring, but only the aforementioned was recorded. Released by the K-Pop band Rania on their 2017 EP "Refresh 7th" both in English and Korean. Hey Ma: Originally meant as a collaboration between Pitbull, Romeo Santos and Britney, but the track was picked up by Fast and Furious for their soundtrack and they decided to change up the singers so it was better suited for the vibes they were going for. Britney recorded her parts of the song the 18th of November of 2016. Ultimately released by Camila Cabello, J Balvin and Pitbull in 2017 on "Fast and Furious 8, The Album". Kiss & Make Up: Produced by Banx & Banx, sent to Britney during the Glory sessions but the song was rejected and ultimately released by Dua Lipa herself as a collaboration with the K-Pop Group Blackpink on her 2017 selftitled debut album. The track was also offered to Miley Cyrus and Demi Lovato but both rejected it as well. Padam Padam: Produced by Lostboy and written by Ina Wroldsen, who also sings the reference track. According to BlackoutZone, it was sent to Britney at some point of 2022 as one of her choices for a comeback single, but she rejected the song because she wasn't interested in recording any new material at the time. Released by Kylie Minogue as the lead single off her lastest album "Tension". Secret (Shh): Produced by SOPHIE and Jodie Harsh. Karen Kwak, Britney's A&R during the Glory recording process, wanted this track for her, but she couldn't get it and Charli XCX released it as a part of her 2016 E.P "Vroom Vroom" instead. Sucker For Pain: Produced by Alex Da Kid and most likely recorded during july of 2015. Demi Lovato and Rihanna also recorded their versions of this song, and at a point it was a part of ANTI's early tracklist. Ultimately released by Lil Wayne featuring Wiz Khalifa, the Imagine Dragons, Ty Dolla $ign, Logic and the X Ambassadors for the "Suicide Squad" Sountrack in 2016. W FACE: Produced by Andrew Goldstein, written by Jesse Saint John and Lola Blanc, who sings the reference track. The song was originally titled "SLAY" and was made for Britney but it got rejected. Released by J-Pop singer Kumi Koda for her album "W Face - Outside" in 2017. When I Rule The World: Produced by SOPHIE. Britney really wanted to record this track in 2015 for an early version of Glory, but LIZ didn't let her get her hands on the track and released it herself the same year. Get Low (Rumored): Produced by Zedd, supposedly meant to be a collaboration between the producer and Britney, but things fell through. Britney's version of the track was in circulation at some point. Released with the former One Direction member Liam Payne featured on it in 2017. Peek A Boo (Rumored): Produced by the duo Moonshine, a demo in english that could've been pitched to Britney is partially available online. The original source talking about this song being for Britney was a fake BreatheHeavy insider who claimed it was pitched to her for Glory, but the writers of the track never mentioned sending the song to Britney, which only it makes this more unlikely to be real. Only adding this song to the list because the snippet tagged by King Bob sounds legit; a 1 minute Bounce is also circulating online but it's clearly made with Artificial Intelligence and doesn't even share the same lyrics as the King Bob snippet. Released by the K-Pop group Red Velvet for their 2017 album "Perfect Velvet" in 2017. The Middle (Rumored): Another unsuccessful attempt of a collaboration with Zedd, Britney allegedly recorded a version of this song in 2016 but it was never released. The track ended up being released with Maren Morris as it's vocalist in 2017 after going through many singers' hands, including the likes of Camila Cabello and Charli XCX. Trophy (Rumored): Produced by SOPHIE. A reliable source said that a Demo of the track was sent to Britney during the Glory recording sessions but it was rejected. Released by Charli XCX on her 2016 E.P "Vroom Vroom".

I'm obsessed with the production of this song anyone have ones that sound like this?