taylor swift red poll

i did but it was impossible for me to avoid the discourse at the time. regardless i do not give even the remotest shit that it's about him

she should write a song about gyllenhaal’s character in okja

I find it annoying that the implied choice (not on ILM per se, just in general) is between caring about all the autobiographical detail and not being invested in the songwriting at all. One of the best aspects of the shift in her songwriting in the last two albums (especially on Evermore) is the sense that that binary is no longer applicable. "Ivy" and "Cowboy Like Me" are two of the very best songs she has ever written, and both clearly have nothing to do with her own life.

I was discussing with Brad a while back all the questions I wish TS would get asked in interviews, basically all of which would dig into her songwriting craft. A big question I had coming out of Evermore is whether she feels like, if she is writing from the POV of a fictional character, her lyrical vocabulary changes. Which of course she would never actually be asked by an interviewer.

She doesn't really do many interviews does she?

I'm not really a fan, but I gained a lot of respect for her when I watched her documentary, which reveals a lot of the songwriting process. I wish there was a documentary just about Max Martin and how he writes for and with people. But he's even more locked down (certainly by choice, probably also by NDA) than she is.

Fwiw, I was at the time disappointed she went with Martin, which seemed to be such an easy, lazy choice. But in retrospect, it's afforded her the success and money to do whatever she wants. Though Speak Now, which she wrote entirely herself, of course already proved she needed no ringers.

Maybe pitchfork knew they couldn't really top Brad's previous review.

That the best you can do? Amateur stuff. Here's how it's done: https://rateyourmusic.com/music-review/nostalghia/taylor-swift/all-too-well-the-short-film/160999757

― imago, Monday, 15 November 2021 10:17 (twelve hours ago) bookmarkflaglink

This writer has really interesting/curious taste actually. Their list of hundreds of great albums has prompted me to finally check out Koopsta Knicca's 'Devil's Playground: Underground Solo'.

Last weekend I discussed with a friend the Sinatra-U2 post-show hangout session where to their surprise he band realized no one much talked to the old man about music. Apparently they delighted him asking those questions. He went into detail explaining Gene Krupa's drum sound, oboes vs bassoons, etc.

I've wanted booklength interviews with Madonna, Janet Jackson, and Taylor Swift like what Zollo did with Tom Petty.

Yeah, if there is one lesson to be learned from that recent Paul McCartney Rick Rubin show it's that even Paul McCartney has a lot more to reveal when asked the right questions.

I think it's tough for some of these superstars to navigate, because in many ways their privacy is a form of currency.

Also: how many journalists want to ask those questions?

I've cited these comments by bassist-to-the-stars Guy Pratt about Madonna's control during the "Like a Prayer" sessions:

"Jonathan, do less of the high-hat in the middle eight, and more of a fill towards the end. Guy, I want duck eggs [semibreves] on the end, and Chester, bring in your guitar on the second verse."

This writer has really interesting/curious taste actually. Their list of hundreds of great albums has prompted me to finally check out Koopsta Knicca's 'Devil's Playground: Underground Solo'.

― Tim F, Monday, 15 November 2021 22:34 (seventeen minutes ago) bookmarkflaglink

I may seem antagonistic but this writer is someone I actually 'follow' on RYM owing to a superlative Richard Dawson review, and I shan't dismiss their Taytay raptures even if I mock them semi-fondly

As ever, I will actually listen to the new Swift and begrudgingly accept a measure of merit, even as I abhor the discourse. I really wish she wasn't a marketing genius

xxxpost - The problem is the journalists not the interviewees I think - none of the questions I'd want to ask would really touch on private lives.

If anything, Taylor typically disappoints on this front, because she basically undersells her own craft by offering simplified explanations ready for consumption by the broadest cross-section of fans possible.

Like, "Mirrorball" strikes me a really interesting dissection of the interrelationship between imposter syndrome and an anxious desire for public approval, but according to Taylor in the Long Pond Sessions it's about... not being able to tour.

Also making it clear that I only see Tim F as antagonist insofar as he consistently and eloquently speaks in favour of that which I halt at, and he is clearly a brilliant cornerstone of this entire website and its ethos. But then I am currently drunk, and would not admit so otherwise. EOYs without a Tim influence would not exist

I am *very* drunk. The beer was Belgian, and cheap

Oh god I'm interrupting. Best actually bloody listen to it

Don't many, if not most, artists favor basic answers to "What's that song about?," rather than go into a detailed literary analysis of their own lyrics?

I know some interviewers are skilled at insightful interviews with songwriters, but I think those results tend to be rare (on both ends)...

That Flanagan book is as terrific as Zollo's own book.

Don't many, if not most, artists favor basic answers to "What's that song about?," rather than go into a detailed literary analysis of their own lyrics?

I know some interviewers are skilled at insightful interviews with songwriters, but I think those results tend to be rare (on both ends)...

― heterologous booster (morrisp), Monday, 15 November 2021 23:05 (two minutes ago) bookmarkflaglink

Yep - it's not really surprising, especially absent something asking really specific questions.

(and it's all good imago, enjoy the beer)

It's not so much just what each song is about, it's the nuts and bolts of it, the arrangement, the decisions made, the tempo picked, the previous iterations. All that stuff is super interesting and not always revealed. Like all those versions of Like a Rolling Stone that were eventually released. They nail the final version on the second or third take, but then just kept going, including that one version in waltz time. What made them realize the keeper was the keeper? In Taylor's case, I suppose I'd want to know her editing and refinement process, how different the final versions are from their origins. Stuff like that. Angles like this are why publications like Tape Op are invaluable. Where else are producers going to be interviewed about the tricks of the trade? Or even behind the scenes stuff. They've been witness to countless pivotal moments of history, but rarely is their opinion or experience the center of the discourse, and they have a lot to say. Same with session dudes: God only knows the stuff that Jim Keltner has seen, but where is that interview going to run besides Modern Drummer?

God only knows

I bet there are a few extant interviews concerning the recording of this song!

hosted by the right people, this general topic could make for an incredible podcast that surely (?) enough people would listen to

i realize i should want to read these conversations, but y'know ...

If that young man has Taylor’s scarf he should return it.

— Dionne Warwick (@dionnewarwick) November 15, 2021

lmao read the 1 star reviews on this

https://www.target.com/p/taylor-swift-red-taylor-39-s-version-target-exclusive-vinyl-4-lp/-/A-84294181

looool

Red (Jake's Version)

So it’s a 4LP set mastered at 45 rpm, when it could have(?) fit on 2 LPs at 33? Is that a sound quality thing, or a nefarious plot to ring up 2x the number of “discs” sold(?)

that's typically a sound quality thing i think?

I assume it's sound quality + they could fit the 16 album tracks on two discs and the bonus tracks on the other two. They would have needed 3 LP's anyway at 33, because it's over 2 hours long.

Man, I bet that vinyl sounds awesome

(when played at 45, lol)

https://www.youtube.com/watch?v=6ujcUumou9c

idk from experience i do not think taylor swift's team cares about vinyl pressing

the records of hers i have on vinyl sound extremely not awesome

And you would hide away and find your peace of mind
With some indie record that's pressed much better than mine

Well they sure care about CD sound quality (have I mentioned it sounds awesome?)

It occurred to me today that even after hearing, as ambience, "Blank Check" and "Wildest Dreams" and so on some thousands of times over the past seven years, I still so strongly associate Taylor with "You Belong With Me" and "Love Story" and "Fifteen" and all of Speak Now

And yet, "We Are Never Getting Back Together" is chronologically, at this point, mid-period-- six years after her debut, nine years ago.

"Blank Check" --> "Blank Space"? Ha ha (I like yr title, tho)

Ha lol whoops. I never listened to 1989 through Lover for pleasure, just research I guess

https://www.stereogum.com/2167771/taylor-swift-iheartradio-taylors-version/news/

“Whenever Taylor re-records a new track, we immediately replace the old versions. Our stations will always deliver songs that artists are eager to share and fans want to hear,” said Tom Poleman, Chief Programming Officer for iHeartMedia. “Listeners have made it known that they cannot wait to hear Taylor’s Version of each track. We are thrilled to provide a platform to share those with them, as well as the stories behind the songs from Taylor herself.”

She and iHeartRadio are pretty sympatico.

I find it annoying that the implied choice (not on ILM per se, just in general) is between caring about all the autobiographical detail and not being invested in the songwriting at all. One of the best aspects of the shift in her songwriting in the last two albums (especially on Evermore) is the sense that that binary is no longer applicable. "Ivy" and "Cowboy Like Me" are two of the very best songs she has ever written, and both clearly have nothing to do with her own life.

I was discussing with Brad a while back all the questions I wish TS would get asked in interviews, basically all of which would dig into her songwriting craft. A big question I had coming out of Evermore is whether she feels like, if she is writing from the POV of a fictional character, her lyrical vocabulary changes. Which of course she would never actually be asked by an interviewer.

― Tim F, Monday, November 15, 2021 4:10 PM (two days ago) bookmarkflaglink

otm

"Ronan" may be the saddest song I've ever heard.

it's been pretty funny/cute seeing my 12yo niece "discover" Taylor Swift

don't think she was really into music much before this

https://www.twitter.com/bloodbuzz/status/1460047771537494018

"Holy Ground" should've done better.

Agreed, but I feel like the really underrated deep cut on this album is “I Almost Do”, which I think is also secretly really sharp songwriting.