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 everyone 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 a calculated move (and a brilliant, timely one at that), there's also no denying that it's effective, in large part because {$Spears} is committed to making this record work. She's co-written more songs than ever before, and these are strong selections, whether it's the hard-edged {&"Lonely,"} the sweet {&"That's Where You Take Me,"} or, especially, the {\neo-disco} {&"Anticipating,"} one of the pure delights on this record. These are small steps forward -- really, the most overt steps forward are the collaborations with {$the Neptunes} on {&"Slave"} and {&"Boys,"} which are the sexiest sounding cuts she ever did -- but most of the {$Martin} productions sound fuller (particularly the {$Dido}-written {\ballad} {&"I'm Not a Girl"}), and {$Rodney Jerkins} offers some welcome rhythmic invention on many of his contributions. This isn't a perfect record -- {$Martin} stumbles on {&"Bombastic Love,"} {$Jerkins} drops the ball on {&"I Love Rock 'n' Roll"} (the year's entry of the now obligatory cringe-inducing classic {\rock} by {$Ms. Spears}) -- but it does sound like the work of a star who has now found and refined her voice, resulting in her best record yet (and rivaling {$Mandy Moore}'s eponymous album as the best {\teen pop} record yet released). It's enough of a reinvention to suggest that {$Britney} will know what to do when the turn-of-the-millennium {\teen pop} phenomenon passes for good. [The expanded edition of this album added remixes of {&"Overprotected,"} {&"I'm a Slave 4 U,"} and {&"I'm Not a Girl, Not Yet a Woman,"} as well as a bonus DVD featuring videos to all of {^Britney}'s singles, an interview, and a making-of special on her "Taste the Victory" commercial for Pepsi Cola.] ~ Stephen Thomas Erlewine, All Music Guide