Posts Tagged ‘Aly & AJ’

Teen-pop On the Radio—Finally

Thursday, May 10th, 2012

I have long been frustrated by the way Disney-pop and teen-pop in general have been ignored by terrestrial radio. Though I understand why programmers have avoided the more tween and pre-tween oriented music—that is, the real kid’s stuff—ignoring big-selling artists like Aly and AJ (“Potential Breakup Song” went platinum but never made the Hot 100 Airplay chart), the Jonas Brothers (17 million albums sold, yet they only made the Airplay chart twice, and never got higher than 55), or Demi Lovato, makes far less sense. Though Miley Cyrus managed to break through the barrier with “Party In the USA”, that may have been due more to radio’s love of anything produced by Dr. Luke. Selena Gomez is the only other Disney-associated artist to make any impression on the airplay charts, and she only managed it with her most recent single, “Love You Like A Love Song”, which peaked at 15 in February. Not only would it seem to be in radio’s interest to play records that are actually popular, catching on to these artists would have given them a head start on capturing the audience that will dominate pop culture over the next decade.

Maybe they’re starting to figure that out, even if the realization has come not through Disney (whose influence has faded, at least for the moment) but as the result of an invasion of foreigners. Justin Bieber, Carly Rae Jepsen, The Wanted, and One Direction have made major inroads on the airplay chart in the last two months, and are popping up in all sorts of places you wouldn’t expect to find them. Jepsen’s “Call Me Maybe” finally broke top twenty on the chart this week after being in the top ten in digital sales for almost two months, following Bieber, whose “Boyfriend “ is his first top twenty airplay hit (his previous peak was “Baby”, which made it to 24). Meanwhile, The Wanted, who skirt the demographic edge between teen-pop and whatever comes after (there really isn’t a name for it—just “pop”, I guess), debuted this week on the slowest moving of all radio formats, Adult Contemporary. Even Demi Lovato, who, despite her celebrity, emotional crack-up, and selling several million records has never made Hot 100 Airplay, finally broke through, debuting this week at 72.

It’s possible, however, that this will be short-lived. Bieber’s record has already peaked. Jepsen is still climbing, but chances are the execrable “Payphone” will keep her from making number one, and the Curiosity EP doesn’t suggest any worthy follow-up, at least for a while. She may be destined for one-shot heaven. The same applies to The Wanted and One Direction. Disney is essentially dormant, and though Nickelodeon’s attempts to cash in on the teen market have at least been interesting, only Victoria Justice has made any decent records, and none of them have shown any traction on radio. Unless some other surprise pops up, this may be teen pop’s high water mark for the foreseeable future.

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Bye-bye Disney

Monday, November 15th, 2010

There are many ways to let a former employer know what you think of them, but I’m not sure it’s ever been done with the cover art for a single before. Rock Mafia, aka the production team of Tim James and Antonina Armato, were responsible for the best of the Disney-pop singles of the last few years: Aly & AJ’s “Potential Break-up Song”, Selena Gomez’s “Naturally” and “Falling Down”, and a slew of Miley Cyrus and Hannah Montana records, including “Can’t Be Tamed” and “See You Again”. Now they appear to have severed their connection with Disney and gone off on their own. Their first single, “The Big Bang”, which hit the Hot 100 this week, is being promoted with a decidedly un-Disneyish video starring Cyrus. But it’s one of the other songs streaming on the Rock Mafia website that really sends the message, or at least the cover art does:

I don’t think Walt would approve. Or Roy.

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The year so far, ctd.

Monday, July 26th, 2010

When I was doing my half-year summation last week, an idea struck me that I didn’t have time to include. As I said there, the apparent greatness of the year overall hasn’t made much of an impression on the pop charts, at least not in terms of individual records. As the old saying goes, though, a rising tide lifts all boats, and though I think it’s fair to say that there have been few great records on the Hot 100 this year, the quality, overall, has risen.

Quality, however, may not be the right word; freshness may be closer to the truth. Since the crash and burn of the summer of 2008, there has been a slow but steady revitalization. Pop music sounds different than it did three years ago. On the top forty charts, the touchstones are obvious. With Lady GaGa and the revamped Blacked Eyed Peas leading the way, followed by 3Oh!3, Ke$ha, and quickly adapting older artists like Rihanna and Jay-Z, electronica in one form or another has become a staple on the pop charts, to the point where even Disney stars like Miley Cyrus and Selena Gomez are jumping on the bandwagon (to be fair to Disney, Aly & AJ were actually ahead of the curve on this). At the same time, the pop embrace of electronica has forced those in the electronic music scene itself to up their game and look for new ideas to separate them from the mainstream (a process aided by the cross-pollination provided by DJ podcasts like those found at Resident Advisor, XLR8R, and Fact Magazine—check out Michaelangelo’s piece in the Guardian for an overview). At the same time, thanks to its exposure on the charts, electronica is garnering an ever-expanding fan base of more adventurous pop listeners.

Hip-hop and rap have also been reflecting the inspiration provided by electronic music. Unlike pop, however, the major changes are coming from smaller scenes outside the mainstream. While stars like T.I. and DJ Khaled fill their records with ever more baroque permutations of fuzzy synths, the whole of hip-hop is being remade from underneath by teenagers with lap tops. From Soulja Boy Tell’em in Mississippi to the jerkin’ movement in LA to Cali Swag District’s “Teach Me How To Dougie”, which puts an LA spin on a dance movement originating in Dallas, the movement in one form or another has gone nationwide. All that laptop rap needs now is an independently-minded genius to blow it wide open (Soulja Boy and New Boyz, unfortunately, have already been absorbed by the old guard).

Beyond the influence of electronica (and yes, I know that phrase is out of date, but find me another that covers the whole spectrum), other genres are being revamped as well, especially country. Up until a couple of years ago, country was ruled by good ol’ boys like Toby Keith and Tim McGraw and Kenny Chesney, who sang, for the most part, about only one thing: how good it is to be a good ol’ boy. In the last two years, though, women have come back strong: Gretchen Wilson started the ball rolling, with Miranda Lambert following closely behind, then Carrie Underwood (whose “Before He Cheats” provided the ultimate kiss off to the good ol’ boy genre), with Kellie Pickler, Sugarland, Lady Antebellum, Rory and Joey, and a host of others quickly occupying the landscape. In a category all their own are Taylor Swift and Brad Paisley, who have brought an intelligent, charming, good-humored sensibility back to country that it’s been missing for over a decade. The good ol’ boys are still around, but their voices are muted. Many of them are trying to meet the women half way, and the result has been a batch of pleasant, if not always brilliant records that feel far more down to earth and human.

Interesting changes have taken place on the indie and alternative scenes as well, but for the moment none of those have been turning up in the pop charts. Not that that isn’t a possibility. As far as I can tell, the only major difference in sound between Ke$ha and Sleigh Bells is the mix: Ke$ha mixes her distorted electronic explosions down and her voice up; Sleigh Bells does the opposite. They may be on different paths, but they’re heading in the same direction. Everybody is. And somewhere down the road is a convergence point that’s going to blow everybody away.

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Do the Disney Dance

Monday, April 12th, 2010

Despite it’s obvious popularity and impressive sales record, Disney-pop has been a non-starter on the radio. With the exception of Miley Cyrus, no Disney-associated act, including the Jonas Brothers, has been able to make much of an impression. So unless you’re listening to the cable-only Radio Disney (a doubtful prospect if you don’t have children of a certain age), you’re not going to hear the likes of Aly & AJ, Demi Lovato, or Selena Gomez. There is one other place you can find them, however, or at least one of them: dance clubs. Gomez’s “Naturally” (which has almost surpassed Aly & AJ’s “Potential Breakup Song” as my favorite piece of Disney-pop) has been on Billboard’s Hot Dance Club Play chart for ten weeks, six of those in the top ten, and last week at number one. This isn’t a surprise—”Naturally” is a near perfect piece of dance pop that would fit seamlessly with the records currently topping the charts (its basic structure owes a lot to Lady GaGa’s “Bad Romance”), if it could ever get some mainstream airplay.

The only reason this record isn’t all over the radio is the Disney connection: radio programmers see it as kids music, and are afraid of turning off their more “mature” listeners (despite the fact that “Naturally” is, in almost every way, a far more mature record than, say, Ke$ha’s “Tik Tok”, or any number of other “adult” pop records). Club listeners, thank God, just want to dance; they don’t care who makes the music. If only radio programmers were as open-minded.

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New this week—2/28/10

Wednesday, March 3rd, 2010

Christopher Wilde
“Hero”, #57
“StarStruck” #77
“Something About the Sunshine” (with Anna Margaret), #81
Christopher Wilde, in case you’re not a connoiseur of the Disney Channel, is the name of the fictional teen heart-throb in Disney’s latest made-for-TV tweener extravaganza, StarStruck. The actor who does the singing here is Sterling Knight, who the folks at Disney are no doubt hoping will become a real heart-throb. As Disney soundtracks go, these three songs are above average, less cutesy than the Hannah Montana or High School Musical numbers, without all the cloying lyrical uplift. They’re also more mature. “StarStruck” includes a line about girls who want to take Christopher out on a date and make him holler, which in the Disney universe is as close as you can get to an NC-17 rating. Disney is obviously beginning to realize that the audience for its teen fantasies is older than it was when High School Musical debuted four years ago. Those tweeners are into their mid- to late-teens now, and they want a little romance, and even a suggestion of sex, with their song and dance. But even though these are more adult than the standard Disney fare, they’re also not up to the best of the non-soundtrack material that Disney artists like Miley Cyrus, Selena Gomez, and Aly & AJ have put out the last couple of years. “Starstruck” moves along nicely, but it has nothing new to say about fame (Lady GaGa would seem to have a lock on that theme at the moment), and though I like the bouncy/stretchy sound effects on “Something About the Sunshine”, it’s obvious they’re there to hide its other weaknesses. So I’ll give Disney an A for effort and for upping their game, but only a B for the results.

k.d. lang—”Hallelujah (Vancouver Winter 2010 Version)”
#61
A few weeks ago I was complaining about Justin Timberlake’s attempt to recontextualize this song after the earthquake in Haiti. But this, performed by Lang at the opening ceremonies of the Winter Olympics (and what a celebratory piece of work it is!) is even worse. Verse by verse, Lang drains every ounce of meaning out of the song, and then bathes the final chorus in one of the most banal string arrangements I’ve ever heard. Even at the peak of her popularity I thought Lang was overrated, but I never thought she’d get as bad this.

DJ Khaled featuring T-Pain, Ludacris, Snoop Dogg & Rick Ross—”All I Do Is Win”
#64
The frustrating thing about DJ Khaled (aside from his fuzzy, overloaded, melodramatic beats) is that he’s a one-idea man. That doesn’t need to be a detriment—a lot of DJs have made great records with less than an idea—but Khaled’s depends entirely on the guests he finagles into rapping on his productions. The result is an often irritating variation in quality, not just from record to record, but within each record itself. In this case, he gets a mediocre but passable hook from T-Pain, a slightly above-average rap from Ludacris, and an unintelligible, below-average rap from Rick Ross. Then, just as you’re getting ready for the wind-down of another tepid Khaled production, Snoop Dogg steps up to the mike, and in four lines blows a hole in the middle of the record. I’m not familiar enough with Snoop’s stuff to know whether he’s used these lines before—all I know is they’re better than anything else I’ve heard Snoop come up with, and just about any other rapper I can think of, as well. It’s not just a matter of the shock of Snoop’s laid-back style compared to the others’, either, because every time I listen to this record that verse seems even more powerful, more portentous, more menacing. The only thing I can compare it to is Lil Wayne’s rap on Khaled’s “We’re Takin’ Over” a couple of years ago. Exactly why Khaled’s productions should be so inspirational to these guys I have no idea. Maybe there’s more to those beats than I’m picking up on.

Usher—”There Goes My Baby”
#71
The best thing Usher has done in years (he appears to have been listening to a lot of Ne-Yo and Maxwell), but still far short of whatever mark he’s aiming for. Whoever or whatever made him decide to cut short the middle-eight, which would have brought the song to a higher level, should be booted out of his entourage, or his head, as quickly as possible.

3Oh!3 featuring Neon Hitch—”Follow Me Down”
#89
You knew once they stopped being offensive they’d be boring, right?

Mariah Carey featuring Nicki Minaj—”Up Out My Face”
#100
Over the last few years Carey has been making the best music of her career (not a great leap, I know)—just in time for her audience to dry up and everyone under the age of 25 to start ignoring her. Judging by this record, which is only slightly above average but which she obviously had a great time making, and by reports of her recent concert appearances, she doesn’t really care. Good for her. That’s the sort of attitude that could make her even better.

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New this week—1/3/10

Saturday, January 9th, 2010

Selena Gomez & The Scene—”Naturally”
#39
The title is wonderfully ironic for such an obviously manufactured chunk of music, but this is still the best piece of Disney pop since Miley Cyrus’ “See You Again”, or maybe even Aly & AJ’s “Potential Breakup Song”. Like both of those, “Naturally” was written and produced by Tim James and Antonina Armato, who really should be given some sort of prize for keeping Disney’s foray into pop music respectable. Because this is pop for tweener’s, James and Armato don’t get anywhere near the attention and respect they deserve, but I think they’re one of the best songwriting teams around right now. Once the tweeners take over the world (about five years from now) maybe someone else will notice it.

Young Money featuring Gucci Mane—”Steady Mobbin’”
#48
Young Money, my ass—this is a Lil Wayne record with a brief cameo by Gucci Mane (think of them as the Jailhouse Boys). It isn’t particularly better than any of the other Young Money tracks I’ve heard, nor particularly worse. It does present a nastier Lil Wayne than we’ve heard recently—maybe he’s feeling the need to reassert himself after a year of (often brilliant) goofs. He repeats a lot of his old schtick, though, and for the most part this sounds like a mixtape cut Wayne decided sounded just good enough to go onto the album.

Blake Shelton featuring Trace Adkins—”Hillbilly Bone”
#65
This is as heavyhanded in sound as any other country/rock hybrid, but its rustic chauvinism is lighter and friendlier than most, and it has a great opening line: “I’ve got a friend from New York City/He’s never heard of Conway Twitty”. After that it goes downhill, but not too far. How much you like it may depend on how much you can stand Adkins’ baritone schtick—I can just barely abide it.

Eminem—”Music Box”
#82
This is more stylish than most of Eminem’s splatter movie fantasies—more Dario Argento than Wes Craven, if you will—but that only makes it seem more garish and stupid. You’ve got to fill up these deluxe reissues somehow, I guess.

Lady Antebellum—”American Honey”
#97
Their Fleetwood Mac obsession continues, and in some ways I like this more than “Need You Now”. It’s both intelligent and tasteful without being stiff and mechanical, and the upcoming album may well be some sort of easy-listening landmark, if only because it will undoubtedly make smoother their inevitable crossover from the Country chart to Adult Contemporary. Which may be a more important achievement than you think.

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