Gregg Alexander:

Beta NF (IEI-Fe)

Here are the pictures:

Here's what Robert Christgau had to say:

"Maybe You've Been Brainwashed Too [MCA, 1998]
Bizwise wiseass Gregg Alexander is a postalt type we'll be seeing more of--schooled in pop values he knows as a careerist rather than an aesthete, his tough times the ones that come naturally to young entertainers on the make in a world where rebelliousness isn't necessarily faked just because it's salable. Clearest musical referents: Todd Rundgren and Hall & Oates. How many boho bands have the uncool to inspire such comparisons? How many have the knowledge? How many have the chops? A-"

'The Sound of the City

It was "You Get What You Give" that filled Shine for the New Radicals last Thursday. From MTV and Rolling Stone to alt radio and Z-100, people notice this tuneful rant, which calls out the Dust Brothers, Beck, Courtney Love, and Marilyn "Rhymes With Beck's Last Name" Manson. All "fakes," Gregg Alexander charges. Live in "mansions"--which, even if they don't, almost is Marilyn's last name.

What imparts interest to this opinion is how different Alexander seems from the above-named luminaries, especially Beck and Love, both of whom were obliged by history or fashion to pursue showbiz dreams from a bohemian base. Alexander is like it used to be--a showbiz wannabe whose bohemianism is a side effect of his stubbornly starry-eyed aspirations. A plumber's son from Grosse Pointe, Michigan, he was a teenager when he first hit L.A., where he soon cut a born-dead debut he compares to Phil Spector and others recall as being more like Meat Loaf. At Shine, the material was all from the new Maybe You've Been Brainwashed Too, said to have garnered him a $600,000 advance from MCA . . .

Backed by a generically rockish-looking band distinguished by a scrawny blonde in hooker mufti on tambourine, harmony vocals, cheerleading, and navel, Alexander, a tall white nonteen with a shaved head who sings and sings only, performed, projected, stretched out his arms like the winner on election night and crossed his heart when he said he loved you. Midrange pitch problems often compel him to shout, not to say yell, but he lives off the kind of emotive falsetto only showbiz kids dare. Together with the funk-lite underpinnings, that's the Hall & Oates part. The Rundgren runs deeper--falsetto and timbre and vocal affect, melodic contour too, alternating keyb and guitar leads, complete pop arsenal. Everything except lyrics, which are as verbose as early Dylan, or Meat Loaf. "You Get What You Give" may only be "Sex and Candy" '99. But Alexander wants the world. Why should Beck and Courtney present at the MTV Awards when he and his hooker honey are available?

Village Voice, Dec. 22, 1998'

'Since disbanding the group in summer 1999, Alexander has written and produced songs for artists including Ronan Keating, Sophie Ellis-Bextor, Enrique Iglesias, Hanson, Geri Halliwell, Melanie C, Mónica Naranjo and fellow ex-New Radical Danielle Brisebois. Most noteworthy was the song "The Game of Love" by Santana and Michelle Branch, which earned Alexander a Grammy in 2003.

Allmusic's Stephen Thomas Erlewine described him as "the catchiest, smartest professional mainstream pop songwriter of the early 2000s." '

'Gregg Alexander co-wrote and produced "The Game of Love" by Santana and Michelle Branch . . .'

Here are the songs: