I’ll admit it: I don’t know that much about Miley Cyrus.

What I do know is that she is Disney’s newest multi-“talented” star, this tween generation’s Hilary Duff. I also know she has a television show called “Hannah Montana,” which is what originally propelled her into the music business. Finally, if what I’ve heard is correct, I know that she is probably one of the most popular people in the country. So popular in fact, that her latest album “Breakout,” her first album to not include any songs attributed to Hannah Montana, came out at number one on the Billboard Top 200 chart.

After listening to the album, I’m not quite sure why. Now, I’ll admit that I still have all the lyrics to some choice *NSYNC songs memorized and could probably find you copies of Britney Spears CDs in my closet, but this new phenomenon of the necessity for young, female TV stars to also release albums is beyond me. After about the first 30 seconds of “Breakout,” it’s obvious that while Miley Stewart, the character Cyrus plays, may be a famous pop singer, Cyrus clearly shouldn’t be.

Every song on the album sounds incredibly similar — fast-paced, over-produced and with a lot of digital additions. In fact, by the fifth song, I was fairly convinced I had the same one on repeat. Cyrus’s voice (which sounds, to me, as if it were obviously supported by an auto-tuning device), is nothing special and far too often sounds more like whining than singing. None of the lyrics are very catchy, and few deviate from the “boyfriend drama” genre. “7 Things,” “The Driveway,” and “See You Again”, among others are all basically the same song about a breakup with a generic boyfriend. To me, these songs were only distinguishable by different levels of synthetic drums and piano backing the vocals.

“Fly on the Wall,” another breakup song, on the other hand, sounds almost sinister (a frightening thing coming from a 15-year-old) and features an irritating insect-sound effect. One song, “Wake Up America,” deviates from her typical subject matter, but I’m still trying to figure out if the lyrics are some subtle commentary on the subprime mortgage crisis or if they’re about her love of shoes.

Of interest in the album is the three covers interspersed among the original songs Cyrus “co-wrote.” The cover of Cyndi Lauper’s iconic “Girls Just Wanna Have Fun” is a sad and probably unwanted tribute to the star, which turns the ’80s pop hit into just another dull Disney teen track.

The other two covers are harder to spot, since they were originally recorded by lesser-known artists in the past five years; these hardly deviate from their original recordings. “These Four Walls” was originally written and recorded by the then-16-year-old Cheyenne Kimball, who even had an MTV reality show documenting the recording and release of her album. The third cover is actually the title track of the album, “Breakout,” and was originally recorded a few years back by Katy Perry, of “I Kissed a Girl” fame.

I guess Cyrus must have struck a chord with the shockingly generic, sometimes pirated synth-pop, because even with all of these flaws, the album has still done fantastically well. Her concerts have sold out across the country, and she seems to have a stranglehold on the top spot in pop music.

But then I realize something she does have that sets her apart from every other artist on the Top 10: She’s backed by Mickey Mouse himself, and we would all be wise not to underestimate the Disney Corporation’s ability to market just about anything. Or maybe those Vanity Fair pictures did more for her than I thought.