Christina Aguilera's got one special man in her life now -- so in a video for her new single, "Ain't No Other Man," she's pushing all the other guys away.

"I got married since the last record, so lyrically, it's intertwined [with] where I've been in real life," the singer said about the first single off her upcoming double disc, Back to Basics (see [article id="1533622"]"Christina Makes Her Comeback Twice As Nice By Expanding Basics Into Double LP"[/article] and [article id="1532003"]"Christina Aguilera's New LP: Some Jazz, Some Hip-Hop Soul ... And Some Burlesque"[/article]). "It's not a 'love song,' quote unquote. It's fun, it's upbeat, it's got a little bit of a twist in there, a little sass."

Fitting with Aguilera's Broadway-baby makeover, the video jumps back in time. Aguilera becomes a jazz-era blues singer who, after a world tour, returns to her hometown juke joint (a nod to her forthcoming tour of small blues and jazz clubs). She has a lot of lost time to make up, and not just with the local press and her girlfriends, who populate her backstage and dressing-room scenes.

([article id="1534566"]Click here for behind-the-scenes photos of Christina Aguilera's "Ain't No Other Man" video shoot.[/article])

"After the dance breakdown I venture to the bar, and I'm face to face finally with my mystery man," Aguilera explained. But instead of pulling him closer, she pushes him away.

Aguilera mapped out the video's concept with director Bryan Barber so the clip reflects the song's throwback/ modern-day blend. For instance, in one scene where she hangs out with the girls, she's listening to an old-fashioned phonograph.

"It's all very planned out," Aguilera said. "I was very hands-on for this. I wanted to get every detail locked in just right."

"She already knew her routine," Barber said. "She said, 'I'm going to come here, look this way, and the guy's going to look at me like this.' "

"I had acted out the entire video in my living room," Aguilera said. "I used my fireplace as a makeshift stage and the staircase as the pool table where I would stand."

"She's very thorough," Barber said.

Aguilera even knew exactly what she wanted when she first heard DJ Premier's beats for the song (see [article id="1529698"]"Christina's New Split-Personality Album Is Mature And 'Dirrty' "[/article]).

"I walked in, and I was like, 'Ohmigod, that's my first single,' " she said. "I hadn't written to it yet, but I was in love. It was high-energy, and I could just imagine what dancers could do to it. When I see people dancing, it attracts me even more to a song, so I had to have a dance sequence."

Aguilera's dancers back her up through most of the dance sequences, save for one at the end of the clip where there's no set choreography. "I'm just doing what I do onstage," she said.

Throughout the shooting, there were little references on set to Aguilera's alter ego, whom she calls Baby Jane (as in "Whatever Happened to ... "). So it's Baby Jane's name on the dressing-room door, on the sheet music and on her license plate as her car pulls up to the club in the opening shot, designed to look like the beginning of a classic Hollywood film.

"I am Miss Baby Jane," Aguilera laughed. "I'm not going to tell you why I have that nickname. I can't tell you. ... It's still me, but it's me at this place in my life."

Aguilera will debut the video on "TRL" on Wednesday, to be followed by "Making the Video" at 4:30 p.m.