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Taylor Swift: Lover

9/3/2019

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Album Review by Eddie J., Contributing Writer
 
Likes: Cruel Summer, Death By A Thousand Cuts, False God, You Need to Calm Down
Dislikes: Cornelia Street, Me!, The Man
Overall: Overwhelmingly bright and 80's reminiscent; a somewhat disjointed album with enjoyable (though not infectious) pop tracks and ballads
 
Taylor Swift's new album Lover indicates a shift in her vantage point from her last release Reputation, which was notably scathing towards past boyfriends, her former label Big Machine Records, and the Kim-Ye phone-gate scandal. Joyful staccato chords rhythmically ring from a grand piano in Lover's opener "I Forgot That You Existed," as Swift sets the tone singing, "How many days did I spend thinking 'bout how you did me wrong?" The bubbly mid-tempo song resolves with, "It isn't love, it isn't hate, it's just indifference." If Reputation was the pain Swift endured for a night, Lover is her joy that came in the morning. While this kind of 'shift' isn't a new phenomena with artists, it's always gratifying for the listener if it's done properly (e.g. Marvin Gaye's political What's Going On? was followed by the sensual Let's Get It On). The record's theme is one of varying degrees of love:  platonic, familial, self, and of course, romantic (which is in the driver's seat majority of the time).
 
Musically, the bulk of Lover can be described as 'summertime in the 80's,' with synths, percussive bass lines, and major chords galore. Swift's predilection for this nostalgic sound works for her here, just as it did on 1989. It separates her from the current trend of blending pop with trap hip-hop (something she flirted with on Reputation), and it reintroduces her extensive use of an acoustic guitar. She doesn't deliver an over-saturation of cliché commercial ditties, as the album's singles and her previous history would suggest, however. "Death By A Thousand Cuts" is probably the most experimental track, merging classical choral arrangements with folksy acoustic guitars, and arpeggiating harps. All evolve verse to verse, while Taylor holds the fort vocally and lyrically. "False God" casually mixes a jazzy sax riff with mid-tempo electro elements and sparse synthesizers, as if the combination is commonplace. "Soon You'll Get Better," featuring background harmonies by The Dixie Chicks, is a stripped-bare country ballad, with only guitars, banjos and vocals. It's the most personal cut, depicting Swift's emotional state during her mother's battle with cancer. The album as a whole effortlessly changes tempo and musical trajectory through each number, giving the perception that it's shorter than the overwhelming 18 tracks it contains. In addition, many of the songs are around three minutes in length and don't drag on longer than necessary (aside from “Cornelia Street”). This works in the LP's favor, as the compositions are largely straightforward loops that can get very redundant after awhile. 
 
As to be expected, Swift's lyricism is exceptional. Her colorful and imagery-laden illustrations are conflated with her emotions in each song, such as being "drunk in the back of the car," while crying "like a baby"  to reflect her desperation in "Cruel Summer." Nothing is poorly written outside of "Me!," even if the music or melodies don't hold the rest up, like in "The Man." There's not a lot of new ground covered topically, so it stands out when Swift leans towards social or controversial subjects, which seems to be her intention. The concept of "False God" is one of her most daring. Lines like "Religion's in your lips; even if it's a false god, we'd still worship," are sure to rile up Bible Belt Swifties. Resounding excerpts like the harmonized "Shade never made anybody less gay!" on "You Need To Calm Down," and "I'd get there quicker if I was a man" on "The Man" shine a light onto Swift's sociopolitical views and values. The overstated-ness in the content is an exclamation; Swift made sure not to clamor with any figurative language, so that her points are crystal clear. 
 
There aren't many drawbacks to Lover, but the few flaws are blatant. The lack of pop potency is chief among them. Swift showed with 1989 and Reputation that she was capable of creating infectious pop, and crafting a highly cohesive concept album. 1989 had quite a bit of filler, but the songs that weren't (i.e. "Style," "Shake It Off," and "Bad Blood") attached themselves to your subconscious mind after one listen. Reputation had the same contagious quality and conceived a dark, stirring ambiance (ex. "Look What You Made Me Do," "Gorgeous," "End Game"). Lover has a couple of songs that can get stuck in your head, but only after several listens. The wonder of a Taylor Swift pop album is how she brilliantly pairs relatable and clever lyricism with catchy melodies, and has a full-fledged production team to complete the package. With this project, the wonder is replaced with a formulaic approach. Swift's musicality is very particular and arguably limited, so her work will seem "run of the mill" when both infectiousness and an intriguing concept are missing.


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Taylor Swift: Reputation

12/5/2017

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Album Review.
Likes: I Did Something Bad, Don't Blame Me, Dancing with Our Hands Tied, New Years Day
Dislikes: King of My Heart
Overall: A major stylistic departure, but still unequivocally Taylor.
 
When Taylor Swift declared that the "Old Taylor" was dead on the recent single "Look What You Made Me Do"), some feared an unwelcome change in sound was near. Swift's plain vocals and lovesick, acoustic-guitar laden country and pop made her a poster child for delightfully white-bread music. That noted, the darker, harder and dare I say it, R&B and hip-hop-influenced rhythms on the new Reputation are indeed a deviation. However, the project's careful conceptualization offsets the awkwardness that normally comes with jolting conversions.
 
Somewhere in the last 11 years, Swift went from being portrayed in the media as "America's Sweetheart" to "Regina George:" an untrustworthy, serial-dating Mean Girl. She tried to "Shake it Off" and scoff at this on her previous record, 1989, but her irritation has boiled to anger. She's officially had enough and is ready to war with it. She attacks her stigmas with a cocky, "bring it on" ferocity and mocks them by casually wearing her alleged persona. Take "I Did Something Bad:" after depicting herself as a cavalier player and romantic vengeance angel, she sings "They're burning all the witches, even if you aren't one. They got their pitchforks and proof, their receipts and reasons...Go ahead and light me up." Songs like "Delicate" and "Call it What You Want" show she isn't completely impervious, as she discloses her insecurities and fears regarding her public image and its ability to affect potential relationships. Moreover, she expresses her displeasure in becoming colder and more distant as a defense mechanism, following betrayals and fallouts (ex. "This is Why We Can't Have Nice Things"). Still, there's a tenor of defiance in the lyrics that's upheld by the forwardness in Swift's voice and the production's gristle. Deep thumps, throbs and rattles are a constant, even when besotted love (Swift's specialty) is the subject (ex. "King of My Heart," "Dress"). They're put up against synth warps, gunshot-like blasts, vocal echoes and whimsy to create a sinister feel. "Look's" light introduction is akin to a music-box before it twists into a predatory hunt soundtrack. Spontaneous switches in melody and beat from mashing to feathery are where "Old Taylor" rears her head (ex. "...Ready for It," "Dancing with Our Hands Tied"). Closing track "New Years Day" is the only time she's allowed to do more than just swoop in briefly. 1989 producers and songwriters Max Martin, Jack Antonoff and Shellback all returned to co-collaborate with Swift. At moments, the writing is a pinch "garden-variety" and some metaphors are repeated without apparent cause, but the dedication to the album's theme mostly sweeps this under the rug.
 
Listeners who were hankering for Swift to wholly depart from country, folk, and the like will adore Reputation. Pop fans who appreciated the tenderness brought in by country and folk's touch will perhaps prefer 1989. Regardless, there shouldn't be many complaints or claims that Taylor is unrecognizable on this record. The creative choices she made served to bring her point-of-view and emotions center-stage, and that's her M.O.

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Taylor Swift: 1989 (Target Deluxe)

11/13/2014

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Album Review. 
Favorites: Blank Space, Style, Shake it Off, Bad Blood, Wildest Dreams
Overall: 80’s inspired, delightfully cynically optimistic

In absorbing all the promotion and talk about Taylor Swift’s new album, 1989 (her birth year), the most annoying thing is the fixation with the fact that it’s her 1st effort to labeled and pushed as pop and not pop/country or country, as if it’s going to be a big change for the singer. Swift mentioned in interviews that her record label was nervous about the so-called genre switch. Is everyone new here? Sure, there was an acoustic guitar, songs about Tim McGraw, studded belts and cowboy boots, but pop has always been in her musical soil and are we really going to act like 2012’s Red carried the torch of Loretta Lynn, Reba McEntire or even the Nashville fictional character Rayna James? Come on. Swift is so unsurprisingly cozy and confident in the 80’s synth-poppy land of this record, you might wonder why “country” and “Taylor Swift” were ever in the same sentence to begin with.

I have an aversion to much of techno and 80’s roboto, so musically, I prefer Red of Swift’s blatantly pop albums, but the production has a certain staginess that makes it more tolerable. It’s the kind of staginess that, with the conjoining lyrics, it takes you out of your body and has you stuck daydreaming or dusting off memories you’ve fought so hard to keep in your mental attic. Once again, Swift has created an audio alternate universe that externally glitters pink with the butterflies of love and infatuation, but confronts some of its realities with a muted light on the inside. Romantic failures and disappointments are cynically accepted as standard and inevitable, but the hope for better still loiters. As she declares in “New Romantics:” “Heartbreak is the national anthem…the best people in life are free.” Swift reflects the heart process of most fatigued female daters: when their initial Disney ideals are dashed, they try to toughen and make themselves embrace things they really don’t like and/or want to get what they can get. For instance, on “Wildest Dreams,” she pleads with a rolling stone of a guy not to forget her after a hookup. “Dreams” is 1 of a few songs with some sort of sexual situation, and thankfully, she takes time to create atmosphere and tone instead of taking the easy-and brainless-road of being graphic and/or literal. It tickled me how unabashedly Swift admits her compulsive attraction to men she instinctively knows she has no future with, while parodying her dating reputation in the press. On “Blank Space,” she sings: “You look like my next mistake…I can make the bad guys good for a weekend…Got a long list of ex-lovers, they'll tell you I'm insane, 'cause you know I love the players and you love the game.” Sidebar: is it just me or does the beginning of “Space” remind you of Justin Bieber’s “Girlfriend?”

Ok, now for criticisms. As much as I love how Taylor gets pink glitter and muted light to fit, it drives me slightly nuts when the grim and twisty grooves suddenly become peppy. I get attached to them and then poof! Floaty glitter cloud (ex. “I Know Places” and 2012’s “I Knew You Were Trouble”). For Swift to have just moved to the canonized New York, “Welcome to New York” is very pedestrian, far from “Empire State of Mind” (by Jay-Z  & Alicia Keys) and doesn’t do its job as an album opener. This doesn’t help her case with being recently named the ambassador of the city. The above mentioned “New Romantics” is the only track worth getting the Target deluxe edition for. Yes, it comes with 3 original voice memos to demonstrate Swift’s various songwriting processes, which is a cool concept in theory, but the snippets don’t really reveal much beyond her precursor back-stories. You don’t hear (or get a visual of) how her song ideas form or what melodies, phrases or words came before the final product. I think the pieces of paper she scribbles her lyrics on would be more telling. Besides these few little bobbles (and Swift’s vocal limitations), I love this album and had a hard time narrowing down my “favorites” to just 4 or 5 (which is a general rule of mine). I love its carefree air with a depressed heart; its cynical optimism. Sorry to follow the charge and give yet another glowing 1989 endorsement, but oops! Swift has done it again.

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Taylor Swift: Red

10/25/2012

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Album Review.
Likes: Red, I Knew You Were Trouble, 22, We Are Never Ever Getting Back Together, Sad Beautiful Tragic
Overall: A lot of growth; interesting, slightly more mature and moody

Taylor Swift keeps with her bi-annual tradition of releasing a collection of love & heartbreak tunes with her 4th album, “Red,” sounding a little more mature than before. Although Swift hasn’t changed much vocally (limited and mousey), her ever-endearing, relatable and emotive lyrics are still there and growth is apparent as the country star spreads her wings and dabbles further into pop and rock. The music at times is more somber as well; a contrast from Swift’s usual bubbly and hopeful energy. What’s interesting and quite impressive is how Swift is able to deliver songs that have a sassy and jaded appearance, but still have a wide-eyed, unsullied soul. It’s remarkable how she presents two vastly different attitudes within each song and throughout the album without seeming contradictory. As she says in 22, “We're happy, free, confused and lonely at the same time,” and who better to explain and make sense of that than a 22-year-old? Once again, Swift wins by going into the heart of her life experience for inspiration. By being honest in the present, versus trying to stay in past or go too far into the future, Swift makes it just right.

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You Can't Win: Taylor Swift

1/15/2010

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“You can't win chile’, You can't break even, And you can't get out of the game”-The Wiz

There are times when you can’t win in the industry; its darned if you do, darned if you don’t. Taylor Swift is having one of those moments. She cleaned up at most of the award shows in 2009, she has a great public image and her fan base is ever growing. The only people that don’t seem to be sold on her are some music critics, whom I feel have unjustly measured her. I’ve read several reviews in which critics complained about her material being too youthful and not mature enough for her age (many of her songs have an innocent tone to them). Because of this “innocent” tone, some critics feel that her music has little artistic value. This complaint/critique is a load of crap. 1st, I will argue why that critique is a load of crap, and then I will explain why Taylor Swift “can’t win” with critics.
The critique is unfair because…
#1 Taylor Swift has been writing since around age 14. Did it ever come across the critics’ minds that some of the material on her albums may have come from that period?
#2 The critics are age-biased. Of course her material wouldn’t light their 30 to 40 year old fire. They want a 19 year old to sound 29 or 39. And why is sounding “youthful” not artistic anyway? If it isn’t “gritty”, depressing, or hardcore, it’s not artistic. Music is supposed to move people and unite them. Obviously, it’s “moving and uniting” her fan base fine. With some of the lyrics taken directly from Swift’s teenage diary, many teenage girls are finding solace in her songs and find her relatable. Does providing solace not count for anything?

Why Taylor Swift “Can’t Win”
 As her lyrics are, she’s being accused of being “too youthful and innocent.” If she were to “mature” her lyrics and over-sexualize herself like Britney Spears did at 19, she would be considered a “bad influence on teen girls”, “skanky”, or “growing up too fast.” You can’t win.

 
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StuCk iN mY HeAd

1/6/2010

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Today’s “stuck in my head” song is Taylor Swift’s “You Belong with Me”, from the album “Fearless.”
I was totally that girl in high school that never got noticed by the guys she liked. LOL
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MTV Video Music Awards

9/16/2009

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Amazing show. I’ve always viewed the VMA’s as a more exiting, more hip and more casual Grammy’s, and I look forward to it every year. They’ve had some years that weren’t all that exiting, but this year didn’t fit into that category. This year’s show fit into the “classic VMA” box: exciting, entertaining, memorable, and of course with at least one “OMG! Did that really happen? ” moment.  There were several “OMG” moments. Let’s start with the amazing opening:  the tribute to Michael Jackson. MTV’s homage to the “King of Pop” was expected at this year’s show and was eagerly anticipated. If anyone NEEDED to do a tribute, it should have been MTV; considering he’s the 1st African-American artist to have his music video on the station and part of the reason why MTV is what it is now. Plus, MTV needed to make up for the lack of tribute programs aired in the days after his death (Yes, there was SOME tribute programming, but many of them were simple, underdeveloped and lackluster).
Giving an emotive and heartfelt speech, Madonna made several thought provoking points that captured the human and intimate essence of Michael that we often either forgot about and/or failed to see (see the post below for her speech in its entirety). When they panned to the audience to show their reactions to the speech, many of the recording artists present were either fixated on Madonna, had their eyes closed, or their heads bowed. Entrenched in every word and moment, it seemed as if the audience was in prayer or reflection. If you’re Michael fan, you were right with them.  She ended her speech with the phrase “long live the king”. I was really hoping someone would run with that and start a chant.  Madonna’s speech was followed by a dance team performance of his hit songs. Each dancer was dressed in a replica of a signature M.J. costume. The only thing that would have enhanced the performance more was to have someone who was obviously
influenced by M.J. (like Justin Timberlake, Usher or Ne-Yo) be a part of the sequence. The icing on the cake was JANET JACKSON (yes, J.J.) performing “Scream” (the only recorded M.J. and J.J. duet) as the music video played in the background. The choreography was synced perfectly with video. I don’t know about ya’ll, but I was jumpin’ around and screaming to the top of my lungs when Janet came out. It was the ultimate performance and the ultimate tribute, and it seemed like the crowd loved it. It only got sad when it registered that Janet was on the stage by herself without her brother, and we would never see them perform together again.

The rest of the live performances were awesome, including Taylor Swift, Muse, Lady Gaga, The Queen Bee (Beyonce`), Green Day, Pink, Kid Cudi , Jay-Z with Alicia Keys and a special tribute to the late DJ AM.
Taylor’s performance was interesting -it was shot following her through a New York subway and into the street in front of Radio City Music Hall. Several fans won a chance to ride with Taylor on the subway and dance with her in the street for the performance. That’s another thing I love about the VMA’s- they always involve the fans, and give them the best seats (right by the stage). Lady Gaga made me want to check out her album- I didn’t know she could actually sing. It’s hard to get passed her craziness long enough to notice that she can sing. She doesn’t realize that she’s distracting from her own talent. I find it interesting that Lady Gaga is considered to be “cool and different” for her eccentricities, but Michael was called “Wacko Jacko” and weird. Intriguing…......anyhow, on to Beyonce’s performance….Bee Bee, (as I affectionately call her ) NEVER fails to perform well (and believe me, I have seen enough performances to say that with confidence). The only reason why “never” would turn into “almost never” with her VMA appearance is because there were about 3 notes at the beginning that didn’t quite hit right. And she almost tried TOO hard to put the sexy on with one too many body rolls. Sometimes, I think she forgets that she’s Beyonce` and things like “sexy” just come natural to her, requiring no work. Her introduction was cool and creative; she made a tribal-esque remix of the bridge to “Single Ladies”. Looking like a small “Sasha Fierce” army, several dancers eventually joined her on stage to perform the infamous choreography.
Like Beyonce`, Pink is usually impressive live and was even more impressive as she performed “Sober” while being flung around in a trapeze act (believe it. It happened). If you thought THAT would be distracting or keep her from performing well, it didn’t. She sung in full voice and didn’t miss a beat. Now Keri Hilson really has no excuse for her poor live performances (See my June 29th Keri post). The coolest New Yorkers in music, Jay-Z and Alicia Keys, gave an excellent performance of “Empire State of Mind” from Jay-z’s latest album, “The Blueprint 3”. I LOVE THAT SONG! One whiff of that song and you’re gonna wanna pack your bags, put on your Manolo’s, and book lunch
with Samantha, Carrie and Bloomberg. I’m leaving tomorrow.  LOL It was a perfect ending to the VMA’S- the best of New York music, in New York, singing about  the aura of New York. It was classic. The only glitch in Jay’s performance, if you can call it one, was the random and sudden appearance of rapper and fellow New Yorker Lil’ Mama. Because she’s from New York, I initially suspected that she was supposed to be up there, but there was still a hint of “this wasn’t planned.” And it wasn’t. On NBC’S “Today” with Kathie Lee and Hoda Kotb, Alicia Keys was quoted as saying “We can appreciate her being overwhelmed and inspired, but we would have appreciated it if she would have done it from her seat."
There was another random and obnoxious interruption earlier in the show by Kanye West. Now an infamous and much talked about moment, Kanye interrupted Taylor Swift’s acceptance speech for Best Female Video, denoting that Swift’s fellow nominee, Beyonce`, should have won. “Taylor, I’m happy for you and I’m gonna let you finish, but Beyonce` had one of the best videos of all time” (referring to “Single Ladies”).  After his snide remark, West handed the mic back to Swift, shrugged his shoulders and left the stage as he was booed by the audience. The audience showed their support for Swift by chanting her name. Host Russell Brand, who was less obnoxious this year (thank goodness) mentioned that in the spirit of Michael Jackson, we should “love everybody” and that all the nominees were great artists. West has a history of and a reputation for making fuss over award wins and
losses, but over his OWN wins and losses. Kanye was being his typical self: rude, immature, arrogant and special edition. One of the things that irritate me the most about Kanye’s act was that he put Beyonce` in the middle of his bull. It’s one issue to act a monkey over your OWN awards, but someone else’s awards too? He called himself “defending” her, and yet he was putting her in the position to have to put out a P.R. fire. He stole Taylor’s moment AND Beyonce`s, as she had to use her moment winning Video of The Year (which better honors it as the pop-culture impacting video it was than Best Female Video, btw) to make up for his mess. RRR!!!! Like Lady Gaga, Kanye doesn’t realize he’s overshadowing his own talent with his chicanery. I’m surprised that he hasn’t matured, considering all that he’s been through with the death of his mother and his dramatic breakup (that he made a whole album about). It’s ridiculous.

On the note of who won and who lost, it appears that this year’s theme was “everybody’s a winner here.” The “heavyweights” of the past year (and therefore the expected winners-Beyonce` and Lady Gaga) won. The “authentic, genre impacting and legitimate” artists (Eminem, T. I. and Green Day) won. Old MTV favorites (Britney Spears) and the unexpected, yet fresh and new (Taylor Swift) won. It was everybody’s party and everybody’s night. No one was left out it seems, which makes for a good award show.
While Britney is still on my breath, I find it interesting that when Brit Brit was most deserving of a VMA (pre-“Blackout”), she never got one. She’s been nominated 26 times total, only winning 4 times. 3 out of her 4 wins were attained last year; her 4th at this year’s show. When she
won last year, I felt like that were just giving them away to her as thanks for seeming like she got her crap together and putting out “Circus”. I thought it was a spit in the face because MTV didn’t appreciate Britney and give her just dues until they thought they were going to lose her. Say what you will about her talent and whatever else, but she MADE MTV in the late 90’s and in the early 2000’s. MTV Asia and MTV Europe gave her props from jump, but no, not in America. Why is it that Europe treats our artists (including minority ones) better than we do? If you can’t make it America, start selling your junk in Europe and you’ll be rolling in doe, but that’s besides the point. I digress.
The 2009 MTV Video Music Awards were filled with lots “OMG!”, “sis-boom-pow!” and great performances, making it memorable one. Brava MTV.
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