NewYearsDayProject | a song a day blog

Last year, the Hit Parade podcast highlighted one of the most consistent voices in pop music in the previous twenty years. Yet, Alecia Beth Moore , a.k.a. P!nk ’s career has been underrated perhaps because it is so M!ssundaztood . First marketed as an R&B act by her record company, P!nk’s debut album, Can’t Take Me Home , introduced the star as racially ambiguous. P!nk’s second album began to bridge the singer into guitar-based rock ballads, which would be the meat of her career. Following the album’s first single, “ Get This Party Started ,” M!ssundaztood ’s second single and second track “ Don’t Let Me Get Me ” displays Moore’s desire to be a singer on her own terms: a rock-influenced pop star who would sing about what she wanted to. I CAN’T STAY ON YOUR MORPHINE ‘CAUSE IT’S MAKING ME ITCH. P!nk was signed by Atlanta-based R&B and Hip-Hop label LaFace Records whose president, L.A. Reid tried to market Moore as an R&B/teen-pop crossover act. But rock would become P!nk’s

  Rebecca Jean Smallbown, better known as by her stage name Rebecca St. James , was born in Australia but moved to Nashville, Tennessee, as a teenager in the early '90s. A year before her family relocated, St. James began her singing career at the age of twelve, opening for Carman on his Australian tour. In America, Smallbone signed a record deal with ForeFront in 1994 taking the name St. James at the label’s request.  I KNOW YOU MAY MAKE MISTAKES. Rebecca St. James became one of the biggest CCM singers. Her early records were forged in rock rather than adult contemporary, in a similar vein of the female rockers of the late '90s like Alanis Morissette and Natalie Imbruglia . But with the turn of the millennium, the popularity of female rock stars declined and electro-pop acts like Britney Spears and Christina Aguilera also changed the CCM musical landscape. In 2000, St. James released her fourth record Transform , an album that utilized the synth sounds found in the bubble