Britney Spears Britney CD

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Includes a Quicktime video for the song "Overprotected" with outtakes from Britney's first major motion picture relase.
Personnel includes: Britney Spears (vocals); Brian Kierulf (various instruments); Max Martin (guitar, background vocals); Esbjorn Ohrwall, Nile Rogers, Isaac Phillips, Paul Umbach (guitar); Josh Schwartz, Thomas Lindberg (bass); Rodney Jenkins (programming); Corey Chase (scratches); Daniel Savio (turntables); Jennifer Karr, Jeanette Olsson, BossLady, Ann Marie Bush, Sue Ann Carwell, Tyler Collins, Deann Dover, Albert D. Hall, Damien Hall, Nana Hedin, Annika Tornkvist (background vocals).
The Neptunes: Pharrell Williams, Chad Hugo (various instruments).
Producers include: Wade J. Robson, Justin Timberlake, Brian Kierulf, Josh Schwartz, Max Martin.
Engineers include: Max Martin, Rami, Jamie Duncan.
BRITNEY was nominated for the 2003 Grammy Awards for Best Pop Vocal Album. "Overprotected" was nominated for the 2003 Grammy Awards for Best Female Pop Vocal Performance.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Britney Spears (vocals, background vocals); Max Martin (guitar, background vocals); Esbjörn Öhrwall, Nile Rodgers (guitar); Jeff Pescetto, Chris Thompson, Nana Hedin, Damion Hall, Maxayne Moriguchi, Albert Hall , Jason Scheff, Sue Ann Carwell, Tyler Collins, Wil Wheaton, Jennifer Karr (background vocals).
Audio Mixers: Jean-Marie Horvat; Max Martin; Serban Ghenea; Stephen George; Rami.
Recording information: 2nd Floor Recording, Orlando, FL; Battery Studios, New York, NY; Hit Factory Criteria, Miami, FL; Maratone Studios, Stockholm, Sweden; Master Sound Studios, Virginia Beach, VA; Record Plant, Los Angeles, CA; Right Track Studios, New York, NY; Rusk Sound Studios, Los Angeles, CA; Sound on Sound Studios, New York, NY; The DOJO, Jackson, NJ; Westlake Audio, Los Angeles, CA.
The title says it all -- that this third album is where it's all about Britney. Actually, the titles say it all: Britney is "Overprotected," she pleads "I'm Not a Girl, Not Yet a Woman," tries to let us all see "What It's Like to Be Me." All three songs are pivotal moments on Britney Spears' third album, the record where she strives to deepen her persona (not the same thing as her character, of course), making it more adult while still recognizably Britney. That much was evident from the selection of the first single, "I'm a Slave 4 U," a sultry Neptunes-produced salute to Prince that is so far removed from the big, glitzy Max Martin productions that are her signature that at first it sounds awkward, even wrong. As it grows, it sounds like one of her best singles -- a skittering, spare funk number that is a perfect next move for her teasing, unformed sexiness. Such a departure seems to signal a full album of surprises like that, especially when teamed with the aforementioned title, but Britney isn't that bold -- after it opens with the Neptunes' retro-future funk, it delves right back into Martin territory with "Overprotected." At first, that's a disappointment, but then the small, yet significant, changes become apparent. Rhythmically and melodically, the whole album is sharper, tougher than what came before. What used to be unabashedly frothy has some disco grit, underpinned by Spears' spunky self-determination that helps sell hooks that are already catchier, by and large, than those that populated her previous two albums. While there's no denying that this reinvention and statement of dogged individuality is no doubt a calculated move (and a brilliant, timely one at that), there's no denying that it's effective, in large part because Spears is committed to making this record work. She's co-written more songs than ever before, and these are strong selections, whether it's the hard-edged "Lonely," the sweet "That's Where You Take Me," or, especiallyRolling Stone (11/22/01, pp.86-6) - 3 stars out of 5 - "...By far her most personable album, the most consistently playful and least wince-inducing..."
NME (Magazine) (11/3/01, p.34) - 7 out of 10 - "...BRITNEY pulls off the same trick that Janet Jackson's CONTROL did both musically and lyrically, announcing her womanhood with an explosion of club-dominated pop..."