Pressured to duplicate the success of ...Baby One More Time, she collaborated with a wide range of producers, including Max Martin, Rami Yacoub, Per Magnusson, David Kreuger, Kristian Lundin, Jake Schulze, Darkchild, and Robert John "Mutt" Lange for Oops!...

Producers Max Martin, Eric Foster White, Diane Warren, Robert Lange, Steve Lunt, and Babyface made contributions to the album.

[6] Spears was heavily pressured to repeat the tremendous commercial success of ...Baby One More Time, stating: "It's kind of hard following ten million, I have to say.

I Did It Again was considered the sequel to ...Baby One More Time,[9] percolating with a carefully measured blend of pop, funk, R&B and power balladry.

"[1] Rodney "Darkchild" Jerkins talked about working with Spears on the cover of the Rolling Stones' "(I Can't Get No) Satisfaction", stating: "It's going to shock everybody.

"[11] Spears worked with Robert "Mutt" Lange on "Don't Let Me Be the Last to Know", telling MTV News: "When you hear the song, it's so pure and delicate.

I Did It Again opens with its title track, which was compared to her debut single, "...Baby One More Time" (1998), featuring a slap-and-pop bassline, synthesizer chord stabs and a mechanized beat.

[11] Another R&B-infused track which also incorporates funk,[11] "Don't Go Knocking on My Door" finds Spears confidently forging ahead after a breakup.

[14] "(I Can't Get No) Satisfaction" begins with mushy guitar plucking and breathy coos, until a dry, crackling lockstep is thrown down, turning the song into an urban stomp.

[15] The dance-pop cover also jettisons the song's final verse and adds new lyrics (i.e. "how white my shirts could be" becomes "how tight my skirt should be").

[11] The ballad, which boasts a slinky keyboard riff and Lange's characteristically lavish production, finds Spears allowing a bit of "country twang" into her vocals as she begs a lover to reveal his feelings: "My friends say you're into me ... but I need to hear it straight from you".

[11] "What U See (Is What U Get)" demands respect by rebuking a jealous partner,[14] while "Lucky" is a heart-rending tale of a Hollywood starlet's loneliness, proving that fame can be empty: "If there's nothing missing in my life/Then why do these tears come at night?".

It was scheduled to begin on June 15 but started five days later, visiting North America during the summer and Europe during the fall, hence becoming Spears's first European tour.

[27] On June 24, Spears was featured in a print and television advertising campaign for Clairol's Herbal Essences shampoo line.

While she began her segment in a black suit, she shocked the audience and the media by ripping it off to display a revealing, skin-colored stage outfit with hundreds of strategically placed Swarovski crystals.

I Did It Again" peaked atop the charts in Australia, Belgium, Canada, Italy, the Netherlands, New Zealand, Norway, Poland, Romania, Spain, Sweden, Switzerland and the United Kingdom.

I Did It Again" saw Spears on Mars in a now-iconic red shiny catsuit, while she is visited by an American astronaut who hands her the fictional Heart of the Ocean jewel, which Rose threw into the sea at the end of Titanic (1997).

[40][36] Its "glittery" accompanying music video sees Spears as both the narrator and an actress named Lucky, who is a melancholy movie star and shows her conflicted relationship to fame.

[44] The accompanying music video was considered too racy at the time, portraying Spears in love scenes with her fictional boyfriend, played by French model Brice Durand.

indicates that she's developing a soulful edge and emotional depth that can't be conjured with a glass-shattering note," praising the album for "consistently cast[ing] Spears as a young woman coming to terms with her inner power—and that's a darn good message to offer an impressionable audience.

"[15] Rob Sheffield of Rolling Stone gave the album a three-and-a-half out of five stars rating, calling the album "fantastic pop cheese, with much better song-factory hooks than 'N Sync or BSB get", also noting that "the great thing about Oops!, under the cheese surface, is complex, fierce and downright scary, making her a true child of rock & roll tradition.

"[13] Lennat Mak of MTV Asia named it "a brilliant second album", writing that Spears "is armed with a more mature and seasoned pop star look, stronger and poppier songs, and of course, extensive media exposure.

"[54] Andy Battaglia of Salon called the album "a masterpiece of sorts not for its message but for the way it applies the conventions of the pop-musical medium.

Club was more mixed, calling it "a joyless bit of redundant, obvious, competent cheese, recycling itself at every turn and soliciting songwriting from such soulless hacks as Diane Warren and assorted Swedes.

[64] It debuted at number one on the Billboard 200 chart, with first-week sales of 1,319,193 copies,[65][66][67] becoming the fastest-selling album by a female artist since Nielsen SoundScan began tracking point-of-sale music purchases in 1991.

[74] On its seventeenth week on the chart,[75] it was certified septuple Platinum by the Recording Industry Association of America (RIAA) for shipments of seven million units.

[81] It topped the French Albums Chart[82] and the German Offizielle Top 100, also being certified triple Platinum by the British Phonographic Industry (BPI),[83] double Gold by the Syndicat National de l'Édition Phonographique (SNEP)[84] and triple Platinum by Bundesverband Musikindustrie (BVMI),[85] denoting shipments to retailers of 900,000 units, 200,000 copies sold and 900,000 units shipped, respectively.

[98] Musicians Michael Cottril and Lawrence Wnukowski filed a copyright case against Spears, Zomba Recording Corporation, Jive Records, Wright Entertainment Group and BMG Music Publishing, claiming Spears' "What U See (Is What U Get)" and "Can't Make You Love Me" are "virtually identical" to one of their songs.

Cottrill and Wnukowski claimed that they authored, recorded and copyrighted a song called "What You See Is What You Get" in 1999 to one of Spears's representatives for consideration on a future album, though it was rejected.

[99] The case was later dismissed after it was ruled that they lacked sufficient evidence and that there "weren't enough similarities between the two songs to prove copyright infringement.