Celebrating Britney Spears: Finally Free at 40

Today marks the 40th birthday of pop music legend Britney Spears. She became a superstar the moment her iconic debut single “…Baby One More Time” was released in the fall of 1998 and remains beloved today. Although the media coverage of her has focused on her mental health, relationships, and conservatorship over the past decade, I opt to focus on the tremendous amount of music she has given us in the last 23 years.

A Primer on the Life and Career of Britney Spears

Britney Jean Spears was born on December 2, 1981 in McComb, Mississippi. She is the middle child of three children born to Jamie and Lynne Spears (she has a brother Bryan and a sister Jamie). Britney was raised in Kentwood, Louisiana and got her early start in music singing in her Southern Baptist church choir. When she was 8, her mother Lynne drove her to Atlanta, Georgia so that she could audition for the 1990s revival of The Mickey Mouse Club. She was rejected for being too young, but she met an agent who convinced the family to enroll her in a professional performing arts school in New York City. In December 1992, Britney finally got her spot on The Mickey Mouse Club alongside a mind-blowing roster of child stars who would go on to become A-listers — Ryan Gosling, Justin Timberlake, Christina Aguilera, and Keri Russell.

In 1997, Britney was in talk to join a female pop group Innosense after being told by several record labels that audiences wanted pop bands and that there was never going to be another solo teen pop star a la Debbie Gibson and Tiffany. However, Jive Records became intrigued after hearing her rendition of the Whitney Houston classic “I Have Nothing.” She was assigned to work with producer Eric Foster White, who helped shape her sound, and the result impressed the label head who ordered a full album. Britney originally envisioned her sound to be “Sheryl Crow music, but younger more adult contemporary,” but relented to the labels’ demand for teen pop. To build buzz for the album, she went on a shopping mall promotional tour and then served as an opening act for boy band NSYNC.

Her debut album …Baby One More Time was released on January 12, 1999. The album and its title track hit #1 on the Billboard charts and she became an instant sensation. The album went on to sell over 25 million copies worldwide (including 14 million in the U.S. alone). She was also nominated for Best New Artist and Best Female Pop Vocal Performance at the Grammys. A short 14 months later, she released her second album Oops!…I Did It Again. It broke the record for the largest debut sales week by a solo artist in history and sold over 20 million copies worldwide (10 million in the U.S. alone). She received two more Grammy nominations for that album.

Her image got considerably more provocative during this period of time, highlighted by her instantly iconic performance at the 2000 MTV Video Music Awards and her romance with fellow pop superstar Justin Timberlake. In November 2001, she released her third album Britney. The album capitalized on her more mature persona sonically, lyrically, and aesthetically. The result was less of a commercial success (the album “only” sold 10 million copies worldwide) but greater critical appreciation (in particular the song “I’m a Slave 4 U” and her racy music video and MTV Video Music Awards performance of the song gained acclaim). She also made her film debut during this era, starring in the coming-of-age road-trip dramedy Crossroads. The film failed to impress critics but was decently profitable and became something of a cult classic.

In 2003, she had her third scandalous and iconic MTV Video Music Awards appearance when Madonna passionately kissed both her and Christina Aguilera during a medley of “Like a Virgin” and “Hollywood.” This was a key promotional moment in the lead-up to her fourth album In the Zone, which featured a high-profile duet with Madonna and was released on November 18, 2003. The album only went double platinum in the U.S., but it was by far her most critically successful to date. Songs like “Toxic” and “Everytime” became some of her most acclaimed, with the former winning Britney her first (and to date only) Grammy.

Then things started to go downhill. She had a Las Vegas wedding chapel marriage to her childhood friend Jason Alexander that was quickly followed by an annulment. She met dancer Kevin Federline and began a whirlwind romance with him that was featured on an utterly disastrous reality show called Britney and Kevin: Chaotic. They got married and divorced, she gave birth to and lost physical custody of her children, she entered psychiatric rehabilitation treatment programs, and had several run-ins with the paparazzi. She was involuntarily hospitalized by court order in January 2008, which led to the abusive conservatorship that she was under up until mere weeks ago. And during this time, she released what is considered by many to be her best album to date — 2007’s Blackout.

Despite living under her restrictive conservatorship, she had remarkable professional success over the next 13 years. She released four more albums — 2008’s Circus, 2011’s Femme Fatale, 2013’s Britney Jean, and 2016’s Glory. She scored 4 more #1 hits during this period (“Womanizer,” “3,” “Hold It Against Me,” and “S&M”), as well as several other sizable hits. She also continued to be a touring powerhouse, most notably with the Piece of Me residency at Planet Hollywood Resort & Casino in Las Vegas. The residency ran from December 2013 to December 2017 and played to nearly 1 million spectators, grossing $137.7 million in revenue. (Over her career, Britney has also embarked on 10 world tours that played a total of 516 shows on 6 continents to over 7 million spectators and grossed well over $700 million.)

Over the course of her career to date, Britney Spears has earned the moniker of “The Princess of Pop” and sold well over 100 million records. She has scored 6 #1 albums on the Billboard 200 and 5 #1 singles on the Billboard Hot 100. She has won 1 Grammy, 1 American Music Award, 6 MTV Video Music Awards (including the prestigious Vanguard Award), and 8 Billboard Music Awards (including the prestigious Millennium Award). And critics have come around on her as well. Although they have long recognized her strength as a dancer and visual artist, they have been paltry in their compliments regarding her singles and albums. Recently, however, industry bible Rolling Stone named “…Baby One More Time” the greatest debut single ever by an artist and ranked Blackout on their list of the 500 Greatest Albums of All Time.

For Britney Spears’s 40th birthday, most of the attention will undoubtedly go to her new life free from the horrific conservatorship that she is spending with fiancé Sam Ashgari and her now-teenage children Sean and Jayden. However, I prefer to focus on her utterly remarkable and often under-appreciated musical career. In order to do this, I tracked down every single Britney Spears song I could find and decided to rank them.

Notes on My Ranking: I tracked down a total of 163 Britney Spears songs. I only included ones that were original recordings (remakes are okay, but not remixes or live versions of songs she previously recorded), featured Britney’s vocals prominently (I excluded all-star charity songs and samples using her voice), and could be located on streaming or CD (of note, there are dozens of other unofficial and unreleased Britney Spears floating around; see a list of unreleased songs here). I based my rankings on what I think are her best songs in terms of composition, production, lyrics, and vocals, not necessarily which ones I enjoy the most. I focused on the top 80 for several reasons: 1) It marks the top half of her musical output (why focus on the negative?), 2) it represents two songs for each of her 40 years, and 3) it was a natural cut point in terms of quality ranking.

Ranking Britney Spears’ 80 Best Songs

80. Matches (Glory, 2016). Nearly 2 decades after they were at their commercial primes, Britney and the Backstreet Boys collaborated for the first time. It might not be a home run, but this uptempo dance song about a dangerous love is a remarkably catchy, silky smooth listen.

79. I Run Away (Britney, 2001). This guitar-driven ballad was released on international and deluxe editions of her 3rd album and is in fact stronger than several of the songs that made the standard edition. The song is a dramatic exploration of moving on after heartbreak.

78. (Drop Dead) Beautiful (Femme Fatale, 2011). An electro-pop banger that seamlessly integrates a terrific verse from pop singer Sabi, this is a confident and polished track that manages to stand out on one of her best albums.

77. Passenger (Britney Jean, 2013). Co-written by Sia and Katy Perry and co-produced by Diplo, this song deceptively opens with EDM stylings before revealing itself to be a soaring pop-rock ballad. The lyrics are about learning how to let your guard down and cede control in a relationship.

76. Lace and Leather (Circus, 2008). This brief but funky dance-pop song finds Britney at her most sexually suggestive. The song stands apart on the album with its catchy and memorable chorus. (Fun Fact: A pre-fame Kesha sings back up.)

75. Change Your Mind (No Seas Cortes) (Glory, 2016). Written and produced by Swedish songwriting and producing duo Mattman & Robin, this Latin-influenced dance song about trying to convince a gentle and respectful love interest to make his move is a mature and sultry earworm.

74. I Love Rock ’n’ Roll (Britney, 2001). Britney elicited groans from many for her middling covers of Sonny and Cher’s “The Beat Goes On” and The Rolling Stones’s “(I Can’t Get No) Satisfaction” on her first two albums. Thankfully, this cover of the Joan Jett & The Blackhearts classic for her third album turned out considerably better. The song features great production from Rodney “Darkchild” Jenkins and is notable for being heavily featured in the climax of her film debut Crossroads.

73. Liar (Glory, 2016). Hand claps and horns contribute to a tribal rock sound that finds an angry Britney rebuking an unfaithful lover. The explosive chorus and Britney’s guttural vocals make this song a standout in her catalogue.

72. Trip to Your Heart (Femme Fatale, 2011). Heavily processed vocals and prominent synthesizers work well with this melodic, ethereal, and joyfully romantic song about being in the throes of love.

71. Private Show (Glory, 2016). One of the most interesting and exciting aspects of Britney’s 9th album was how she moved out of her comfort zone vocally. Nowhere is that more evident than on this musical striptease that finds her improvising in her lower register. Some called this one a misfire, but I think it’s a fascinating anomaly in Britney’s catalogue.

70. Early Mornin’ (In the Zone, 2003). This sultry, subdued song perfectly captures the desperate search for a hook up in the early hours of the morning with its creative lyrics, vocals, and production. It was co-written and produced by dance music icon Moby and features a hypnotically catchy chorus.

69. That’s Where You Take Me (Britney, 2001). Middle Eastern chimes, electronic beats, and drums fuel this distinctive and euphoric track that chronicles being intoxicated by a truly satisfying romantic relationship.

68. Anticipating (Britney, 2001). Britney makes a rare but exceptional foray into disco with this joyous track about a night out on the town with girlfriends.

67. Swimming in the Stars (Glory, 2016). This bonus track from Britney’s 9th album is an ethereal, synth-heavy, electro-pop ballad that finds Britney at her most romantic and carefree. It’s a lovely song that should have made the cut of the standard album.

66. Seal it With a Kiss (Femme Fatale, 2011). Another remarkably catchy collaboration with Dr. Luke and Max Martin, this electro-pop track features a tremendously catchy chorus, a dubstep breakdown, and a sassy vocal performance.

65. (I Got That) Boom Boom (In the Zone, 2003). Britney’s boldest foray into hip-hop to date is this deep-fried Southern concoction that finds her blending her signature sound with that of hip-hop duo The Ying Yang Twins.

64. S&M (Rihanna’s Loud, 2011). Britney’s 5th and most recent #1 on the Billboard Hot 100 is this duet with Rihanna. Britney added vocals to the existing Rihanna song, which is about the delight of bondage and fetishes and features high-energy, Stargate-produced dance beats. Britney’s vocals don’t add much, but it is a sublimely entertaining and catchy pop trifle in any form.

63. Don’t Keep Me Waiting (Femme Fatale, 2011). This rock-influenced, high-energy, arena-ready production from Darkchild finds an auto-tune-free Britney eagerly anticipating a sexual encounter.

62. I’m Not a Girl, Not Yet a Woman (Britney, 2001). Max Martin, Rami, and Dido teamed up to write this power ballad about adolescent angst. It features an elegant piano medley and confident, affecting vocals.

61. Before the Goodbye (Britney, 2001). This exceptional bonus track from her 3rd album finds her teaming up with electronica producer BT for an innovative heartbreak anthem that contrasts slow heartfelt verses with a thrilling, uptempo chorus.

60. Make Me (Glory, 2016). This mid-tempo R&B ballad was the lead single for Britney’s 9th album. Both Britney’s vocals and the production by Burns are oozing with sexiness and attitude and even G-Eazy’s somewhat unnecessary rap verse doesn’t detract from the expertly crafted mood.

59. Tom’s Diner (Giogrio Moroder’s Déjà Vu, 2015). Suzanne Vega’s iconic a capella song from 1982 gets a wildly unexpected EDM makeover by legendary disco producer Giorgio Moroder. Britney provides the vocals and does a superbly. It is a bit overproduced for a song that is ultimately a quiet observational song about everyday life, but it works.

58. Shattered Glass (Circus, 2008). Dark electronic beats dominate this concise and dramatic song about a relationship that is beyond repair. It makes heavy but effective use of sound and vocal effects.

57. Man on the Moon (Glory, 2016). Co-written and co-produced by musician Jason Evigan, this mid-tempo track finds Britney longing for a far-away love through a plethora of space-related metaphors. It is marked by a poignant longing and an elegant production that evokes the cosmos.

56. Body Ache (Britney Jean, 2013). Superstar French DJ, producer, and writer David Guetta’s mark is evident on every second of this elaborately produced ode to giving it your all on the dance floor. This is a highly underrated song that could have been a huge hit.

55. Freakshow (Blackout, 2007). This sassy dubstep banger is a futuristic-sounding ode to leaving your inhibitions at the door with a lover. It is a bold and quirky delight.

54. Perfume (Britney Jean, 2013). This synth-pop power ballad co-written by Kesha and co-produced by will.i.am has a strong 1980s pop influence. The song features an impressive vocal performance and atypically nuanced and weighty lyrics about the impact of jealousy and suspicion in a relationship.

53. Gasoline (Femme Fatale, 2011). This horny and bass-heavy collaboration with benny blanco and Dr. Luke is yet another winner from Britney’s terrific 7th album.

52. Unusual You (Circus, 2008). This atmospheric, electronica mid-tempo has an ethereal quality that befits the lyrics, which chronicle Britney’s fascination with a lover who defied all of her cynical expectations.

51. What It’s Like To Be Me (Britney, 2001). Co-written and co-produced by her ex-boyfriend Justin Timberlake (who also provides backup vocals), this song finds Britney demanding her lover get to know her intimately and earn her love. It’s exceptionally produced and has a memorably growling rock chorus.

50. Phonography (Circus, 2008). This bonus track from Britney’s 5th album probably ranks at the bottom of many critics’ lists of Britney songs but I have absolutely adored it since the moment I first heard it. The absolutely ridiculous but clever lyrics discuss phone sex with a dizzying number of metaphors and double entendres. It is one of her catchiest songs.

49. Don’t Let Me Be The Last To Know (Oops!…I Did It Again, 2000). Co-written by country pop legend Shania Twain and Robert John “Mutt” Lange, this song is a rare foray into true power ballad territory. It features a fittingly, nuanced vocal performance and a soaring chorus.

48. Up n’ Down (Femme Fatale, 2011). Yet another example of the bonus track being better than many songs that made the cut for the standard album, this uptempo dance-pop collaboration with Max Martin and Shellback has one of the best hooks of her entire catalogue.

47. Brave New Girl (In the Zone, 2003). This intoxicating and funky song finds Britney delivering rap-like verses over electronic beats and a soaring pop chorus. The song uses synthesizers and vocal effects superbly and finds Britney at her most uninhibited and creative.

46. I’ve Just Begun (Having My Fun) (Greatest Hits: My Prerogative, 2004). There isn’t a great deal that is particularly distinctive or innovative in this Bloodshy & Avant-produced track that finds Britney ready to take control of her life and live it how she wants to, but it is nevertheless superb.

45. Lucky (Oops!…I Did It Again, 2000). This melodic mid-tempo song is a fan favorite largely because of how it delved into her perceptions and fears about fame for the first time. Although its lyrical content is interesting and her vocals are strong, I have always found it a bit cloying in its production and a bit naive in its writing. However, the combination of Max Martin, Rami, and Britney rarely disappoints and it is ultimately a very strong pop song.

44. Ooh Ooh Baby (Blackout, 2007). This track was co-written and co-produced by American Idol judge Kara DioGuardi and incorporates flamenco guitars and a sample of the iconic hit “Happy Together” by The Turtles. It’s a hypnotic and satisfying dance track that is one of the highlights of an album filled with gems.

43. Boys (Britney, 2001). Another successful collaboration with The Neptunes, this funky song was written for Janet Jackson’s album All For You before being given to Britney. It is a hip hop- and soul-influenced track that is improved by the “Co-Ed Remix,” which finds Britney trading lines with Neptunes co-founder Pharrell Williams.

42. If U Seek Amy (Circus, 2008). Is this song about an altar ego of Britney Spears? Is it about Amy Winehouse? Is it simply an excuse to coyly spell out “F-U-C-K-ME” phonetically? Whatever it is, this reunion between Britney and early collaborators Max Martin and Shellback is wildly entertaining, synth-fueled pop with heavy elements of rave music.

41. Break the Ice (Blackout, 2007). “It’s been a while / I know I shouldn’t have kept you waiting / But I’m here now.” This spoken word opening finds Britney both talking to a lover and her fans. The song is an effective hybrid of electronica and R&B that feels fresh and innovative.

40. My Prerogative (Greatest Hits: My Prerogative, 2004). This cover of Bobby Brown’s 1988 New Jack Swing classic was largely derided by critics, but I find the synthpop makeover that Britney and producing partners Bloodshy & Avant gave the song to work terrifically.

39. What You Need (Glory, 2016). The closing track of the standard edition of Britney’s 9th album is this epically sassy, soulful track that finds Britney at arguably the most alive and unrestrained she has ever been vocally. Her fascinating vocal performance combined with Young Fyre’s horn-fueled production make this song a delightful surprise.

38. Outrageous (In the Zone, 2003). The horrifying sexual abuse perpetrated by the song’s writer-producer (R. Kelly) makes me want to omit this song about embracing a life of hedonism. But its production, which includes what has been aptly described as a “snake-charmer” melody, is so slick that it’s impossible to deny. (Fun Fact: This song was selected as the theme song to Halle Berry’s notorious box office bomb Catwoman, but was subsequently scrapped.)

37. Alien (Britney Jean, 2013). Writer and producer William Orbit, who famously collaborated with Madonna on her electronica masterpiece Ray of Light, does similarly superb work with this opening track to Britney’s 8th album. It features mid-tempo synth beats and revealing lyrics about the loneliness and isolation of celebrity.

36. Get Naked (I Got a Plan) (Blackout, 2007). This funky, uptempo song is a duet with producer Danja. Its sexually explicit lyrics are backed by a spectacular production and excellent use of vocal effects.

35. Do Somethin’ (Greatest Hits: My Prerogative, 2004). Containing perhaps more attitude than any song in Britney’s oeuvre, this electric guitar-heavy dance-pop ode to not caring about other people’s judgments is a bold and thrilling dance track that is very unique in her catalogue.

34. Lonely (Britney, 2001). This gritty, rock-tinged R&B banger was discarded by some as a watered-down version of Janet Jackson’s explosive “What About.” However, I think this is one of the best songs she never released with its cathartic “I’m moving on” lyrics, bold chorus, and tempo-altering bridge.

33. Hold it Against Me (Femme Fatale, 2011). It may come up significantly short compared to the lead singles of previous 5 albums, but this Max Martin/Dr. Luke co-production is still great. The song is lyrically and thematically slight, focusing on picking up a guy on the dance floor with clever pickup lines (e.g., “If I said I want your body now/Would you hold it against me?”). One of the song’s most distinctive features its memorable mid-song dubstep breakdown. (Fun Fact: This became her 4th #1 on the Billboard Hot 100.)

32. Slumber Party (Glory, 2016). This sexy, reggae-influenced track incorporates instrumentation rarely seen in Britney songs, including horns and a marimba. The lyrics are sexually provocative, but it is a remarkably elegant and polished track with a superb vocal arrangement.

31. Born To Make You Happy (…Baby One More Time, 1999). A song that should have been a much bigger hit than it was, this pop song stood out on her debut album for its moderately slow tempo and mature, soulful vocals. The lyrics, which depict a woman desperate to please her man at any cost, may be questionable but the production and vocals are top-notch.

30. Radar (Blackout, 2007). This synthesizer- and autotune heavy song didn’t impress critics too much, but Britney liked it enough to include it on not one but two of her albums (it also appeared on 2008’s Circus). It incorporates Eurodisco and rave music and has a simplistic and repetitive but very catchy melody.

29. Overprotected (Britney, 2001). This ode to a young woman’s need for independence was a strong Max Martin/Rami dance-pop track before it got a bold and thrilling R&B makeover by Rodney “Darkchild” Jerkins that elevated it considerably.

28. Everybody (Blackout, 2007). Britney has made terrific use of samples throughout her career, but nowhere did she do it better or more boldly than in this song. This under-appreciated bonus track heavily and brilliantly interpolates The Eurythmics classic “Sweet Dreams (Are Made of This).”

27. Breathe On Me (In the Zone, 2003). This exceedingly sexy, mid-tempo song evokes Madonna’s Erotica and Bedtime Stories eras in the best way. With expert production by Mark Taylor (who a few years earlier produced Cher’s comeback anthem “Believe”) and a perfectly calibrated vocal performance, this song is a winner.

26. Clumsy (Glory, 2016). This masterful EDM song is a bass-heavy track that finds Britney cooing about the intense sexual chemistry she has with her partner. This is a spectacular, high-energy banger.

25. Scream & Shout (will.i.am’s #willpower, 2012). This upbeat dance track may be slight lyrically and a bit repetitive but it works terrifically. It cleverly interpolates the “It’s Britney, bitch” line from “Gimme More” and features an excellent blend of vocals from Britney, will.i.am, and a prominent team of back-up singers.

24. Me Against the Music (In the Zone, 2003). This hotly anticipated collaboration between The Queen of Pop (Madonna) and the Princess of Pop (Britney) disappointed many. I, however, have loved this song from the first time I l heard it and think it is vastly underrated. It is a modern-sounding dance/pop/hip-hop hybrid that features funky guitar riffs and the two icons rapidly trading lines. It is a breathless, pulse-pounding dance floor anthem.

23. My Only Wish (This Year) (Platinum Christmas Compilation, 2000). When people think about modern pop Christmas classics they automatically go to Mariah Carey (and for good reason). But there are a handful of other exceptional holiday pop songs from the modern era by other artists and this one is at the top of that group. The song finds Britney lonely and longing for Santa to bring her a lover at Christmas. It’s a jaunty and ebullient Christmas ditty that truly stands the test of time.

22. Just Like Me (Glory, 2016). Alternating guitar-driven verses and electronica-influenced chorus mark this fascinating and haunting track that finds Britney returning home for a surprise tryst with her lover only to find him in bed with a woman that looks just like her. It is easily one of the most mature and interesting songs she has ever written and recorded.

21. Kill the Lights (Circus, 2008). Similarly to “Piece of Me” from her prior album, this song is a blistering takedown of the paparazzi that have relentlessly dogged her for years. It’s a rapidly paced dance-pop track with complex, clever writing and terrific production.

20. Amnesia (Circus, 2008). One of the most interesting things about Britney’s discography is how frequently exceptional songs are featured as bonus tracks despite actually being better than several that made the cut of the album’s standard edition. Nowhere is this the case more than here. An exceptional and distinctive collaboration with writer-producer Garibay, the song chronicles how Britney forgets all about her fiancee when she is approached by a breathtaking man. It has a unique drum-heavy production and confident vocals and is all-around one of her most thrilling songs.

19. Criminal (Femme Fatale, 2011). This song is an anomaly in Britney’s catalogue in two notable ways. First, it has an arrangement that heavily incorporates guitars and flutes (both rare in her discography). Second, and more importantly, it’s a mid-tempo ballad that finds her treading new thematic territory. The song finds her unapologetically embracing her love for a man she knows is no good for her. I find it to be a refreshing change-of-pace that is well-executed (especially its highly unexpected, tempo-shifting bridge).

18. Do You Wanna Come Over? (Glory, 2016). The best song on her highly underrated 9th album, this Mattman & Robin-produced song features playful lyrics about a booty call. The prominent guitar riff of the verses and aching pre-chorus give way to a booming, scream-along chorus. It is an all-around pop gem that should have been a huge hit.

17. I Wanna Go (Femme Fatale, 2011). Another gem that finds Britney reuniting with Max Martin and Shellback, this EDM banger finds her desperate to break free from society’s expectations and let her freak flag fly. It effectively uses vocal effects and cleverly and memorably incorporates rhythmic whistling. It is one of her best and most underrated songs.

16. Work Bitch (Britney Jean, 2013). Club tracks don’t get more perfect than this EDM banger that finds Britney extolling the virtues of a strong work ethic. The largely spoken word lyrics frequently border on the absurd (e.g., “Go call the police, go call the governor/I bring the treble, don’t mean to trouble ya”) but it is a breathtaking dance-pop masterpiece.

15. 3 (The Singles Collection, 2009). In 2009, Britney released her 2nd greatest hits collection and to the surprise of many the sole original track skyrocketed to the top of the charts, becoming her 3rd #1 on the Billboard Hot 100. It’s a synth-, bass-, and autotune-heavy electro-pop song that finds Britney horny for a threesome and name drops folk trio Peter, Paul, & Mary. It’s a frenzied, club-friendly banger that is pure pop perfection.

14. (You Drive Me) Crazy (…Baby One More Time, 1999). Some complained that Britney’s third single sounded a bit too similar to her first, but this one stands on its own for me despite the overlap. With its prominent electric guitar and cowbell, heavy bass drop, and uniquely processed vocals, this song about a woman intoxicated by her new beau is a real winner.

13. Gimme More (Blackout, 2007). Co-written and produced by Danja, this EDM-pop hybrid opens Britney uttering the iconic words “It’s Britney, Bitch” and closes with a spoken word outro by Danja. What comes in between is pop music perfection with a deliciously sultry vocal performance.

12. Sometimes (…Baby One More Time, 1999). A notable change of pace from her debut album’s other two blockbuster singles, this one is more gentle and restrained. It also features more vulnerable lyrics centered on the struggle to trust other people and commit to relationships. The hook developed by Swedish writer-producer Jörgen Elofsson is one for the ages and Britney delivers a charmingly naturalistic vocal performance.

11. Touch of My Hand (In the Zone, 2003). The best song Britney never released as a single, this was the first song recorded for her 4th album. Its provocative lyrics are about the pleasures of masturbation are accompanied by hypnotic Middle Eastern musical elements and a rare but very effective use of Britney’s lower vocal register. It’s a sultry, genre-defying masterpiece.

10. Everytime (In the Zone, 2003). Far and away Britney’s best ballad, this piano-driven confessional also marks the most notable time she took the lead in writing and composing in her early career. It is an aching plea for forgiveness and redemption and features what may just be her finest hour as a vocalist.

9. Circus (Circus, 2008). This superb 2nd single from Britney’s 5th album unites spectacular production from the since-disgraced Dr. Luke with sassy and confident lyrics (“There’s only two types of guys out there/ Ones that can hang with me and ones that are scared/ So, baby, I hope that you came prepared/ I run a tight ship, so beware”). It is uptempo dance-pop filled with stops and starts, heavy bass, rapid-fire vocals, and a thrilling chorus.

8. ‘Til the World Ends (Femme Fatale, 2011). This uptempo pop song incorporates trance, Eurodance, and electronica. It is a dizzying dance floor anthem with repeating chants and a spectacular outro that fascinatingly varies tempos. (Fun Fact: If the song sounds similar to Kesha’s pop classics from around the same time, that’s not a coincidence — she co-wrote it.)

7. Piece of Me (Blackout, 2007). This aggressive electro-pop anthem features perhaps the most prominent vocal effects of her entire catalogue, with its heavy synthesizers and pitch shifting. But it all works spectacularly well in this ferocious song about Britney’s rage toward the media. (Fun fact: Beloved Swedish pop star Robyn sings background vocals.)

6. Oops!…I Did It Again (Oops!…I Did It Again, 2000). As the old saying goes, “If it ain’t broke, don’t fix it.” For the lead single and title track off of her hotly anticipated 2nd album, Britney re-teamed with “…Baby One More Time” writer-producers Max Martin and Rami. The result is a song that is almost as iconic and distinctive enough to stand on its own. The lyrics find Britney toying with a man’s affections and the song includes a remarkably campy (but amusing) spoken-word interlude that references Titanic.

5. Stronger (Oops!…I Did It Again, 2000). One of the boldest and most powerful dance song Britney has ever released, this empowering anthem has since become both a favorite among her large gay fan base. The song reflects her perseverance in the face of great personal adversity and is a fist-pumping, hard-edged track with foghorn synth, industrial elements, and dramatic chord progressions. This is one of those rare pop tracks that only gets better with age.

4. Womanizer (Circus, 2008). Written and produced by The Outsyders, a short-lived production team from Atlanta, the lead single from Britney’s 5th album became her 2nd #1 hit on the Billboard Hot 100 and her 2nd song to be nominated for the Grammy for Best Dance Recording. And it’s not hard to see why. It’s a thrilling, high-energy electro-pop kiss-off to a cheating lover that has an electrifying hook. This is modern pop music at its finest.

3. I’m a Slave 4 U (Britney, 2001). “I know I may be young/ But I’ve got feelings too/And I need to do what I feel like doing/So let me go and just listen.” With that spoken word interlude that kicked off her 3rd album, Britney announced her adulthood. Originally written by The Neptunes for Janet Jackson’s album All For You, it is hard to imagine this song being sung by any other artist. It was far and away her most R&B-influenced song to date and its breathy vocals and prominent use of scratching make this track as innovative as it is iconic.

2. Baby One More Time (…Baby One More Time, 1999). Not only is this the song that launched Britney into superstardom, but it is also one of the greatest pop songs of all time. The opening three-note piano motif is one of the most distinctive intros to any pop song ever recorded, the arrangement by Max Martin and Rami is appropriately dramatic without being overproduced, and the vocals are confident and soulful. It is about as artful, impactful, and satisfying as dance-pop can possibly get.

1. Toxic (In the Zone, 2003). This dance-pop track is simply one of the greatest pop songs ever made. It is remarkably complex musically, incorporating elements of bhangra, techno, and classical music and heavily features violins, high-pitched strings, and surf guitar. It also features exceedingly clever lyrics that craft an extended metaphor for a lover as a fatally addictive drug. Co-written and produced by Bloodshy & Avant and featuring additional writing from Cathy Dennis (a British musician who had a brief but successful career as a pop star herself in the early 1990s), this is an absolutely thrilling and innovative pop music masterpiece.

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Read other articles by this author about legendary female musicians:

• Adele’s “30”: Track-by-Track Review
• “Red (Taylor’s Version)”: Track-by-Track Review
• Celebrating the Legendary Whitney Houston
• For Mariah Carey On Her Golden Anniversary
• The Magnificent Legacy of Janet Jackson
• A Very Late and Very Intimate Evening with Madonna
• Lady Gaga’s “Chromatica”: Track-by-Track Review
• The Brief But Remarkable Recording Career of Paula Abdul