Roundtable Discussion
Hit Me Baby One More Time: Week 1
By The Trades Staff
Published: June 3, 2005


Based on a UK show of the same name, NBC's Hit Me Baby One More Time reunites bands from the 80s and early 90s and has them perform one of their hits (in most cases, their only hit) and then cover a current hit. The audience then votes for their favorite and the winning band's charity gets some cash. We at The Trades thought - inexplicably - that it would be a good idea to gather around our table and comment on the performances. First, some introductions.

Raul writes: I'm the head honcho around here. I was born in the 70s but grew up in the 80s. I love 80s music and am quite well versed in the genre. For me, this show should have been heaven.

Howard writes: Well, aside from being a pretty regular face around the old The Trades site, I'm also a child of the 80s. This was the decade of music that formed my opinions, shaped my listening habits... Come to think of it, the 80s has a lot to answer for. I'm glued to the couch when VH1 runs an "I Love The 80s" marathon. So I couldn't miss a show that was going to bring back so many of these bands--particularly the one-hit wonders... the wonder being that I "wondered" whatever happened to them after the one hit.

Molly writes: Having spent my high school and college years in the '80s, I have a soft spot for that music. Even now, I can track the history of the greatest '80s band, The Hooters -- who, incidentally, toured with Loverboy at one point in time. I'm really looking forward to hearing these great songs and seeing the musicians again!

Paul writes: I'm an '80s music nerd, plain and simple. If I was not holding on to esoteric trivia (Foreigner's hit "Waiting For A Girl Like You" holds the record for most weeks at #2 - ten - without ever reaching the #1 position) I was quoting the weekly Billboard music charts throughout my college years ("It looks like The Outfield's 'All The Love In The World' will crack the top 20 as it climbs two spots to #19!"). I hope to be an unbiased observer despite the fact I was a card-carrying member of A Flock of Seagulls' "Airborne Division" (their fan club) in the early '80s. My interest in popular music waned in the early '90s when lyrics became unintelligible and I veered toward the new country music since I could understand the words.

Loverboy - "Working for the Weekend"

Raul writes: MY GOD! MY EYES! There's a fat man on stage shaking his money maker! I couldn't imagine it ever becoming this sad, yet here we are. Loverboy is over the hill, fat and bald. At least Mike Reno isn't wearing red leather pants. If not for the awful visual on stage, I think I'd like this performance. But I can't get past what I'm seeing. Reno seems uncomfortable on stage and yet insists on trying to strut his stuff. Even the old dude riffing on the guitar isn't enough. My soul is shattered.

Howard writes: This looks like Drew Carey and his two buddies formed a band when they walked out. The backup singers don't fill out the song--are their mics on??? He can still belt it out, and they can still bang out the music... at least the lead singer can, because I never heard the group sing. They used to be sexy looking back in the 80s. But then, so did I, so I won't hold that against them.

Molly writes: This is a classic '80s song, and the original exemplified one of my favorite '80s styles of singing -- pure power pop. But this? I couldn't believe how tight and constricted the vocals were. Did Mike Reno blow his vocals out in the '80s?

Paul writes: These guys are still performing on a regular basis so I expected their presentation to be better than it was. It took me awhile to get past how fat, old, and grey they all looked to actually listen to the music. It is debatable whether this is really their biggest hit but I suppose "Lovin' Every Minute Of It" is too much of an anthem for this setting, and if Mike Reno could still hit the "fly my way" line in "Turn Me Loose" I'd have declared them the winner right then and there.

Ce Ce Peniston - "Finally"

Raul writes: Ce Ce's hit is only about a decade and a half old. In the music industry, that can mean a lot, or very little. On stage she still seems young and vibrant. The song sounds the same as ever. But seeing this slightly middle-aged woman cavorting on stage with a couple of half-dressed dancers seems odd. But not so odd. It kinda looks like something you'd see in the era of the 70s disco divas. She did fine with the song and even nailed a few choreographed dance steps. Well done. Just... jeez, you'd think she'd have enough experience to know not to clap on the mic.

Howard writes: Don't beat the mic, honey, it's cheap (as we found in Loverboy's performance.) And I'm not comfortable with the Demi/Ashton imagery of Ce Ce with her dancerboys. But purely on vocals, Ce Ce starts out strong and maintains pitch. Star performance material, though? I don't think so.

Molly writes: Heh -- that type of techno song needs a little more assistance from the technical department than Ce Ce was getting. Her voice probably wasn't worse than it was a decade ago, but she seemed to be struggling with such a bare sound system. I did love her dancing boys, though!

Paul writes: Ce Ce Peniston has retained her beauty queen looks and still has the voice to perform her biggest hit. During the performance I couldn't help but wonder how fair this competition really was, since it was merely judged on Peniston's vocals and presence whereas all the members of Loverboy had to be able to adequately play their instruments as a team.

A Flock of Seagulls - "I Ran"

Raul writes: I was big into the techno and alternative pop of the 80s and I loved A Flock of Seagulls. I've also seen VH1's Bands Reunited episode where they try to reunite A Flock of Seagulls and know all too well that this is not A Flock of Seagulls. This is lead singer Mike Score and some musicians he hired. I also know from Bands Reunited that Score's vocal chords are shot. This sounded awful. And the two guys he had running around on stage (who probably weren't even born when this song was originally recorded!) just detracted from the whole performance. You see this and you're wondering if you're really watching the original, or some cheap bar cover band.

Howard writes: It's the song they had to perform. And they prove the point that after twenty years, every 80s male pop performer turns into Meat Loaf. Oh but God, after the lead singer opened his mouth, I was ready for them to shut up... What a difference a sound studio and some mixing makes. They can still play the instruments, but these guys couldn't stand up to a mediocre karaoke contest!

Molly writes: Holy cow, what did the '80s do to these guys? This song both exemplifies and transcends the '80s. It should sound great, but the vocals are horrible. I had to start singing along just to cover up what I was hearing from the TV!

Paul writes: Mike Score's voice has never lit anyone's fire, so I didn't have very high hopes that it had improved with age. I was not disappointed. His singing struck me as a bad and too-loud karaoke performance. During the song I tried to remember how much "studio enhancement" went into their recordings to attempt to make him sound somewhat human. And when did the other original band members get replaced with Los Lonely Boys?

Arrested Development - "Tennessee"

Raul writes: I was never a big fan of the hip hop scene of the late 80s and early 90s (but, damn, it sure beats what we've got today) and Arrested Development's strange performance ensemble was always too eclectic for my tastes. But they put on a great show. The crazy dancing woman and the old man standing on stage swinging his arms... it was all good.

Howard writes: Of all the bands so far, these guys sound most like they did originally. On beat, on key, and oh God, can she hold a note! Unless Tiffany pulls some kind of rabbit out of her hat, this performance alone wins it hands down!

Molly writes: Arrested Development sounds pretty good. Of course they should -- it's not like they've been gone that long! Heck, the kids from "Amish in the City" went to one of their concerts -- and were wowed. And if you can impress the Amish ...

Paul writes: I had never heard this song before in my life. I was only familiar with "Mr. Wendal" so I listened to this performance as if hearing a new tune - because it was to me. Again I wondered how reasonable it was to compare a rapper with a band that must satisfactorily play their instruments for a song to come together. I mean, how could your rapping skills decline (especially when your name is "Speech") - you forget how to rhyme? Nonetheless, the female vocalist in the band definitely still has skills.

Tiffany - "I Think We're Alone Now"

Raul writes: Oh my God! Is Tiffany pregnant?! She's wearing this princess cut top with a plunging neckline and her boobs are enormous! I'm sorry, I know it's uncooth, but it had to be said. Those things are bigger than her head... EACH! She must be pregnant! That's the only explanation for that outfit. As for the singing... well, sounds a lot like Tiffany, only older. Not as peppy as the original. Man, she was on the original version of the UK show and won her round. What'd she do there that she isn't doing here?

Howard writes: Simon would ding her on her appearance (I think she's pregnant again) but her voice--more mature--does a truer justice to this song than it did when she first covered it. I was looking for a rabbit--Tiffany had one and a spare. It's between her and Arrested Development now. On to the modern covers to see who breaks out of the pack now.

Molly writes: Okay, would it be possible for her to have chosen a less flattering outfit? Of course, everyone's older, most have gained weight, but the top Tiffany chose is exceptionally ugly. Her voice sounds okay -- lower than before, but that also is not surprising.

Paul writes: As she rose up from below the stage and entered the spotlight my immediate thought was - what is with that outfit she's wearing? It was an ugly maternity Carnie-Wilson-before-gastric-bypass-surgery number that was completely unflattering. I almost didn't recognize her until her voice brought back memories of her late-80s bubble-gum pop. She still has the chops to deliver this energetic song, although it took her a little while to get going. At the end of the line "I think we're alone now" she kept dropping the last word like she can't hit the low note. Host Vernon Kay read my mind when he gushed "I so had a crush on you in '87!"

Loverboy - "Hero"

Raul writes: If you thought that picking a ballad would keep Mike Reno from shaking his stuff, you're sadly mistaken. As far as song choices go, I think it's a good one. Trying to do another up beat peppy tune would only showcase how they've aged. This was better than their first performance.

Howard writes: Not expecting them to sound like Loverboy this go-round, I can more appreciate this song. In fact, I prefer this performance to their prior one--at least, Mike Reno's performance. Again, where is the group? Backup vocals, anybody? Very good overall with this one.

Molly writes: Is this the same band? Reno sounded much better on "Hero" than he did on "Everybody's Working for the Weekend." This was an excellent song choice for him, because it was better suited to his currently rougher vocals.

Paul writes: I thought this was a gutsy choice since on the surface it seemed like such a departure from their rock 'n' roll image. Their performance was totally convincing, however, echoing their biggest power ballad hit "This Could Be The Night". They totally nailed it and stripped away the overwhelming Latino image that is attached to the Enrique Iglesias version. Mike Reno's vocals were much better on this song, making me wonder if he wasn't just rusty or nervous on the first performance.

Ce Ce Peniston - "There You'll Be"

Raul writes: My biggest pet peeve with American Idol is the heavy reliance on "power ballads". It's a cheap vote getter and assumes no risk, so long as you can hit those few big notes at the end. I hope all the performers tonight don't try to do ballads. In this case, Ce Ce was OK but ultimately forgettable.

Howard writes: Decently performed, mostly. She seemed to lag a little on the trailing lines, losing the rhythm--which is easy to do, this is a tough song. Overall though, the performance never seemed to rise above musical productions I remember putting on in high school. And the ending just kind of... happened. I didn't get closure out of this tune.

Molly writes: Again, a huge improvement from the first performance. And once again, it's the change in style. "There You'll Be" just stands up to solo singing better than "Finally" did.

Paul writes: This was a serviceable if bland (much like the song selection) performance. Yes, she still has a good voice even if she did strain a bit on the upper notes. Her stage presence lifted this up beyond an average performance.

A Flock of Seagulls - "On the Way Down"

Raul writes: I don't know this song. What's Score singing? I don't recognize this so--- Oh, wait! He's singing THAT song? Geez! I didn't realize it until he got to the chorus. Man, that's awful.

Howard writes: Who ever thought A Flock of Seagulls would turn into a garage band? Better than "I Ran" but not better than... well, all the other performances thus far tonight. The band is definitely "on the way down," sounding more like a bunch of guys who are instrumentally talented but vocally handicapped. Pro-Tools does indeed cover a multitude of sins.

Molly writes: The streak ends here. A Flock of Seagulls sounds as bad with their second song as they did with their first. This is really bad. Where's Simon Cowell with a withering remark when you need him?

Paul writes: This was an aptly titled selection because it signified their odds of winning this competition. Within the limitations of their abilities, it was an energetic and rocking performance. It still seemed like it was "Mike Score and some other guys" not the band I renewed my fan club subscription to in the mid-80s.

Arrested Development - "Heaven"

Raul writes: The girl sings on this one, and it's good. The best thing I can say about this performance is that if Arrested Development had released their version of "Heaven" instead of Los Lonely Boys, I wouldn't hate this song.

Howard writes: How far is vocal heaven? Within reach, apparently. The rap nicely fleshes this out, making an excellent mash tune out of this song. That's two rock-solid performances out of Arrested Development tonight. How did this group ever manage to fall off the public's radar?

Molly writes: Surprisingly, Arrested Development didn't sound quite as good the second time as they did the first. They were okay, but some of the rap didn't work as well as I would have thought.

Paul writes: After their first performance they announced which modern song they would tackle, and I spent the intervening time wondering how in the world they were going to attempt that one. Though unrecognizable to the Los Lonely Boys rendition, I found their rap and arrangement to be inspired. If there were a "Reimagining" award, they would have won it, hands down.

Tiffany - "Breakaway"

Raul writes: Hmm, maybe Tiffany isn't pregnant. She's wearing a different outfit and now she just looks fat. And she's singing the song of another fat girl who insists on wearing skin tight jeans; namely, Kelly Clarkson. The performance is unremarkable. It's a slow tune so it doesn't give her a chance to strut her stuff on stage. Puts me to sleep.

Howard writes: You knew there was going to have to be an American Idol reference in this music competition somewhere, but I didn't expect it to be prompted this way. Tiffany's biggest drawback is that she has grown up, but her fashion sense hasn't. On a teenager, her outfit would look cute. On her, it looks parodic. She sings the song great until right near the end when she has a few forgivable pitch problems, but she doesn't have the stage presence.

Molly writes: It's sort of odd hearing Tiffany sing this song. Kelly Clarkson does such a great job, with her strong young voice. Will her voice change as much in 20 years as Tiffany's has? I think Tiffany did a little better with this song than with "I Think We're Alone Now", but Kelly doesn't have to worry about Tiffany's version passing hers on the charts.

Paul writes: This was a brave choice that could have crashed and burned were the performance not up to par. But it was. Sporting a way better outfit for this song, Tiffany belted out this tune with just a hint of the gravely voice we had come to love in her prime. While not perfect, she performed with energy and showcased her still-powerful vocal chords.

Winners and Losers

Raul writes: Who's the biggest winner tonight? I'd say it's that buxom girl in the front row that the director would keep cutting to so we wouldn't be overly exposed to fat, old people dancing on stage. Or maybe it's the other three members of A Flock of Seagulls who didn't join Mike Score on stage. Who's the biggest loser tonight? Can there be only one? Is it my fond memories of a long ago youth? Or host (and walking flag pole) Vernon Kay whom I instantly disliked and yet pitied for having to kiss up to these has beens? If I have to judge the performances on stage, I can easily pick the biggest loser, and that's Mike Score and A Flock of Seagulls. The winner is a little harder. I want to say Ce Ce Peniston for having weathered this storm the best but Arrested Development made a great show of it, and I have to pick them. Is it ironic or appropriate that my least favorite band of the era is the one I pick to win? Perhaps I just had too high expectations for the others.

Howard writes: It's no question to me that Arrested Development needs to be the winner, with Tiffany pulling in a close second. I'd still go see Loverboy at a state fair performance out of sheer nostalgia, and A Flock of Seagulls just needs to pack it in. The audience definitely made the right call on this one.

Molly writes: This was a disappointing night. So many great acts, and how far they've fallen! Coming in, my favorite was Loverboy. But I agree with the audience's choice of Arrested Development. Out of all the groups, taking into account both performances, they were the best. (And who can argue with donations to UNICEF?)

Paul writes: As the show entered its last commercial break, I hoped Loverboy would win, but thought Tiffany would take the prize. The total crapshoot ended with Arrested Development the winner, though I must give them props for their imaginative interpretation of Los Lonely Boys' "Heaven". Overall, I liked the format of show. By announcing what modern song a performer would attempt later on, it kept the audience and viewers speculating how their favorite artist would interpret the newer material. What I didn't like was the cut off endings or shortened versions of all the songs. I know they're trying to cram all this music into an hour, but it makes for awkward production. Just when you may be getting into a song, it abruptly ends. Also, I thought the sound quality was sub-par. It was as if they made no enhancements to the performances whatsoever to assist the aging stars. Believe me, Mike Score needed an entire crew devoted to his microphone! Still, I look forward to what musical stars from yesteryear they will dig up for next week.

Tonight's winner: Arrested Development