In the summer of 1995, the Backstreet Boys entered the East Eating Place in Sweden and sang a Caprella for Max Martin and the past Denniz Pop of local space studies. The Assembly would take the quintet to paintings with the duo in songs like “We Got It Go On”, lighting the Beatles mania in Europe and Germany, which temporarily swept the rest of the world.

But they are his monitoring collaborations with Martin and his team in the Millennium of 1999, which would beat the albums, would collect Riaa’s certifications and win five Grammy nominations, which would consolidate the position of the group in the history of pop music, with songs like “I want this” Global Pop Hymns remaining later.

“Max is a musical genius,” Howie Dorough told Billboard before the twentieth anniversary of the album on May 18. “His writing, his production, his voice arrangement, actually had his finger on the pulse and we were very lucky to have our careers. That’s why.

Part of this team (which was also Britney Spears and * NSYNC tubes) was the manufacturer and composer Rami Yacoub, which has become Martin’s protégé after pop fell ill, winning abdomen cancer in 1998. Yacube has become a strong artistic force in ancient production, but only now is that the impact appreciates it.

“I think the total era with Britney, Backstreet Boys and * NSync, do not realize how special that you are OG, the oldest boy in the room, with other people,” you are a legend. You have done all the songs that I dance when he is now a new music for Lady Gaga and Liam Payne.   “This is nothing that the idea at that time. We were not looking to replace the world, we simply tried to make the songs as productive as possible, and there was only one organization of other people who climbed into the other and we have become a very close friend. It is a space full of knowledge, qualifiability and a mentoring of all. “

“I want this way,” Andreas Carlsson’s co-written that the team did not know how much the music that created in the Bubble of Cheiron’s studies would become. “We have become a brotherhood, but it is only now when we are 20 years later, that we are thinking about the incredible was that we were too immature to perceive at that time,” he said. “In retrospect, it is transparent that everything was magical. “

While the album Jive Records is 20 years old, here is the story of the track through the Millennium track in words of those who helped the backstreet boys create the “magic. “

1. “bigger than life”

Barry Weiss, CEO of Records and former president of Jive Records: was the genuine album rhythm album. It was the “Everybody Backstreet) of the Millennium album: it was also the opening song, so it was quite large. Then, it has become a giant component of its live broadcast when the millennial tour stole in the forums. The song has become a founding record due to this tour.

Joe Riccitelli, co -chair of RCA Records and former promotion, please: I have been in Boston while the excursion began and open with “bigger than life. ” He had worked with U2 and had just wrapped his popmart excursion, and had never felt power in a stadium as he had done with U2, however, the state there at the beginning of the millenary excursion with girls, howls and acute screams, was so exceeded. I was impressed. I think if we did not have “I need it”, then “bigger than life”, it may probably have been the first single.

2. “I am this way”

Weiss: Clive Calder [founder of Jive Records] in Stockholm and said: “Max, I’m going to the airport now. Do you have anything else you need to play?” Max like: “I have an idea. It’s very hard and basic. ” It is an approximate comic strip of “I Want It This Way”, and according to Max, Clive immediately as “is our first single for the new album. ” Max didn’t even have a computer virus yet.

Yacoub: At that time, the letters were written in the house, and I with “Oops (I did it again) by Britney” took us for two weeks to finish the words because it was like: “It’s fine, I think it’s the time of words. CIRE. ” It was only necessary, but sometimes the words came here while we did the melody, and everything that sounded phonetically was what we kept, more than made sense. That’s why “I need it that way” makes no sense.  

Weiss: We are stepped on that the original letters were sometimes “swedguis” – part -boney, English part. What was missing is that it was the melodies and counterpoint harmonies that led this song. Clive asked Mutt Lange if he redirected the words, the organization made them again and we told ourselves: “It’s fine, we are in a position to leave. ” Then I had an assembly with the organization where it was like a demonstration. They arrived at my workplace and Kevin Richardson, the maximum voice in the organization, was like: “Listen, we love the original edition. There is no way we are looking for this new edition to be ordered,” and I told myself: “The boys are wrong. ” They prevailed and said: “Shadow, say. ” He left here and they were right, it was a rapid monster blow.

Riccitelli: In all my career, there are 3 songs that stand out when I touched them with other people for the first time: “I can’t stop the sensation” through Justin Timberlake, “Uptown Funk” through Bruno Mars and Mark Ronson and “I Want It This Way”. By the way, other people answered when you touched this song that was going to be a row album.

Carlsson: With all the great songs you write, is: “Are you going to write any other song so wonderful?” It is probably very unlikely to do something so wonderful “I need this way. ” We had an incredible organization and a giant manufacturers team: the CD summit, so the stars really aligned. People would be surprised to know how long we spend these songs, especially Kristian Lundin, the producer. I think “I need it that way” it took 3 weeks to mix. A giant millennium component is perfection. These songs were very calculated to be effective songs that would resist control of time. It was almost as if we were going to be classic, so we had to do an incredible task to make them timeless. We were deeply to create a masterpiece.

3. “Show me the feeling of being alone”

Weiss: I who arrived this song and that we all tell ourselves: “Oh my God, it’s incredible. “

Herbert Crichlow, co-written: For me, the song is a way of saying: “I see you. You are not alone”, to all who live the loneliness of loss, loneliness and sadness. It is inspiration: no boy or woguy is an island and we are together.  

Yacoub: I started running with Max in a while after obtaining the terrible news that Denniz Pop had poor cancer health. Denniz died in a while after starting and was brutal for all of us to lose our godfather in music and close friend. At the same time, we finished the millennium and took an eternity to end “show me the meaning of being alone. ” He took weeks and weeks, it was complicated for the boys.

Crichlow: As for the maximum of the songs we create together, it is very emotional. People have no circumstance of what it means to me that the song has touched so many hearts in the beyond 20 years.

4. “It will have to be you”

Yacoub: I arrived in Cheiron as “the kind of great rhythm. ” I guess it was “urban”, in the sense of being harder at the edges. I told me: “You have to quantify the shit!” And I told myself: “No, no!” In “. . . Bathrough once again” through Britney, I played an agitator who appears in the eighth or fourth bar, but I played several times and took the one who seemed the best. Max cursed saying that I had to be quantified in the rhythm, when I told myself: “No, it sounds good!”

Cheiron had a massive sound bank that was used, and the maximum of the songs was recycled with rhythms. I think that is a component of what the “Swedish sound” did. I entered and added mine, like stops, scratches and gravel sounds in this song, and that is what I brought. I am not an urban boy, but it is probably so because they were all Swedes and I entered like a brown child! 

It is curious how the letter can be fair and simple. These days, you cannot say: “I love you”, it will have to be like “dies of hunger for your love. ” If you look at the titles of the millennium songs, like this, everything is so simple.

5. “I love you tonight”

Andrew Fromm, singer -songwriter: I had damaged my center through a woman out of school: she was one of my most productive friends and sought to be more, and did not. I wrote this song quickly, then my whole life replaced by deciding to pass out one night. If I did not pass out after running on TGI’s Fridays to see my friend of Jewish Hip-Hop carry out in Madresolova in New York, then the casting director of Star Search, Patrick Alan, would never have noticed me and said that I deserve to see the show, that I went out here with 40,000 people.

Patrick began running micro nights open, and I made them for 3 years, making a song “Heaven in Your Eyes”, the original name of “I need you tonight”, almost one and both at night. I met this woman named Samantha Cole, who was Universal’s next big thing, and her birthday party, with both main executives in the room, I played the piece of a white piano and the main director of Jive Records said: “I need this song for the Backstreet Boys. Nick Carter deserves to sing it. ” I told myself: “I have no circumstances who are the Backstreet Boys,” and he said: “They sold six million albums in Europe. “

Nick killed him in the song, then put me in the studio with Mutt Lange, where I touched the piano on the track. Shania [Twain, the ex -wife of Lange] recorded the Divas VH1 and I was in the house while waiting for him to return to Mutt. It was the maximum humble and better guy. Mutt sought to collect some of her Shania’s background voices and if you listen to the “i need you tonight” choir, you listen to a repetitive trend below. I think he took a piece of “You Got A Way”, touched it upside down and made an exclusive sound to sleep underneath. This is Shania’s background voice! It was desirable when he did. But that is why it is: an incredible record manufacturer.

6. “I don’t need you to come back”

Yacoub: We idea of ​​the opening line: “You hit me faster than a shark attack” was very great, even if you never say that now! The main harp of this song was urban for us. “It’s Gotta Be You” has more vintage cases, and looked more like a jishot, so he was urban.

Upon listening to those songs now, they seem to be so produced. You listen to explosions, stops and all kinds of things. Today, the songs are so scarce and simple. But a long time was faithful to production and everything was reflected for each song at that time. We have not left any non -returned stone. We sat for two weeks looking to make a great shoemaker for “Wow! Go! So, I told myself:” Why didn’t we take the same kitchen? “Sometimes you have to pass through this to get to this point, because we could have discovered any other and great.

7. “I don’t need to lose you now”

Yacoub: I love this song. If you pay attention to the verse of the moment the rhythm comes, it is very similar to the rhythm “I need it in this way. ” Kristian Lundin produced “I need it this way”, and he also the magic of “leaving the games. ” So, I am doing the battery in “I do not want to read now”, looking to reproduce “I need this in this way”, and if you pay attention to the back, it has the same upper hats, the same type of trap and another kick. I told myself: “Kristian, can we have this money registered?” He is just a genius with sounds of sounds.

8. “The one”

Weiss: “The One” was a great song. It was super alive. I do not forget the incident with Nick [encourages enthusiasts to vote so that “the one” is published as a single in “Do not need to come back. “] It was a source of wonderful internal discussion.

Riccitelli: What was wonderful in “The One” was that they did a very intelligent task to honor their enthusiasts in the video. I think that touching your main enthusiasts makes a difference, and lyrically, it made sense because the song was written about its enthusiasts, as well as in love interests. We were released from the greatest sales of the first week of all time, so we were comfortable with the last single.

9. “Back to your heart”

Gary Baker, co-scannarista: I worked for Zomba Music Publishing and I had a great album, “I Swear” with All-4-one, so the idea of ​​my bosses would be an intelligent selection for Backstreet Boys. I met them for the first time in Fox Theater in Atlanta and when I entered, they began to make a song “I Swear”. During Kevin’s first to write with me, I was sitting with my piano and played a beautiful introduction and said: “Wow, we can actually make a correct song around that. ” We started talking about things that happened and a stage with a woman I was looking for to return and I said: “Here is, back to your heart. This is the ideal way to pass with this song. ” Of course, he married her and now they have two lovely children, so it worked well! He accumulated them.

It is curious how wonderful those songs were. When I make a writer night, I’m going to play “Back To Your Heart” and everyone is going crazy. As soon as Millennium mentioned, other people know this song. It is almost like alone.

10. “Spanish eyes”

Fromm: My cousin, Sandy [Linzer] is a mythical composer who wrote during the Four Seasons and Whitney Houston, and we wrote this together. Sandy randomly proposed the concept of a user who is not Spanish who fell in love with a Spanish. Sometimes, when the boys play it, they will sing: “When I look into your Cuban eyes” or raise nationality anywhere where they are, which is great.

I think Sandy Idea would be for the Backstreet Boys, at that time, all those who Caesta I tried to write a song for them. I was thinking more about Ricky Martin.   But the fun thing is that Ricky launched a song entitled “Spanish Eyes”, at that time, and they were all angry with me, thinking that he had given him our song after Backstreet recorded her.

I will never do it when [the executive of Jive Records] Steve Lunt called and said: “You made the cut. ” The Spanish “is in the millennium. ” I was driving golf balls and I just launched my club in the air because I was very excited.

11. “No one is approaching”

Baker: It is one of those great days in Nashville, where you enter a room with someone and the song falls. I had a writing day with Joe Thomas and Wayne Perry, then I played it for Clive and he said: “I need Joe to do that, but I also need to put it in Millennium. ” It’s incredibly exciting because I like Joe and his edition is incredible, but this millennium record, friend, is the album to do!

I wasn’t even looking to write a pop song, I was just looking to write a wonderful country song with lyrics that can transcend. But the maximum of my songs at that time were pasty. All the time on my part, “I swear” to the Backstreet Boys, I had just married and had a baby.   It was a glorious and emotional era and a lot of wonderful music came out here.

After that, Clive sought to fly in Munich to see the fanfare in person. He said he wouldn’t do it and was right. They made the wheelchair line at the front of the room to shoot the women outside!

12. “The best fan”

Eric Foster White, manufacturer and director: This song was Brian’s baby [Litrell]. It was simple of paintings: a professional and knew precisely what he wanted. We recorded the fundamental piece of my study in New York, we are stolen for Detroit to record the orchestra, flew to Lexington to record the Brian Top School choir, in New York to edit, make voices in Orlando, then combined in New York.

The biggest challenge was to capture and gather all the elements at such a short time. When flying in some other city and you have 30 musicians in a room for two hours, you will have to make sure to make it perfect, because you cannot leave it and fix it. You must think in advance and listen to the final product in your head. Today, manufacturers would do everything we have done using simulated tools on a computer! Brian did a correct task when leading the school choir: it is not as simple as I might think. Among the voices, the orchestra and other tools, there were probably more than one hundred lines to mix, which promoted the generation limits at that time.