Second up in my catch up series of Taylor Swift album reviews is Evermore, the follow up surprise release to Folklore. Let’s see if this entry proves any more memorable, or if it’s just more of the same melodrama melancholy of the previous album.
“Willow”
Well, the first track is not an encouraging indication that good things are to come. It’s more of the same as the previous album, lackluster music combined with otherwise interesting lyrics that results in no emotional impact. Maybe it’s the use of all the electronic instrument replacements but it ends up feeling very robotic.
“Champagne Problems”
There’s a hint of “New Year’s Day” in the soft piano chords of this song, which unfortunately draws it into an unflattering comparison. Where “New Year’s Day” finds beauty in the mundane normalities of the everyday that most people can generally relate to, “Champagne Problems” paints a picture that is almost entirely the opposite. It’s even in the title, and downbeat line of the chorus, these are champagne problems, not ordinary, everyday ones. Perhaps because of that the narrator of the song seems very much removed and disinterested, leaving the overall impact wanting in any emotional connection for the listener.
“Gold Rush”
Oh my gosh, she actually has a song featuring a beat! Oh, and it has a musical shift on the verse changes, how exciting! It’s that much more surprising considering this is the first Jack Antonoff collaboration on the album. Usually I’m not a fan of his contributions to her music but this one turns out okay. It’s no “Lover” or “State of Grace” for sure but it is a pretty song that carries some emotional impact and has a slightly memorable chorus.
“‘Tis the Damn Season”
I guess it seems fitting that for her lugubrious era Swift felt it necessary to include a holiday track that matches the despondent nature of her other songs. I will admit that the story telling in this one is interesting but it still lacks the impassioned vibe of her first seven albums. It fits in with the rest of the album but won’t be very far remembered.
“Tolerate It”
This song is almost painful to listen to. It is so slow and boring. Half of the song Swift is just speaking the lyrics over the music, which is just the same repeated piano refrain looped over and over. While some of the other tracks have lacked an emotional punch this one goes even further and drains any emotion the listener may have had before listening to it.
“No Body, No Crime” (featuring Haim)
This is the “The Last Great American Dynasty” of this album. It’s a story song with a good hook, rhythm and clever lyrical word play. Thank goodness for Haim, bringing some actual musical weight to this album. I’m giving them credit here as they are the only differentiating factor from the other tracks on the album, so I have to assume they are the reason this song succeeds.
“Happiness”
This track starts slipping back into the trap of the earlier ones with flat music but jumps slightly ahead with Swift’s inflection on the title word of the song. There’s a little desperation that seeps in, bringing with it more emotional impact. While still not to the level of some of her other comparable previous work (“Treacherous”, “Last Kiss” ), it hit more than other tracks on this album.
“Dorothea”
Evermore’s answer to “Betty” is sadly not as successful, though it still has some charm to appreciate. Swift’s strongest songs in this Folklore/Evermore era end up being the ones where she leans heavily into her Country storytelling roots. More interest is driven in the song when there are characters to latch onto, even when the music may be lacking.
“Coney Island” (featuring the National)
It seems like many of the songs on Evermore are just duplicate attempts at Folklore’s tracks. Some are more successful this time around, others are less so. Then there are the songs like this, which feels like this album’s “Exile” that are just as forgettable. It’s another duet/collaboration that just sits there without drawing any real feeling. It’s not terrible but it’s not great.
“Ivy”
We’re solidly into a monotone groove at this point in the album. There’s nothing inherently worse in this song than the previous three tracks. It just carries on with the one level musical vibe. The lyrics are pretty, and Swift’s voice has a light sing-song quality to it but it’s not very impactful without the musical drive to back it.
“Cowboy like Me”
I think I like the title more than the song itself. There is a nice twangy refrain midway through that’s quite pleasing. Otherwise it is the same issue repeated from the rest of the album, semi-interesting lyrics that disappear under mediocre music.
“Long Story Short”
This is a tricky track. You think there’s going to be some actual rhythm to the music because it’s slightly more upbeat electronica but it ends up being the same repetitive beat. Plus, half the lyrics are just sounds so it doesn’t even have that going for it.
“Marjorie”
The sentiment behind this track is quite beautiful. A tribute to Swift’s grandmother, who was an opera singer and inspired Swift’s own musical career that samples Majorie Finlay (Swift’s grandmother) in its backing vocals. It is a bit odd though to have a tribute to an opera singer that is so understated in its vocal strains. I suppose the attempt was to highlight the sampling in the music but I think the effect is not quite as successful as it wants to be.
“Closure”
Despite beginning with some gorgeous lyrics, including this diamond of a line “Seeing the shape of your name/still spells out pain,” the song falls back into the same old traps of earlier tracks. It repeats the title word in the chorus as though that’s impact enough but it isn’t. The music is slightly more upbeat but once again there is no change in inflection so it just sits at the same level throughout, never moving itself or the listener forward.
“Evermore” (featuring Bon Iver)
Once again the ending track seems fitting for the low energy album that precedes it. At least the piano in this isn’t electronic. Considering the languid vibe on their Folklore track, it is a bit surprising that Bon Iver brings the most energy in a sudden burst halfway through this song. However, even that doesn’t save it from being fairly forgettable in the end.
Bonus Tracks:
“Right Where You Left Me”
Is it really a Taylor Swift album if there are no bonus tracks? This one could have easily replaced any number of the official tracks. While not jumping with energy it is a lot more upbeat and engaging than at least half the songs that did make the cut. It is also very classic Swift, replaying a breakup over and over trying to make sense of it. It perfectly encapsulates that lost, empty feeling someone would get when the news is delivered that their significant other is no longer interested in continuing the relationship. This could have been a good opener.
“It’s Time to Go”
Unlike the previous bonus song, this one is perfectly fine to remain off the official tracklist. It does fit the same theme and tone of the other songs in being fairly forgettable. There is some interesting lyric structure but it all blends together with the bland music and Swift’s monotone delivery. So actually, it is quite a nice summary of the issues with Evermore as an album. Evermore is dreary mundaneness with an occasional glimpse of sunlight in a slightly stronger track or clever lyric but doesn’t contain anything truly lasting.
It’s been awhile since I posted anything so I thought I’d come back with something a little different. Taylor Swift released Midnights in October of last year and her Eras tour has been conquering all Spring and Summer long. I’ve done reviews of all her albums up through Lover. Being the completionist I am, I’ve decided to look at the albums I have yet to review. I’ll get to Midnights eventually but for now let’s start with Folklore.
“The 1”
The first track always sets the tone for the rest of the album and this one lets the listener know right away this isn’t going to be like the other Taylor Swift albums. Her last few records opened with pulsing pop beats promising an hour or so of upbeat candy-coated synth. In contrast, “The 1” is a soft reminiscing of a past relationship, a one-that-got-away story guided more than driven by a low piano rift and almost lazy drums. It’s beautiful and entrancing, and entirely different than anything she’s thrown at us before.
“Cardigan”
If the first track defines the mood, the second must reinforce it, and “Cardigan” does that in abundance. There’s an almost ethereal vibe with these first two tracks, like she’s easing us into this new sonic experience. We do get a glimpse of some classic Taylor songwriting with lines like “Tried to change the ending/Peter losing Wendy” and “I knew you’d haunt all of my what-ifs.” So even though this is new stylistically it’s still the same old Taylor telling stories with heart. Definitely a solid second track.
“The Last Great American Dynasty”
It’s been a minute since we had a good story song from Swift. Unlike “Starlight” from Red this one isn’t dripping with saccharine nostalgia for a time period she hasn’t experienced. Okay, there is a little of that anemoia but it’s not sickly sweet but rather has some bite. This is the story of a woman and the extravagant life she lived after marrying into money. It has no regrets and bounces along at a more lively pace than the tracks before it, suggesting this album might not be all somber reflections. In a beautiful twist at the end it’s revealed that it’s the story of the woman who previously owned Swift’s Rhode Island home. Swift seems to see so many parts of herself in Rebekah, making the whole thing extra meta by being a commentary on the gossip and notoriety of eccentrically famous women.
“Exile (ft. Bon Iver)”
Even after all this time to sit with it I’m not sure I like this song. It’s a little too serious and is missing the charm of her other, and arguably better, duet “The Last Time” from Red. I do like the call and response echo of “you never gave a warning sign/(I gave so many signs),” clearly indicating missed communications in the relationship that are only revealed upon reflection once it has ended. It is a pretty song, it just feels too low a note to hit after the previous song.
“My Tears Ricochet”
I think it’s going to be obvious throughout my reviews that I am not the biggest fan of Swift’s partnership with Jack Antonoff (just wait until we get to Midnights), and unfortunately that means I do not particularly like this song. The music is forgettable and drags down the beauty of so many of the lyrics. The only time we get a breakthrough is when Swift shifts her pitch a little higher, and the music pulls back just enough to let these words sit there in their gloriousness:
“And I still talk to you
When I’m screaming at the sky
And when you can’t sleep at night
You hear my stolen lullabies”
“Mirrorball”
Another Antonoff casualty. There’s a lot of ethereal sounds with no real beat or melody. It does play well into Swift’s light, wispy voice but it lacks any forward momentum. The lyrics are well crafted but no emotional impact is felt because the song stays at the same disengaged level throughout, a theme that repeats itself quite regularly in most of the following tracks.
“Seven”
This has echoes of “It’s Nice to Have a Friend” from Lover, the strange, kind of creepy song near the end of that album. “Seven” is not as successful though because once again there’s almost no emotion to be drawn from the song. In “It’s Nice To Have a Friend” there’s a little bit of tongue-in-cheekness that feels like Swift winking at the listener as though they are in on the joke. This song just passes through without leaving any memorable piece for the listener to hold onto.
“August”
Yet again we get a dreary flat song that just exists as electronic sound with no inflection for impact. If it seems like I’m being repetitive in this point, just listen to the album. It’s another fairly forgettable addition to the album, with the one exception of the line “August sipped away like a bottle of wine.” My complaints around the songs on this album will rarely be directed at the lyrics. The album as a whole contains some of Swift’s most lyrically beautiful work.
“This is Me Trying”
Okay, I’m about to take back what I just said. While most of the tracks on the album at least feature interesting and poignant lyrics, this one does not. There’s nothing clever to find in it, and it continues the tradition of the previous five tracks of running bland musically. So this is perhaps the most forgettable song on the album.
“Illicit Affairs”
I love the way Swift pulls together words in this song but again, it’s lost in the mediocrity of the music. She was really leaning into music that didn’t push her voice beyond its lightness and for that the album suffers. It hardly works if you have the emotion on just one side of the equation. You need both the lyrics to hit, and the music to move.
“Invisible String”
We get a little more musical complexity here, though it still drags quite a bit. I mentioned “It’s Nice to Have a Friend” earlier, and this definitely has some of that almost ghostly whimsy coursing through it. So despite it still running mostly flat, there is a little spark here and there that elevates it beyond most of the other tracks.
“Mad Woman”
I’m curious why Swift decided not to have melodies in the second half on the album. Again, lyrically it’s interesting, telling the story of a scorned woman fighting back against those that called her crazy. The issue is it just sits in its own downess, never giving into the impulse to scream its anger through the music.
“Epiphany”
When I first heard this I was really moved by it but now I think that has more to do with the time it was released. 2020 was a year of uncertainty and this track pulls from that fear and anxiety in a rather subtle but insightful way. The song doesn’t sustain itself past its moment but it hits better than most of the other tracks once again due to the lyrics.
“Betty”
Finally a hook! This leans much more into Swift’s country roots, and showcases why that genre works. It’s a storytelling medium that relies on a call and response lyric to music structure, so it ends up being something you might actually be able to dance to, and sing along with. Swift makes it more interesting by telling it from the point-of-view of the boy who scorned the girl.
“Peace”
This is the rare case on the album where the drawn back music actually helps the emotional impact of the song. The lyrics are a whispered confession of fears Swift is telling her lover. She can’t provide the safety of a traditional relationship but promises to stick by their side if they come along with her. Letting her vocals drive the musical beats actually hits because you can hear the emotion in it clearly.
“Hoax”
The album ends on a rather lackluster note after fighting back to some semblance of rhythmically driven themes in the previous two tracks. “Hoax” is a fairly sleepy song and still has the main issue the rest of the album has of featuring forgettable music that drowns out the otherwise clever lyrics. However, the melancholy it sits in fits with the tone of the rest of the album and so seems a fitting end.
Bonus Track: “The Lakes”
“I want auroras and sad prose.” That about sums up this bonus song, and Folklore as an album. It’s Swift sitting around in her melancholia talking about beautiful images without infusing the emotions she’s written about into the actual music of the song. Much of this album feels like it could have been better delivered as a collection of poems, better to read than listen to. I’m afraid this will become a theme in the review of her next two albums but we’ll get to those soon enough.
Brendon Urie recently announced that the musical project known as Panic! at the Disco was coming to an end. Some outlets have been reporting it as a band breakup but that seems odd considering the “band” has been a solo project since the release of the fifth album in 2016. Not sure how exactly Urie is expected to have broken up with himself. Either way, this feels very much like the end of an era. As such I thought I would do a sort of retrospective, complete with a ranking of the seven albums from worst to best. Though really there is no such thing as a bad Panic! Album.
Let’s set the stage first with some background on my personal history with the group. I was actually avidly anti-Panic! when their first album came out. I’m definitely going to date myself here. I was a senior in high school. Back in the days where you discovered a band either through the “modern hits” filled soundtrack of the latest teen flick, or the local radio stations. In my case it was what was then known as STAR 98.7 and KROQ 106.7. The former played “alternative” songs while the latter played more rock heavy material. Spotify wasn’t yet a thing and MP3 players were just getting to be trendy.
You might also have heard of a band through a friend sharing their latest musical discovery via burned CDs (I know, I know, way to really date myself). Then, there was the way I learned about Panic! This was when a band became suddenly ubiquitous, with their merch taking over the walls of Hot Topic (by the way, is Hot Topic still a thing?) and you couldn’t escape their logos and faces. All the kids in your class would be wearing their shirts and fake leather wristbands, and talking about how amazingly intellectual this new band with the crazy name that had punctuation really was.
So, when I first heard about Panic! I thought they were incredibly pretentious with their exclamation point and song titles that were full on sentences. I hated them for the sheer attitude that exuded from their music. I mean, I wasn’t wrong. They were really pretentious. But I eventually came to appreciate the often times brilliant creativity buried in what was passed off as mindless pop rock music. I came to identify key moments from my personal life with their music as it became the soundtrack of so many of my memories. I have had the joy of being a fan of their music for fifteen years (I officially converted with the release of the second album), and have had the privilege of seeing them perform live over a dozen times. With that little history out of the way, let’s take a look at the albums of this band I have loved for the past almost two decades.
Coming in at number seven is Pray for the Wicked (2018), the sixth studio album and second to come from the “band” in its solo enterprise days. Let me repeat, there is no such thing as a bad Panic! album in my mind. There are things about Pray for the Wicked that I absolutely adore, and in fact it features my all time favorite Panic! song. Perhaps the reason I feel less enamored of this record is because it is the only one that feels like it was made for the Spotify age. It is a collection of singles rather than a cohesive album. I am a firm believer that music tells the best stories when crafted to take the listener on a journey through complex musical experiences expressed through a strategic series of songs. Pray for the Wicked lacks a strong through line in terms of musical themes and tone, which is why its place is at the bottom of the list.
Best Song: When I first heard “Dying in LA” I ended up sobbing by the end of it. It came to me when I was considering moving from the Los Angeles area after living there my entire life. I love LA but there are many things about it that I find soul crushing, and I really struggled with my decision. The song perfectly captures the conflicting emotions of optimism and despondency that LA seems to evoke in so many people. It is beautiful and sad yet strangely hopeful. It felt like Urie was singing about my own experiences and I was overwhelmed. I’m sure it didn’t affect many others the way it did me but “Dying in LA” still feels like the most emotionally mature Panic! song, and it is a rare gem in an otherwise dare I say mediocre album.
At number six we have the fourth studio album, Too Weird to Live, Too Rare to Die! (2013) complete with its own exclamation point. From this point forward I feel that each album has its own musical identity fusing it together, with that telltale Panic! vibe running along the foundation. Too Weird definitely leans more into the electronic side of the Panic! sound, sometimes a little too heavily for my taste but the collection of songs sound like they belong together, and feel like they have a story to tell. “This Is Gospel” is a strong opener and a perfect beginning link for the future albums that use its theme in their singles. With lines like “This is Gospel for the fallen ones/Locked away in permanent slumber/Assembling their philosophies/From pieces of broken memories” it is one of the stronger songs lyrically on the album. Then there is “Miss Jackson” which just has such a killer hook and pulsing guitar rift that you can’t help but want to jump up and dance. I had the chance to hear “Vegas Lights” live on the strip while the casino lights were flashing and there isn’t really another experience like it. The energy that song brings is insane. The rest of the songs run a little calm but still feel like they hold their own with the hits.
Best Song: “Girls / Girls / Boys” has become an anthem of sorts and a tradition was born for the live shows that plays on the old concert ritual of holding a lighter up during particularly emotional songs. Multi-colored paper hearts are passed out by a fan group before the show so that during the performance the audience can hold up their own rainbow backlit with their phone flashlights. The song itself starts off almost at a whisper before building to the chorus where Urie finally belts out the title lyrics, as though he’s no longer able to contain the secret affairs of the girl who is the subject of the piece. It also doesn’t hurt that the music video for the song features a shirtless Urie singing seductively to the camera.
At number five is Vices & Virtues (2011), the third album and first to come out after the departure of founding members Ryan Ross and John Walker. This might lean a little too steampunk for some listeners but the sound of the album is one of the strongest and it begins the evolution of the band from youthful snarkiness to mature musical themes. Once again the album kicks off with a strong opener, “The Ballad of Mona Lisa” showcasing Urie’s signature voice right off to assure fans that despite the loss of two band members it is still the same Panic! Well, perhaps a slightly more polished Panic!. Other strong entries include “Let’s Kill Tonight,” “Hurricane,” and “Trade Mistakes.” Though really each track is a contender for best on the album. They all feel like their own individual piece of a bigger puzzle that fits together to form the very solid Vices & Virtues.
Best Song: “Ready to Go (Get Me Out of My Mind)” combines the best of the two essential elements that form a Panic! song, the upbeat musical beats and snappy lyrics. The call and response in the chorus adds to the driving bass and pulsating guitar making it near impossible to not jump up and down while shout-singing the line “I’m ready to go/(Get me out of my mind)/(Get me out of my mind)/I’m ready to go/(Oh, oh, oh, oh, oh, oh).”
Number four on the list is Pretty. Odd. (2008), the second studio album. This time around the pretentiousness goes up a level because while the title of the album features double punctuation the official band name has dropped its punctuation (the exclamation point does return and stays with the release of the third album). The confusing sentence structure of the title and name aside, this album is brilliant both in terms of its music and what it proved for the band’s staying power. This of course is ironic considering it eventually led to the first “breakup” of the group, and I am writing about it in a post celebrating the legacy of a soon to be disbanded entity. What it proved right off was that a band could reinvent themselves musically and still be considered a success. Tonally this album is miles away from the first, clearly influenced by The Beatles and the sound of 60’s and 70’s psychedelic rock. Despite mixing musical genres in the span of a couple songs the album feels cohesive in its incohesiveness. Standout tracks include the initial single “Nine in the Afternoon,” “Northern Downpour,” “Pas de Cheval,” and my personal favorite from the album, “Folkin’ Around.”
Best Song: One of the most beautifully written songs by the band, “When the Day Met the Night” tells the sweet story of the moon and sun falling in love with each other, “in the middle of summer.” At nearly five minutes in length it is the longest of any Panic! song and features full orchestration.
The original Panic! album, A Fever You Can’t Sweat Out (2005) comes in at number three. I’ll admit I struggled with where to place this album on the list. As I mentioned before, when it first came out I resisted it but like the catchy thing it is it eventually worked its way into my heart. I still think some of it crosses the line between clever and irritating. The “Introduction” and “Intermission” tracks fall into the first category, providing an easing into and midpoint break of the chaotic trip the listener embarks on. The long titles of tracks two, three, seven, and twelve fall into that second category. At the end of the day this is the album that started it all and eighteen years later it is still easy to see why it became the monster hit it did. It would deserve a high ranking for that alone but it is also a creatively clever album that embraces energetic chaos and sonic diversity.
My number two choice may be a bit controversial to some fans, and is perhaps only a little influenced by recency bias. Still, I maintain that the last album, Viva Las Vengeance (2022), will go down in history as one of the best Panic! albums of all time. It is a love letter to classic rock with musical references to bands from the 70s and 80s that created the sound Urie is fixated on, littered throughout the album. “Star Spangled Banger” riffs on the classic Thin Lizzy motif of “talking as singing” in its bridges. “Middle of a Breakup” sounds like The Cars jumped in the recording studio with Urie and he even name drops T. Rex in the chorus. He then name drops ELO in “Sugar Soaker” while evoking Meatloaf vibes. And of course there is “Sad Clown,” which could have been titled “I Love Queen and Here is a Song to Prove It.” There are also writing credits on multiple tracks for the artists that inspired them, including “God Killed Rock and Roll” which essentially steals directly from the Kiss song of a similar name. This album should serve as a starting point of educational material for those not familiar with the bands I just mentioned. Aside from the number one album this is the strongest in terms of musical themes, and in my opinion doesn’t feature a single weak track. Though I am sad the band is done, this is a hell of an album to end on.
Best Song: All of them. Listen to the entire album as it was meant to be heard from start to finish.
Then there was one. Death of a Bachelor (2016) is the fifth studio album and the first to be released as part of the solo enterprise. It is the second most successful in terms of sales and it’s easy to see why. I’ll come right out and say it, this is a perfect rock album. It starts off banging with “Victorious” and doesn’t slow down until it finally allows the listener to take a breath of air with the closing track, “Impossible Year.” Its singles included “Hallelujah,” which feels like a religious experience when you hear it live. Don’t believe me? Just listen to “All My Friends We’re Glorious: Death of a Bachelor Live” album. There is also the title track which is Urie’s very capable ode to Frank Sinatra. We could also talk about the incredible music videos that were created for the album, perhaps most impressive of which is the one for “Emperor’s New Clothes,” featuring Urie in full makeup as a demon king. Or there’s the octopus alien thing from “Don’t Threaten Me with a Good Time.” Everything about this album is perfect.
Best Song: As with the previous entry this album is best experienced as a whole, though I will highlight “LA Devotee,” as it features my favorite subject material and is just full of dark moody vibes.
A few weeks ago I posted reviews of 1989 and reputation, Taylor Swift’s last two albums, in an attempt to get pumped for the release of Lover, her newest project, which I was apprehensive about. Revisiting those albums, and let’s be honest, the earlier ones as well, did the job. On release day I went early to Target and bought the album. Several copies of it in fact as I got swept up in all the excitement of the two other ladies there for the same reason, and the Target employees setting up the displays. It reminded me of how I felt with Taylor Swift’s other releases. Anticipating new music should be fun, and there’s nothing quite like listening to a new album all the way through for the first time. Some songs will catch you right away, others need a few plays to get into. So, I gave into that feeling, and now that I’ve had some time to digest the album, let’s get into my thoughts on Lover.
“I Forgot That You Existed”
I’ve said it before, Taylor Swift knows how to pick an album opener. This is a laid back brush off to what is presumably a former boyfriend, though it could apply to any of her “haters.” It feels effortlessly nonchalant despite the fact that the point of the song, that she’s forgotten someone existed, is impossible to do while singing about how much she doesn’t think about them any more. It’s a light track that allows the listener to easily slip into what is to come over the next seventeen tracks.
“Cruel Summer”
A solid follow up to the previous song that keeps the low-key vibe going. With eighteen tracks, a majority of which are under the three and a half minute mark, it feels like there should be a sense of urgency in the first few, that they would have fast tempos and insistent lyrics. That’s not the case, and I like that Swift doesn’t seem to be in a rush at the start of the album. She seems to be floating around this cool, carefree state of mind, and it works really well. It’s as though she’s saying, don’t worry, just let the music wash over you, and I think the best reaction is to do just that.
“Lover”
I was not a fan of this when it was first released as a single, and it was one of the reasons I was apprehensive about the album. However, it has since grown on me. I think it is a charming song celebrating a well-established relationship. Swift has so many songs about the new feelings rush of a budding romance, and the inevitable crash and burn of failed ones that it’s nice to see something celebrating the consistent glow of a successful one. It’s also the most country sounding song on the album, which appeals to me.
“The Man”
This is the first song to feel off for me on the album. Here is my issue: Taylor Swift has been a successful singer, songwriter, and businesswoman for the last fifteen years. She hasn’t yet hit 30 and she’s a multi-millionaire and has won dozens of awards. So some of the lyrics snag a bit as inauthentic/whiny. Yes, she has to deal with things a normal person would never dream of. I can’t imagine what it is like to have every aspect of your life scrutinized by the public. On the other hand, she literally marketed this album with versions that include pages from her diaries (I know because I purchased some). She is inviting the public into some very private moments, and when you do that, people don’t always react the way you want them to. Though I think she often invites the media beast in as much as she complains about it, the song is catchy.
“The Archer”
Another one of the first round of singles that I wasn’t enthusiastic about. The lyrics are fine enough, though I don’t think they are quite as brilliant as some critics have been saying. The music leaves something to be desired, and as a result the song feels bland. It falls especially flat when considering that its place on the album (track five), and its melancholic feel puts it in direct comparison to “All Too Well” from her album Red, which is by far the superior song.
“I Think He Knows”
After a couple of lackluster songs, Swift swings back into the cool groove she set up early on with this upbeat track about that rush that comes with the start of a new relationship. It’s light and airy without being trite. This also sets the trend for the rest of the album, there are some fun, energized tracks followed by a few less enthusiastic ones and so on.
“Miss Americana & the Heartbreak Prince”
Supposedly this is Swift’s protest anthem, and I can see where people are drawing that conclusion from the lyrics. What I can appreciate about the song is that whatever that message is, it is subtle enough to pass by on the first couple of listens. This means that even those who oppose her can listen without feeling excluded. Plus, it won’t feel dated in a few years. All that said, the song is a little dystopian sounding but with a pretty catchy chorus.
“Paper Rings”
Now we get to my favorite song on the album. This is Lover’s “Stay Stay Stay” but with a pop rock twist. It sounds as though it could fit right in on the Josie and the Pussycats soundtrack. It has a very early 2000s girl pop power rock vibe, and the entire thing has a frantic energy that practically screams for you to immediately jump up and dance along. To quote Swift (at the end of “Stay Stay Stay”), “It’ so fun!”
“Cornelia Street”
Despite this being a ballad, I actually really like it. It’s a soft, vulnerable confession of insecurity and fear where Swift tells her “lover” just how badly she would be hurt if they ever broke up. She knows she would be so devastated that she wouldn’t be able to go back to the places they’ve been together. It is both that beautifully unguarded admission, and a wonderfully sweet tribute to the relationship that she admits this place is so meaningful to her.
“Death by a Thousand Cuts”
After a string of pretty solid tunes, we hit another snag. Again, the song isn’t terrible, it’s just a bit blah in comparison to the others. The lyrics are actually quite good, and poetic. It’s the music that lacks anything interesting to contribute, and since this is a musical album, and not a poetry book, the song falls flat. With an album this stuffed, there were bound to be some duds.
“London Boy”
This track has the opposite problem of the previous one. The lyrics aren’t really clever but the music is fun, and it has a singsong feel that works well. It could easily cross over into the annoying side of things but it hasn’t yet been around enough for that to happen so it ends up being cute rather than cloying.
“Soon You’ll Get Better”
Right when Swift gets you thinking she’s just making a light-hearted album of love songs, she gut-punches you with this track about her mother’s struggle with breast cancer. She collaborates with the Dixie Chicks to deliver a powerful, emotionally fueled song that anyone who has dealt with the severe sickness of a loved one can relate to immediately.
“False God”
This is the first forgettable song of the album. The other mediocre tracks have had at least one thing going for them, whether it was a particular line, or that the music was snappy. This track stays at the same monotone the entire time and doesn’t have anything interesting in terms of lyrics or music to offer up in exchange.
“You Need to Calm Down”
I do not like this song. I didn’t like it when it was first released as a single, and then the video was released and I liked it even less. As part of the album, I appreciate that it has a purpose in communicating Swift’s message but that doesn’t mean I’m not going to be skipping it on every replay. I have thoughts on the song but too many to hash out in a format like this. I’ll just say that I think it’s hypocritical and condescending without at least being catchy. I’m also not sure I could phrase it better than Emily Jashinsky over at The Federalist. If you’re interested in a more thorough analysis of the song and video, you should check out that article.
“Afterglow”
I think I like the chorus of this song, I just can’t quite tell because I don’t find any of the other verses interesting or memorable. I like the idea behind the song, that Swift is admitting to overreacting to something that happened in a relationship, and is owning up to it. Perhaps on further listens this will grow on me but for the time being it falls into the middling pile.
“Me!”
Nope, even in the context of the overall album, I still hate this song. Though it is nice that they removed the “Spelling is fun” line from the final album version. It was just so disappointing to hear this song after anticipating the first single off her new album, and knowing that Brendon Urie was on the track (I’m a huge Panic! at the Disco fan). I don’t think it’s original, catchy, or insightful in anyway, meaning it doesn’t make it fun to listen to, which is what I think she was going for.
“It’s Nice to Have a Friend”
This may be the weirdest song from a Taylor Swift album, and I really like it. There’s something intriguing about the plucking effect of the music going along with Swift’s straight delivery of the lyrics. She also does this thing where she almost whispers the word “Friend” at the end of that line, as though she’s sharing a secret with the listener. It all adds up to a strangely creepy-yet-sweet vibe that oddly works.
“Daylight”
I feel like this is meant to leave more of an impact than it does. Then again, maybe it is supposed to be the fade away of the album. Swift has set up the rest of the album to feel less momentous and more laid back. This song kind of does that. She even says in it that she once thought love was “burnin’ red” but realizes now it is “golden.” Gold is a much milder color compared to red and would be more likely to be associated with good feelings and easy vibes. It isn’t bad but it also isn’t memorable and as a bookend to album, it leaves things wanting.
Lover as a whole is something of a mixed bag. It has some really strong tracks, and the theme is solidly reinforced throughout. It also has some of the worst Taylor Swift music of her seven albums, and over-a-decade long career. The second half isn’t nearly as strong as the first but it does have some creative twists that hit the mark. Overall, I like the album, and I would probably place it just above reputation, and 1989. It works as a pop album but it doesn’t quite reach the insights or emotional resonance of Red or Speak Now.
Taylor Swift has a new album coming out this week and I have mixed feelings on it. I haven’t liked any of the songs she has released so far. In fact, to me, they range from simply dull to downright offense. As such, I have yet to decide if I will actually be purchasing the album. I am a converted T. Swift fan from several years ago (in fact, I have a whole post just about that), and I’ve been fairly loyal since. I haven’t always agreed with her philosophical sentiments but I’ve been able to enjoy her music because it’s catchy and clever. From what has been released of the new album so far, I’m afraid to say it looks like those things are missing. Only once the album is out and I can hear it in all its glory will I be able to know if my suspicions are confirmed. In the meantime, I thought I’d do a couple of reviews of her earlier albums. I have one of Red from back when it was released, and in that I briefly review her previous three albums. I never got around to reviewing 1989 or reputation so I thought I’d get to that now. Here’s what I thought of 1989.
“Welcome to New York”
The opening track is a big, sweeping introduction to the album, and a love song of a different sort. Swift is singing about her adoration of a new city and the excitement that comes along with discovering all a new home town has to offer. There is a hopefulness infused into the lyrics and music that digs into your bones and makes you want to pump your fist to the beat. This is a solid opener, and a great way to start off her first pop album.
“Blank Space”
Taylor gets cheeky in this parody pop ditty aimed at poking fun at herself and the media’s coverage of her love life. Despite it being a parody, Swift still has the sense to pepper in some poetic lyrics. You get lines such as, “So it’s gonna be forever/Or it’s gonna go down in flames/You can tell me when it’s over/If the high was worth the pain” and “Cherry lips, crystal skies/I could show you incredible things/Stolen kisses, pretty lies.” Even though this is a takedown of her public image, there is still a romanticized view represented throughout. In using the very thing she has been criticized for (too much love and romantic imagery) to mock her critics, she ends up making what could have been a silly joke song so much deeper. Oh, and it’s catchy too.
“Style”
This is the first sign that Swift may have made a misstep with this album. The opening section is weak both lyrically and musically, though the chorus is catchy. Unfortunately the chorus is the only solid section of the song as we return to the same lackluster emotion of the intro with the second verse. “Style” is not a terrible song, it just isn’t very inspiring or memorable.
“Out of the Woods”
Speaking of unmemorable songs, we have the next track on the album. Again, I don’t think this is a bad song per se, I just don’t think the music is very moving or noteworthy. The lyrics paint a nice picture of a budding romance, and the fragility of new love but the emotion doesn’t hit as hard as it should. There seems to be a disconnect between some of the music on this album and the lyrics, demonstrated perfectly in this track. This could be a result of Swift’s new tendency to collaborate with other musicians. Sometimes that work can turn out some amazing music but Swift has always had a very personal connection to her music and when you start adding other contributors you start to lose that personalization. I think “Out of the Woods” is a casualty of this trend.
“All You Had to Do Was Stay”
One of the most forgettable and disappointing tracks on the album, “All You Had to Do Was Stay” is simply put, bland. All of the personal details usually present in Swift’s songs are missing here, and the listener is left with a generic tune about a generic relationship. Perhaps it is meant to be broadly appealing but it falls flat. Swift is an expert at making her uniquely personal experiences connect with a wide audience. She does this by filling her songs with emotion, the kind you get when someone is telling you something deeply meaningful to them. This song loses all of that without gaining any of the benefits of a broad swung song because in addition to being impersonal, it also isn’t melodic or snappy.
“Shake It Off”
The first single off the album, and Swift’s announcement that this will be her entrance into full-on pop only music is actually a really fun song. A kissoff to her haters and critics, it is infectious and upbeat, and nearly impossible to resist bobbing along to. Yes, it is pure fluff but it is so dang catchy it doesn’t need to be poetic or insightful.
“I Wish You Would”
After a brief reprieve from mediocrity, we jump back into the bland pool with the seventh track on the album. Yet again, this isn’t an annoying or terrible song, though it’s repetitiveness can get a bit irksome. It runs into the same issue as “All You Had to Do Was Stay” in that it’s emotionless and insipid.
“Bad Blood”
This is not a good song but it does have a catchy hook, which makes it an interesting addition to the album. Again, there is nothing personal about the song, the lyrics aren’t clever, and this time run along the lines of being clichéd. The difference here is that the music is dramatic and big, making up (slightly) for the poor lyrical quality of the song. The addition of the Kendrick Lamar rap on the video version does nothing to improve the song.
“Wildest Dreams”
Finally we get back to what was working at the beginning of the album. Though short on details, the lyrics of the song describe a doomed-from-the-start romance. Swift keeps an airy vibe to the music, which adds a sense of whimsy to the described imagery. Everything about the song is like cotton candy. It’s sugary, yet light and wispy and not overwhelming. It’s easily digestible but doesn’t leave you feeling too sickly sweet.
“How You Get the Girl”
This song is dripping with a cloying singsong quality that just grates the nerves. It lacks any personality, choosing yet again to rely on generic lyrics with a middling melody. Upon my re-listen of the album I found I had completely forgotten about this song.
“This Love”
Sadly, I had not forgotten this song. Until recently this was my least favorite of Swift’s songs. I feel a bit like a broken record saying that it sounds bland, and lackluster, though it does. It feels as though she was aiming for a high note of emotionally charged moments with this but misses entirely. The lyrics aren’t clever and the music is monotone. Her voice barely wavers above the one level it starts at, making this perhaps the most boring-to-listen-to song on the album. What is most disappointing is that this is the only track Swift has sole credit on.
“I Know Places”
Swift gets clever with her metaphors here, painting herself and her romantic partner as foxes trying to outrun the hunters. Obviously being hounded by paparazzi is not something average people can relate to but she turns this trial into a story for the listener rather than a diary entry. The song is clever, with a good hook and pulsing beat, making it a bit of a break from the previous monotonous tracks.
“Clean”
With the final track on the album Swift brings together what she was desperately trying to do on “This Love.” This song is brimming with emotion, and Swift and Imogen Heap wonderfully pair haunting lyrics with wistfully hopeful music. This is one of those examples of her collaborating that results in something beautiful.
BONUS TRACKS
“Wonderland”
It is pretty easy to see why this track didn’t make the official cut for the album. It tries a little to hard to make the Alice in Wonderland theme stick and ends up feeling clunky and immature rather than smart and insightful. It does have a fun beat though, so the music saves it a little from being a complete dud.
“You Are in Love”
I’m beginning to think maybe I just don’t like ballads, except that “All Too Well” is my favorite Swift song of all time, and it happens to be a ballad. I think I just don’t like songs with no inflection musically or emotionally throughout, which is how I would categorize this one. It’s flat, and dreary despite being about a successfully growing relationship. It should be a happy time and the song is entirely joyless.
“New Romantics”
Perhaps the one bonus track that could have made the album’s final cut, “New Romantics” is a pop power anthem for millennial women everywhere. Here Swift showcases her ability to take her personal experiences and translate them into a song that appeals to women her age going through perhaps not the same things career wise but definitely the same emotional trials. It’s a way for her to show that despite the financial, and notoriety differences between her and her audience, she gets what it’s like to be 20 something in this day and age. See, she really is just like us.
Overall I would classify the album as mediocre. There are some pretty solid hits off of it, and despite not every song working, generally the lyric work is clever. It is definitely the weakest creatively of her work (so far) but there are some things worth the listen so I wouldn’t discredit it completely. Of her six albums to date, it is the one I return to least often for a refresher lsiten.
My last post was a review of Taylor Swift’s most recent album and a confession of my new found love of her. This new semi-obsession would explain my latest fascination with all things red (lipstick, shoes, etc.), retro styles (50s inspired fashion) and black and white polka dots. I say “semi-obsession” because, while I have been listening to her music in increased levels and purchasing Taylor infused merchandise, I’m not to the point of wanting to tattoo her lyrics on my skin or showing up to a concert in full costume. “Semi-obsession” also covers purchasing tickets to her concert (twice). Here’s where I lose some credibility on my former claim.
I went to the first two concerts of her LA shows. They were back-to-back on Monday and Tuesday night. I could make excuses (we got tickets in November for the first show and I got tickets later because another friend of mine wanted to go) but the truth is I saw her perform live two nights in a row and I’m not embarrassed to admit it (okay, maybe I’m a little ashamed but not enough to let it bother me). I sacrificed sleep and a little dignity in order to do this but it was so worth it.
Setlist for Night #1:
State of Grace
Holy Ground
Red
You Belong With Me
The Lucky One
Mean
22
Ours
Everything Has Changed
Begin Again
Sparks Fly
Want U Back (Cher Lloyd)
I Knew You Were Trouble
All Too Well
Love Story
Brave (Sara Bareilles)
Treacherous
We Are Never Ever Getting Back Together
We (my cousin and I) purchased the VIP package for the first night (I know, losing credibility on “semi-obsession” claim) and that includes a “gift bag” which we got the week before (pictured below). In it was a “Red” blanket, some guitar picks, a light up baton, iPhone case (which I can’t use but is still awesome), phone sound amplifier, some bracelets, some greeting cards, a tote bag, and programs for each of her tours (Fearless, Speak Now and Red). The VIP package also included a signed cd which we received when we checked in, as well as access to the VIP lounge where they provided food and beverages (non-alcoholic) for us. Oh, and tickets for seats in the first 10 rows (we were in Row 9). The only drawback was that the tickets were will call only and my parents had to go down to LA Live (in Monday night traffic, ugh) because we used their credit card to purchase them (my parents must really love me). Despite this, I would say that the VIP package was very worth the price we paid.
Swift opened with “State of Grace” and stuck mostly to other hits off of the Red Album (makes sense). She threw in a couple hits off of Fearless and Speak Now but nothing from her first album. Each number out spectacled the previous one. There were fireworks, strobe lights, and she even flew over the crowd at one point. She started off on the main stage, then during “22” she moved through the crowd to a small stage near the back of the stadium to perform a short set. While this sucked for the people in the front rows (namely us) I do have to say that this was one of my favorite things about the night. For one, it gave me an excuse to sit down for a few minutes and watch one of the four massive screens broadcasting the performance (oh my god, I’m so old!). Second, I think it’s awesome that she does this to reach out to her fans who paid for (or could only afford) the cheap seats. She doesn’t just pander to the ones who shelled out the big bucks but really tries to reach every corner of the crowd. After this short set, she gets in a lift that flies her over the audience, back to the main stage (while singing “Sparks Fly”) and finishes off the show.
She consistently has had guest performers during her shows and she did not disappoint this night. She had not one but two artist that stopped by to play their latest hits! First up was Cher Lloyd, whom I didn’t recognize by name but once they started singing “Want U Back” I instantly recognized her. The second guest was Sara Bareilles singing “Brave” which I screamed at the top of my lungs because I love her!
All in all, it was a great show. She is a certified entertainer and although there were no encores (my only real complaint) I had an excellent time and was extremely excited knowing that I got to experience it all again the next night.
Favorite Song of the Night: “Holy Ground.” The fast-paced dancing song was the second played and set the level of adrenaline needed for the rest of the night. The highlight was when drummers dropped from the ceiling and she joined them in a drum break.
Setlist for Night #2:
State of Grace
Holy Ground
Red
You Belong With Me
The Lucky One
Mean
22
Fifteen
Everything Has Changed
Begin Again
Sparks Fly
Closer (Tegan and Sara)
I Knew You Were Trouble
All Too Well
Love Story
Treacherous
We Are Never Ever Getting Back Together
The only real criticism I can make about Night #2 is that the show is such a planned performance that there wasn’t much variety in the lineup (“Fifteen” instead of “Ours” and a different guest instead of Cher Lloyd and Sara Bareilles). That is hardly a real complaint though. Knowing what to expect did take a little of the magic out of the experience but I actually found that I could enjoy the music a little more the second night because I knew what was coming. The guest performers were Tegan and Sara, who played their single “Closer.” I hadn’t heard it before but they sounded good and there was an excited vibe in the stadium during the song.
Our seats were not the best. We sat on the side of the stage and had a limited view (something we were warned about when we purchased the tickets) so we couldn’t actually see the backdrop for the stage, or any of the four massive screens projecting the concert. However, we did get to see a little of the backstage action (a few costume changes and a sneak peek at her before the rest of the audience sees her).
I think my favorite part of the night was watching my friend Hannah go crazy. She is a huge Taylor Swift fan and the reason we went the second time. Her excitement was worth the cost of the tickets.
Favorite Song of the Night: “All Too Well.” This is my favorite from the album and what I personally think is her best piece of work. It was also the one performance where we didn’t get to see her at all because she played it on piano behind a piece of the stage blocking our view. However, hearing it live and letting myself get lost in the lyrics was an entirely emotional experience.
I would highly recommend seeing her live to anyone who is a fan. She is a veteran performer by now and knows how to put on a good show. Her songs are just as catchy live as they are on the radio. The differences is that live, you get to dance along and sing at the top of your lungs without attracting strange looks.
A few years ago I wrote a blog on Katy Perry and how she had finally converted me. I now can say the same of Taylor Swift. She receives plenty of critical acclaim from her peers, it’s on the blog scene where most of her haters thrive, and I admit that I used to be one of them. I resisted Swift for the longest time, and even made fun of her in the aforementioned blog. It was never that I thought she wasn’t good as an artist, I just didn’t agree with her general life philosophy or sappy romance stories. I still don’t agree with a lot of what her songs are about but now I can appreciate that they are catching and infectious. In a lot of ways I’m blown away by her songwriting abilities. I truly think that she is one of the greats.
In honor of her tour starting, I thought I’d write a blog about Taylor Swift’s latest album, Red.
Let me first start off with a brief summary of her previous three albums:
Taylor Swift (Self-Titled) (2006)
The album chronicles the day-to-day emotions and dreams of a teenaged Swift. While the sentiments in most of the songs are a bit immature and naive, there is also something rather magical about viewing the world through this young girl’s eyes. Thus far she had been largely untainted by love’s cruel reproach and major criticism. She was simply a girl looking for love and acceptance. Sweetness reaches its peak with “Mary’s Song (Oh My, My, My),” which tells the story of an older couple Swift knew that grew up together and fell in love (the stuff of girlish daydreams). The rest of the album consists of mostly break-up songs (the subject that now defines Swift’s career), a couple songs about relationships when they were going well and a general song about feeling like an outsider. All-in-all, it’s tone is sweet and it stands as the perfect representation of what most high school girls (which Swift was at the time) think about on a daily basis – boys, love and a fairytale ending.
Fearless (2008)
This is when Swift’s super stardom began to emerge. Most of the songs on the album are about failed relationships, and while well written, they still don’t express much of a reflection on what love truly is and what these relationships truly meant, other than “he broke my heart, again.” The ones about budding love are idealistic and a bit superficial and, while the breakup songs are more angry, they are the still fresh, raw angry that comes after you’ve been dumped over a text message, not a well-thought reaction to realizing that you were being manipulated in the relationship.
There is one song I want to discuss briefly, “Fifteen.” I think this is one of the best examples of Swift’s philosophy on life, and how it changed from her first to second album. It still addresses her high school self but there are two key lyrics that demonstrate emotional growth – “Back then I swore I was gonna marry him someday/But I realized some bigger dreams of mine” and “I didn’t know who I was supposed to be at fifteen.” The first acknowledges Swift’s own philosophy on love and how she has matured from believing in fairytale endings, to realizing that love doesn’t have to be everything, or rather, everything doesn’t have to be about love. She’s realized a dream come true at a very young age. She gets to be a rock star and play music in front of thousands of screaming fans. She has more priorities now than just finding the right guy, although she’s still looking. The second lyric demonstrates another big growth from her first to second album. She now realizes that she didn’t really know who she was then, and maybe still doesn’t now. Life is a process and you have to be open to change, as much as we may not like it sometimes.
Fearless as an album still suffers from a young viewpoint but it makes sense, she was only 18 when it came out. The songs are still impeccably written and catchy. The overall tone is one of someone slightly exposed to real life and pain, who still holds onto the dream of hope and happiness.
Speak Now (2010)
With her third album Swift reached perfection. This is by far my favorite of her records, including her most recent. I think the overall message and tone of it is the most cohesive and inspiring. It’s very clear from some of the songs that she has experienced true pain and humiliation, as well as recognizing that some of the blame for failed relationships rests upon her. It is also clear that while she has finally been exposed to some of life’s uglier sides, she still dreams big and has hope that someday things will all work out.
I will mention two songs specifically. The first is “Never Grow Up.” I love this one because it is a letter to herself, reminding her to enjoy the simpler things in life and to not grow up too fast. I think this is evidence that she has gone through some serious emotional experiences. She grew up faster than she wanted/expected and lost much of the innocence that she had during her prior two albums. Of course we must grow up and learn to become responsible adults (although some never do) but I think her message here is to not let go of every bit of the child in yourself. Hold on to some of that innocence and wonder. It’s what makes life so enjoyable when you have to deal with the struggles of adulthood.
The second song I want to mention is “Innocent.” This is rumored to be her forgiving song to Kanye West. I love that she takes a higher road and basically says, “Yeah, we all screw up, and what you did hurt me but I forgive you.” I also think it’s an example of some of her best songwriting. I love this lyric – “Wasn’t it beautiful runnin’ wild ’til you fell asleep/Before the monsters caught up to you?” In this one thought she expresses a melancholy nostalgia for innocence and youth and then contrasts it with the harsh reality that life hardly ever works out the way you expect. It’s such a beautiful song written about such an ugly moment.
Every song on Speak Now has a similar tone of wonderment that ties it into an overall theme. Even the songs that are heartbreaking still sound as though her heart is breaking because she had to leave this fairytale world and not because she was in a destructive relationship that left her scarred and broken. In my opinion it’s her most well-rounded album, both in terms of having songs covering multiple subjects, as well as showing growth as an artist. In one record she went from a high school, starry-eyed girl to a successful, strong-willed woman. I think it says even more about her talent that she wrote all the songs on her own.
Red (2012)
1. State Of Grace
The album starts off with this rock/pop semi ballad about falling in love (big surprise there) after kind of drifting through life and just going through the motions of the everyday (“all we know is touch and go”). It sets the stage for the rest of the album with its upbeat yet rather mellow rhythm. There’s almost a laziness to it that draws you into a relaxed mood and opens you up to the idea of meeting someone, having an instant connection and falling in love with them quickly and intensely (“you come around and the armor falls/pierce the room like a cannonball/now all we know is don’t let go”). It’s a pretty standard subject material and sound for her but at the same time something about it just seems more adult.
2. Red
The title track. This exemplifies the major theme of the album- “red love.” Swift explains what she believes this to be in the CD jacket. I love that she gives a little note to the fans about each album. It helps her explain where she was coming from when writing it and it adds a personal touch that I’m sure all of her fans appreciate. In her view, loving in shades of red means loving in different shades of intensity. This could be great passion, anger, jealousy or even deep depression, which this song experiences all of (“Losing him was blue like I’d never known/Missing him was dark grey all alone/Forgetting him was like trying to know somebody you never met/But loving him was red/Oh, red/Burning red”). It too is pretty standard Swift material, which means it’s a love/breakup song that is so catchy it will get even the most cynical Swift haters singing along.
3. Treacherous
This is probably my favorite song on the album (Track 5 comes pretty close too) and I think it’s an interesting change of pace for Swift. Up until now all of her songs have been very chaste in terms of sexuality. She always wrote about things from a very young, untainted girl’s perspective (first kisses and hand-holding kind of stuff). This is the first time that she hints at a physical relationship between her and the subject of the song (“And I’ll do anything you say/If you say it with your hands”). The line shows that Swift is stepping away from that innocent-starry-eyed vision of herself that has become so iconic. She is growing as an artist as well as a person. She’s bound to write about more mature material and even become bolder with the language she uses.
4. I Knew You Were Trouble
I really like this song because it’s the one on the album where she shows the most change in sound. She’s experimenting and succeeding with new approaches to the way she performs music. There is some pretty heavy dubstep happening that adds to the imagery of a toxic relationship coming apart at the seams (“Flew me to places I’d never been/Now I’m lying on the cold hard ground”). The song evokes the image of a relationship that was much more destructive than simply frustrating. It’s also more about the reflection after the relationship that suggests that she knew what she was getting into (hence the title). She’s taking on some of the blame for the fallout, declaring that she went headfirst into the relationship, knowing that it was a bad idea. The video for this song is really worth watching:
5. All Too Well
I mentioned earlier that this is one of my favorite songs on the album. What I like most about it is the essence of bittersweet emotion in it. Even if I don’t agree with Swift’s life philosophy of falling in love whenever possible, I do envy her ability to do so easily. She obviously fell deeply for whoever she wrote this song about and the backlash of doing so was that when the relationship ended, it hurt that much more (“And you call me up again just to break me like a promise/So casually cruel in the name of being honest”). First let me just say how great the phrase “casually cruel” is. With two words she has instantly related how the other person has treated the breakup, and how horrible it makes her feel to think that they don’t seem at all bothered by it. This reduces her to almost lifeless sorrow (“I’m a crumpled up piece of paper lying here”). To love so freely and hurt so deeply is something I’ve never been able to do or truly understand. I may not have any experience with a relationship like this but while listening to this song, I feel like I have because Swift is so good at relaying emotion and inviting others into her dreams, happiness and pain. Any good artist doesn’t hold back and she has demonstrated time and time again that she goes headfirst into any and everything she does.
6. 22
This song is really light and carefree and what I love about it is that it promotes the idea of hanging with friends and letting loose without the need for heavy drinking or partying. Not that either of those is necessarily bad (except for maybe the heavy drinking part) but I like that she has a song about leaning on your friends to get you through tough times. The only problem I have with it is that she bookends it with references to romance/guys (“It feels like a perfect night to dress up like hipsters/And make fun of our exes, ah ah, ah ah” … “You look like bad news/I gotta have you/I gotta have you”). While I recognize, and now appreciate, that’s what she is good at writing about, I was just disappointed that she couldn’t let it go for this one song. I could let the first line slip because that is what you do when you hang with friends – complain about past lovers and other stressful things. The last line though feels like a crutch. It’s almost like she got to the end and thought it needed to tie into the rest of the album so she had to add a thought about meeting the next big love in her life. Overall though, the song is about being young, confused, lonely and miserable but making it enjoyable by surrounding yourself with good friends and reminding yourself that it’s okay to enjoy the little things and have fun.
7. I Almost Do
This was the most forgettable song on the album for me. It wasn’t bad, there just wasn’t anything special about it. It is one of the slower songs on the album and I tend to immediately connect with the faster ones, whereas the slower ones need to grow on me. I don’t think that had much to do with it though. The lyrics aren’t inspiring and the idea is a little bland (“In my dreams you’re touching my face/And asking me if I want to try again with you/And I almost do”). Saucy. She’s thinking about an ex and almost calls him but then doesn’t. Okay. Exciting stuff there, Taylor. It’s still good at expressing a sad longing for this person but it just left me saying, “Eh,” (complete with shoulder shrug).
8. We Are Never Ever Getting Back Together
The one that started it all. This was the first single off the album and a good choice considering it demonstrates the drastic change in her sound pretty well. When I first heard it I didn’t really like it but the more I listened to it the more I began to appreciate just how damn catchy it is. We’ve all heard it about a hundred times by now but I still turn the volume up every time it comes on the radio. I think the fact that it’s written like a conversation is what is so interesting to me. She’s talked about how it came about after ranting to her friend when a friend of an ex told her they (she and the ex) were totally going to get back together. It really does feel as if you were sitting with a friend listening to them rant about an ex spreading rumors and being pathetic (“You go talk to your friends, talk to my friends, talk to me (talk to me)/But we are never ever ever ever getting back together”).
9. Stay Stay Stay
I have mixed feelings towards this song. It is really upbeat and infectious, which I like but at the same time it gets a little too sweet/sappy for my tastes (always a risk when I listen to any of her songs). It’s very cute and has an endearing message: work through your relationship problems and stay with the one you love (“And I love you because you have given me no choice but to/Stay, stay, stay”). Although I’m not sure Taylor is taking her own dating advice. She does have a pretty bad record when it comes to long-term relationships, or lack thereof. But who am I to judge?
10. The Last Time
I love that Swift has not one but two duets on this album. This one is with Gary Lightbody of Snow Patrol, who I love. They have such a sad, poetic sound which translates to this song. It tells the story of a couple who is obviously toxic to each other that keep coming back despite being hurt over and over (“Right before your eyes/I’m breaking, no past/No reasons why/Just you and me”). I like the idea that you could want someone so badly and feel such a strong connection to that you keep hurting yourself because you are drawn to them. It’s sadly romantic. Sometimes you can’t explain why but some people can have a power over you and you can’t help let them in your door even after they’ve left you wounded.
11. Holy Ground
I instantly knew that I loved this song. It is so fast and upbeat but has a very melancholy message. She’s reflecting on a past relationship and realizing that even though it’s over, they had a good thing going there for a while (“It was good never looking down/And right there where we stood was holy ground”). This is the first time that she has done this with a song, as far as I know. There are no angry words of revenge or hurt, it is simply, “that was good.” I’d hope that not every relationship would be remembered for all the terrible things that happened or sad things that will never be. Plus, it’s so freaking fun to dance to.
12. Sad Beautiful Tragic
I have to say that I didn’t much like this song when I first heard it. Then I looked up the lyrics and I realized how beautiful and tragic (get it?) some of them are. For example, “Good girls, hopeful they’ll be and lonely will wait.” What a depressing thought. Good girls will be good (pure) but suffer for it by being eternally lonely and stay pointlessly hopeful. So what then? We might as well all be sluts? Then there’s this line, “And you’ve got your demons, and, darling, they all look like me.” This guy dates girls who look similar (creepy) and they’re what haunts him. They may even be what keeps him from moving on. Can’t fight the drug if you keep using it, buddy. Lastly, there is this lyric, “Hang up, give up, for the life of us we can’t get back.” That’s pretty standard breakup stuff there. The relationship is dead and there is no way to revive it so let’s just call it quits (way to “stay, stay, stay” strong). Seriously though, I feel like this song goes so far in the opposite direction of mushy romance that it would be rock-hard depression if not for the fact that it oozes wistful sentimentality. But it’s still pretty to listen to.
13. The Lucky One
Some of my friends have speculated that this song is a letter Swift has written to her future self, or maybe it’s the other way around. Either way it seems to come from an experienced opinion. It tells the story of an artist that comes to LA, explodes in popularity and success overnight then crashes, or leaves right before crashing. Perhaps it’s Swift’s warning to herself to not get lost in all the glitz and glamor. It is the only song on the album that isn’t about love in some way (there is one small lyric about a lover but it’s passing and gets jumbled into all the other chaos going on) which is intriguing. It also has some interesting lyrics concerning fame (“And they tell you that you’re lucky/But you’re so confused/Cause you don’t feel pretty, you just feel used/And all the young things line up to take your place”). I have to admit I don’t feel much sympathy for Swift if she’s complaining about the price of fame. She’s rich and gets to do what she loves for a living. Yeah it sucks that her love life gets speculated on in every media form but she also writes about it. It’s bound to be discussed. She can’t have it both ways. That being said, I wouldn’t want that for my life so, a little sympathy is warranted. This song is still growing on me. I like the lyrics and tone but I’m not too hot on the music. It sounds a little too electronic.
14. Everything Has Changed
The second duet on this album. This time Ed Sheeran teams up with Taylor for a light, upbeat song about meeting someone new and the exciting rush of feelings that come after that first encounter. There’s not much to say about this song. It’s cute and endearing with lyrics such as “’Cause all I know is we said “Hello”/And your eyes look like coming home” and “And all my walls stood tall painted blue/And I’ll take them down, take them down and open up the door for you.” I don’t think it’s the best songwriting but it works well as a sweet duet.
15. Starlight
My least favorite song on the album. An ode to Ethel Kennedy, it reeks of sappiness and tries a little too hard for a sense of nostalgia it never achieves. I do think some of the ideas are endearing. For example she sings “You’ll spend your whole life singing the blues if you keep thinking that way … Don’t you see the starlight, starlight?/Don’t you dream impossible things?” I like that sentiment. Don’t worry so much and dream amazing things, it’ll make life more enjoyable. I think that’s something we should all strive for. I just don’t like that it’s given to me in an overly sweet-to-the-point-of-nauseating package. However, this doesn’t stop me from singing along at the top of my lungs whenever it comes on in my car. That’s what Taylor Swift does to you.
16. Begin Again
I think this song is the perfect track to end on. Over the course of the album we’ve gone on a roller coaster of emotions, ranging from jealous anger to deep depression. With this song comes a fresh start. It goes through the story of a first date that takes place after a pretty nasty breakup months before. There are references to an ex contrasted against the new suitor (“I’ve been spending the last eight months/Thinking all love ever does is break and burn and end/But on a Wednesday in a cafe I watched it begin again”). The message implies there is new hope that this next person might be the one. Despite all the emotional turmoil she has been through, and all the media surrounding who she dates, Taylor Swift is still that young girl seeking love and acceptance at heart. She has matured and so have her relationships but she holds onto that essence of herself.
I think that’s what finally convinced me to be a Taylor Swift fan. With all that has surrounded her and still does, she stays true to what she believes in. I don’t feel the same way about love, nor am I obsessed with it the way she seems to be sometimes but I can fully support someone who is loyal to what makes them who they are. It doesn’t hurt that from what I’ve seen/heard she seems like a genuinely nice person.
The major complaints it seems people have about her are that she can’t sing, she writes about the same thing all the time, her views on love are archaic, and she has no real talent. In response to the first, I will say that while she doesn’t have the most amazing voice, she can sing, just watch any of her acoustic performances. I do think her voice sounds better when she just sits singing and playing guitar rather than when she is dancing around all over the stage but that’s not what people shell out the big bucks for. I may be in the minority here but if I’m paying good money for a concert, I want a show, not something I could receive the same enjoyment from as I could from listening to the CD at home.
As to writing about the same thing over and over again, I have complained about this before. However, I’ve come to realize that you do what you’re good at. So what if she only writes love songs? The Beatles catalog is made up of mostly love songs too. Plus, Swift does write about other things occasionally.
Her views on love are archaic. How do you respond to such an idiotic complaint? Everyone has their own view on what love is. Hers may be a little more traditional but why is that a bad thing?
She has no ounce of talent. Her 7 Grammy Awards say otherwise. So do her 11 AMAs, 6 CMT Music Awards, and 73 various other awards.
So what’s the point of all of this? The point is I’ve become a Taylor Swift fan despite my best efforts to avoid doing so. She’s worked her way in with her catchy songs and cute public persona. I may not be a romantic (I haven’t gone that far off the deep end) but I can at least listen to music about it without gagging or rolling my eyes too much. I even enjoy it. The point is I’ve never had to agree with someone’s opinions to enjoy and appreciate their good company and now the same can be said of good music.
I’m celebrating turning 30 at the end of the month by posting a bunch of my favorite things on this blog and my YouTube channel. Today I’m finishing the countdown of my favorite albums. If you missed my Favorite Movie Moments, click here for the first, second, third, fourth, and fifth posts. If you missed my first Favorite Albums post, click here.
#6 – Full Moon Fever
Tom Petty
I think I ended up stealing my dad’s tape of this album when I was little, and played it over and over in my walkman. I listened to it again recently and didn’t remember much beyond the hits but Tom Petty was definitely one of my favorite artists growing up, and still is. So glad I was able to see him several times in concert before he passed away.
Favorite Track:
“Free Fallin'” was the first song I ever identified as being my “favorite song.” I don’t know exactly how old I was when I first saw Petty in concert (had to be maybe nine or ten) but I do remember staying up long enough to hear “Free Fallin'” and then immediately after falling asleep.
#5 – Bringing Down the Horse
The Wallflowers
This was the first album I ever owned. I saw the music video for “One Headlight” on MTV and instantly developed a crush on Jacob Dylan. Then when we were on a family trip to San Francisco, and my dad was doing some Christmas shopping, he asked me before going into the music store if there was any band I liked. I said I liked The Wallflowers, and so he bought me my first cd. I’m quite proud of little ten year old me for having such impeccable taste.
Favorite Track:
Though “One Headlight” will always hold a special place in my heart for introducing me to the band, as I’ve gotten older, I’ve found myself more drawn to some of the B-tracks, like “Josephine.”
#4 – Speak Now
Taylor Swift
I mentioned in a previous post that I think Taylor Swift’s best songwriting shows up on her album Red but I think Speak Now is her most thematically cohesive, and it is my personal favorite. After burying my head in the sand for too long, I was shown the light and introduced to more of her music, particularlly this album. I loved the imagery depicted in her songs, and the fairytale life she was presenting through her music. The songwriting shows a little more maturity and demonstrates that its author has faced more of life’s disappointments. Despite all this, she still maintains a more whimsical view of the world. It’s kind of sweet to revisit the album now and see the world through the eyes of the unabashed dreamer she used to be.
Favorite Track:
“Better Than Revenge” is a song I don’t think I will ever hear Taylor Swift perform live. It’s her most unapologetic takedown of one of her “foes” and I love it for all the reasons she probably won’t ever revisit it. It’s harsh, and angry, and spiteful, and feels exactly like what you feel when you’ve been betrayed. It’s too politically incorrect for most listeners nowadays but man is it a fun revenge song to rock out to.
#3 – Talking is Hard
Walk the Moon
Walk the Moon was in the process of recording this album when I first discovered them. So this album feels more special to me because I got to see them before their big hit, and I got to experience their joy and excitement as they hit major success. Their latest album is much calmer in terms of mood, and that’s okay but I fell in love with this band because of their ridiculous high energy, and they delivered so much of that on this album.
Favorite Track:
One of the reasons I was so taken by Walk the Moon was because they played “Shut Up and Dance” at that Greek Theatre concert I mentioned in my last post, and they got the whole ampitheatre to get up and dance. As much as I love the finished recording, there is nothing quite like hearing that song live with hundreds of other fans singing along.
#2 – Death of a Bachelor
Panic! at the Disco
It’s great to follow a band over the course of their career and see their different attempts at style changes and music shifts. It’s even better to see them succeed at these experimentations. Death of a Bachelor is the best Panic! at the Disco album to date. The sound of the songs is more self-assured and the lyrics are excellent. On top of that, the songs are also incredibly fun. It’s great to have music move you emotionally and speak to you on a deeper level but it’s also wonderful to want to dance to something energetic and fun. Death of a Bachelor loads itself with lots of upbeat, dance-worthy songs, and still gives some of those necessary emotional punches that you might be looking for.
Favorite Track:
“LA Devotee” is a love letter to the city of Los Angeles. Need I say more?
#1 – The Guest
Phantom Planet
This album is sixteen years old. As much as some of the other things on this list have made me feel older than I want to, this one makes me feel ancient, and it makes me feel the saddest. Phantom Planet was the first band I really discovered on my own and fell in love with. While some of the other bands on this list may have contributed to the soundtrack of my youth, Phantom Planet was the score I lived by. This band meant so much to me, and when they decided to no longer make music as “Phantom Planet,” it broke my heart. I had so many chances to see them perform live, and I will forever be grateful for being that lucky. I still love their music but now whenever I listen it’s sort of bittersweet knowing that they aren’t going to be releasing anything new together. Their music had a big impact on my life and I have enjoyed being their fan these last sixteen years.
Favorite Track:
I love all of these tracks so much but I’m going to have to go with the one that started it all. I first heard “California” on the radio one night when I was getting ready for bed. I was exhausted and about to turn it off when the song started playing. I was immediatley drawn in by that simple piano string at the begginning, and sat up in the dark, despite being ready to pass out, to hear the rest of the song. I bought the album soon after, and the rest, as they say, is history.
I’m celebrating turning 30 at the end of the month by posting a bunch of my favorite things on this blog and my YouTube channel. Today I’m continuing the countdown of my favorite albums. If you missed my Favorite Movie Moments, click here for the first, second, third, fourth, and fifth posts. If you missed my first Favorite Albums post, click here.
#12 – One of the Boys
Katy Perry
I saw Katy Perry guest judge on American Idol in 2010 (before her current role on the show), and I thought she was hilarious and insightful, while still being critical when necessary (something she didn’t really do on this last season of Idol). It was at that point that a friend of mine mentioned really liking her music that I gave her first album a listen. I’ve been a fan ever since and have had the pleasure of seeing her live several times.
Favorite Track:
“One of the Boys” is still my favorite track on the album. I love that it is a celebration of femininity, and embracing different sides of yourself.
#11 – Red
Taylor Swift
It took a while for me to warm up to Taylor Swift as an artist. I didn’t buy into her life philosophy and her obsession with falling in love. Then I actually started listening to her music, and really paying attention to her lyrics. I was hooked by the time Red came out, and I thought so many of the songs on this album were well crafted and showed tremendous growth for her as a musician. I still think it has her best songwrtiting, though there are a couple of duds (“I Almost Do” and “Sad, Beautiful, Tragic,” I’m looking at you). Overall though, it’s one of my favorite albums, and it was my favorite show of hers that I’ve been to.
Favorite Track:
I mentioned I think Taylor Swift showcases her best songwriting on this album, and I think “All Too Well” is her best written song to date. It is also my favorite of hers. Her word play on it is clever, and she paints such a vivd picture that it feels like you’re right there with her, reliving the memory of this relationship.
#10 – Walk the Moon
Walk the Moon
Walk the Moon was a pleasant discovery courtesy of a Panic! at the Disco concert. They were the opening band for a show I saw at The Greek Theatre in Los Angeles. They had such high energy and their songs were so dang catchy that I just couldn’t resist jumping up and dancing along. I of course immediately went home and bought their album (after actually listening to it via my friend’s Spotify on the way home from the concert). I still can’t help but feel energized and want to get up and dance around whenever I listen to this album.
Favorite Track:
So even though most of the album is high energy, and I like it because of that, my actual favorite track on the album is “Fixin'” which is a little sadder but with a good hook.
#9 – Vices & Virtues
Panic! at the Disco
Panic! at the Disco is another band I resisted for a long time. I think in high school I found their use of the exclamation point in their name pretentious, and then the removing of it for the second album even more so. Still, I was blown away by their songwriting on Pretty. Odd. and followed them more closely afterwards. When Vices & Virtues came out, it was as though they had combined the best parts of the first two albums into one. It wasn’t quite the frentic rock of the first album but it had more energy than the songs on the second. It found the perfect balance between the two styles, and it had an overall more hopeful sound, which I love.
Favorite Track:
“Ready to Go (Get Me Out of My Mind)” is such a bouncy, uplifting song, and it feels like something you need to play whenever you want to get pumped up for something.
#8 – Raise the Dead
Phantom Planet
Phantom Planet’s last album is ten years old this year. That makes me feel really old. The concept behind the album was to base a lot of the themes and marketing on cult followings. I was happy to be a part of that cult. While it isn’t the lowest energy album, a lot of the lyrics on it deal with much darker themes, such as depression. It was a bit of a break from some of their more happy love songs but I think it felt more personal. I don’t know the story behind every song, and as obsessed as I was with the band, I don’t know what all was happening at the time. However, it feels almost as though they knew things were coming to an end, and decided to write something deeper. That connected with me very much, and not simply because they were my favorite band but because of all their albums, this is the one I felt I could relate to the most.
Favorite Track:
The title track felt like a last chance call for fans to embrace the music, and “raise” it from the dead, which is maybe where the band felt they were heading while recording. It also touches upon an idea of an inner demon type of conflict (perhaps depression, or loneliness), and again an attempt to overcome that conflict. It is dark while still being hopeful.
#7 – Teenage Dream
Katy Perry
After finally becoming a fan of her first album, I was a bit skeptical when Katy Perry started releasing singles from her follow up album. They sounded a lot more poppy and there didn’t seem to be a trace of that punk rock girl that I liked so much from One of the Boys. Then, of course I listened to the album and realized I was actually a fan of Pop music. Or at least I was a fan of Katy Perry’s style of Pop. I think this is her best album musically, and thematically. She is a bonafide Pop star but she still writes her own music, and dang if it ain’t catchy as hell. Again I was impressed with her ability to surprise me and show me that just because it’s something different than what I usually listen to doesn’t mean it isn’t good, or worthy of my attention.
Favorite Track:
As much fun as I have with “Peacock,” I’m going to have to go with “Califoria Gurls.” As a California girl myself, I can’t help but sing and dance along to this song. It’s so fun and carefree, exactly how Southern California feels sometimes.
Stop by tomorrow to see the last batch of my Favorite Albums.
I’m celebrating turning 30 at the end of the month by posting a bunch of my favorite things on this blog and my YouTube channel. Today I’m continuing the countdown of my favorite albums. If you missed my Favorite Movie Moments, click here for the first, second, third, fourth, and fifth posts. If you missed my first Favorite Albums post, click here.
#18 – musicforthemorningafter Pete Yorn
I’m a sucker for a good singer-songwriter, and Pete Yorn is a good singer-songwriter. Musicforthemorning after was released a little early for me to really follow when it was first out but the great thing about music is that you can pick it up at any point. This was another album that was a soundtrack for my high school years. It’s a slow, slightly downbeat set of songs, and makes for a very relaxing listen.
Favorite Track:
While “Murray” was my favorite for a long time, upon a recent re-listen, I think “Strange Condition” is the best track, and holds up really well seventeen years later.
#17 – Josie and the Pussycats Josie and the Pussycats
Josie and the Pussycats is the greatest girl rock group that never was. I actually got the chance to see the original musicians perform at a screening last year when they released the vinyl, and it was thebestthingever! The movie was great, so much better than it deserved to be, and it was wonderful that they showed the same level of commitment to the music.
Favorite Track:
“Backdoor Lover” by Dujour is definitely the best track on the album but I’ll provide my favorite Pussycats track as well, which is “I Wish You Well.”
#16 – Everybody Wants The Struts
This band rocks, and if you aren’t currently listening to them, you’re doing something wrong in your life. They are straight up glam rock, and they are entirely unapologetic about it. They are a British band and so they haven’t gotten too much airplay in the US but they are so good! I’ve seen them live a couple of times now and they bring so much energy. Listen to them, and then go see them live. They’re that awesome.
Favorite Track:
“Could Have Been Me” is their US single, and still my favorite track off the album.
#15 – Gravity Our Lady Peace
So many of the albums on my list were ones from my high school years. This is another one. I discovered Our Lady Peace thanks to Fuse, back when all they played were music videos. I then bought the album, listened to it over and over, went to Tower Records and bought all their other albums and listened to them over and over. This of course was back when people actually bought music.
Favorite Track:
The whole album doesn’t necessarily hold up as well today but their first single, “Somewhere Out There” is just as good.
#14 – Pioneer The Band Perry
For someone who didn’t like Country music for most of my adolescence I have quite a few Country albums on this list. The Band Perry is a bit more of a modern Country band than the other artists on this list but I love that they’re a family of performers. This album is full of great songs that range from more backyard country to some folksy sounds, so there’s a nice mix to listen to.
Favorite Track:
“Pioneer” is bittersweet, wistful, and melancholy all at once, which is why this title track is my favorite on the album.
#13 – The Education of a Wandering Man Jamestown Revival
I believe this is the most recent addition to the list. I saw Jamestown Revival open for another band a couple of years ago and I was blown away by their sound and stage presence. They have a bluesy country vibe, and their music sounds like something you should be listening to while driving on the open road in some backcountry. I love it, and this is another band that you should be listening to right now.
Favorite Track:
“Journeyman” feels like the heart and soul of this album, and sounds like something you’d hear playing in a local bar in a small town right before it’s playing on the radio.
Check in tomorrow for the next batch of my Favorite Albums.
Hollywood Consumer 