Britney Spears' kiss with Madonna on the MTV Video Awards got the ball rolling. Now the pair's duet "Me Against The Music" marks a historic occasion in pop culture. The long-time pop queen inferentially passed the baton, designating Spears her official successor.

Some wonder why Madonna chose Spears to take her crown. In fact, there are plenty of other pop gals that could potentially take her place. Christina Aguilera, Pink, Danni Minogue and Beyonce Knowles are serious contenders for the job.

The answer might be hidden in Spears latest album “In The Zone,” which might indicate a musical direction and sense of marketing maturity that was to Madonna’s liking.

Spears’ fourth record was launched amidst heavy promotion, television appearances and carefully targeted marketing.

For the first time, the star also gave a national gay magazine a rare print interview as well as much-hyped late night stints at Manhattan gay clubs SBNY and Avalon.

ON PAPER, “IN THE ZONE” is an impressive effort. Spears worked with heavy-hitters Moby, Cathy Dennis and R. Kelly on the album, which at first listen, is a chaotic barrage of bombast that floats between Pop, R&B and Rock that is neither flesh nor fish.

Usually an artist’s vocals can bring different pieces together to create a cohesive texture, but Spears’ voice fails miserably. Her breathy moaning is not only annoying, it tends to make things worse.

The decent piano ballad “Everytime” fails to deliver with Spears’ over-the-top sighing. “Early Mornin’” (co-written by Moby) is a tedious synthetic R&B track with meaningless, adolescent talk-sung lyrics.

Overall, “In The Zone” lacks spunk. It’s like shooting a loose cannon. There is lot of noise, but no substance — and worst of all, no voice.

ALSO RELEASING NEW work this fall is pop-turned-rock chick Pink. On “Try This,” the singer makes another turn and introduces listeners to a gritty punk vibe.

Pink, aka Alicia Moore, is steadily becoming a rainbow icon, with both a gay male and lesbian following. The singer recently commented to the Associated Press that she is open to dating women. This spunky, carefree attitude is reflected on “Try This.”

The singer worked yet again with lesbian producer Linda Perry on a number of songs. But this time she also included the more obscure songwriter-producer Tim Armstrong from Rancid to keep her perspective fresh.

“Try This” is a departure from the catharsis on her previous “Missundaztood.” After spilling her gut, Pink decided to have some fun and experiment with edgier sounds.

The album kicks off with the poignant “Trouble.” The powerful “God Is A DJ,” could easily sum up Pink’s creed when she sings, “You get what you’re given. It’s all how you use it.”

The singer sheds anger on “Last To Know,” a nice bridge to some of the grittier tracks that follow.

PINK SWITCHES GEARS on the Armstrong-produced “Save My Life,” “Humble Neigborhoods,” and “Unwind” — an ode to rock diva Janis Joplin — that all pack a punch and raise the singer to a new level of creativity.

Perry returns on “Try Too Hard," "Waiting For Love" and “Catch Me While I am Sleeping.” The two clearly have a durable chemistry that links Perry’s experience with Pink’s younger spirit.

Pink proves what can come of a young artist who is nurtured and allowed creative expression. Instead of creating the flavor of the moment, Arista Records gives the star room to find and hone her voice.

Pink’s “Try This” is invigorating in both style and substance and will easily pass for one of the most noteworthy records of the year.