Allison Iraheta on Idol, Her Debut Album and Her Upcoming Tour

Finally, some brand new Allison Iraheta interviews!

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Allison tells interviewer Josh Skinner that she hopes to perform on the new season of Idol, plans to sing some rad covers on the road, and is looking forward to reuniting with Kris Allen and Adam Lambert when they all play the Ryan Seacrest Rock My Town concert in New York City in a couple of weeks…

Although she’s excited about all her songs, “No One Else”, “Holiday” and “Just Like You” are three songs she namechecked as songs she’d like to see released as singles.

She also reveals that she was sick while recording stand-out track “Scars” from her debut album Just Like You, and childhood experiences inform “You Don’t Know Me”, the song she co-wrote with David Hodges.

Check out the interview, after the Jump!

Bonus: Allison’s Cosmetic Confessional with Teen.com

Videos after the JUMP…

Allison Iraheta: Josh Skinner Interview

Allison Iraheta: Teen.com

About mj santilli 33689 Articles
Founder and editor of mjsbigblog.com, home of the awesomest fan community on the net. I love cheesy singing shows of all kinds, whether reality or scripted. I adore American Idol, but also love The Voice, Glee, X Factor and more!

33 Comments

  1. Some of the best songs were recorded while the artist nursed a flu.
    Toni Braxton with a bad cold recorded her biggest hit. The second best selling single of all time, by a female – second only to Whitneys ‘I will always love you.’
    Its no coincidence Scars its such an impactful ballad with Allis raw vocals – which she did when her voice was rough-sick.

    Funny girl haha. Don’t stab yourself now.

  2. I love this girl, not much more to say. She’s hilarious and so genuine, so real. She is who she is and good for her that she’s comfortable in her own skin and isn’t trying to be something she isn’t. Loved the makeup video too, she’s such a girl…haha.

    BTW, it looks like she has lost some weight, not that she needed it but she looks really good, specially love her hair in that AINow interview.

  3. I agree with Josh that her album is one of the best pop records of 2009. Not that I’m an expert on pop music necessarily, but so many of the songs are fantastic that it has to be right up there with the best. Plus, so much of pop these days is pure dreck, lol. Great interview with Josh. Would have like a little more focus what’s going on with her tour, but perhaps she just doesn’t know yet. Hoping that she’ll come somewhere near me, as I’d love to see her live. Wishing all the best for her and her career. She’s one of my favorite artists ever, not just from Idol.

  4. Excellent interview. Allison seems to get better and better with these.

    On the subject of Scars: I read somewhere that Scars is doing really well in the Philippines (like #4?). Someone commented that evidently the DJs over there can pretty much play whatever they want.

    Outrageous idea, isn’t it?

    And, nice to have an Allison thread again.

  5. Yesterday, Scars was at #3 on Magic daily 5@5 countdown over in the Philipines, so yes, it seems to be doing quite well over there. Hopefully they’ll fly her over at some point and take advantage of that.

  6. I really liked so much of the interview, great hearing Allison talk about her music, and so glad the interviewer just lightining rounded the obvious questions out right away. I wish more interviewers would do that and leave time to discuss the music, and things like plans for a tour.

    Which I think I would see Allison if she came to my city. I think she’d put on a good show.

  7. I wish more interviewers would do that and leave time to discuss the music…

    true
    Im glad the way she answered the next single question. Interesting that she mentioned Holiday first as a possible candidate for the next single, and ended her short list with Just Like You. I think the latter, and Im willing to mark my words, that the next single could be just that, JLY. Its a Martin track with a nice melody, and I think its got a beautiful keyboard solo that I’m looking forward to check out live. Its a pop world and PDs may be willing to give Max another shot, just as wwfm did for Adam as makeup for FYE.

    People have talked about DWTP as a possible single, but I don’t think its a good idea. The track as it is recorded in the album isn’t as potent as its is live – its a whole different animal. More so than any other Alli live performance which we have all established.

  8. She actually mentioned No One Else first as a song she’d like as a single. She doesn’t get to choose her singles though, so it really doesn’t matter what she says.

    People have talked about DWTP as a possible single, but I don’t think its a good idea. The track as it is recorded in the album isn’t as potent as its is live – its a whole different animal.

    That’s exactly how I feel about Just like you. Live, and acoustic it’s an incredible song and her delivery is chill inducing. As it is recorded, it just does not carry the same punch and I am one who does not like the keyboard sound on that song. It sounds like a toy piano and the song does nothing to showcase her emotional delivery. It is yet another very Kelly Clarkson-like track and I’ve heard enough comparisons to Kelly based on FIBOU, so I’d rather they didn’t release JLY as a single next. Don’t get me wrong, I like the song, I like all of them and I LOVE the live peformances but I don’t think it’s a good idea for it to be the second single right after FIBOU.

    Also, just thought I’d mention that Scars is currently #2 on Magic 89.9, the biggest radio station in the Philipines.

    BTW, I’d love to have that mascara with the mirror and little flashlight so I don’t stab myself or give myself a unibrow, heh. She’s so funny.

  9. DWTP and JLY as singles, I agree with both PRM and Rub. Her live performances of both songs are the shizzzzz. In particular, with the lower key on the bridge that Alli used on her recent performance of JLY (KISS FM?), the song has gone from middle of the (amazing) pack to one of my favorites.
    Could these live performances help their recorded counterparts’ radio play? It’s possible. As has been discussed before, Kelly’s acoustic version of Already Gone, which she played everywhere to promote that single, is very different (and way better) than the recorded track (Halo 2? LOL). So, its concievable that live performances of DWTP and JLY could propel their respective album tracks on the charts.
    “unibrow” LOL.

  10. When it comes to songs and food and what we think of ’em are a matter of opinion and subjective like the piano solo for example. Saying it sounds like a toy is a little out there, though I maybe the biggest kid on this board so you could be right. I think that solo complements the melody beautifully. A different tone like industrial or organ type would disrupt the flow and character of the track. In this regard Max shines, and all the Allison attributes aside, they’re gonna push the pop rather than the substance. But I’ll tell you why I feel the JLY track is superior to the live version. I don’t want say Alli halfasses the song live(coz she doesn’t halfass anything) but she skips key sections of the track, the seasoning if you will, that emphasizes a pretty somber tune. I get it though, it’s an acoustic jaunt.

    In DWTP Allison employs all of her Alliness with flourishes, swirls, gestures, a full complement of goodies unique t Alli. The latest Scars is out of this planet. My buddy LoveDaRocker would agree.

  11. Rub
    Saying it sounds like a toy is a little out there

    I believe is just too simple, like a kid would have come up with it. I think that’s what PRM meant. Trouble Is (my fave) also starts with a piano solo, but is a much more sophisticated arrangement.
    Within the context of the whole comment, I think PRM meant that the piano arrangement is so simple and meh that it takes away from the otherwise emotional content of the song. But, PRM will set me straight if I am incorrect.

    I’ll tell you why I feel the JLY track is superior to the live version.

    Please do.

    she skips key sections of the track, the seasoning if you will, that emphasizes a pretty somber tune

    I have no idea what you mean. I think the lower keyed bridge, which I see as her only meaningful departure from the album track, brings a less angry/more somber, mood to the song. I think it fits the song very well.

    In DWTP Allison employs all of her Alliness with flourishes, swirls, gestures, a full complement of goodies unique t Alli. The latest Scars is out of this planet. My buddy LoveDaRocker would agree.

    Yes to that paragraph. No to your JLY assessment. Maybe you can elaborate on the “skipping” comment.

  12. LoveDaRocker
    02/04/2010 at 12:40 pm

    Rub
    Saying it sounds like a toy is a little out there

    I believe is just too simple, like a kid would have come up with it. I think that’s what PRM meant. Trouble Is (my fave) also starts with a piano solo, but is a much more sophisticated arrangement.
    Within the context of the whole comment, I think PRM meant that the piano arrangement is so simple and meh that it takes away from the otherwise emotional content of the song.

    I greatly respect Rub’s comments and views, but in this case I must agree with LDR. The piano intro in JLY sounds like notes being “plunked.” Disclaimer: I have no musical background to support anything I am saying. My wife, who does have a musical background, might say it lacks “line” or “forward movement.” I think Dave’s guitar accompaniment in the live acoustic version does have this forward movement. (I won’t ask my wife for her opinion on this because she already thinks I’m crazy for spending too much time on this stuff).

    As far as singles for radio play, here is my (unsubstantiated) opinion. I think most listeners exhibit ADD characteristics. If a piece of music doesn’t grab you in the first 5 seconds, change the station. It can be the greatest song in the world, but if it has a dull intro, get rid of it. I think program directors may be sensitive to this, and may not favor any new song that takes time to build. If a song eventually gets popular and is recognizable, then perhaps it’s no longer a problem, but with an “unknown” artist they may be reluctant to take a chance on losing listeners. I know, when you change stations you may land on the middle of an unfamiliar song and like it, so it can work both ways. Still, IMO, intros to songs can be very important in marketing them to a fickle public.

    I love all of Allison’s songs, but I think several of them suffer from having very ordinary introductions. A few songs that do “hit you in the face” right from the get-go, are Beat Me Up, Holiday and D is for Dangerous. Maybe Robot Love also. I like Pieces, but it takes a little too long to get going. I love Still Breathing, but the opening not so much. What I like about No One Else is that Allison gets into it right away.

    Still, my favorite song is Trouble Is, so any Allison single that is successful and establishes her career to the point where Trouble Is can be dropped on the public, and become the big hit it deserves, is OK with me.

  13. Hey LoveDaRocker,
    In all the acoustic versions of JLY, Alli skips the sorrow-lamented wail(at 2:21 on the record) when she goes “ooh~yehh~aahhhh” and the keyboard solo follows immediately. Thats the best part, man. And its key for the song to climax and have a full body. That solo is sweet, its in minor, but it hits the spot in relation to the climax and story-telling of the song. Very reminiscent of the keyboard solo on wwfm. As with all Martin’s songs, the studio versions are the better kind, for better or worse, but Im waiting for the full band performance to truly judge it.
    Now, JLY isn’t my favorite track on the record, but thats the highlight for me. Im inclined to believe that this could be the next single. Its a poppy vengeful-sad tune produced by the exclusive, major label only, Max Martin. Allison has 2 Martin songs – one more than Adam – and they’re gonna bank on them.

    Im with you a little jordison with your thoughts on the piano intro.

    Allison’s songs…suffer from having very ordinary introductions. A few songs that do “hit you in the face” right from the get-go, are Beat Me Up, Holiday and D is for Dangerous. Maybe Robot Love also.

    Yeah some of her songs do lack that intro punch, but FIBOU has bursting opening sound that except for the “oh yeah,” this song has hit written all over it. Its a mystery to me how it hasn’t demolished radio yet. Maybe Radio/Lable politics?

    I like Pieces, but it takes a little too long to get going. I love Still Breathing, but the opening not so much.

    Bro, I love both these tracks like I love life. I do like the guitar intro on Still Breathing – I think it rocks in my view. Allison emotionally wrapped herself into these tracks and you can feel her voice and her gasp. Great tracks. Also I have a new found respect for Scars after that earth moving performance on KIIS.

  14. I like Pieces, but it takes a little too long to get going.

    My problem is not the quality of the intro, the problem is that I am expecting a male voice to say “I’ve been roaming around, I was looking down at all I see …”

  15. Alli skips the sorrow-lamented wail(at 2:21 on the record) when she goes “ooh~yehh~aahhhh” and the keyboard solo follows immediately.

    Different strokes for different folks. For me (for you), there is so much goodness in the acoustic version that I didn’t notice that part was missing until you mentioned it. I suspect it might not fit well with the acoutic arrangement, and even less with the lower bridge she used on the KISS FM performance.

  16. In all the acoustic versions of JLY, Alli skips the sorrow-lamented wail(at 2:21 on the record) when she goes “ooh~yehh~aahhhh”

    Not true. She did it in one of the radio performances, early ones. I don’t think that line is that necessary when you have all the other stuff she throws into the song.

    Within the context of the whole comment, I think PRM meant that the piano arrangement is so simple and meh that it takes away from the otherwise emotional content of the song.

    Yes, exactly. I think the arrangement is too simple and the sound of the keyboard is also too simple. It doesn’t sound like a piano, it sounds like an electronic keyboard, compared to the piano intro from Trouble is, it pales in comparison.

    As for songs that hit you in the face right away, FIBOU is one of them and another one that you guys don’t seem to want to aknowledge exists but gets right to it is Beat me up, for all it’s lyric issues, that song is pop/rock perfection when it comes to catchiness and grabbing you right away and never letting go until the end.

  17. Great interview.

    Did anyone notice the black thing on her left hand during the second video? Wasn’t there during the AINow interview. Maybe she was just playing with the makeup, drawing on her hand!

    I’ve been so busy and somewhat sick the past week that I still haven’t finished editing all my recordings of the KIIS performances — will post links to them once I have them up.

    Hey Rub, aren’t you in south Florida? Are you going to try to get passes to her Miami appearance on Feb. 17?

    I think JLY would be a very bad choice as a single. I’ve said this before: it screams “Max Martin produced me to be the Kelly clone song”, and as PRMari pointed out earlier, we don’t need more Kelly comparisons. If you think there are too many Kelly comparisons regarding FIBOU, I think they’d amount to nothing next to the pile of comparisons regarding JLY.

    I know what both PRM and Rub mean about the keyboards in JLY. On Rub’s point, the brief synth solo in the bridge does fit very nicely and suggests a very good ethereal/atmospheric/haunting quality. On the other hand, when PRM has mentioned the “toy” keyboard quality in the past, I’ve always assumed (and jordison said the same thing) that she means the sound and playing style that you hear right at the beginning, and I completely agree. Annoying sound and way too simplistic playing. That’s a totally different thing from the little synth solo in the bridge. That “toy” part bugs the heck out of me. And the worst part of the song — probably the one thing I really hate on the whole album — is the very end, how the synth just stops dead in its tracks instead of fading — really really makes it sound like a cheap demo. But setting aside those two aspects, I definitely like the rest of it.

    jordison: My wife, who does have a musical background, might say it lacks “line” or “forward movement.” I think Dave’s guitar accompaniment in the live acoustic version does have this forward movement.

    I’d actually say the opposite. I think his guitar work lets the song “breathe” and saunter at a more appropriate pace, while that “plunky” keyboard makes it march robotically.

    And about DWTP (and a couple of others that people mentioned) not being as powerful on the album as they are live — well, that’s just true across the board with her, with every song, so that’s not a reason to disqualify something as a single. The most striking example of that is Scars — while there are some great elements to her studio vocal and I like the track, overall it isn’t stunningly impressive (though apparently I’m just about the only person on the planet who thinks that), but to quote Rub, the KIIS performance is “out of this planet” — as I said at the time, I don’t ever need to hear the studio version again.

    Speaking of Interesting Dave’s guitar work, that’s one of the things that makes live Scars so much better (though it’s a relatively minor thing) — he changes the chord progression a bit — see the beginning of the chorus when she says “Take me”.

    About jordison’s comments on singles in general, I have a somewhat similar opinion. I think his “dull intro” comment has merit. But mainly, and unfortunately, my impression is that hyper-simplicity is what drives the singles world. My current favorite example is Kris’ song Alright With Me — it’s not a single (yet), but many people have said it should be. I hope to high heaven that it isn’t, because I think it’s probably the weakest song on his album. Yeah, it’s upbeat and happy, but it’s mind-numbingly, boringly simplistic. And that seems to be the way it goes with a huge number of singles — they’re the weakest, least interesting songs on an album.

    LoveDaRocker: My problem is not the quality of the intro, the problem is that I am expecting a male voice to say “I’ve been roaming around, I was looking down at all I see …”

    It’s so hilarious that you say that, because lately I’ve been thinking about how the Pieces intro and that KoL verse use the same progression. Unfortunate, since I cannot stand that KoL song, but it doesn’t interfere with my love for Pieces. (There is some really good stuff on that KoL album, mostly when the singer shuts up — I despise his tone.)

    Also, I disagree with jordison that Pieces takes too long to get going. Of course, if you set your ADD clock for 5 seconds as he did, then yeah, you switch stations just before the killer drum rhythm kicks in.

    Alli skips the sorrow-lamented wail(at 2:21 on the record) when she goes “ooh~yehh~aahhhh” and the keyboard solo follows immediately.

    Different strokes for different folks. For me (for you), there is so much goodness in the acoustic version that I didn’t notice that part was missing until you mentioned it. I suspect it might not fit well with the acoutic arrangement

    Right. In the studio version, she had room to add that wail because the keyboard solo was coming up, but in the live version, there’s no solo — it goes straight back to the vocal — so there’s no place to put the wail.

  18. Well John, now you know why Allison doesn’t sound exactly like her in the studio version of Scars, she was sick and snotty ;)

    Also, I disagree with jordison that Pieces takes too long to get going. Of course, if you set your ADD clock for 5 seconds as he did, then yeah, you switch stations just before the killer drum rhythm kicks in.

    I know right? The drum rhythm is probably my favorite part of that song and it’s specially ear catching in those first few verses.

  19. PRMari: The drum rhythm is probably my favorite part of that song and it’s specially ear catching in those first few verses.

    Yeah — that, and the word “few” way down in the depths of her range — ahh…

  20. I completely agree with Josh, her vocal on the album version of Scars is just genius/perfection..that song should totally be a single down the line. Can’t wait to see her perform all of her songs livee:)!

  21. Yeah — that, and the word “few” way down in the depths of her range — ahh…

    Ahh…her lower register is just…ahhh love, love, love!

    BTW, the AOL sessions have finally been posted back up at AOL.

  22. JohnM:
    “I’d actually say the opposite. I think his guitar work lets the song “breathe” and saunter at a more appropriate pace, while that “plunky” keyboard makes it march robotically.”

    I think we’re actually agreeing. As long as the mood and energy level is not interrupted by the breathing and sauntering (and IMO, it isn’t), the forward movement of the piece continues. The robotic keyboard at the beginning is what lacks line, or forward movement. It’s just plunky.

    Also, I disagree with jordison that Pieces takes too long to get going. Of course, if you set your ADD clock for 5 seconds as he did, then yeah, you switch stations just before the killer drum rhythm kicks in.

    Yes, the killer drum rhythm kicks in at 6 seconds. OK, I’ll give you an extra second and withdraw my comment. :)

    PRMari:
    As for songs that hit you in the face right away, FIBOU is one of them and another one that you guys don’t seem to want to aknowledge exists but gets right to it is Beat me up, for all it’s lyric issues, that song is pop/rock perfection when it comes to catchiness and grabbing you right away and never letting go until the end.

    Hello.

    A few songs that do “hit you in the face” right from the get-go, are Beat Me Up,

    I like Beat Me Up, a lot, and think it would be a good commercial single, lyrics aside.

  23. PRMari:

    BTW, the AOL sessions have finally been posted back up at AOL.

    YAY!!! Hallelujah!! Thanks for the info – makes my day!

    MJ ALERT – please post!

    ETA – OK, now I actually went to look for it/them at AOL Music – live sessions, and can’t find it. Am I looking in the wrong place?

  24. Oopss, sorry about the Beat me up issue, lol! I guess I didn’t see the list. I love Beat me up as well, it’s an addicting song. I’d love to interview Kevin Rudolf about that song.

  25. I know everyone is probably at the AOL sessions link, but I can’t resist:

    PRM
    As for songs that hit you in the face right away, … one that … gets right to it is Beat me up, … grabbing you right away and never letting go until the end.

    As you all know, I completely agree. Beat Me Up makes me think about being hit in the face, hard. :-)

  26. Hallelujah indeed! It’s been wayyyy toooo loooong.

    I hope they make them available for sale at some point. From what I’ve heard, most of the Sessions videos are put up for sale, but David Cook’s never were.

    Yeah, it’s weird that they’re not on the Sessions page. Another screw-up?

  27. As you all know, I completely agree. Beat Me Up makes me think about being hit in the face, hard.

    You know how I feel about that song…I think there’s a not so hidden sexual undertone to those lyrics so…yeah…I’ll leave it at that but any song that includes the words “Oh baby, just beat me up” in the chorus has to mean more than the literal words ;)

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