The first being the Devilish album where Bill Kaulitz was a newly-discovered 13yr old child singer with a big dream.
The second being Schrei when the twins were about 15 and the third Zimmer 483 when only half of the band entered legal adulthood.
The Kaulitz twins, being around 17, were still grabbing news headlines for every little underage misconduct they committed.
Here we have a group of children who were clear about their career choice since age 9 and what is so wrong about having experienced adults who could provide guidance and proper training? Aren’t adult supervision and guidance the most important part of a child’s formative years?
Bonnie Tyler and Meatloaf built their entire career on the work of Jim Steinman. Celine Dion, Josh Groban and the Corrs had the backup of David Foster at the beginning of their career. Most notably, don’t forget the role of Glen Ballard in Alanis Morissette’s transition from former teen star to the artist that she is today. Even the labeled child prodigy Vanessa Mae had producer/composer Mike Batt composing the majority of the songs on her breakthrough classical pop debut album The Violin Player. There are too many of them to mention.
As for Tokio Hotel, judging from the songwriting credits from the Schrei and Zimmer 483 albums, it is clear that on Schrei, the boys were on their learning phase with only a few of the songs had their songwriting credits on them. By the Zimmer 483 album, the boys have songwriting credits on ALL songs. The most noticeable thing is Tom Kaulitz is the one working more on the music while brother Bill is more responsible on the lyrics.
One must remember that the FOUR boys have distinctively different influences musically and it was important for them to develop their sound within their common ground and having experienced people around actually helped to unleash that. Just ask any established artists who work with different producers and songwriters from time to time.
Interestingly, the Kaulitz twins composed one song Wir Sterben Niemals Aus entirely on their own. Before finding out the songwriting credit for this song, I thought the acoustic version they did for the song was the most mature-sounding arrangement I'd heard from them and certainly on par or at least had the potential to someday join the greats. This is coming from an avid music listener who counts Heart's The Road Home, MSG Unplugged and Dokken's One Night Live as favourites.
Here they are Tokio Hotel performing the Kaulitz-twins-penned Wir Sterben Niemals Aus acoustically.
Leave your prejudice behind and take a listen.
The whole Tokio Hotel and the songwriters issue has been blown way out of proportion by critics.
Click here at Tokio Hotel Discography on Star Pulse (songwriting credits listed)