![\"Taylor](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
\n\t\t\t\t\tImage Credit: Youtube\t\t\t\t<\/p>\n
The Swedish studio genius has been behind classic hits by pop\u2019s biggest stars \u2014 from Taylor Swift to Britney Spears to Lady Gaga and more. Here are his finest moments <\/p>\n
\n\tMax Martin is one of Taylor Swift\u2019s favorite collaborators\u2014as on her new blockbuster The Life of a Showgirl, where he and Shellback co-produced and co-wrote the whole album. Martin, the legendary Swedish studio genius behind so many pop classics from the past 30 years, has always been a mystery man, remaining behind the scenes. Yet he\u2019s produced 24 Number One hits \u2014 breaking the record set by Beatles studio wizard George Martin (no relation). He\u2019s served up hits for the biggest names in pop, with an unbroken hot streak ever since he blew up in the Nineties with Britney Spears, NSync, and the Backstreet Boys. He\u2019s kept cranking out hits right up to the 2020s with Ariana Grande and the Weeknd. And he\u2019s got more on the way with Taylor. So now is the perfect time to celebrate his massive historic legacy, with our tribute to his 50 greatest songs. Nobody\u2019s had a bigger impact on how pop music sounds in this century \u2014 and Max Martin wants it that way.<\/p>\n
\tTaylor Swift, \u2018\u2026Ready for It\u2019<\/p>\n
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\n\t\t\t\t\tImage Credit: Youtube\t\t\t\t<\/p>\n
\n\tIt begins with a throat clearing \u2014 and the most badass bass drop of the 2010s. \u201c\u2026Ready for It?\u201d, produced by Martin, Shellback, and Ali Payami, kicks off 2017\u2019s\u00a0Reputation.\u00a0It\u2019s a deliciously devilish opening track that veers into rap, electronica, and dark synth-pop, yet it\u2019s a cohesive thriller that sets the tone of the rest of the album. Swift\u00a0said<\/a>\u00a0it\u2019s about that moment you find your partner in crime: \u201cIt\u2019s like, \u2018Oh my god, we\u2019re the same! Let\u2019s rob banks together, this is great!\u2019\u201d It also marks the first time she references Elizabeth Taylor (\u201cHe can be my jailer, Burton to this Taylor,\u201d referring to the actress\u2019 tumultuous marriage to Richard Burton), which she\u2019d revisit eight years later, on\u00a0The Life of a Showgirl.\u2013Angie Martoccio<\/p>\n \tBritney Spears, \u20183\u2019<\/p>\n \t\t\t \n\tMax Martin produced so many Britney hits, but \u201c3\u201d might be the weirdest \u2014 which is saying something. It blew up into a filthcore Number One hit, a manic electro-stomp with Brit chanting about sex-robot threesome hijinks, with a gigantic beat from Martin and Shellback. It\u2019s a menage a Spears where she purrs, \u201cMerrier the more, triple fun that way!\u201d It made their previous hit \u201cIf U Seek Amy\u201d sound wholesome. Nobody knows why Britney namechecks the sensitive 1960s folkies Peter, Paul, and Mary, not exactly the most sensual of pop groups \u2014 they were more into songs about flowers and world peace\u2014but the answer is blowin\u2019 in the wind. \u2014Rob Sheffield<\/p>\n \tBackstreet Boys, \u2018Everybody\u2019<\/p>\n \t\t\t \n\tThe premise, after all, was pretty straightforward: \u201cDenniz Pop and I had the idea to write a song by Backstreet Boys singing about Backstreet Boys coming back with a new record,\u201d as Max Martin later explained of the 1997 blockbuster that, paradoxically, served as the introduction to the band for American fans. \u201cIt was like \u2018Backstreet\u2019s back,\u2019 we didn\u2019t know where you went?\u201d AJ McLean told Rolling Stone in 2017. \u201cWho are you? What\u2019s going on?\u201d\u2013Jonathan Bernstein <\/p>\n \tLizzo, \u2018Special\u2019<\/p>\n \t\t\t \n\tLizzo gave herself a coronation on \u201cSpecial.\u201d And who better than Max Martin to crown her? It\u2019s a kismet pair: Lizzo has the voice and vibe for gale-force empowerment anthems that fill arenas, while Martin\u2019s meticulous touch keeps Lizzo\u2019s humor and conversational warmth in the verses. He builds her a self-love anthem with a patient R&B sway that swells into a harmony-layered chorus \u2014 \u201cIn case nobody told you today, you\u2019re special\u201d \u2014 a line that feels like it belongs to anyone who sings it.\u2013Sarah Grant<\/p>\n \tCarly Rae Jepsen, \u2018Tonight I\u2019m Getting Over You\u2019<\/p>\n \t\t\t \n\tAfter \u201cCall Me Maybe,\u201d Carly Rae Jepsen flew to Sweden hoping her idol Martin, \u201cthe Wizard of Oz of producers,\u201d could give her some edge. He took the Canadian singer\u2019s bubblegum chirp down a very risky road:\u00a0 2010s EDM. Except Jepsen\u2019s neon-streaked makeover actually worked. Martin kept her vocal wide-eyed and sincere even when she\u2019s talking tough (\u201cAin\u2019t fucking with no fuck boys\u201d) making it the counterpoint to the track\u2019s dubstep chaos. The song didn\u2019t become a chart smash, but it\u2019s a fan favorite, like the glowstick you find in your purse the next morning and decide to keep.\u2013S.G.\u00a0<\/p>\n \tP!nk, \u2018Who Knew\u2019<\/p>\n \t\t\t \n\tMax Martin has always understood just how dynamic Pink\u2019s voice is, and \u201cWho Knew\u201d is one of their most potent collaborations. The song mixes Martin\u2019s taste for big, instantly infectious hooks with the rawness and vulnerability of Pink\u2019s vocal performance, all while unfurling the heart-shattering story of what it\u2019s like to lose a loved one to drugs. Similar to \u201cSince U Been Gone,\u201d it showed Martin\u2019s ability to add some grit to his pop productions and showed just how deep Pink would go in her own writing and lyrics.\u2013Julyssa Lopez<\/p>\n \tAriana Grande, \u2018God Is a Woman\u2019<\/p>\n \t\t\t \n\t\u201cGod Is a Woman\u201d gets to the heart of one of pop\u2019s greatest love affairs: religious imagery intertwined with sharp hooks and choir-stacked harmonies. Ariana Grande opens the record with a vocal baptism, delivering her siren call over sparse, bluesy guitars before sinking into the depths of her temptation with thick percussive kicks. She slips into pockets of hip-hop influence on the verses, reserving her pristine pop expertise for the chorus \u2014 but those harmonies throughout are all classic Ariana.\u2013Larisha Paul<\/p>\n \tEllie Goulding, \u2018On My Mind\u2019<\/p>\n \t\t\t \n\tFor this swerving, syncopated song sbout romantic illusion Martin returned to the daunting piano stabs found on his early hits like \u201c\u2026Baby One More Time\u201d and filtered that sonic motif through a jagged keyboard for a refreshed take that now seems emblematic of the hazy electro-pop of the mid-2010s. With Ellie Goulding\u2019s urgent delivery and powerful Brit-lilt, the track still hits with the same insistent energy it did a decade ago.\u2013Maya Georgi<\/p>\n \tJustin Bieber feat. Nicki Minaj, \u2018Beauty and a Beat\u2019<\/p>\n \t\t\t \n\tIf the year 2012 could sound like one song, it would be this one. Bieber and Minaj\u2019s collaboration is a loud an explosive EDM-pop banger. Above a steady bass and wash of synths, Justin opines for \u201ca beauty and a beat\u201d to make his life complete. Martin co-produced the song with Zedd, well on his way to becoming a star DJ at the time, so there are plenty of dance-floor friendly notes that make this more than just a teen heartthrob hit. And Minaj is an excellent foil to Bieber\u2019s earnestness, commenting on the then-teen star\u2019s superstardom and romance with Selena Gomez at the time.\u2013-Britanny Spanos<\/p>\n \tLana Del Rey feat. The Weeknd, \u2018Lust for Life\u2019<\/p>\n \t\t\t \n\t\u201cLust for Life\u201d went through many iterations and edits, but Martin\u2019s advice gave the song its heartbeat. \u201cHe felt really strongly that the best part was the verse and that he wanted to hear it more than once, so I should think about making it the chorus,\u201d Del Rey told<\/a> Courtney Love. The move also inspired Lana to incorporate more harmonies from The Weeknd. The result is a sprightly beacon that would even impress Iggy Pop.<\/a>\u2013M.G.<\/p>\n \tAriana Grande, \u2018We Can\u2019t Be Friends (Wait For Your Love\u2019<\/p>\n \t\t\t \n\tThis breathy breakup anthem from Eternal Sunshine finds Ariana Grande and Max Martin back in their sweet spot: killing us softly, under strobelights. Martin produced some of Grande\u2019s early smashes like \u201cProblem\u201d and \u201cBreak Free.\u201d This time, she co-produced alongside him. Built on a Robyn-esque synth bed and a driving electropop beat, the song avoids grand modulations \u2014 and even Grande reels in her trademark melisma \u2014 letting the song\u2019s plateauing energy echo the weary lyrics. The chorus takes off on \u201cfriends\u201d like it\u2019s a most catastrophic word in the English language.\u2013S.G.\u00a0<\/p>\n \t*NSYNC, \u2018Tearin\u2019 Up My Heart\u2019<\/p>\n \t\t\t \n\t\u201cI Want You Back\u201d might technically be \u2018NSync\u2019s debut single, but \u201cTearin\u2019 Up My Heart,\u201d the opening track to their self-titled album, became their official introduction to American audiences. Martin reportedly offered this millennium magic to the Backstreet Boys first, but thankfully, they turned it down, and our hearts were never the same. As Lance Bass correctly\u00a0said<\/a>, \u201cI thought it was \u2018I Want You Back\u2019 on crack.\u201d The hit has mega staying power: at Coachella in 2019, Ariana Grande brought a Timberlake-less \u2018NSync onstage for a performance of it.\u2013A.M<\/p>\n \tTaylor Swift, \u2018Delicate\u2019<\/p>\n \t\t\t \n\tTaylor went to Max Martin for Reputation because she knew he could create the industrial \u201cnighttime cityscape\u201d mood she wanted. \u201cI wanted the production to have nothing wooden,\u201d she told Rolling Stone\u2019s Brian Hiatt. \u201cThere\u2019s no wood floors on that album.\u201d But \u201cDelicate\u201d is the ghost in the machine\u2014a breathy moment of open-hearted human vulnerability, at a dive bar on the east side of town. Taylor\u2019s whisper in the dark\u2014\u201cIs it cool that I said all that?\u201d \u2014 builds into a heartbreaking hook.\u2014R.S.<\/p>\n \tKaty Perry, \u2018Roar\u2019<\/p>\n \t\t\t \n\tIn the summer of 2013, this chapter of the Perry-Martin oeuvre was so omnipresent, it might as well have been the weather. \u201cRoar\u201d was Katy Perry\u2019s clapback to critics who doubted she would ever top her \u201cTeenage Dream\u201d winning streak. Built by Max Martin on a purposefully spare stomp-and-clap beat, the verses thud beneath Perry\u2019s voice. It\u2019s as if the track clears its own runway, saving energy for the pre-chorus flare of \u201cI got the eye of the tiger\u201d before lift-off. She announced she was here to stay. Martin ensured the world got the message.\u2013S.G.\u00a0<\/p>\n \tCeline Dion, \u2018That\u2019s the Way It Is\u2019<\/p>\n \t\t\t \n\tMax Martin can sure draw emotion out of the word \u201cit.\u201d Shortly after her U.S. multi platinum Titanic-era stardom, Dion teamed up with Martin for this greatest hits album one-off. Does it sound like a cut and paste Millenium-era Backstreet Boys song that was recorded around the same time as another song that pondered the profundity of \u201cit\u201d?<\/a> It sure does, but that doesn\u2019t make song \u2014 in all its trademark Max Martin soaring pre-chorus glory \u2014 any less perfect.\u2013J.B.<\/p>\n \tNormani, \u2018Motivation\u2019<\/p>\n \t\t\t \n\tAs the first true solo single from Normani, \u201cMotivation\u201d marked a pivotal moment for the Fifth Harmony member. She\u2019d released a few songs on her own, but they each paired her with a featured male vocalist. Normani\u2019s presence is commanding across the record, but never more so than when her voice cuts through an expertly arranged horn section. The sugary blend of pop and R&B hit a sweet spot in its teasing flirtation and unwavering confidence. \u2014 L.P.<\/p>\n \tThe Veronicas, \u20184ever\u2019<\/p>\n \t\t\t \n\tThe Australian twin-sister duo of Jessica and Lisa Origliasso took their name from the Eighties classic Heathers, in homage to Winona Ryder\u2019s bad-ass teen heroine. They scored an immortal 2005 pop-punk dance hit with \u201c4Ever,\u201d their ode to rock & roll girls looking to make a little trouble tonight. \u201cIt\u2019s about living life for the moment, forgetting about your worries and just getting up and dancing,\u201d Lisa explained. \u201cPlus it\u2019s a bit bratty, which we like.\u201d\u2014R.S.<\/p>\n \tBritney Spears, \u2018You Drive Me Crazy\u2019<\/p>\n \t\t\t \n\tIn the legendary pop summer of 1999, the Backstreet Boys were all over Total Request Live with \u201cLarger Than Life.\u201d Meanwhile, Britney was also all over TRL with \u201c(You Drive Me) Crazy\u201d \u2014 featuring the exact same backing track, a truly shameless flex. Was Max Martin just trolling at this point? It was Brit\u2019s theme song for the immortal teen flick Drive Me Crazy, starring Adrian Grenier and Melissa Joan Hart. Spears and Hart also bonded on a very special episode of Sabrina the Teenage Witch.\u2014R.S.<\/p>\n \tKaty Perry, \u2018Hot N Cold\u2019<\/p>\n \t\t\t \n\tMartin concocted this disco rager with Dr. Luke and Benny Blanco, piling up guitars and synths over a heedless electro-trash thump as the song bounces towards one of the more anthemic choruses in the Martin canon. It was the perfect over-the-top track for Perry\u2019s overheated vocal performance, which begins, \u201cYou change your mind like a girl changes clothes\/Yeah, you PMS like a bitch, I would know.\u201d Promoted with a wild bridezilla video, it made for one of Perry\u2019s funnest hits and a huge global smash.\u2013Jon Dolan<\/p>\n \tKesha, \u2018Blow\u2019<\/p>\n \t\t\t \n\t\u201cBlow\u201d is a mass recruitment into Kesha\u2019s world of sticky dancefloors and late-night sleaze, which couldn\u2019t have found a better ambassador. She sings like she\u2019s leading an army to invade every club in a 50 mile radius. The thrilling anticipation of that first \u201cThis place about to \u2014 \u201d before the riotous chorus comes barreling in leaves you hanging on her every word. The track\u2019s internal call-and-response emphasizes its pleasantly overloaded production. \u201cNow what (What?),\u201d Kesha prompts. \u201cWe\u2019re taking control.\u201d\u2014L.P.<\/p>\n \tDemi Lovato, \u2018Cool for the Summer\u2019<\/p>\n \t\t\t \n\tDemi Lovato\u2019s rock-siren instincts were born from the 2000s pop Max Martin defined. Martin roughened up her sound with a gritty, rock-infused pop chassis \u2014 guitar licks grinding against synth bass, verses where Demi drops bicurious breadcrumbs with a wink and falsetto until she tears it all down on the blazing chorus: \u201cTake me down!\u201d Lovato\u2019s voice provide the real fireworks here, stretching a one-syllable word like \u201ctype\u201d into at least six. For Martin, it was confirmation he could still help a pop star transition into the big leagues by daring her to get weird.\u2013S.G.<\/p>\n \tBritney Spears, \u2018I Wanna Go\u2019<\/p>\n \t\t\t \n\t \tAdam Lambert, \u2018Whataya Want From Me\u2019<\/p>\n \t\t\t \n\tMartin originally wrote Lambert\u2019s breakout hit with P!nk for her album Funhouse. It\u2019s the exact type of glam power ballad the American Idol alum would\u2019ve aced during his tenure on the show: his vocals soar over a steely guitar. He injects a perfect amount of drama: his performance is assured and powerful while delivering the pained, self-deprecating lyrics that P!nk wrote whole going through a separation from her husband at the time.\u00a0-\u2013B.S.<\/p>\n \tBon Jovi, \u2018It\u2019s My Life\u2019<\/p>\n \t\t\t \n\tBon Jovi scored a massive radio comeback with their surprise Max Martin co-write \u201cIt\u2019s My Life\u201d \u2014 the Eighties rock-star cowboys riding this steel horse of a beat. It exploded out of nowhere in the summer of 2000, in the sweet spot between Sweden and Jersey. The Slippery When Wet boys give love a good name with a synth-rock groove in the style of \u201cLivin\u2019 on a Prayer,\u201d even updating the story of Tommy and Gina. (Spoiler: It\u2019s still tough! Sooo tough!) It was proof that a little Max Martin magic could give these dudes a chance to rock their millionth-and-first face.\u2014R.S<\/p>\n \tEllie Goulding, \u2018Love Me Like You Do\u2019<\/p>\n \t\t\t \n\tAsked to contribute a song to\u00a0Fifty Shades of Grey, Martin and his collaborators didn\u2019t merely dash off a throwaway. \u201cLove Me Like You Do\u201d fits that movie like a leather glove, and not just thanks to lyrics (\u201cYou\u2019re the cure\/You\u2019re the pain\u201d) that echo the movie\u2019s kink. With each verse \u2014 and especially each time she hits \u201cWhat are you waiting for?\u201d\u2014 Goulding\u2019s voice grows more ardent, and the booming electro-pop and orchestration behind her more overheated. Few songs \u00a0better evoke a gnawing, all-consuming obsession. \u2013David Browne<\/p>\n \tTaylor Swift, \u2018We Are Never Ever Getting Back Together\u2019<\/p>\n \t\t\t \n\tYou usually don\u2019t get this kind of pop perfection by accident, but for Martin and Swift\u2019s first session together, they did. During a break while they worked, the singer exclaimed she was never, ever, ever reuniting with her ex-boyfriend. \u201cThat\u2019s pretty harsh\u2026 that\u2019s a song title,\u201d Martin recalls<\/a> saying at the time. Thus began Swift\u2019s first foray into a new echelon of pop music, one that seamlessly blended the singer\u2019s guitar-driven sound with Martin\u2019s studio wizardry.\u2013M.G.\u00a0<\/p>\n \tKaty Perry \u2018Last Friday Night (T.G.I.F.)\u2019<\/p>\n \t\t\t \n\tTeenage Dream\u00a0was rolled out just as America was beginning to emerge from the Great Recession of 2008. And as a declaration of independence from that dreary period, this Martin-Perry cocktail was just what the doctor ordered \u2014 assuming that order involved an Eighties teen movie gone wild. A cavalcade of nude swimming, maxed-out credit cards, naughty threesomes, lots of alcohol, and a wailing sax solo, \u201cLast Friday Night (T.G.I.F.)\u201d could have been obnoxious. But thanks to Martin\u2019s ear for a hook and the song\u2019s unstoppable mattress-spring bounce, it\u2019s utterly lovable. \u2013D.B.<\/p>\n \tLady Gaga, \u2018Stupid Love\u2019<\/p>\n \t\t\t \n\tIt doesn\u2019t seem right that it took until 2020 for these two pop gladiators to collaborate. But as Gaga put it, \u201cI decided to stop being an asshole and meet him at least.\u201d Mother Monster was impressed by Martin\u2019s \u201cpiano test,\u201d his rubric for a song\u2019s ability to resonate emotionally, without any studio garnish. \u201cI want your stupid love\u201d is less a full melody than a small cell that repeats around synths and a pounding beat. But the open-throated leap on \u201cstupid\u201d is the infectious noise that defined Chromatica, the sound of pop math colliding with a wild heart.\u2013S.G.<\/p>\n \tAdele, \u2018Send My Love (To Your New Lover)\u2019<\/p>\n \t\t\t \n\tAdele first became inspired to work with Martin after she heard Swift\u2019s \u201cI Knew You Were Trouble\u201d while out for lunch. Somehow, she was the only pop star in the world who wasn\u2019t familiar with his name. In their sessions, they reworked a piece she began writing as a teenager after listening to Amy Winehouse\u2019s Frank. The result is one of Adele\u2019s lightest break-up songs: a simple kiss-off hoping that even if she was treated badly by an ex that the next girl won\u2019t have as tough a time.-\u2013B.S.<\/p>\n \tUsher and Pitbull, \u2018DJ Got Us Fallin In Love\u2019<\/p>\n \t\t\t \n\tIf the feeling of a perfect night out could be bottled and sold, it would be \u201cDJ Got Us Fallin\u2019 in Love.\u201d Usher and Pitbull channel the most essential elements of pop escapism \u2014 relief that the week is over, a silly little crush to pass the time, doomsday dancing. Like many Max Martin classics, \u201cDJ Got Us Fallin\u2019 in Love\u201d is meant to be played loud, with the kind of thudding bass that rattles your chest and transports you to the dancefloor.\u2013L.P.<\/p>\n \tJessie J, Ariana Grande, and Nicki Minaj, \u2018Bang Bang\u2019<\/p>\n \t\t\t \n\tWith some touches of retro-soul, \u201cBang Bang\u201d is a Geneva Convention of Max Martin girls. The song was originally intended for Grande, who wasn\u2019t sold until she heard Jessie J belt out a demo version. They ended up combining forces, along with a classic Nicki Minaj verse. If there was an award for loudest vocal performance of all time, \u201cBang Bang\u201d would easily win, as Grande and Jessi J have a friendly belt-off in the vein of \u201cLady Marmalade\u201d 13 years earlier.-\u2013B.S.<\/p>\n \tBritney Spears, \u2018Stronger\u2019<\/p>\n \t\t\t \n\tBritney had never sounded like this before: the heartbroken avenger, white-knuckling the steering wheel through Max Martin\u2019s thunderstorm. The verses are all knives and whispers. Then the sky cracks open on \u201cstronger,\u201d the word itself detonating into the ABBA-huge chorus, Martin doubles her with synths and vocoder until it sounds massive. It\u2019s a survival anthem built from scorn. But the best part may be the sly wink when she sings, \u201cMy loneliness ain\u2019t killin\u2019 me no more,\u201d flipping a lyric from her debut single into a punch line and a victory lap.\u2013S.G.<\/p>\n \tAriana Grande, \u2018Eternal Sunshine\u2019<\/p>\n \t\t\t \n\tAriana Grande and Max Martin are a match made in vocal production heaven on \u201cEternal Sunshine,\u201d an emotionally eviscerating record that plays like a melodic lullaby. After more than a decade of working in each other\u2019s orbit, the pair have established a concise language. Grande\u2019s lush harmonies wrap themselves around airy arrangements that know exactly when to let her cutting lyrics breathe, and when to stack her vocals to the ceiling, resulting in a perfect three-and-a-half minute pop package.\u2013L.P.<\/p>\n \tThe Weeknd, \u2018Can\u2019t Feel My Face\u2019<\/p>\n \t\t\t \n\tThe Weeknd built his hype with the moody, vaguely creepy goth-R&B sound of his early releases. Martin didn\u2019t try to go against that image when he helmed the writing of what became the singer\u2019s breakout pop smash. \u201cCan\u2019t Feel My Face\u201d tapped a Michael Jackson-like vibe of sleekness tinged with darkness, driven home by a slick, thick beat and\u00a0an athletic vocal performance to match. Rolling Stone named it the best song of 2015.\u2013J.D.\u00a0<\/p>\n \tTaylor Swift, \u2018Blank Space\u2019<\/p>\n \t\t\t \n\tSwift wrote the irresistible melody for what would become one of her longest-charting Number One hit songs on her signature, acoustic guitar. But thanks to Martin\u2019s simple, yet snappy percussion, the track transformed into a hip-hop-inspired jaunt packed with a vixen-like confidence to carry Swift\u2019s one-liners. In a recording of the demo session, Martin and Shellback can even be heard ad-libbing playful shouts as the pop star strums along. \u201cThis is like an early 2000s Nelly track now,\u201d Swift says in the clip<\/a>.\u2013M.G.<\/p>\n \tP!nk, \u2018So What\u2019<\/p>\n \t\t\t \n\tIn 2008, P!nk was at the top of her game. But as she was racking up the hits, her marriage to motocross legend Carey Hart was on the verge of combustion. With Martin and Shellback, she channeled the heartbreak into an even bigger hit, opening the song by taunting her own self with \u201cI guess I just lost my husband\/I don\u2019t know where he went.\u201d From there, the song teeters between an empowering anthem and raw confessional about her marriage\u2019s collapse. It\u2019s as funny as it is tender, with P!nk not letting her emotions hide for too long behind that attitude.\u2013-B.S.<\/p>\n \tBritney Spears, \u2018Lucky\u2019<\/p>\n \t\t\t \n\tHow much more meta can a pop song get? On the Oops!\u2026 I Did It Again single, Spears tells the story about a girl named Lucky, a starlet who feels trapped in her dream and wants to escape her Hollywood life. Spears herself was in the midst of an unprecedented ascent into not only pop stardom but celebrity status, and Martin and frequent collaborator Rami Yacoub captured the type of pain behind the glitz and glamor only Spears and Lucky could understand.-\u2013B.S.<\/p>\n \tBackstreet Boys, \u2018The Call\u2019<\/p>\n \t\t\t
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Britney Spears released her most adventurous dance-pop album in 2011 with Femme Fatale. Its third single\u00a0 \u201cI Wanna Go\u201d was written by Martin and Shellback, along with Sevan Kotecha, sculpting a joyous house track topped off with a jaunty whistled refrain that brought to mind a classic<\/a> from Chicago producer Frankie Knuckles. Britney sang about finding release on a big night out, losing herself in the glory of the groove. It\u2019s a fun, frothy reminder of the singer\u2019s copacetic relationship with her Swedish sonic muse–J.D.<\/p>\n
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