Rolling Teenpop 2006 Thread

Iggy Pop? Played a convincing obsequious Tom Waits fan in Coffee and Cigarettes. Also relevant to this thread: supporting role in Snow Day, featuring "Another Dumb Blonde" by Hoku on the soundtrack. No one's mentioned David Bowie, Cher, Dolly Parton, Will Smith.

Lovely article on 20 Worst Actors-Turned-Singers. Some choice words about Lindsay and her audience (and Paris in another round).

Seeing an actress like Lindsay Lohan trying to cross into the music world is not a surprise. Hell, acting and lip-synching are practically the same thing. And let’s be honest here, it’s not like she has to fool a bright crowd.

On this clip of her complete desecration of “I Want You to Want Me,” her fans leave well thought-out comments like: “she looks great in make up” “LOV DA SONG…. LOV HER SHE FAB” and “I [heart] whatever the media tells me to [heart]!!!”

if you watch carefully, you can tell she’s lip-synching. You see, when Lohan actually sings, you can hear a very distinct humming noise from the reverberations echoing through the flapping wind sock that constitutes her vaginal walls, which eventually will shake her past-warranty over-stretched turtleneck lips loose in a blaze of vibrating orange fury equitable only to a combination of a giant Georgia O’Keefe painting on acid and Dante’s Inferno. It’s a strange noise, sure, but on the bright side, childbirth should be very easy for her.

When I was a young man and Eddie Cantor and Sophie Tucker were all the rage, a frequent way to present music to the public was through stage shows and revues. So being able to act was an advantage for a singer. This carried over to the Hollywood musical, but basically got wiped out by rock 'n' roll. Although Elvis tried to make it as an actor, his moview were pretty much relegated to the youth audience. And there was a large culture gap between the rock performers and TV. As far as I can tell, the only area where anyone really tried to cross the gap was with teenybopper performers like David Cassidy (whom I've barely heard). I have a feeling that the '90s pulled things back, with a lot of acts appearing as guests on TV shows (I remember Juliana Hatfield on an episode of "My So-Called Life"). But rarely as actors. Teen is the area of potential crossover, but eventually the performer ends up going one way or another, singer or actor.

Does anyone have strong opinions about 30 Seconds to Mars?

I think the prime of the Broadway and Hollywood musical is full of good actors-singers, and I'd be able to rattle them off if the musical were more my thing. Julie Andrews is another name that comes to mind.

I thought the four leads in High School Musical did a good job of acting. Vanessa and Ashley are probably the only two with any shot as singers.

Does Yummy Bingham belong on this thread? I think so. She's 20 now but has a bit of teenpop pedigree as part of girl group Tha' Rayne and as a De La Soul protege.

I listened to about half of her first solo LP last night - which is just out on CD in the UK, but only available as a digital download in the US at present. (According to her Wiki entry her career has been dogged by label and publishing problems.) Very enjoyable bubblecrunk: squelchy synth beats and lush harmony vocals (Yummy harmonising with herself I think) that recalls both En Vogue and Hakan Lidbo's "digital disco" side project, Data 80!

Best track I heard was "One More Chance", which was her last single release in the US and is the first song on her MySpace page. From the intro, you think it's gonna be a bogstandard R&B ballad but then this slow disco beat kicks in and the track really takes off.

The other single, "Come Get It" is also pretty good and has a video, so you can find this on youtube.

i love yummy bingham! i didn't know she had an album out, aaargh r&b release dates in the uk may as well not exist so awful is the promotion. i love her chipmunk voice.

also: finally heard l lohan's 'live for the day' and it's MAGNIFICENT!

Credits on "I Live for the Day": writers Desmond Child, Andreas Carlson, Ethan Mentzer, Ben Romans, produced by Kara DioGuardi and Greg Wells.

(Not 100% certain on the producer credits. I'd think if Child were involved in the writing he might have been involved in the production as well.)(Though not as Wells.)

Desmond Child produced my favorite Ricky Martin song ("Livin' La Vida Loca") and produced at least some of LeAnn Rimes' Twisted Angel, which has the fabulous "No Way Out," though he's not on the writers credits on that one so I don't know if he had anything to do with it. Mentzer and Romans are in Click Five, sort of halfway between a boyband and a rock group; I borrowed their alb from the library several months ago and liked it OK but not wildly, though I didn't really have time to let it sink in. Don't know too much about Andreas Carlson, but he's a co-writer on *NSync's "Bye Bye Bye" and "It's Gonna Be Me" (and probably loads of other stuff; co-wrote and co-produced the so-so "Symptoms of You" on the first Lohan).

Don't hear anything remotely crunk (bubble or otherwise) in Yummy Bingham, but I like her voice; she's not doing the cold diva thing. Beats make a nice shifting slalom course; I may need several listens on MySpace to see if the songs kick in; the melodies may be the weakness.

Andreas Carlsson is huge, I've wanted to make a compilation of some of his stuff...other credits here. He also wrote the only Bratz song I really like, their first single "So Good."

Andreas Carlsson is huge, ex-Cheiron, I've wanted to make a compilation of some of his stuff...other credits here (page isn't loading for me now, not sure if the link still works). He also wrote the only Bratz song I really like, their first single "So Good."

Su-kin, tough-voiced Eve-style, she raps to Evanescence and Queen (or someone covering Queen) and Alanis. Only pretty good so far (and not teenpop except for the fact that Evanescence and Alanis are teenpop relevant), but has potential.

Ah, Wiki or Allmusic or someone had misspelled Carlsson, which is why I had so much trouble finding his credits. I see that he co-wrote "I Want It That Way." Can't get your link to work, though, so I can't say if he's done much I like (other than the BSB, the two *NSync's, and "I Live for the Day").

Here are his credits on ASCAP.

You know, I'm really starting to dig this Jordan Pruitt song "Outside Looking In" a whole lot. Not in contention for one of my favorite songs of the year, but to me the best song in rotation currently on Radio Diz, other than the Hannah Montana songs (my rating is maybe a 7 or 8 out of 10, using the Stylus Singles Jukebox scale).

Jordan Pruitt appears to be a good singer, it's got a nice laid-back acoustic melody, and I even really like the lyrics. The song was featured in the Disney Channel Original Movie (DCOM) Read It and Weep, which I liked a lot, and the lyrics basically echo the theme of the movie. Maybe that's causing me to overrate it, I don't know. I think this is one of the best songs I've heard about this fairly universal teen/youth (and even adult) feeling of rejection and lonerness, from a lyrical standpoint. Any other candidates?

Here is the song, does anybody else have any opinions on it?
(Please forgive if the HTML link doesn't work, I know nothing about computers).

The Pruitt song is on Girl Next and I praised it (briefly) upthread in that context. The lyric is good but it's the way Jordan sells it vocally that is the appeal for me.

As you say, you'd think there'd be loads of songs in this vein. Perhaps you have to go back to the 90s or even the 80s to find them?

Dylan's "Memphis Blues Again" is a good one about rejection and loneliness, but that goes back a ways, as do Rocket from the Tombs' "Sonic Reducer" and Pere Ubu's "Final Solution." The Velvet Underground's "Heroin." Simon & Garfunkel's "I Am a Rock." New York Dolls' "Private World." Johnny Moped's "No One." Ashlee Simpson's "Shadow." Avril Lavigne's "Unwanted," though that's more boy-girl than girl-world loneliness.

Xhuxk to thread.

Minor Threat's "Out of Step."

Of course there are many songs dealing with rejection/lonileness, but it seems to be underused in teen pop.

I forgot to mention, but one thing I really love is the "You don't know how it feels..." aspect to it. Of course, the reason the song works is that EVERYBODY knows how it feels to be on the outside looking in. But that feeling of loneliness can, in my experience, create a kind of self-pity, "Nobody has ever had to face this before me, I'm all alone" feeling. So not saying you don't know how it feels in an accusatory way (a la Tom Petty's "You Don't Know How It Feels to Be Me") but in a self-pitying way. I would guess this feeling is especially prevalent in the more self-centered teen world, which is why I think it works better as a teen pop song than it would in other genres.

Quick research reveals its written by Jordan, Keith Thomas, and Robin Scoffield. Anybody know anything about those people? Also Jordan's next song will apparently be a cover of "We Are Family" which should be interesting. Looks like her album is out on Hollywood records early next year.

God, if Lohan did "I Am a Rock" it would be some sort of historic pop peak.

http://www.myspace.com/robinscoffield, which streams Jordan Pruitt singing "Siempre Desde Afuera." Robin's MySpace page is all about Jordan, which seems off to me. Not the place where we'll learn of her achievements.

Jordan's version of "We Are Family" is streamed on her MySpace page. Weak during the verse, though with good chop-chop funk accompaniment, but something intense happens in the chorus, maybe it's minor chords where you'd expect major [don't know if that's right; this is first listen], prominent percussion, and a real interesting, strange break where she goes both doo-wop and gospel.

By "doo-wop" I think I meant "scat."

I have a feeling that Scoffield's written a lot, but what I've come up with in a few minutes are "Way of the World," recorded by both Jump 5 and Jennifer Paige; "When You Say You Love Me," recorded by Josh Groban; "Dancing on Daddy's Feet," recorded by Tresa Jordan; "The Things We Do," recorded by Yolanda Adams.

A few minutes of research on Keith Thomas reveals that he's a pretty big name producer. Multiple citations for his work with Vanessa Williams, Yolanda Adams, and on Amy Grant's breakout "Baby Baby", which he apparently won a Grammy for. I see he's also worked with Whitney Houston, CeCe Winans and others. Can't find any citations for anything similar to this. This assumes that these are all the same people, which seems safe because Jordan's Incubator profile says that he is a "Grammy winning producer"

New Myspace page for Belinda. The second song, "Quien es Feliz" was co-written by Skye Sweetnam and Shakira ("Underneath Yr Clothes") collaborator Lester Mendez, originally "Remember Me." This is the first song from the new album writing sessions. SECOND song from the new album available on the new Sims game...in Simlish (haven't heard it yet but the game came out today).

F-Kog brought up Kim-Lian, Dutch TV personality whose old 2003 single "Teenage Superstar" reminds me a little of Nikki Cleary and on new single "In Vain" goes teengoth in the chorus.

New Myspace page for Belinda. The second song, "Quien es Feliz" was co-written by Skye Sweetnam and Shakira ("Underneath Yr Clothes") collaborator Lester Mendez, originally "Remember Me." This is the first song from the new album writing sessions. SECOND song "Boyhunter" from the new album available on the new Sims game...in Simlish (haven't heard it yet but the game came out today).

F-Kog brought up Kim-Lian, Dutch TV personality whose old 2003 single "Teenage Superstar" reminds me a little of Nikki Cleary and on new single "In Vain" goes teengoth in the chorus.

Gah, double post again, sorry. See if you can spot the difference!

Boyhunter!

Czech cover of "Teenage Superstar" by Ewa, currently on the Czech charts, discussed here and here.

Give me enough time and I can usually figure out the chords to a song, but I won't really know what it is I've figured out - that is, I won't be able to make much sense of "this chord in relation to that" even if I can toss around words like "relative minor" and "subdominant." Anyway, I've done a little bit of work on the three recent Aly & A.J. tracks ("Chemicals React," "Greatest Time of Year," and "Not This Year"), the ones the girls wrote with Armato and James. To my surprise, when I start strumming 'em myself I hear all these affinities to the early '60s: Shirelles, early Beatles, etc. So playing along with "But the planets all aligned/When you looked into my eyes/And just like that/The chemicals react" I'm reminded of "It Won't Be Long" and "Baby It's You." And then hearing the way Aly & A.J. hit the notes, I'm hearing eight-to-the-bar strums and power chords that are not played for big metal effect but as a basic groove - which strangely would be a description of the Ramones (power-chord roar through the early Sixties), except that not only do Aly & A.J. sing better and have more complex and visceral arrangements than the Ramones, but also, when I listen to Aly & A.J., I very much don't think "girl groups" or "Beatles" or "Ramones." The girls don't sound like a throwback. I don't know what the difference is, except I want to call Aly & A.J.'s music "darker-hued." This means neither "menacing" nor "somber," just something richer in tone - maybe the way relative minor keys occur, or maybe it's the voices and the instrumentation, something deeper. The sound isn't less up and engaging than the usual stuff you hear on Radio Disney, it's just stronger inside. More full-bodied. I know those adjectives don't explain anything. If all goes well Tim Ellison and Eppy will show up and share their insights.

I was in JC Penny this weekend and when I walked into the teenage boys section Girls Aloud "Biology" was playing. It totally threw me for a loop, partially because I had been thinking about that song the morning before. (In how its structure is like Psycho, because I am a nerd.)

Then I went to the men's section and it was Phil Collins or something. Are they actually getting US radio play?

Oops, but we were talking about chord structures. Replaying it in my head "Chemicals React" bleeds into Bon Jovi's "It's My Life" and maybe a Veronicas song. American teenpop is sort of the natural continuation of pop-metal if it hadn't gone industrial, right, and I think how it works is this: 80s pop-metal's big tracks were all metal sonics welded onto 70s rock ballad structures and maybe melodies. This stuff seems to be melding punk onto 60s/70s pop/soul-ballads, Bacharach/David sorta stuff. Lots of passing notes. Except in melding the two they've flattened the rhythmic structure, so chords and root notes change right on the 1 or 3 (beginning or middle of the bar) instead of changing right before or after beats as they did in Bacharach and, I dunno, I guess I've been listening to "Gone Away" way too much lately so that's in my mind. But yeah, I think it takes that sorta variagated chordal structure and chains it to the Ramones chug-chug-chug. I think the verses are almost 70s orchestral pop done with rock instruments and the choruses are 90s power pop, yeah? Sorta kinda? Pop-grunge? I guess I should go listen.

But maybe vocally (I haven't gone and listened yet) Aly & AJ share a certain camraderie with soul ballads? Carole King and Diane Warwick and things?

I still think most of the rock-oriented stuff is a delayed tributary from Cheap Trick with bigger guitar sounds. Really, is there any CT song Ashlee, Lindsay or The Veronicas couldn't cover?

One thing I've noticed is that Aly/AJ (compared to other Radio Disney stars anyway) build more tension between major/minor, often starting in and resolving to major but making the chord progression seem predominantly minor with vocal melodies (on the verses, I think they tend to hit the major thirds in the chorus, hence "wind at the back"?). "Not This Year": Eb (major) to relative minor C to G minor (with the melody leading into C minor, not emphasizing the major key), but resolves V-I, Bb-Eb. Don't know if this goes to show anything, except that there tends to be a sort of open-ended minor-leaning gloom in the chord progression, where you know it will probably resolve to major anyway even though it feels minor. Smashing Pumpkins might be a referent for the general musical sound, but I guess that counts as "pop-grunge."

Shine. Just heard this for the first time; it's another Armato-James-Michalka-Michalka track, was added to the rerelease of Into the Rush. I like it a lot, but haven't come close to understanding what's going on. Starts acoustic but also seems as if it's going to be r&b, but then gets very girl-artsy-expressive, kind of, and then brings you to those minor keys or something - the way the voice dips on "every day's another opportunity to shine"; and then about seven-eighths through they make a gigantic change, and suddenly we're in the middle of a movie soundtrack, the camera in the sky panning across the landscape as the sun rises, let's say. And when the voice dips on the final "shine" it's to a more benign tone.

(Can't tell if the "you" in the lyrics is a friend, the listener, or whom. In verse one I thought it might be Jesus, and that still might be right, but "you're the star you're on tonight" seems to be something you'd tell a friend, not a deity. "Like a neighborhood on a city street/I know the path, it knows my feet" is a good couplet - the second half, anyway, the path knowing the feet [not sure how a neighborhood can be on a street, however].)

(Btw, the one track on the original release that Armato and James helped write was "Sticks and Stones.")

Always up for some Aly & AJ talk.

As to Acoustic Hearts of Winter, I have to say I was disappointed. Granted, the two originals are great but couldn't they have:
1) Included more originals
2) Tried to do SOMETHING with the well-known carols they covered
3) At least made some effort to pick lesser known carols that haven't been done a thousand times before?

That said, "Greatest Time of Year" and "Not This Year" are both on the shortlist for top 10 Christmas pop songs of all time. ("All I Want for Christmas Is You" is number one naturally).

Oh and by the way no Phil of the Future clips in this "Shine" video, I'm shocked. (By comparison the "Greatest Time of Year" video Frank linked above is almost entirely composed of Phil clips). Surely somebody's not attempting to love Aly & AJ on their own merits, apart from Aly's loveability as an actress are they?

Lots of clips from Cow Belles, which was awful.

Let's see, what happened while ilX was in Poxyland?

JoJoToTo: Kelefa Sanneh mentions in his generally favorable review of the new JoJo album that she samples Toto's "Africa."

Platinum Weird does live session on mp3.com. This version of "Crying at the Disco" definitely better than the one on the album. More fuzz-tone, more Yardbirds, more pound pound pound.

Also, as far as I can tell, the Platinum Weird album I reviewed for the New Times NY sub-affiliate didn't actually come out in mid September, as its publicist said it would, but has been postponed until early next year. Don't know this for certain, and am too lazy to find out.

But, in the meantime, Make Believe, the faux 1974 Platinum Weird album, did get released for reals eight days ago, and is available in, like, stores and stuff. Haven't heard it, other than the three tracks that are streamed on their MySpace page, two of which ("Happiness" and "Will You Be Around") are overlaps from the other alb, but in folkier, goopier, deader versions, unfortunately. Another two songs on Make Believe ("Love Can Kill the Blues" and "I Pray") are also on Platinum Weird and from the 30-second Allmusic clips seem to be sung in the same deep, dull round tones, which are supposed to be the fictitious Erin Grace's voice, I guess.

LINDSAY EXCLUSIVE: 'I need to be looked after.' (OK!)

Hollywood's SECRET NEW DIET PILLS! They Melt Pounds FAST - Who's TAKING THEM & Who's Not. (Ashlee one of four women on this cover, think it was Life & Style)

ASHLEE'S HAD MORE SURGERY! Now She's Got New Eyes and a Softer Chin. Friends Worry: "Her Addiction Is Out Of Control" (In Touch, the full cover for her, not counting the sideboxes)

Is Jess jealous? She wants ASHLEE'S NOSE! (sidebox in Life & Style)

Interesting that in the short interview Jeff linked above, Ashlee calls herself "boring." I hope that she doesn't mean boring, actually, but "normal," i.e., not newsworthy. I believe her in "Autobiography" and "Shadow," where she says she has a million subtleties and that there's so much more to her we haven't seen. But these I presume would be human-being normal subtleties, ways of being, the flavor and character of a particular person, rather than celeb-sized melodrama.

RE: Shine. It's basically the same formula as The Veronica's "Leave me Alone": soft, looped sample drums/minor key/I-to-VI modulation thingee/'soft' major chorus (emphasis on what looks like an A minor in C (they're playing C chords anyway.) Nice song, though.

I still keep being amazed at what in comparison are near avant garde structural shapes on Lohan's RAW. At their best--"Black Hole", "I Live for the Day"--they're not so much trad pop songs as teeny operettas.

"I want to be more famous than the Internet": I never actually saw this "Public Affair" video before (saw the fan-dance version instead). The lead-in is pretty funny, fools around with the celeb thing. "So you guys think there's gonna be even more paparazzi when we get there?" "There'd better be." It helps that I love this song.

I love the Veronicas "Leave Me Alone," and t.A.T.u.'s very similar (w/ the exact same four songwriters) "All About Us," so that may explain why I take a shine to "Shine." "Shine" does have that strange shift at the end.

Could you say more about "I Live For the Day"? I assume by "structural shapes" you mean chord shifts and harmonic mood changes and the like. The basic song pattern is standard enough: verse, second part of verse, chorus; verse, second part of verse, chorus; break, chorus, finale. Of course, as Lex says, it's MAGNIFICENT (streamed on what seems to be her actual MySpace page), and her "Oh-oh, wanna see you CRAWLin'" at the end is right up there with Jagger's "Black as night, black as coal, I wanna see the sun, blotted out from the sky" in the fadeout of "Paint It, Black" as one of the all-time great song cappers. There are interesting ways that the song throws her from the first part of the verse into the second, or after the first chorus throws her right back into the verse (as opposed to having clear demarcations). And what I call "break" above is actually these extraordinary wails that foreshadow the rocketworks of the finale.

Frank--I was a bit obtuse last night. What I meant is that the Lohan songs don't *feel* standard--to me anyway--and that structurally, the chorus' seem designed for drama, not easy-access repeating hooks.

The Veronicas are all business--killer intro; catchy verse; maybe a fake-out feedback thing; reapeat-o girl chorus--back to work.

Lohan demands a certain amount of attention paid. "Live for the..." sets a mood, the verse a situation, Lohan's voice fills with her sense of betrayal, and then the chorus comes not so much as catchy, sing-in-shower pay-off, but as an escalation and first indication of how she feels about what was set up in the verse. (And yes--the chorus repeats the signature line, but each sentence complicates it.)

the first time I heard it, my reaction was, What the fuck was that?

In "I Live for the Day" there's a cool transition from B minor (verse) into E minor/G major (chorus, basically E minor since it never resolves to major, but it's somewhat open-ended like Aly/AJ), with Lindsay jumping up to the unexpected A in the verse to carry it over to the chorus...it's like a sucker punch money note in a variation on the "Since U Been Gone" template. But the song never telegraphs the chorus, so you get this feeling of being hit in the gut when it seems to come out of nowhere. At the end there's one last surprise, great key change to F#minor/A major, which almost imperceptibly ratchets up the intensity (by a half step), still can't quite figure out where they do it, it happens when they go back into the verse for a second before the final set of choruses. So when she sings "CRAAAWlin," she's actually hitting the highest note in the song (C, which would have been the highest note anyway in the old key, but it's a little bit higher).

Er, intensity up a full step, not half-step.

And that CRAWLin note is B, not C, which means it actually ties for highest note in the song (but she sings the hell out of it at the end). (Sorry, figured this out on a "piano" supervised by cartoon bears.)

Also, re Platinum Weird, does that mean that the other non-"classic" album isn't available at all? Someone left this comment a few days ago:

Still searching for Platinum Weird? Best Buy has 'Make Believe' (the '74-style album) packaged along with a disc that is identical to the advance of the '06-style album. Could probably help you locate a copy.

Idolator calls "La La" a "party-killer." I've seen it kill at parties. I'm sure that's what they meant.