Rolling Teenpop 2007 Thread

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If we know something about her we can.

(OK, just checked her MySpace. She likes Alicia Keyes, who's a good singer to like but not necessarily to emulate, since Alicia is one of the rare recent soulish singers whose soulfulness hasn't turned into dreariness. Would Esmée's being Dutch protect her from being surrounded by overreverence towards the form? I wouldn't know.)

― Frank Kogan, Sunday, 25 March 2007 21:56 (nineteen years ago)

Loose ends:

According to Great American Country, Taylor Swift's "Tim McGraw" first hit the country top 40 the week of July 20, 2006.

Other recent singles I'm liking a whole lot: Shaggy "Church Heathen," Ashley Tisdale "Be Good To Me," Silversun Pickups "Lazy Eye," Kleerup f. Robyn "With Every Heartbeat," Thierry Amiel "Coeur Sacre," Calvin Harris "Acceptable In The '80s," Lil Mama "Lip Gloss," Redman "Put It Down," Magnus Carlsson "Live Forever," Mims "This Is Why I'm Hot," Trick Daddy f. Baby "Tuck Ya Ice," D4L "Tatted Up," Modest Mouse "Dashboard," Birdman "I Know What I'm Doing," Stephanie McIntosh "So Do I Say Sorry First?," Miranda Lambert "Famous In A Small Town."

I wouldn't say that many of these are close to teenpop (Tisdale and McIntosh for sure, Lil Mama and Kleerup if you want to count them (why not?), maybe D4L if you want to count snap as bubblegum). I once said that with a better rhythm section and better singers, Sonic Youth's "She's In A Bad Mood" could be a Fleetwood Mac song. Silversun Pickups' "Lazy Eye" might be what I had in mind. Thierry Amiel's "Coeur Sacre" seems to be French sentimental balladeering that interpolates the riff from ATC's great great great Eurodisco hit "Around The World" into its chorus without changing its French-song character except by getting prettier.

Most of the Tada tracks seem likable but in-one-ear-and-out-the-other; the one that stands out a bit is the self-titled "Tada," which, as Xhuxk says, has Lady Sov tendencies.

― Frank Kogan, Sunday, 25 March 2007 23:03 (nineteen years ago)

I'm intrigued by Esmee's backstory - multiple Dutch TV appearances & a writeup in
Billboard, all on the strength of her Youtube videos. I'd like to see her get signed, as she definitely has a voice, is cute as a button, and judging from her vlog clips (in which she speaks alarmingly good English), she seems like a genuinely nice kid.

― Tantrum The Cat, Sunday, 25 March 2007 23:08 (nineteen years ago)

Thierry Amiel's "Coeur Sacre" seems to be French sentimental balladeering that interpolates the riff from ATC's great great great Eurodisco hit "Around The World" into its chorus without changing its French-song character except by getting prettier.

Listening to this right now off the myspace - fantastic! In addition to what you mentioned, I'm also hearing shades of Technique-era New Order.

More about Esmee Denters here.

― Tantrum The Cat, Sunday, 25 March 2007 23:14 (nineteen years ago)

By March 6, she went again to the United States, for writing songs and maybe signing a record deal. She is reported to have signed a deal with songwriter Billy Mann and to have been in the studio with Kelly Rowland.

Billy Mann was one of the writers on the most recent Pink album.

― Frank Kogan, Sunday, 25 March 2007 23:21 (nineteen years ago)

Something might actually happen, then.

― Tantrum The Cat, Sunday, 25 March 2007 23:35 (nineteen years ago)

My take on Good Charlotte got posted. Hopefully this explains why I find them intolerably misogynistic better.

― Mordechai Shinefield, Tuesday, 27 March 2007 19:43 (nineteen years ago)

Good Charlotte's "Keep Your Hands Off My Girl" has a scraping, grinding, gargling sound that's strong and unexpected. Haven't made my way to figuring out what the lyrics are about yet, whether or not misogyny is in the house. Also, think that the track would be more powerful still with some rolling funk embedded in it.

― Frank Kogan, Thursday, 29 March 2007 03:35 (nineteen years ago)

Hilary Duff's new album is pretty great in my opinion. Lots of cool tracks, "Outside Of You" is getting thrown on repeat a lot.

― r.h., Thursday, 29 March 2007 04:01 (nineteen years ago)

Ross falls in love with Marit Larsen

Kevin Elliott interviews her in Stylus

I think the most important thing I learned is that when you’re standing on that stage and you’re so alone and so naked, it doesn’t matter that the producer was so stubborn or the record company wanted it to be this way or that way, because all the audience sees is you. They’re going think that it’s your opinion, your choices in melodies, and if it sucks it sucks. People won’t buy it.

― Frank Kogan, Thursday, 29 March 2007 05:43 (nineteen years ago)

Not sure what to make off the Duff one's new album after first listen. It may end up being in my mind a record with a large number of great "moments within songs" (e.g. the 'Pick it up, pick it up' chant in "Dignity" and the (slightly wtf) 'Were you born in 74?' line in "Danger", the skipped beats in ... whichever song that was) but no outstanding songs as such.

― Jeff W, Thursday, 29 March 2007 13:19 (nineteen years ago)

P!nk appears to have co-written "Outside Of You" by the way.

― Jeff W, Thursday, 29 March 2007 13:22 (nineteen years ago)

Avril Lavigne, The Manga

― Groke, Thursday, 29 March 2007 16:53 (nineteen years ago)

Liking H-Duff more with more listens..."Dignity" should be irking me with its message (I think) but it's a really good song and I don't care so much. And the lyrics aren't as in-yr-face as "Stupid Girls." (Hilary's kind of pissin' in the wind here, trying to position herself in opposition to Lindsay et al -- er, basically just Britney at this point, right? -- like she's got something to prove to somebody...but who's she appealing to, Disney censors? They're barely pushin' "With Love" as it is).

"Gypsy Woman" is great! Would be my favorite if I liked the song as much as the idea of the song...very WTF. Melodic turn-the-can-and-it-moos (or maybe the electronic Baby Jesus on that old SNL commercial) and some snatch of dialogue bookending it and...um, "gypsy" as dark mysterious femme fatale. In 2007. On an American teenpop album. This is like Ch!pz territory. "She can swallow knives/She can swallow lives/Golden black stare/But the night of your demise"...She's "bringing down the family name"(!)

Nice hiccuping track after that, "Never Stop," rollicking, bounds along and threatens to go over the top into a total cartoon but unfortunately doesn't. Hilary's not cool, which is one thing that makes (can make) her music so great (nerdy android trying really hard and sometimes succeeding to move you).

"Outside of You" is kind of Rachel Stevens hard strut til the chorus when it gets about as close as she comes to a confessionalish chorus, nice balance of old with new. Liking the album a lot more. "With Love" is actually kinda weak compared to a few of these. Hard to take the whole album all at once, though...which is actually kinda how I felt about Come and Get It when I first heard it, I guess. Like eating a whole cake (except this cake's not as good). Generally I wish Hilary was as goofy as some of the scenery, though, or did something interesting with surrounding goofiness, like Margaret Berger in "Robot Song."

― dabug, Friday, 30 March 2007 00:00 (nineteen years ago)

Ok on third thought this is probably album of the year so far.

― dabug, Friday, 30 March 2007 00:10 (nineteen years ago)

Most of the Tada tracks seem likable but in-one-ear-and-out-the-other

Totally disagree with this. If it counts as teen-pop (and Lily Allen and Taylor Swift don't, and/or if they count as 2006) it's my teen-pop album of the year so far*, with way more indelible and easily digestible hooks than on any Ciara or Cassie or Jojo or (closest comparison of these) Rhianna album I've heard. The lover's rock track "Footprints In the Sand" has a sweetness that I haven't heard in any r&b hit in a long time. Also really like "Who You Leanin On," "Superman," "When I Found You," and especially "Tada" and "OK."

* -- Which I guess just means I'd take it over Jordan Pruitt's CD, but whatev.

― xhuxk, Friday, 30 March 2007 00:29 (nineteen years ago)

Ok on third thought this is probably album of the year so far.

I was hesitant to say this but man, I liked it a lot when I first heard it and I keep going back to it, so..

― r.h., Friday, 30 March 2007 01:00 (nineteen years ago)

According to V.I.P. the next Ashley Tisdale single will be "Not Like That," which I think is her best song. (I can't vouch for V.I.P.'s knowledge; Wikipedia is reporting "Headstrong" getting chart action; different countries may get different singles.) I don't know yet what I think of Tisdale over all: she puts emotion and energy and psychology into her singing, but I'd describe her underlying vocal character as nonexistent, characterless. But if a singer records a slew of good songs, it's got to have something to do with her. She's not up to a slew yet, but her singles have been consistently good ("Kiss The Girl" my least favorite, but it's still likable).

― Frank Kogan, Saturday, 31 March 2007 04:51 (nineteen years ago)

Xhuxk, the day Tada samples Toto is the day I'll take her seriously. (That's not necessarily true. I only listened to Tada once, so I'm not dismissing her. I simply wanted to put "Tada" and "Toto" in the same sentence.)

― Frank Kogan, Saturday, 31 March 2007 04:56 (nineteen years ago)

Only have listened to the Duff once; consistently good and the two singles are definitely not the best things on it, but nothing has clicked in to totally knock me out yet. Her voice is still small but huskier than before, which I think is a good thing. She's adaptible and probably doesn't have any particular artistic vision or anything really to say (neither of which are prerequisites for great music), but she does always sound like Hilary. This as opposed to Tisdale sounding like so-what. Yet I might end up preferring my two favorite Tisdales to anything on Dignity. Too soon to tell, and three tracks on Dignity jumped out on first listen as strong contenders: "Stranger," "Danger," and "Happy," the first two of which having something of an Asian tinge, and "Happy" (despite its title and lyrics) having a mournful eeriness (which reminds me of freestyle which always seemed to have a hint of the Middle East by way of Spain, which means maybe this one too can be said to have an Asian thing going on). Hilary's singing on "Danger" is quite clearly an attempt to sound like Paris Hilton (which I mean as high praise) - strong resemblance to "Not Leaving Without You." (Both "Danger" and "Leaving" are co-written by Kara DioGuardi, as are all but two tracks on Dignity. As is Tisdale's "Be Good To Me.")

― Frank Kogan, Saturday, 31 March 2007 05:22 (nineteen years ago)

I think Tisdale's record is pretty fantastic from start to finish. I enjoy "Not Like That" as well, but it's probably only my 6th or 7th favorite song on the album.

― Matt Armstrong, Saturday, 31 March 2007 05:27 (nineteen years ago)

P!nk appears to have co-written "Outside Of You" by the way.

According to a Hilary fan site it's credited to "A. Moore/C. Kreviazuk/R. Maida," and "Pink Inside Management" is listed in the album credits, so you're probably right (Pink's real name being Alecia Moore). Kreviazuk and Maida are the Our Lady Peace people who co-wrote some of the lesser stuff on Clarkson's Breakaway (as well as writing stuff for a bunch of other people too).

― Frank Kogan, Saturday, 31 March 2007 05:32 (nineteen years ago)

Kelefa Sanneh may be the best music critic writing regularly in the commercial press, but I think his calling Good Charlotte's "Keep Your Hands Off My Girl" a "foolhardy foray into rap" is pretty foolish itself, since Madden's vocal cadences are hard rock all the way on that song, even if he's mostly talking/snarling the words rather than singing them. Josh Bell in the Las Vegas Weekly says the song is "awkwardly rapping about bling," whereas I think Joel is very effectively bearing down on the words like a rocker. Still haven't made my way to making sense of the words, which may indeed be awkward or foolish but the vocals are fine. Not that rock cadences can't be used in hip-hop, for instance LL Cool J's "Go Cut Creator Go" and Run DMC's "Sucker MCs," good shouting over beats. But the Offspring's "Come Out And Play" seems a more accurate analog to "Keep Your Hands Off My Girl."

(To be fair to Kelefa, he was griping mainly about the words. Still, he seems to be misinterpreting what the music's doing.)

― Frank Kogan, Saturday, 31 March 2007 05:59 (nineteen years ago)

"Not Like That" also has an Asian tinge (though DioGuardi didn't help write it).

― Frank Kogan, Saturday, 31 March 2007 06:10 (nineteen years ago)

I only liked "Not Like That" OK until I understood what it was really about, or who it was about, which is basically the only Ashley Tisdale that I can identify as unique on the whole album. And it corresponds to how I imagine a Disney star might feel, generally wholesome but not THAT wholesome, making you dance because it's what she's there to do, but still having some second thoughts.

Also, I remember it having a mambo-ish feel, not an Asian feel, but I haven't heard it in a while so I could be wrong.

― dabug, Saturday, 31 March 2007 06:30 (nineteen years ago)

I quite like "Keep Your Hands Off My Girl"! That surprises me, more due to the song than the band who I'm neutral about.

Oddly I just picked up Hillary Duff, ultra-belatedly. Much more rock than I was really expecting - "Mr James Dean" is harder than any other 2000s teenpop I've heard, perhaps. And there are times when it feels like Duff is aching to go all Mandy Moore singer-songwriterish, esp. the last two tracks. Weird combination of awful lyrics with strange moments of poetic insight. Good on the whole!

What a strange career development though: "Wake Up" and "Beat of my Heart" sound so much more juvenile than anything on that record (though I don't meant that as a criticism) and now she's going Rachel Stevens-ish? And Avril's done "Girlfriend" and Ashlee's working for The Neptunes/Timbaland... is it the end of the teenpop-as-confessional-rock era?

― Tim F, Saturday, 31 March 2007 06:58 (nineteen years ago)

As in, i'm surprised I like "Keep Your Hands off my Girl" given the kind of song it is.

― Tim F, Saturday, 31 March 2007 06:59 (nineteen years ago)

Aly and AJ will carry the confessional torch because I'm pretty sure they can't possibly do anything else. And by the same token, I think Ashlee will bring her confessional baggage (her personality) with her, as she did on a lot of I Am Me. Although I am worried what superstar production team means about her songwriting process (i.e. how much Kara needs to be in it for it to still be "Ashlee," but maybe Ashlee will bring Kara with her, too, even if only in spirit). And I think Kelly C. is going more rock, more emotional, not less. And if her next album is as good or as popular as Breakaway, she could help along a resurgence of rock-confessional.

Even if confessional-rock does subside even more than it has already, this is a potentially exciting period, too, because the transitional types like Hilary are bringing little glimmers of confessional to unexpected places -- the ideal being Marit Larsen, whose themes and issues etc. carried over intact from M2M but whose sound is diverse and exciting. Ditto glimpses of confessional in Paris Hilton, Taylor Swift, the Wreckers. Probably others I'm not thinking of.

― dabug, Saturday, 31 March 2007 14:57 (nineteen years ago)

hallo. was gonna stop by here and tell you guys about falling in love with (and seeing/meeting) marit larsen at sxsw, but frank beat me to it. but i can alert you to the photos i took of her, which i just got back from my friend, and the best of which i have added to that original post on mincetapes, except for one which is in this new post. in which i also talk about marit some more, specifically regarding her album (of which i finally got a hard copy.)

not sure how much she really qualifies for this thread anymore, except for her obvious historical ties. on the other hand, there are parts on under the surface when her teenpop past comes through - i'm thinking of the exuberant speak-singing on the bridge of "don't save me" ("don't you dare! leave me here!") and the chorus of "the sinking game" ("we dive!") - which for me are some of the most beautiful moments on the record because they stand as reminders of her youthfulness on an album which could be seen as an attempt "grow up" (by going country/folk, not that it's not pop any more) and distance herself from her teenybopper m2m days. those two tunes are also some of the most confessional on the album - which is to say they seem to be most revealing of marit herself. so it's absolutely appropriately that they feel pitched somewhere between youth and adulthood. (as i mention in the blog, some of the more deliberately "mature" tunes don't come off as well.)

anyway, marit was probably as close to teen-pop as sxsw got, unless we're counting lily allen (who impressed me more with her voice in a short acoustic in-store set than she did in a full concert in philly a month back) and amy winehouse (i wouldn't, but seems to be getting discussed here...she was fine to see live but nothing amazing. except maybe her tattoos.)

listening to the h-duff now - pretty sweet.

― rossoflove, Saturday, 31 March 2007 15:09 (nineteen years ago)

I am now listening to the retracted Fefe Dobson album Sunday Love and it is obliterating everything ever. It's so pop-metal-disco, no wonder the government wouldn't let it come out. ALBERTO GONZALES RESIGN NOW

― Dimension 5ive, Sunday, 1 April 2007 20:31 (nineteen years ago)

Windows media file link for the vid to Tim Armstrong's "Into Action." (This is an experiment to see if links in ilX 2.1 will take quotation marks. If not, this ought to work: "Into Action."

If you don't have windows media player, here's the YouTube.

Sounds like a ska version of "You Can't Sit Down," catchy, reminds me that I like Rancid. I'm posting here because the vocals are shared by Tim Armstrong and Skye Sweetnam.

― Frank Kogan, Sunday, 1 April 2007 20:33 (nineteen years ago)

obliterating everything ever

Yeah, the second half was pretty much unlistenable in all previous versions I'd found, but the album kicks ass throughout. In particular from second half, loving Cars synth plus metal crunch in "Initiator," Liz Phair vibes on "Yeah Yeah Yeah," and whoa-oa harmonies over rawkin chugalug on "Miss Vicious." Good non-single ballads, too.

― dabug, Sunday, 1 April 2007 20:45 (nineteen years ago)

More doings in Canada, this from the Lillix site:

Lillix is still going.
We're in a rebuilding stage. Two members left, but we are working with new members and will announce them soon.

Much Love
Lacey & Tasha{/i}

I'd guess that a U.S. release of [i]Inside the Hollow is ever more unlikely.

― Frank Kogan, Sunday, 1 April 2007 21:27 (nineteen years ago)

Oops, screwed up the italics. I'm the one who's saying that the U.S. release is ever more unlikely.

― Frank Kogan, Sunday, 1 April 2007 21:28 (nineteen years ago)

Even though Dabug linked the live version in January of Fefe's "Get You Off," we managed to have loads of commentary on Avril's "hey (hey) you (you) I want to be your girlfriend" and the Stones-Ramones-Rubinoos similarities, without mentioning Fefe's "Hey (hey) you (you) get off of my back."

― Frank Kogan, Sunday, 1 April 2007 22:19 (nineteen years ago)

favorite stephanie mcintosh lyric of the moment: "you told me you loved me/i thought that meant you loved me"

from "god only knows," which, in flashes, reminds me musically of the pumpkins' "today," skye's "i don't really like you," "behind these hazel eyes" and "love me for me" (in mostly superficial ways.)

agreed, frank, that "do i say sorry first" is fantastic. (nice call on the "tales of brave ulysses" similarity.) what were her first two singles?
__

one listen through sunday love so far - add me to the choir. this seems not only great, but also eminently more marketeable than, for instance, skye (her debut anyway.) surely there's a market niche for angryish female pop(-punk)/rock (no need to qualify it as teen-) these days - particularly when it has as many 80s nods as this.

"initiator" definitely stands out, as does "man meets boy" (which is, kinda, whoa.)

― rossoflove, Sunday, 1 April 2007 23:15 (nineteen years ago)

First two Stephanie McIntosh singles were "Mistake" and "Tightrope." Don't think anything of hers has been released outside of Australia and SE Asia yet, though "Mistake" is slated for U.K. release.

― Frank Kogan, Monday, 2 April 2007 00:21 (nineteen years ago)

was going to mention fefe's hey-hey-you-you meme as well - obviously(?) her version is hewing closest to the stones'.

― rossoflove, Monday, 2 April 2007 00:21 (nineteen years ago)

I couldn't really take Stephanie McIntosh seriously, there's something about Australian pop or at least my relationship to it where 99% of the time it just seems so much more forced and calculated. "Mistake" is so obviously an amalgam of "Since You've Been Gone" and "Everything I'm Not", but with less power or grace than either. Although I wouldn't go so far as to say it's bad.

Certainly she was better than some of the other Aussie pop-pretenders, such as the truly excerable Kate Alexa.

― Tim F, Monday, 2 April 2007 08:10 (nineteen years ago)

glad that everyone's enjoying the hilary album - i was actually initially disappointed that she'd abandoned that...very wide-eyed, ecstatic, on-verge-of-unknown quality which i love about 'come clean' and 'beat of my heart' (still my favourite songs by her); the knowingness of the New Dark Electronic Direction seemed at odds with that. but it's a classy effort, her most consistent album yet for whatever that's worth - just requires a bit of mental readjustment to Nu-Hilarity. love the depeche mode jack on 'dreamer' (i didn't know she actually had a stalker! the song seemed far too breezy and sympathetic to be about a real experience), 'happy' is rachel stevens plus emotion, 'never stop' completely irresistible, 'dignity' v funny and also v catchy - hilary can get away with pitching fits at hollywood shallowness in a way madonna cannot, esp as it's all about lindsay really.

i was going to do my favourite 10 singles of the year so far but could not narrow it down. so here are my 10 most played according to last.fm -

1. Natasha ft Clipse - So Sick
2. Rihanna ft Jay-Z - Umbrella
3. MIA - Bird Flu
4. Estroe - Driven
5. Ciara - Like A Boy
6. Amy Winehouse - Back To Black
7. Amerie - Take Control
8. Lloyd ft Yung Joc & Missy Elliott - Get It Shawty
9. Avril Lavigne - Girlfriend
10. DJ Khaled ft Akon, TI, Rick Ross, Lil' Wayne, Fat Joe & Birdman - We Taking Over

'umbrella' already in second place despite me only hearing it for the first time on thursday! this is because i have basically played it 9484739333 times in a row since.

― lex pretend, Monday, 2 April 2007 08:29 (nineteen years ago)

Woah, just heard "Umbrella". Awesome.

― r.h., Monday, 2 April 2007 12:00 (nineteen years ago)

My daughter, yesterday: "OMG Dad did you hear what the title of the new Hilary Duff album is? DIGNITY! LOL!"

― Dimension 5ive, Monday, 2 April 2007 13:11 (nineteen years ago)

What odds the follow-up will be called 'God's Favorite'?

― William Bloody Swygart, Monday, 2 April 2007 13:26 (nineteen years ago)

Still only halfway into the Fefe and haven't yet decided if the combination of vocal agony and pretty tunery is a mismatch that works brilliantly or one that crashes badly. Damn interesting, though.

― Frank Kogan, Monday, 2 April 2007 17:13 (nineteen years ago)

I'm going to repeat something I said earlier, but this time in caps:

HILARY'S SINGING ON "DANGER" IS QUITE CLEARLY AN ATTEMPT TO SOUND LIKE PARIS HILTON.

― Frank Kogan, Monday, 2 April 2007 17:18 (nineteen years ago)

man... it is really obvious, huh? Wow.

― Matt Armstrong, Monday, 2 April 2007 17:29 (nineteen years ago)

Just posted this on the rolling country, though it belongs here just as much, since Mary's was probably the greatest voice in the history of teenpop (lead singer of the Shangri-Las):

Only've heard the MySpace tracks and 30-second clips of the rest of the Mary Weiss. Her voice has adult richness, but it also seems a lot more rigid than that of the wailing teen we formerly knew her as. Maybe this is a defensive reaction on my part when rehearing a former flame, to immediately think "Oh, it's not that good" - to get a jump on my own potential disappointment and therefore not really feel the disappointment. So I may take a while before reaching a balance in my appraisal, but I am disappointed. "Break It One More Time" does seem a strong song but weighed down by the singing.

― Frank Kogan, Monday, 2 April 2007 19:35 (nineteen years ago)

Idolator, Pitchfork, NME, EW, etc. get the "scoop" on Ashlee possibly working with Robert Smith (which we've been talking about since January 21st), proceed to say idiotic things.

Pfork: "But Ashlee Simpson-- more talented than she's often portrayed for sure, but still the co-author of "you make me wanna la-la"-- pairing with scene hero Robert Smith is perplexing at best, disheartening at worst. What results from the link-up remains to be seen, but something tells us we're still better off placing our wagers on Mike Watt and Kelly Clarkson."

Y'know, I don't want to badmouth people by name or anything, but I get the sense that some of these writers are reading this thread or at least the writing of people who contribute here and then using it to insult those same people (and the artists we talk about)...this is about ten times worse than your standard "Ashlee sucks" line. Like, what kind of a person would qualify a swipe of "La La" with the opinion that Ashlee's misunderstood? What songs are they talking about that display more of Ashlee's "talent" than "La La"? It just seems like those are incompatible positions. (This isn't the first time this has happened either...I was targeted specifically in their review of Meg & Dia's album -- funny that the guy also called Skye Sweetnam by her first name alone, like so many people outside of this thread and her message board are on a first-name basis with her! His phrase was "I've begun to envy the 16-year-olds who get to live with and cry on the shoulders of Ashlee or Skye and not feel the least bit sleazy or bad about it," which also suggests he's never actually listened to either of them.)

Just venting.

― dabug, Monday, 2 April 2007 23:17 (nineteen years ago)

hay guyz i was wonderin what u all thought of falloutboy, esp their new (newish i guess) single, the arms race one. i couldnt find a thread so this seems like the best place 2 talk abt it (unless there is a rolling modern rock radio thread). anyway i think it is pretty awesome, i have herd 3 falloutboy songs and they are all cool imo. the new one sounds sorta teenpop-ish and reminds me of god i dunno, n'sync or something. kanye west did a remix and it is horrible but it is also funny because he starts his verse off with the line "i dunno what the hell this song talkin about" (lmbo!), imo he should've just looped that line for the rest of the song. i think mostly what i like about them is that the singer does less of the over-annunciating nasal stuff than a lot of popular rock acts these days. at least in dis song~

here is the video which is not good imho~~~

http://www.youtube.com/watch?v=9FcBnaLjxY4

― cankles, Monday, 2 April 2007 23:54 (nineteen years ago)

not close to being up there with Carrie covering Tiffany and sounding totally Carrie in doing so

Frank, this goes back a bit but what were you referring to with this comment?

Unrelated, "Irreplaceable" wins favorite song at the kids choice awards

― Greg Fanoe, Tuesday, 3 April 2007 00:17 (nineteen years ago)

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