Radio Disney C/D

TS -- Crazy Frog vs. Hamster Dance

x-post had I known what was in the movie (was it See Spot Run or something?) I would have seen it and then heard the track.

Jesse McCartney
"Beautiful Soul"
1 2

Akon
"Lonely"
2 1

Mr C The Slide Man
"Cha Cha Slide"
3 debut

Bowling For Soup
"1985"
4 3

Axel F
"Crazy Frog"
5 5

Hampton the Hampster
"Hampsterdance Song"
6 6

Jesse McCartney
"She's No You"
7 7

Hilary Duff
"Wake Up"
8 8

Gwen Stefani
"Rich Girl"
9 10

Kelly Clarkson
"Behind These Hazel Eyes"
10 9

Jesse McCartney
"Because You Live"
11 --

Jesse McCartney
"Good Life"
12 --

Kelly Clarkson
"Breakaway"
13 15

Hilary Duff
"Our Lips Our Sealed w/Haylie Duff"
14 24

Hilary Duff
"I Can't Wait"
15 --

Cheetah Girls
"Cinderella"
16 13

JoJo
"Leave (Get Out)"
17 14

Aly and AJ
"Do You Believe In Magic?"
18 30

Hilary Duff
"Come Clean"
19 20

Hilary Duff
"Fly"
20 11

Aly and AJ
"Walking On Sunshine"
21 22

Avril Lavigne
"Sk8er Boi"
22 19

Backstreet Boys
"Incomplete"
23 29

B5
"Dance 4 You"
24 --

Aly and AJ
"No One"
25 16

Cheetah Girls
"I Won't Say"
26 12

Ashlee Simpson
"Pieces Of Me"
27 28

Usher
"Caught Up"
28 23

Kelly Clarkson
"Since U Been Gone"
29 18

Hillary Duff is k-evil.

http://www.villagevoice.com/music/0042,saunders,19036,22.html

http://www.villagevoice.com/music/0011,saunders2,13249,22.html

http://www.villagevoice.com/music/0323,saunders,44552,22.html

http://www.villagevoice.com/music/0247,saunders,39983,22.html

http://www.villagevoice.com/music/0415,saunders,52599,22.html

http://www.villagevoice.com/music/0023,saunders,15449,22.html

http://www.villagevoice.com/music/0419,saunders,53355,22.html

>Perfect Man -- woo yea. Truly amazing. i fled with my head throbbing at the 65 minute mark, then marked time across the hall with the first 15 minutes of A Cinderella Story until the urge to kill dyed-blackhair-emo-method Renee Zellweger and the other 15 poor souls in the room started bubbling like a volcano. and then it was time for the cinematic masterpiece i'd figured i was coming for in the first place -- yep, Herbie Fully Loaded seemed like actual tolerable family entertainment in comparison. Matt Dillon yelling at a talking car, let's whip out those Oscars boys. (for what it's worth, the kid actors in Let's Make Sure Heather Locklear Never Gets 50 Dollars For A Movie Role Ever Again, i mean Perfect Man, kinda seemed blameless and got through unsullied or scarlet-lettered in my opinion. hell, hilary duff's got the #1 song on the TRL request line right now so she'll survive heather's p ublic inferno on-screen of hellspawn satantically plotted embarrassment. i had to PUT MY HANDS OVER MY EYES in two scenes of hers, it was actually that legitmately "cringe-worthy," to an actual adult. it was torture enough that i had to hear the dialogue she was forced to memorize and recite. and i never figured what the fuck was up with the laptop. Hil was sitting in a windowsill, working her Live Journal/Blog/gay web page with a laptop right? what the fuck. she wasn't allowed to take it out of the house? to do her cyber-stalking of her mom. i'm sure there were 50 plot points that made no sense. well, at least no one said "friendster"

>

2) Jeff & Ellie were classic intuitives/instinctives through the Neil-D era. i don't think it crossed their mind for 5 seconds to think "let's call Jack Nitzsche long distance and pick his mind on how he writes arrangements for that future Adolescents song title ( = the wrecking crew).

But dig this. Neil-D's singles and sessions are all Ellie. Jeff's not even there. The only reason his name was on the co-production credits is cause of their divorce/business fallout and settlement. Possibly Neil had signed a production deal with them during the many times he was cutting demos (of his or other stuff) with them during the RedBird year (closer to two years i guess)?

Jeff-B's later Archies or Andy Kim productions are of course in a similarly sparse style. Maybe he had uttered aphorisms in her presence during and after the year or two of writing songs for Spector (so that he could put his name on em too, for banging the tambourine during the writing session...or saying "yeah that's great! i can hear the 27 Wrecking Crew instruments on it already!"). like "fuck Phil man, all ya really need Ellie is 5, 6 instruments tops.

They (together) cut bare bones demos (piano / drums / vocals) on their own (since day one of working together, writing) of ALL their songs, just like the Brill Building slaves did with the house-mini-demo room or whatever.

and ALL jeff/ellie pre-bubblegum productions are cut in NYC, not it's not like they had the option of deciding to call the Wrecking Crew anyway.

the greatest Jeff/Ellie story of all time, is the one where they claim that they wrote one of Leslie Gore's hit songs ON THE WAY to the recording session (to cut a song, that hadn't been written yet). since that would be "Maybe I Know" or "Look Of Love," i'll go with the so-so Look Of Love. ("wait, Jeff, we forgot to write a decent song for Leslie's session this afternoon!" "no sweat, baby, we'll make it up on the drive into NY. we'll make it like that Maybe I Know thing, but about half as good. just write your words while i'm humming the damn thing. and don't let me forget my shades, baby.").

Hit Parader ran a 4 page article/quotes on Jeff and Ellie in early 1965, and it had b&w pictures of them at work cutting "demos" of hit songs in their tiny, soundproofed demo room (downthe street from the Brill Building). i said to myself "what is this shit? where's the guitars? where's the drum kit with the bitchin' band logo?" I had no clue what the fuck i was looking at (or who they were) and didn't care. I liked the Shangri-Las but i wasn't buying the production/writing image one bit at the age of 12. i knew how to read writing credits (on 45s), but if you didn't look cool, fuck ya. note = this doesn't mean i thought (next year) the Barbarians looked cool either..

also! Jeff/Ellie and the Brill Building flew so far under the radar for so long (re the actual RECORDINGS...not the songs) that the Neil-D 45s run never got one bit of attention from anyone. at the time, which is pretty impressive, both Neil-D and Tommy James' Shondells hits of the same (1966-68) period went right OVER THE HEAD of everyone. they never even crossed MY consciousness, and i was pretty good at having the ears to the ground. ( = i was the first white kid in little rock to have the 1st Butterfield Blues Band lp, and then the dopey Clapton/Mayall Bluesbreakers lp). (and i knew who the Small Faces were, no mean feat here in 1966 or early 1967).

i'm not sure if the mono 45s (american, never heard other countries' issues) or the best lp pressings (UK definitely...even in stereo! cause that separates Ellie's backing vocals TO ONE SIDE like the Ramones bad bass playing) are the best audio of Neil-D's singles. but a fanzine RADIO ON used to run "graphs"/essays on various artists' "career sequence" of 45s (or albums i guess), plotted on a 1 to 10 graph scale, left to right like any 9th grade math class.

i volunterred graphs/essays for Neil Diamond, the Beatles (and of course WARRANT) at different points. Neil's Bang Records singles of course beat the Beatles and about every other act in musical history, in average rating. oh wait, ha! my "Beatles" graph(s) were one showing that the beatles B-SIDES rated just as high, nope HIGHER, than their A-sides through "Help." had to cheat of course, between the US and UK (B-sides) issues, since they differed. so i rigged the sample data, which i ackowledged in the essay. after the Perfect Man, i mean Perfect Ten's of "please please moi," "want to hold your hand" and...oh wait, that's it...the B-sides do indeed squeak out higher.

Kinks 45s on nice american Reprise orange/brown labels on the chunky-ass pure vinyl, no doubt bury every thing in the world (through "Lola") (tho you gotta pull in UK or foreign-only titles as well to get a couple of the songs in the database). i never got around to it though (probably too many Warrant albums to listen to). Jani Lane on CELEBRITY FIT CLUB 2 on VH1 this past month has been great "rock star has-been cause he's a drunk" reality TV. what a guy. he got thrown in the hospital for TEN DAYS (maybe a full 14) to "get dry, buddy" and when he came out, without trying, he had lost EIGHT pounds! and won back all his teammates, who wanted to kill him because he went AWOL without explanation ("hey! i'm going to drunk rehab tomorrow!" doesn't befit 1991 pop stars in 2005 i guess...when the world has gone gay, Tommy Lee's on TV next week/month trying to sit through college chem class and audition for the REAL march ing band of Univ Nebraska or wherever the fuck, boy what endless yucks no doubt).

Jani Lane therefore kicks U2 and REM's ass, and therefore Warrant too (though not this year's fake Warrant with some guy who used to sing lead for Black N Blue and doesn't even have a beer gut like the real LA 80's hairmetal frontmen).

for the "fuck Spector, i can do it better with the same peeps and studio" class, all you need are the two best David Gates productions (for girl singer(s)) -- the small Top 40 hit My One And Only Jimmy Boy (the Girlfriends, w/uh...hmm...the one who's in the Honey Cone later, or also the Blossoms then) AND the great Dorothy Berry 45 of "You're So Fine" the great late 50's wilson pickett/Falcons song (green label Challenge, i believe). those two are the two best Phil Spector 45s of the 60's. cause they're not all, neurotic and shit and carrying loaded firearms.

bonus question --
http://www.myspace.com/angrysamoans ha, finally got the "BANDS ONLY" page up to checklist time --

count up the bands that are actively gigging off/on anytime 2003-2005 (all but two i believe), add the Descendents and Social Distortion (whose pages haven't come over in the friends request cue yet...bill stevenson always was a retard) and tell; me what it all means. (additional data fact -- at least half of the pages are run by the actual band...my favorite is the Stan Lee From The Dickies! page, just for its name/title). but god if i have to answer another two questions every week "can you play at my house party Sept 3rd?" for the next 20 years, i will kill myself (and every teenager who asks that question) (sure: go back to 1979 with your time machine. we played two birthday parties, one record store, one highschool lunch hour outside, one UC Fullerton Creative Writing 101 3-classes-in-a-full-lecutre-auditorium-at-1PM to hear a full angry samoans set tho NO LIQUOR WAS ALLOWED or stagediving cause it didn't exist, oh and three Camarillo State Mental Hospital gigs) (total pay: whatever loose change we found on the floors). sure we'll play your fucking house party, in March 1979 you retard.

i take the obvious guess: the Dickies (or Angry Samoans or Adolescents or anyone or whoever, in that collection of baseball card 1977-1982 LA punk band who don't want no stinking friends ruining the checklist page) = the new 1962 Flatt & Scruggs playing college folk fests/festivals with their late 40's traditional bluegrass set. if they'd said, "and here's one from our new album!" no one would have given a fuck (or did).

this all comes to mind because i had to go see the Adolescents (in SF, all ages, about 300-350 teenagers there) saturday night to hang out with Tony , and 15-year old guitar prodigy joe from san diego (who is filling in for Frank Sr. on the whole full-month tour) (we all know from his SD band the...what else, Wrecking Crew). (next month, joe's filling in on lead guitar for two Angry Samoans gigs, which for us is also the equivalent of a full national tour month). and anyway, the Adolescents were BETTER than they were in 1981 (saw them twice at the SF Mab, ie away from their home turf). ok, which isn't the hardest feat in the world. and they had (now) Derek from Social Distortion on drums. who is GOOD. (i kept expecting every drum intro to any song, to break into "1945"). and little Wrecking Crew Joe, who is a complete punk-rock shredder. Frank Jr, who is well, Frank Jr, and Soto who's ok. and Tony, who is cool. so, hell yeah they were better.

but i'm sure Flatt & Scruggs were better in 1963 than they were in 1953 = they'd had 10 years to get the "set list" in proper shape. leaving only "the hits."

the Adolescents = the new Bill Monroe and the Bluegrass Boys.

there's a column in there somewhere, if one went through ALL the LA bands (on that checklist). but fuuck...i haven't even seen TSOL in recent years. played with CH3, the Dickies, D.I., etc., of course (over the last five years for sure).

there's probably not enough well-known or even half well-known old 50's bluegrass acts to complete a complete
B = P1
B2 = P2
list (for bluegrass as to punk, or the reverse).

and both types of bands play fast!

all those thousands/millions of kids on networkmyspace act like we're the modern version of Howlin' Wolf in 1966 (to me the 14 year old white boy blues fan), but that's just wackity wack. you can message and ask every LA band idiotic questions. if i'd asked Howlin' Wolf on his house landphone, "what's the best kind of brew you old blackass bluesmen in the windy city like to get blitzed on?" he'd have whupped my ass.

the Skulls were actually good (playing before, a couple years ago at a good Corona gig) if you can believe that.

I actually had no idea about this until I saw him being weighed on a TV while buying beer with some friends. One explained it was a show where celebrities compete to see who can lose more weight and one friend said she'd never seen me look so heartbroken (he made the best pop-metal album of the 80s and THIS is how culture repays him!!!). I never did find out why he disappeared until now.

Not while Hysteria exists, pal.

Hysteria and Open And Up And Say Ahhh... follow Dirty Rotten Filthy for me. I almost want to mention Cool Kids but that feels like proto-pop-metal.

me too. and hysteria follows other things as well (including cool kids and other albums by the band who made cool kids, not to mention at least one other album -- and possibly even three - by the band who made hysteria)

Actually, their best moment was a TV ad campaign from 1990 which may have been local to LA, it had that feeling. Probably some promoter deal. There were two separate ads, I seem to remember, but the one I remember in particular had individual bits from each of the band members as if captured off-guard saying things like "Hey! We're going to party it down with you at our show!" while looking like Guitar Center goofs somewhere in the Valley. Far more campily ridiculous even than the lyric you posted.

xp

the Top 30 contemporary songs (meaning anything that dated from the station's late 90's inception) were always decided by the 1-800 voting lines.

the original mix that included oldies (and pretty amazing choices as i referred to in the VV essay) and (disney) soundtrack/movie cuts were needed originally to fill out the playlist to whatever large head count the PD and execs had decided upon.

as more and more songs from Backstreet/Britney and subsequent came into play, the "add on" tunes (oldies and soundtrack) got bumped. simple as that.

it's always been down to the 1-800 lines.

RD is my default station on the bathroom boombox (which i listen to from the adjoining room's backdoorway where the PC is, 12 feet away), so that kind of speaks for itself.

the Hollywood/Disney incest probably could be documented in how many of Hollywood's tunes get "put on" test rotation compared to its total percentage of the genre's tunes. which actually i'm sure is quite high in the first place. once they're (i.e, any new tune) on the air, if the 1-800 votes are credible and not tampered with, then almost the entire playlist is still controlled by the 1-800 voting.

i would think yes, since in particular one of the most amazing pop/rock European hits of the past century (the A*Teens' "A Perfect Match," the radio mix which is a dance remix) got added thorugh the pick it/kick it saturday morning feature, but died on the 1-800 votes almost immediately afterwards.

and Skye Sweetnam's fall 2004 Top 30 CHR-pop "Tangled Up In Me" actually didn't do any better on RD's votes than on actual Top 40 CHR-Pop radio. Disney and RD love Skye if her ongoing RD station-IDs and TV theme songs ( = Buzz About Maggie cartoon on Disney Channel) are any indication...but her RD Top 30 positions indicate that the votes were untampered.

the greatest thing about RD: no one took payola to put lousy JLO singles onto the air.

R.I.P.

Aw. There was a stretch in like 2008 when that was the only radio I listened to. It was surprisingly good, redolent of pop radio in the '80s.