The Miley Cyrus Discography Rate Part 1: WINNER ANNOUNCED! FINISHED!

What's your favorite album featured here?

  • Meet Miley Cyrus

    Votes: 3 7.5%
  • Breakout

    Votes: 7 17.5%
  • The Time Of Our Lives

    Votes: 2 5.0%
  • Can't Be Tamed

    Votes: 24 60.0%
  • A Hannah Soundtrack

    Votes: 4 10.0%

  • Total voters
    40

Dddd thanks for the reminder, I had forgotten it already left hahaha.

Re. which is the next elimination... hmm.. I'm thinking either See You Again (Remix) or maybe Start All Over. Both are singles, and it would be a great placement for both to make the top 15. If it's a Hannah song instead, then I can't even guess as I don't even know which of the remaining songs were singles and which weren't.
 
There. That's more like it. Now I'm not sure why it keeps happening, but I'm once again surprised by how far this has made it.































Dddd thanks for the reminder, I had forgotten it already left hahaha.

Re. which is the next elimination... hmm.. I'm thinking either See You Again (Remix) or maybe Start All Over. Both are singles, and it would be a great placement for both to make the top 15. If it's a Hannah song instead, then I can't even guess as I don't even know which of the remaining songs were singles and which weren't.
Well, I'm not confirming anything, but I will say we're not losing the single first.





































This is someone's 11, and I have to commend that person for having great taste.
































#16 - Life's What You Make It: 8.08
07 Life's What You Make It Single Cover.jpg
(Found online)
Highest: 1x11 (@Guy) 2x10s (Me @phily693) 2x9s (@DJHazey @savilizabeths)
Lowest: 1x5 (@Mirwais Ahmadzaï) 2x6s (@soratami @Ana Raquel)
My Score: 10
Favorite Lyric: The song is one big giant "Take life by the balls" positive message, and I love that, but there isn't really a standout lyric for me.

Trajectory
5 Voters: #5
10 Voters: #5
15 Voters: #17
19 Voters: #16
Total Points: 121.25

Life's What You Make It was written by Matthew Gerrard and Robbie Nevil, and produced by Gerrard for season 2 of Hannah and its soundtrack. You should recognize those names by now, since they co-wrote other Hannah songs like Who Said, What's Not To Like and The Other Side Of Me. The first time the song was heard is during a personal favorite season 2 episode of mine, "I Am Hannah, Hear Me Croak."
The episode starts immediately with Hannah performing Life's What You Make It at a concert. After the song's over, she says goodnight, but the cheering fans want more, so she says she'll sing all night long if they want her to. She says "Let's kick it guys." and I Got Nerve starts playing. It then cuts to the next morning where Jackson and Robby are singing the toast song to the tune of I Got Nerve. Miley comes downstairs, and Robby says "There she is, 6 encores, the voice that wouldn't stop." and claps for her. Miley starts talking about how great the audience was, but she sounds really, painfully hoarse. Robby gives her orange juice to try and clear her throat, but when she starts singing this song again, she still sounds really bad. After the theme song, Miley's getting a shoulder rub from her dad and singing the "Do" scale over some sort of machine, but still sounds bad, so when she gets to "So" she says "So not working." He says it won't if she keeps talking, and how it used to happen to him all the time when he was on tour, and the only thing that helped was when her mom would make him stop talking for a while. Miley says she can do that, but Robby points out to her that she is still talking. She quickly hushes, and Robby tells her to keep it like that or their going to have to cancel the big TV concert on Saturday. She shakes her hands no, goes to the couch, sits down, and zips her lips. Jackson gives her a whiteboard to communicate, and says encouraging things about how Hannah has never canceled a concert, and won't start now, and knows that it would break his sister's heart, so it would also break his. Miley hands her dad the whiteboard to read what she wrote, and it says "You got a hot date for the concert, don't you Jerkson?" He says he can't believe she thinks he'd be that selfish, and Robby interrupts him asking what her name is. Jackson quickly replies "Jenny, and she's a total babe!" and tells Miley to "put a cork in it Froggy". She's about to say something, but Robby tells her to use the pad, so she uses it to hit him on the arm, and Robby says he couldn't have said it better himself. It cuts to Miley at the beach with Lilly, sucking on a lollipop. Lilly tells Miley that she knows she wants to get better, but sucking on lollipops will only rot her teeth. Miley argues, and Lilly tries to take the lollipop out of Miley's mouth, telling her to release it. Miley shakes her head, and Lilly decides to tickle her until she opens her mouth, which she does, and Lilly puts the lollipop on the table. They walk over to Oliver who's sitting at the counter for Rico's, and he says it must be hard for her to not talk for a week, but it wouldn't be for him cause guys are different, and he doesn't need to talk, wouldn't bother him to not talk for a month, and just keeps babbling, when Miley writes something on her white board and hands it to him. He reads it and says "Oh that's just rude." (Since it's open to interpretation, in my head she said "Shut the fuck up Oliver" because there had to be a swear word there.) Lilly then says they know it's hard, but she has to stop fighting it, and that they will be right there until she recovers. A cute guy then asks Lilly is she wants to "catch a few" waves, and Lilly says "Oh yeah!" and starts to go with him, but turns to Miley, and begs her to let her go. Miley waves her arm, in a "Go ahead" gesture and Lilly says thank you. It cuts to Miley and Oliver laying in beach chairs, and Oliver won't shut up again. A boy named Dex walks over and asks if Miley is feeling better. When she nods, he then asks her on a date to the movies fro Friday, and when she starts to write her answer down on the whiteboard, Oliver takes it and says he's got this one for her. He then tells Dex "In your dreams poindexter" and tells Miley they're playing hard to get. Miley hits him, and then says to Dex "Movies shmovies, plant one on her right now big boy" and Miley hits him again. Dex says "Maybe another time," and Miley crawls on the sand and tries to call his name. It cuts to them in class at school, and Mr. Corelli is asking what famous speech starts with "Four score and seven years ago." Several people raise their hands, including Miley, who Mr. Corelli calls on. After writing down her answer, Lilly tells her she's got this one for her, and says "Miley's answer is 'The Bettysburg Address'. I think she means Betty Burg's address. Who's Betty Burg?" When Miley starts gesturing to the board - probably to show Lilly it's a G not a B - Lilly says, "What? The only other thing on here is 'I Heart Dex' and I'm not gonna say that with him sitting right there - oops." Miley then tucks her head into her arms and hides. (Whew, how embarrassing. Boy, I do not miss high school. I had a dream about it last night though, and I do kinda miss the social interactions, even though I didn't like a lot of the people. Anyway...) It cuts to Miley's house and everyone is sitting with her as Jackson counts the seconds to one week exactly. When he gets to one, he tells her to speak, but she stays quiet. Robby says he knows she's scared but they gotta find out sooner or later, and Jackson says he's right. When Miley doesn't react to what he says, he says her name again, and she continues to stare straight ahead. For some reason, this leads Jackson to think that she can't hear anymore either, and he starts ranting about how she's falling apart, and that it's so like her, and Miley tells him to shut it cause she's nervous enough and doesn't know if- then realizes she can talk. They cheer, and Miley hugs Lilly, who says it's so good to her hear voice again. Miley then starts to quote what Lilly said earlier that made her look really dumb, and when Oliver laughs and replies to this, she hits him and quotes him too - the "plant one on her right now big boy" - he says "Oh like you weren't thinking it," and she doesn't deny it. Robby then says that they know Miley can talk, let's see if Hannah can sing, and starts singing the first verse of Life's What You Make It. The others do the "No no no" and Robby finishes with "And turn it all around." Miley then starts to sing the "With a new attitude" part of the verse and gains more confidence, as the others clap along to the beat, and do the backing vocals, while Jackson dances with their leg table. It then cuts to Miley performing the song at her concert, but in the middle of the song, she starts to lose her voice again. It cuts to Miley and Robby at the house with a doctor, who says that the problem won't go away on its own, and if she wants to sing again, she'll need surgery. Miley asks "Really?" and the doctor says it's a very minor operation and he could do it blindfolded, to which Miley gives a worried squeak. He says he won't, just that he could, but it's not like she'd know as she'd be out cold., and asks if that makes her feel better, to which she shakes her head, and he says he should stop now. Miley says "You think?" and he apologizes, saying he just wants to reassure her that the surgery is no big deal, and explained it'd be one hour in his office, one week in recovery, and she'll be good as new. She nods and says "Okay," and he says that the chances of anything going wrong and her permanently losing her singing voice are one in a million, to which Robby says "Oh boy" and Miley looks worried. Miley asks what if she's that one, and Robby says to the doctor he was this close. The doctor explains it's just a figure of speech, and he doesn't done nearly that many, to which she puts her face in her heads, and he continues saying that it's not like he hasn't done a lot, because he has, and then he leaves. Miley then says to her dad that there was a one in a million chance that he'd be a rock star and that happened, there was a one in a million chance she'd be a pop star and that happened, and that the family is one in a million central. Robby says he thinks she's overreacting and this guy is one of the best surgeons in the country, and Jackson says he's right. He asks what Miley thinks is gonna happen, and proceeds to describe a cartoon-ish version of a Final Destination scenario that ends with Miley losing her voice forever, singing like Aunt Pearl after she swallowed a kazoo. Miley is now upset, because she pictured Jackson's scenario and thinks she'll never be Hannah Montana again, and runs to her room. It cuts to Miley watching a video on her laptop of a past family Christmas where she got a small pink guitar, and is excited cause it's just what she wanted. Miley's mom (played by Brooke Shields in her first appearance on the show) says "Let's hear something," and 7 year-old Miley sings "Rock, rock, rock. Yeah, yeah, yeah. Rock, rock, rock. Ohhhhh, yeah!" and tells Tennessee goodnight and to drive careful. Miley's mom says their little girl might end up giving Robby a run for his money, and he says one day he might have to take her up on stage with him, and they both start chanting for an encore, to which Miley puts up her hand. She then sings "Jingle bells, Jackson smells from 50 miles away, P.U." to which 9 year-old Jackson (who was filming this) says "I'm gonna get you runt!" and drops the camera to chase after her. Robby yells "No running in the house!" and the sound of something breaking can be heard, and the kids both blame the other. Susan (her mom) then asks Robby "Don't you just love Christmas?" In present day, Robby walks into Miley's room with a mug of his famous loco hot cocoa, telling her it has little marshmallows so she won't choke-o. (Don't know what marshmallows have to do with that but whatever.) He says choke-o again, and says he'll keep saying it until she laughs, and proceeds to say it again. Miley takes the cocoa and asks what if something goes wrong in the surgery and she can't be Hannah anymore. Robby jokes, saying he guesses she'll have to pack her bags and get out, to which she gives him a look and a shove. He then tells her that it's not gonna happen, and it's gonna be fine, and the only thing she needs to worry about is what flavor of ice cream she'll be scarfing down after it's over (MOOD!). Miley asks how he knows that, and he says there are some things in life a father just knows, and gives a couple examples, including that her voice will be fine, and tells her to get some rest. He leaves and she falls asleep, into a dream sequence. In the dream, it's daytime and Robby is walking downstairs into the living room, calling for Miley, that "useless freeloader." Miley puts up from behind the counter dressed in rags and covered in dirt and grime, saying she's right there. Robby tells her he thought he told her to iron his socks, and how he likes a nice crease in his hosiery. Miley apologizes, saying she's still cleaning the oven. Robby asks what's on the corner of her mouth, and if she's been eating the burnt bits off the broiler pan again. Miley apologizes and says she's just so hungry, then takes the bit from her face and eats it, saying "Month old trout skin, my favorite!" and continues to clean. (EW!) Robby tells her to quit stuffing her face and get to ironing, and that just because the surgery lead to her losing her singing voice, doesn't mean she can lay around licking up trout drippings like the Queen of Sheba! Miley says she can sing, cause she's been practicing, starts singing This Is The Life, and her hoarse voice cause a vase to break, an avalanche, and a stampede. Robby proceeds to stuff his socks into her mouth (gross) and tells her to not ever do that again, and Miley says okay. Robby then says there's only one person in the house who can sing and they all know who that is, which is when Jackson comes in dressed as a country version of an 80s hair-metal rocker singing the Jingle Bells song Miley sang as a kid, only with her name. "Ladies and gentlemen, please welcome Bucky Kentucky!" announces Robby, and Jackson says thank you. Miley says Jackson could never sing, and Bucky Kentucky is a stupid name. Jackson says she's jealous because she doesn't have a name that rhymes with a state anymore, "little miss nobody." Miley replies with "Oh please, like anyone would ever be a fun of Bucky Kentucky." That's when Lilly and Oliver come in, and start freaking out over Bucky Kentucky. (It's so much fun to imitate Lilly in this scene. Emily does the over-the-top fan-girl thing extremely well.) Miley asks what are they doing, it's Jackson, and Oliver asks Lilly if she heard something, and Lilly says "Yeah, sounds like a washed-up pop star!" to which Oliver, Lilly and Jackson laugh. Robby says they gotta go or they're gonna be late for Bucky's concert, and the limo is waiting. Jackson says "Last one in's a Miley!' and they all laugh and leave. Miley says she should be going to, and asks them not to treat her like this, and she's not a piece of furniture, which is when her legs become that table they own. Robby comes back saying he's gotta grab his keys and wallet, which are on Miley's table legs. Miley asks him what happened, saying she's nothing but a table, to which Robby says she's much more then that. Miley looks happy, but Robby then says she's also a coat rack, and she becomes a coat rack as well. Robby tells her they'd love to take her with them, but she's got too many hang ups, to which the others laugh at from a distance. Robby says he told her he was funny and leaves. Miley asks them not to, and asks for help. Susan is then heard off-screen, saying she always had the strangest dreams. Miley looks, and sees her mom in her living room and goes to hug her. Her mom asks if Robby gave her some of his hot cocoa before bed again, and says he knows what sugar does to her. She then says when she's done in Miley's dream, she's gonna pop into one of his to give him an earful, and puts her shawl on the coat rack attached to Miley. Miley says she's not helping, but her mom tells her it's her dream, and if she doesn't like it, all she has to do is change it. Miley says it's not that easy, but she's shown as not being furniture anymore. Miley says maybe it was, then asks her mom where she was when she was eating trout skin. Susan says they both know Miley didn't dream her there to ask her that, and tells her to say what's really on her mind. Miley explains she lost her voice and if she doesn't get it back then... But she can't get the words out and her mom asks if Miley really thinks if she's not Hannah Montana she's no better then a piece of furniture. Miley explains that if she can't sing, then she's just Miley, and her mom asks what is wrong with that. She continues, saying that just Miley is pretty darn terrific, and she knows she's strong enough to handle anything. Miley asks "She is?" and her mom says "Heck yeah!" and t's the way she and her dad raised her, and it's why her friends love her so much. Miley says "What friends? You saw the way they treated me." Her mom calls for Lilly and Oliver to get in there, and when they walk in, asks if they'd still be Miley's friend if she wasn't Hannah anymore. Oliver says "Of course we would," and Lilly tells Miley they were best friends way before she knew Miley was Hannah, and Miley asks why they walked out. they say that it's her dream, and her mom tells her it was only so scary cause of how worried Miley is about the surgery. Then Jackson walks in, saying it's true and that in real life, he sings like a starving walrus. He then says to his mom, "This is when you say 'Oh no you don't honey'" and his mom says that, and he just sings like a regular walrus - a cute, tone-deaf walrus. Jackson says thanks with a smile, and Lilly tells Miley she likes her mom, cause she's funny. Oliver says she's pretty too, and Miley says "That's it, you're out of here." An invisible force then drags Oliver out of the house while he protests. Jackson says that the point is whether she's Hannah Montana or just Miley, she'll still be the annoying, obnoxious little sister...that he loves. Miley gets off the couch and hugs him, and he says she can wake up anytime now, but she says she's not done yet. Her mom says that no matter what happens to her voice, she has the most important thing a person can have - people who care about her. Miley says her mom's right and puts her arms around Jackson and Lilly and her mom says "You think?" Miley says "Oh what the heck? Oliver get back in here." He walks in, says "Thank you" and joins the hug with Miley, Lilly and Jackson. Her mom reminds her she was loved before she was Hannah, and she will be loved long after Hannah is on one of those "Where Are They Now?" shows, to which Miley says she thinks she's confusing her with her dad. Her mom then says she's not worried about her one bit and hugs her, and Miley says she misses her hugs. Her mom says they're never far away, and all she has to do is think about her. (Right Here should've been in this episode, just saying.) She then tells her daughter to say goodbye to her friends and get some sleep. Miley hugs her friends again, and Robby walks in, telling Susan she did good. She tells him he's doing ta pretty good job himself, except for the hot chocolate before bed, and starts scolding him. Robby tries to call Miley to wake up, and apologizes to Susan, saying he always was a pushover. She says "That you were." then hugs him, while the other four stare at them in happiness. It cuts to Miley in her bed asleep, and she starts smiling. It then shows Miley in her room with her mom singing You & Me Together, and her mom encourages her saying that the surgeon did a wonderful job, she sounds better then ever. They start singing the song together, and Jackson comes in dressed as a walrus singing with them. Miley tells him to cut it out, to which he says it's her dream, but she says "Not this time." Jackson then asks if t's not hers or his, who's is it, and their mom says she thinks she knows. It then shows Robby waking up on the couch with a mug of cocoa in his hand, and he says she was right about the hot chocolate, and he turns on the TV, and that's how it ends. This has a;ways been one of my favorite episodes, cause I think it shows a fear that I think a lot of singers have - if they can't sing, who are they, and will they still matter to the people in their lives? The answer is of course yes, but it can take time to get to a place where you believe that. I also love the episode for the introduction as Brooke Shields as her mom, and the two of them have a clear chemistry and family dynamic, to the point that as a kid, I used to think it was her real mom. The dream sequence is an emotional one, partly cause of the bittersweet interaction between mother and daughter. The scene gains even more emotional weight when you consider the fact that her mom's appearance was more then a dream, but actually her. Susan's dialogue adds proof to this theory, but it becomes pretty obvious when you consider the crossover Wizards On Deck With Hannah Montana. Hannah Montana and its characters exist in the same universe as Wizards Of Waverly Place, meaning it was almost definitely her actual mom's spirit that came to her in the dream, and that through magic, she was able to interact with not just Miley, but Jackson, Robby, Lilly and Oliver as well. I think that's really beautiful and heartwarming.
So that's the episode. Now it's time for the song. Life's What You Make It is a groovy, new-wave-y pop-rock dance-able bop, with a prominent electric guitar, bass, and boppy drums with synths sprinkled throughout to create a party of the song, fitting the theme of the tune, which is that you decide how your life goes and your decisions can lead you to go from living a dull, sad life full of anger, to living a joyous, exciting life full of fun. It's not exactly the deepest way to get this message across, cause the entire structure of the song was created and combined to become one hell of a MEGA BOP that you can't help but dance to. Miley sounds like she’s having the time of her life throughout the entire song with her little interjections throughout, but especially at the bridge when she sings “So let the good times rock and roll! Ow!" And it goes into this guitar-dance breakdown that is never not life fulfilling. Plus, there's a double chorus. Perfection! It's a well-known Hannah song, since it's used prominently in the second season of the show, and every so often since, with it's last appearance in season 4 episode 10, through a flashback. It is also now a PJ certified Hannah classic, because it made her top 5 songs left here, and is also the highest rated optional song. Can I just say taste? I've always gotten my life to this song - it never fails to make me wanna dance, the hand-clap filled production that becomes obvious with the final chorus moment makes me wanna laugh with joy, and the lyrics motivate me to enjoy my life as much as possible. It's just a great little song, and I'm glad it got its due here. I don't know why I'd be surprised that it got this far - again it's a mega bop, and not something that sounds like it'd be easy to hate. Though it didn't get an abundance of high scores, it was well-liked enough to make top 20, and I'm really happy about it. Alas, it had to leave at some point, and this means that Nobody's Perfect is the sole survivor from Hannah Montana 2, Is anyone surprised though? The song was thankfully performed on The Best Of Both Worlds Tour, and let me tell you I got my life to that performance more times then I can count. I would also like you all to know that I kept singing the song to one of my cats, and she kept looking at me like I was crazy. Then, when I picked her up to dance to the song with her, she tried to claw me a couple times. She's mean. Anyway, critics - or I should say a critic - praised the song, with AllMusic saying it "sets bright, cheerleadery vocals to a riff that sounds like a reconfigured "My Sharona" which sounds like a good thing. I stan AllMusic.

Now, let's find out which voters I'll stan this time around. It's pretty much everyone. @Maki (8) is here for the chorus: This is very catchy. Love the chorus, even though it's a typical Hannah thing. Doesn't reach full heights, but it's still enjoyable. This rate clearly thinks it's Hannah perfection, but yes the chorus is amazing. @Entropy (8) may recognize the plot above: Another empowering jam. I think I first heard this song when watching an episode of Hannah Montana, and was very pleased when I found the studio version. Unless it was a different episode. Also, I love that, and it's how I pretty much discovered all the songs. @iheartpoptarts (8) is out here quoting the lyrics: Life is hard (or it’s a party), etc. Clearly, Hannah was unaware that it can be both. Or neither. @M24 (8.5) is...confusing his lyrics?: It's like the continuation of "Nobody's Perfect", in theme at least. I quite like it, even if it doesn't reach the highs of the former. I mean, they're kind of...very different messages. Plus, here Hannah is singing to someone, whereas in Nobody's Perfect, she's singing about herself. I love the enthusiasm though! Someone who carries that enthusiasm is @DJHazey (9) who highlights two of my favorite elements of the song: "LET'S MAKE IT ROCK" Yas. Those guitar transitions and Hannah's little interjections are still pure gold too. Yes and yes. Also, i love how we all continue to refer to them as two separate people, even though they're technically not. Even Disney+ does it, cause the subtitles for the show will always list the character as "Hannah" even when she's not wearing the wig. It's hilarious. Anyway, we now have @savilizabeths (9), who went to the best school ever: An inspirational anthem. We sang this in my choir when I was eleven so that’s a memory! What a chorus! What a message! Someone remind me to implement this attitude in my actual life instead of just bopping to this song. Thanks. I'm literally so jealous of 11 year-old you right now! I would've killed to do a Hannah or Miley song in chorus as a kid. Hell, even in high school, I wanted to do it. Also, that last sentence is a mood. And since @Guy didn't send commentary, we'll close with super mega fan @phily693 (10): I remember blasting such low quality rips of this while waiting for the new season to air in the UK and Ireland. It could’ve easily been on the first album and it wouldn’t be out of place. If you don’t sing the “ayayayayahhh” part were you even a fan? This is a whole ass mood. Seriously.

MEGA BOP:

MEGA BOP"S MUSIC VIDEO:

MEGA BOP'S DEMO:

MEGA BOP'S CONCERT PERFORMANCE:

And here's a song by one of my favorite bands that I think is a more mature take on this general message:
 
So some of y'all think this might be The Climb. The rest of y'all are hoping it's something - anything - else.



















































Let's see who wins.











































































Whew, that's an extreme relief.















#15 - See You Again (Rock Mafia Remix): 8.12
See You Again (Rock Mafia Remix).png
(created by Suburbia)
Highest: 6x10s (Me @DJHazey @soratami @TwistedInnocence @Ana Raquel @spaceship) 1x9.75 (@Maki) 1x9 (@Guy)
Lowest: 2x5s (@pop3blow2 @savilizabeths) 1x6 (@iheartpoptarts) 1x6.25 (@Remorque)
My Score: 10
Favorite Lyric: I feel like I must have known you in another life.
(This is actually my second-favorite lyric, but I just love the idea of reincarnation and past lives, so this lyric fills me with joy.)
Trajectory
5 Voters: #36
10 Voters: #20
15 Voters: #11
19 Voters: #15
Total Points: 154

I can hear some of you screaming "Finally!!" right now. This remix of See You Again was written by Miley, Antonina Armato and Tim James, and the production was done by Rock Mafia...who also produced the original. The only reason I can come up with for why they went with that subtitle is that 2008 is when they officially started calling themselves Rock Mafia. Now, this is going to be a short one because I wanna save most of my thoughts for the write-up for the original. So I guess I should start by explaining my choice in including it here. Well, it was included on an album for one, and for another it really was a single. It was released on August 11, 2008 in countries where the original was not, and gained new found success, charting at #13 in Ireland and #11 in the U.K. (These are the only two countries listed where I know for certain the remix was released as the single and it had great success. I'll give more chart info in the original's write-up.) So that pretty much justified it's inclusion for me. I suppose I made a mistake in not making it optional, but I wanted every Miley song to be required. It's probably a good thing though, cause if I had made it optional it would have landed at #14 instead of #15, so yeah. What's done is done. Now, my thoughts on this remix used to run the same line as most - it's not that different from the original, and is therefore still a huge bop. But now that I'm better at recognizing changes in production, and I listen to songs more closely now, I've realized the issue I have with this remix and why it will never reach the heights of the original. While I agree that the remix keeps the basic structure and bare bones of the original, it adds a lot of new flourishes and elements to the song that leads me to my problem: it's way too overproduced. Normally, I can't tell or don't care when a song is "overproduced" but in the case of a remix - of a song I've loved since I was a kid no less - it's more obvious, and more annoying. I feel like they were trying to really advance the spy-movie feel of it all, and make it more in line with Fly On The Wall, by turning it into more of a dance-pop song and moving away from the dance-rock feel of the original. And I get that, and appreciate them trying, but they already captured that sound perfectly with the original and just mess with it too much here. And it bothers me. That said, is it still See You Again? Yes. Is it still an absolute rush to listen to? Yes. Do I sing along with every word with all my heart? Yes. So it's still a 10. It just doesn't reach the height of the original's 11, and I'd rather listen to that then this. So there. But we just had to put this in the top two of Breakout huh? Thankfully this means that 7 Things reigns supreme as the last song standing from that album. Critics didn't say much, with the New York Times calling it "a mild techno reprise (from Ms. Cyrus’s last album) of a song about a crush" and PopMatters calls it "the best song on the album", while also saying it's "a rather half-assed remix" and adding it's "a marvelous slice of teenaged life set to club rock beats" and concluding that it "really suits Cyrus’s pleasingly deep and edgy vocals" and "it sounds far less ludicrously melodramatic than it might have delivered by less forceful pipes." As much as I don't agree with them on a lot of their Miley views, I have to high five them for this.

The comments from the rest of y'all were honestly a kii. We'll start with @pop3blow2 (5) who gives fair warning: I have a lot of things to say about this, but I’m adding the notes the other version because surely it will go further in the rate. Right? ……. RIGHT!? Right ddd. Next we have @savilizabeths (5) who asks a question: It’s nice for a remix. Can I listen to the original though please? We'd be stupid to stop you. But of course, some of you did enjoy it. Like @TwistedInnocence (10) who simply says: Still a bop! Yes, it is haha. Then there's the fact that some of you noticed a lack of change. @phily693 (8) says as much: I genuinely don’t hear much of a difference. The added production elements are more noticeable if you listen to them back to back and with headphones. @Entropy (7) asks a confusing question: Was this the version that was used in the video? I mean, it still gets a high score because it’s SEE YOU AGAIN but it’s not the original which is the one I fell in love with, so it gets a 7. There...isn't a video? Not really. Unless you mean that live performance that was edited with effects and had the song play over it...in which case yes, this is the version used. But I'm not sure that's official. Anyway, @M24 (7) thinks they toned down this version: It doesn't add much to the original version and I actually think they made the chorus somehow a bit tamer? I dunno but I prefer the former. I think you're right, with everything going on the chorus is less impactful then in the original. @Maki (9.75) stans a bitsy, and questions my authority: I'm not giving this remix a 10 just in case it doesn't overtake the original version (which surely won't be the case). Even though both versions are undoubtedly awesome, the original works better to me. It's a bit unnecessary to include this one, huh? I explained myself above. Finally, we have @DJHazey (10) who stans the fuck out of this: The first time I heard a song by her, other than Hannah's theme song on TV, was this masterpiece. Honestly, this epitomizes what makes a perfect teen-pop song. It's on a shortlist of pristine examples anyway. I remember having to download it the second I walked through the door that day because I was floored that something this incredible even existed. In general, I absolutely live for choruses like this...the way 50,000 words are seemingly crammed into a few lines. Combine that with how the words get broken up as they are and those elements literally make up the list of my favorite sing-alongs in pop history. Add in the fact that people like me with social anxiety can nod our heads to every word and we have something unbeatable my friends. This all applies to the original of course for most of us, so at least there was someone to have a giant paragraph for the remix. Also, yes at that end there! Totally agree, extremely relatable.

Here's the bop for your listening pleasure:

And here's the video Entropy mentions. It was uploaded by a fan, and I can not recall it every playing on Disney Channel, so I'm really not sure if this is fan-made or not. Either way, I don't count it as a Miley music video:

And here are a couple covers that probably won't get linked in the original's write-up.
Quirky Pop Queen Little Boots did a piano mixed with pop beats cover in 2008, and stans hard in the description of the video, and dedicates the song to Dev Hynes because he introduced her to the song. The taste! (Cue @pop3blow2 freak out in 3...2...1...):

And Breathe Carolina did an electro-punk cover for Punk Goes Pop Vol. 2, changing the chorus lyric to "When all my friends said you're just being crazy" which I thought was great, so I stan:
 
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he/him
Y'all are so wrong for this, you expect me to ever ever regret what I successfully did to Fly on the Wall or unsuccessfully have apparently done to The Climb? Never in a million years. I'll go to my grave supporting the remix over the 'original'.
 
I should have tanked it!

I can't now believe this remix got this far. It's the only time in recent memory where I wish I had given something a '1' (I don't really do zeroes, but maybe I should've made an exception!)

My commentary for the original goes more into why I feel this way. I have oddly strong opinions about this, but 'See You Again' is could be a pop music case study in how not to do a remix.

Quirky Pop Queen Little Boots did a piano mixed with pop beats cover in 2008, and stans hard in the description of the video, and dedicates the song to Dev Hynes because he introduced her to the song. The taste! (Cue @pop3blow2 freak out in 3...2...1...):

Yesss! I died when she posted this on her YouTube back in the day.
 
Y'all are so wrong for this, you expect me to ever ever regret what I successfully did to Fly on the Wall or unsuccessfully have apparently done to The Climb? Never in a million years. I'll go to my grave supporting the remix over the 'original'.
You can't blame most people for having heard the original first ddddd.
I can't now believe this remix got this far. It's the only time in recent memory where I wish I had given something a '1' (I don't really do zeroes, but maybe I should've made an exception!)

My commentary for the original goes more into why I feel this way. I have oddly strong opinions about this, but 'See You Again' is could be a pop music case study in how not to do a remix.



Yesss! I died when she posted this on her YouTube back in the day.
Need to get my laptop out, but I'll check what would have happened if you and @savilizabeths tanked it.
Also, as a new Little Boots fan, I freaked a little.
 
So I checked and if @pop3blow2 and @savilizabeths both given the Se You Again remix a one, it would've landed at #28. If they both gave 0s, it would've been #29. Do with that information what you will.

Also, I know I said I was going to alternate days, bu I lied. Y'all are at least getting #14 today, and soon. Hints: It is not a single, nor is it someone's 11. It's also one of my personal favorite songs.
 
So I checked and if @pop3blow2 and @savilizabeths both given the Se You Again remix a one, it would've landed at #28. If they both gave 0s, it would've been #29. Do with that information what you will.

Also, I know I said I was going to alternate days, bu I lied. Y'all are at least getting #14 today, and soon. Hints: It is not a single, nor is it someone's 11. It's also one of my personal favorite songs.

Oh now I’m mad! I have many regrets!
 
God I love this song.












































































So happy it made it this far.




















































In that case it's probably Kicking and Screaming???
Bingo.


#14 - Kicking & Screaming: 8.16
Kicking & Screaming.png
(created by Suburbia)
Highest: 5x10s (Me @DJHazey @phily693 @Sprockrooster @Ana Raquel) 1x9.5 (@Hurricane Drunk) 2x9s (@savilizabeths @Maki)
Lowest: 1x4 (@Sprocky's BF) 1x5.5 (@Mirwais Ahmadzaï)

My Score: 10
Favorite Lyric: Don't keep me guessing, I'm your favorite obsession. (There's a general sense of cockiness and confidence throughout the whole song, but it comes through best on this line and I love it.)
Trajectory
5 Voters: #9
10 Voters: #18
15 Voters: #14
19 Voters: #14
Total Points: 155.05

Kicking & Screaming was written by John Shanks, Kara DioGuardi and possibly Ashlee Simpson, and was produced by John. Now, I say possibly Ashlee, because the song is a cover of a bonus track from Ashlee's I Am Me album, and she's credited on the song, and Miley recorded the cover for The Time Of Our Lives, but Ashlee isn't credited as a writer of the song. I don't really understand why this happened. I can only guess that either they forgot to credit Ashlee for the song - which would be extremely stupid of them - someone didn't want to credit Ashlee - I can't really imagine why anyone would be that petty - or Ashlee just took credit for the song in her album credits which would be rude but...whatever, it happens. I guess I wouldn't be too surprised if that was the case. I love her music, but at the time, the girl had this whole "I'm more authentic then those other singers" shtick, and I guess making sure it seemed like she co-wrote every song on the album was partly a way to prove that and...I get it. It's fine, it's not the biggest issue to happen in the music business. Anyway, i have no idea why this cover exists. Miley didn't talk about it, like at all, but I suppose it's possible she chose to cover it herself. That said, I feel like the EP as a whole was people probably the label- being like "We want music to go with your clothing line at Wal-Mart, here are some songs to record" and Miley picked her faves from those sessions. So another likely scenario is John, who was a regular collaborator of Miley's at this point, saying "I think she should cover this, it'd be perfect for her" and Miley ended up agreeing. Thing is, if that's the case, he was right. This is perfect for Miley. The crunchy, hard-hitting electric guitars that never let up, the percussion rhythms and drum patterns that just make you wanna head bang, the deep bass that shakes the roof of your brain, the absolute sass, anger, and attitude that exudes from the production alone, mixed with her cocky, confident, pissed off vocal delivery that makes it seem like she's ready to rip this guys' throat out, and you just have a recipe for a perfection. This is the song that made me certain she would excel at rock music - which she's proven even more with the songs from the sessions of her upcoming album. She just sounds so at home here. I can definitely see why she would have wanted to record this. It just sets such a great tone as the opener as the opener to the EP. It's like "I'm fucking here and you are going to pay attention to me." I just fucking love it. I can't get enough of it. It was a serious 11 contender, but obviously another song won out. That said, I'm glad to see that my mental theory that it's a fan favorite wasn't wrong. I'm so happy it made the top 15, marking it as one of her best songs, and something to really love in this stacked rate. I have no idea what those low scorers are thinking though. And since I know it'll be a discussion that happens, I should say I prefer this over the original. I mean, there's almost no difference to them musically speaking. It really comes down to whose voice you prefer, and I might be biased, but I love Miley's voice for this song more. She just sounds great. And of course, I did hear Miley's version first. So there's that. I haven't really talked about the lyrics but they're pretty great. Again, there's this sense of cocky confidence throughout, as Miley practically attacks this guy who's she been on/off with constantly, and he can never seem to handle the break-ups, and she just tortures him by constantly going back and forth on him, while being sure that she's the best thing he'll ever have. It's terrifying and amazing, and honestly, while she didn't write, i can see why she might have gravitated to the lyrics, even at the time. Miley loves to put up a cocky front, while showing hr vulnerable soul in other songs. It's one thing I've always loved about her. And every time I listen to the song, it makes me feel powerful, like I can go on a murderous rampage directed towards random men. That makes me think it should've been in the Jennifer's Body soundtrack/movie. It would've been right at home. And I kinda wish it had been a single. I would've loved a music video for it. Oh well. Anyway, that pretty much wraps up my stanful rant. Oh, and of course, this leaving now means Party In The U.S.A. is the last song standing from The Time Of Our Lives. Like it was going to be anything else. The song was included on the set-lists for The Wonder World Tour as well as the Gypsy Heart Tour, and the one for the Wonder World Tour is certainly something. Honestly, people who weren't aware that Miley was ready to be an adult after that concert, and were surprised by Can't Be Tamed (and Bangerz three years later) really weren't paying attention. The song recieve a lot of praise from critics. AllMusic said it "has more guts and swagger than anything else she has recorded", Digital Spy said it's a "sugary blast of pop-punk in the Ashlee Simpson mould" and noted that the original was by her, The Guardian said it's "a declamatory techno-rock exercise of the sort that characterised Girls Aloud's golden period", The Observer calls it "a merciless message to an ex over garage beats" and Yahoo Music said you're "more likely to remember" this "trash-rocker...with its glam guitar riffing and ragged, gutsy vocal." We stand a critically acclaimed masterpiece.

Which applies to the comments as well. There was mostly praise for this across the board. Although @iheartpoptarts (7) probably barely held back from just skipping to the next song: Solid, but I’m so ready to move on from the pop/rock next song. This screams "I wanna get to track 2 ASAP" and I stan. And @pop3blow2 (7.5) hasn't totally seen the light yet: Yeah, this was an Ashlee bonus track for a reason. It’s fine, but I don’t see why Kara & John tried so hard to make this song happen. Also, this shade: "In 2009, Miley Cyrus covered the international bonus track "Kicking and Screaming" for her The Time of Our Lives EP. Although Simpson co-wrote the song with Shanks and DioGuardi, Simpson was not credited for her writing contribution on Cyrus' EP." – Wikipedia They kept trying because the song is amzing. Duh. And again, perfect for Miley. Also kii at you bringing that up in your comment. @M24 (8.3) has only heard this amazingness: Never heard Ashlee's version, but this one isn't bad at all. That's a bit of an understatement but it's okay. And don't worry, I'll link it below. And I think @Entropy's (8) wig was tugged a little: Omg Miley so edgy now. She did not prepare us for this x. No, she really didn't. @Maki (9) is here to rain praise on it: Excellent opener of this EP! Very memorable. A bit of a harder rock influence really makes it shine. Doesn't completely hit the spot for me, but it's so addictive and effortlessly cool I can't help but give it a high score. Whew, taste. @savilizabeths (9) was unsure of her stannage: Damn, this one is pretty fucking good. The score kept going up because I can never decide if I absolutely love it or think it’s just pretty good. She really goes for this performance wise. She definitely sells the slightly aggressive, powerful, sassy mode of this song. Glad it went up haha, but maybe you won't be that upset then? Like me, @Ana Raquel (10) stans Miley more: I listen to this way more than the original version. (Ashlee’s is also iconic) True, but still. And the King Of Comparisons @phily693 (10) strikes again: I love this in all its generic The Veronicas/P!nk/Ashlee Simpson sound. What a chorus! It has John Shanks and Kara DioGuardi written all over this. The fact I literally stan all three of the artists you mentioned (though Ashlee to a lesser extent)...my taste is immaculate, fight me. Also, yes it does, she should work with John and Kara more in the future, he said hopefully. And well-known rock/metal-head @DJHazey (10) obviously stans for this: Any version of this tune, Miley's or Ashlee's, is a serious 11 contender. "So get down and get off..." is one of my favorite moments I've ever heard in a teen pop-rock song. The haunting chants way in the background and the 'harder than usual' guitars cranking add an element of 'soft metal/hard rock' to the experience which makes any queen singing it sound so bad-ass. It never gets the attention and stanning it deserves, I'm so tempted to throw my 11 at it but I know it would be a lost cause. I think it got the attention it's due, Top 15 is a great placement (cue you calling for The Climb's head again dddd.)

Go ahead. Rock out. You know you want to:

Live from the O2 on the Wonder World Tour:

Live on the Gypsy Heart Tour:

Live on The Today Show:

And of course, Ashlee's original:
 
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Oh, @iheartpoptarts I finally got around to doing this:
@iheartpoptarts (3) has a point about the EP's tracklist: Imagine putting this after ‘Party in the USA’. You saying this kinda made me wanna try switching this with the title track to see if that flows better. I'll let you know if it works.
And it actually works extremely well, and in my opinion, better then the normal tracklisting, so from now on I will use this:
1. Kicking & Screaming
2. Party In The U.S.A.
3. The Time Of Our Lives
4. When I Look At You
5. Talk Is Cheap
6. Obsessed
7. Before The Storm
8. The Climb
 
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