Everyone around me knows I’m not a big Taylor fan, I’ve always found her albums weak and kinda tacky till the point that I consider her overrated at her worst. Anyway, I feel I must respect her because she has achieved a lot in a short amount of time and I think we’d all like our faves to slay as she does. She has the power to create catchy songs that make everyone belt out or at least hum all day long till you get annoyed by them. Her lyrics are allegedly personal and that’s why she has gained recognition for her songwriting, which I find kinda dumb and pretty repetitive.
However, I never felt excited for any of her releases before 1989 and I feel I’ve wasted my excitement and emotions on nothing. It’s just another thing in her discography, catchy songs that will crack on the radio, that will make her win awards here and there but to be honest it’s nothing new brought to the table.
Basically, most of the songs sound alike and at some point, it’s kinda hard to identify which is which. Her songwriting is still one of the things I consider overrated the most, there was nothing on 1989 that made me change my mind on that, she definitely depends on the hook on the songs (that in some of them are non-existent).
Yet, ‘Welcome to New York’, ‘Blank Space’, ‘Out of the Woods’, ‘Style’ and ‘All You Had to Do Was Stay’, which are the first five tracks, make you think that maybe the album is going to be any good (but then ‘Shake It Off’ comes in and screws it all) they’re definitely the album highlights, they are catchy and have brilliant production those five songs kinda remind me of I don’t know which dance-pop album and if you ask me I don’t get the ‘Welcome to New York’ hate, yes, it’s repetitive but what song of hers isn’t?
After listening to the whole album more than a few times already, my question is what would she want to include those Voice Memos? What are they good for? To show what? How personal her records are? How she gets involved in her album’s creative process?
I don’t think it’s a good album but I definitely don’t consider it bad. It’s like something in the middle, which is worse because most of the album just goes unnoticed, you literally can’t remember anything after ‘Shake It Off’. I know she has the talent enough to make a good record but so far, (at least for me) she has struggled to do so.
The first single off of her new re-release album, featuring a relatively unknown indie-pop artist MØ, interests me just from the name and the feature. MØ is the last person i would expect on an Iggy Azalea song so going into it i was excited but skeptical. The song surprised me and exceeded my expectations. The opening beat and siren sound that plays throughout the whole song makes it sound more hip hop influenced than pop, unlike azalea's previous singles. Iggy delivers her verses flawlessly in this, much better than the ones on "Fancy' and "Black Widow". MØ's hook is INCREDIBLE. So catchy and her sound fits perfectly with the song. The outro is the best part of the song to me. The way MØ delivers the vocals is again, perfect. Beg For It is Iggy's most interesting single, and to me, her best.
Her first few singles never did her quite the justice she was seeking. Not until she released her Blockbuster Charli XCX Collabo Fancy. Off of her booming popularity with Fancy, comes a sort of (VERY) similar sound Beg For It f/ MØ.
Most like to argue that Iggy Iggs is feeding off Fancy too much and personally it really does feel like it. The heavy mechanics on MØ made her sound so much like Charli but nothing's better than the original is it? Fans of MØ clearly recognised the huge alteration in her vocals and Charli fans insisted that they should've just stuck with Charli if her sound is what they are looking for.
Nevertheless, regardless of MØ's vocal alteration, Beg For It is proving to be a very addictive song that you could simply dance to anywhere, anytime. The lead single to her upcoming (repackaged) album does differ from Fancy in the sense that it allows Iggy to take center stage and not be outshined by her featured artist (some may argue this). Beg For It clearly shows that this is Iggy's playground and she's letting MØ play in it. It sounds a very confident Iggy and is very on point. The Sheila (Aussie Slang) of the Murda Bizness is definitely slaying this time round.
I discovered Imagine Dragons very early in their career. I first heard of them through producer Alex Da Kid, who signed one of my favorite artists, Skylar Grey, as the first artist on his Kid In A Korner label. Imagine Dragons was their second signing. This was early 2012, a year before their breakout hit Radioactive brought them into the mainstream and the hearts of America. I only listened to snippets of their tracks at the time. I thought they were good but nothing noteworthy. The change came in August 2012 when Radioactive played during a commercial for Chicago Fire during the Olympics in London. Immediately I was drawn in by the booming drums and roaring guitars. I looked up the band within hours and was hooked. At first the song Demons, which would go on over a year later to hit the top 10, struck me the most. It brought tears to my eyes with every listen. It was catchy, relatable, and an extremely well written song. Radioactive soon grew on me just as much. I knew it sounded like a hit. I immediately ran to preorder their debut album, Night Visions. I received my preorder the day the album came out, which came with a t shirt I wear to this day and a signed tour poster. The album became one of my, if not the most, played album of 2012, even though it was only out for 3.5 months out of that year. I rocked, sang, and cried to every lyric. Each song contributed something different. By January of 2013 I had downloaded every song ever released by Imagine Dragons. By that point they were one of my top 3 favorite artists along with Skylar Grey and Katy Perry. Although this list would grow to include Bastille and Kacey Musgraves, Imagine Dragons holds a very special place in my heart, as they reintroduced me to alternative music, the music of my childhood. Now I listen to alternative just as much or more as pop because of this band.
This leads me to this song. Imagine Dragons had previously released Warriors and Battle Cry, among other songs, as singles for various soundtracks between album cycles. These songs featured a heavier rock edge which I liked, but in a different way than the hip hop beats of Night Visions. Still I was looking for more. Soon it was revealed that a new single would be released by Imagine Dragons for their forthcoming second studio album. The anticipation was humungous. I stayed up late Sunday night to be one of the first to hear the new song. I bought the song only 26 seconds after Imagine Dragons tweeted the link without even listening to the song. On the first listen everything suddenly made sense. The song is immediate and catchy without losing their distinct sound and allowing them to evolve. Dan Reynolds' heavy, almost screaming vocals boom in the chorus. The chorus itself is extremely simplistic but catchy. The lyrics are urgent, matching the pounding drums. Still, the band explores new folk sounds previously unknown to them. The bridge features Reynolds' signature falsetto, which never fails to disappoint. I've been playing the song on repeat since the second it came out, unable to drag myself away from its heavenly tones. I was extremely impressed by their second lead single, which is giving Taylor Swift's new tracks a run for their money. It is sure to be a third huge worldwide hit for the band, following Radioactive and Demons. I cannot wait to continue to follow Imagine Dragons on their journey through this sophomore era which should prove to somehow be even more successful than their first. I will be there every step of the way, as was ensured by this flawless piece of folk rock music, a perfect lead single.
The beat for Beg for It is just :fire: Iggy's rapping is good for me and I love the lyrics as well. Only thing I don't like, is as everyone else, it seems like a rehash of Black Widow and Fancy. She shouldn't go this route unless she truly does want to end up being the female Flo Rida/Pitbull. Iggy szn has less smash-potential but it's a solo track and sounds nothing like what the US has heard from her. I wish she did something like that before coming back with another pop focused smash.
I hope she doesn't start making all of her songs with Top 40 radio in mind. All in all, although I don't like that it seems like a re-hash, that didn't stop me from listening to the song over 100 times already. It's a perfect song for pop radio being a rap/pop hybrid. I love it in general, but really want her to change it up next time.
The results of my atrlcritic survey showed that among those who completed the survey but have not written a review, approximately 78% said they had not written one because they do not feel like they can write good reviews.
To curb this problem, I've listed some of my tips for writing a review. These are just suggestions, and I don't care if you use them or not. I'm just trying to help out those who are struggling to write a "good" review.
1: Use as many adjectives as possible.
Instead of using vague words like "good," "bad," or "okay," try to describe your feelings towards the song in as much detail as possible. Was the chorus disappointing or irresistible and catchy? Was the beat bland and vapid or pleasant and addictive?
2: Don't censor yourself.
Don't worry what other people will think of your review, because as long as it meets the length requirements and justifies its score it will be counted. Pour out your thoughts on the song or album.
3: If you are reviewing an album, consider a track-by-track review.
Sometimes it's hard to sum up a full album in a paragraph or two, and I know that it works better for a lot of people (including me) to go through each track briefly before wrapping up a review with a quick closing paragraph.
4: Assign a score by using other songs as reference points.
If you have no idea where to start, I would suggest thinking about your favorite and least favorite songs of the year. Your favorites will be in the 8-10 range, and your least favorites (depending on how harshly you review) should be in the 0-5 range. Then, think of songs that are nothing special; neither good nor bad. For most people these fall in the 4-6 range. Find a place for the song you are reviewing along that spectrum.
5: Don't obsess over spelling and grammar.
Your review does not have to flow perfectly or be devoid of spelling errors. Care more about the content of the review, not the way it is presented. Of course, if you feel comfortable with the content you are free to polish up your review. But if you are struggling to even get some content down, don't even think about spelling and grammar.
6: Have a conclusion.
Whether it is with one sentence or two paragraphs, it's always a good idea to wrap up your review with a summary of your thoughts about the song or album, so that the tone of your review is evident. For example, if you pointed out some good things about a song as well as some bad things, a conclusion will help you determine whether the good outweighed the bad, or vice versa. Think of your conclusion as your overall opinion about the song or album. Oftentimes, I find my conclusion helpful in determining a score for my review.
If anybody has any other tips, feel free to share! I want everyone to feel comfortable writing reviews because they really are fun to do!
--
THE FINAL, CHECKPOINT 3
NEXT
You guys know the drill. Each answer functions as a clue for the next thing to find.
1. Current #39 on published urban radio
2. 3rd-highest-charting song from the album on iTunes
3. 2014 smash hit starting with the first word
4. DJ who gave the song its most high-profile remix
5. 2014 single that peaked between #40 and #50 on the Hot 100
6. The word you get when the third letter is replaced by the fourteenth letter of the alphabet
7. Their only big hit in the United States
8. Third one-week number one single of that year
9. Collaboration with the lead artist; performed at the Grammys earlier this year
10. Song directly above it on the Year-End Hot 100
11. Featured artist's urban hit (also a feature) that has appeared in my 2015 Year-End Event
First digit: the number of e's in the title of this game
Second and third digits: Hot 100 peak of Talking Body
Fourth and fifth digits: The square root of 9,409
Sixth digit: The number of times a human has walked on Mars
Seventh and eighth digits: The year in which the World's Fair was held in Tennessee
Taylor Swift named her fifth blockbuster album 1989 for the year of her birth, but the album quite clearly marks her rebirth as an artist. Eight years a superstar, Swift launches herself into a new stratosphere by becoming the pop colossus that she always threatened—and promised—to become.
TaylordMany critics reviewing Taylor Swift's new album 1989 have compared the haunting track "Wildest Dreams" to Lana Del Rey, but there's a much more appropriate connection to be made. In the year 2006, a young new songwriter in the country music scene made her debut with a song called "Tim McGraw." The track featured all the hallmarks of a country ballad, and immediately thrust the girl who wrote it into the spotlight. “When you think happiness, I hope you think that little black dress,” sang sixteen year old Taylor Swift. The song was almost like a curse; facing a break-up, Swift sweetly demanded that her ex-man think of her every time he heard a Tim McGraw song. On “Wildest Dreams” Swift’s intent is similar. “Say you’ll remember me standing in a nice dress, staring at the sunset” directly parallels the chorus of her debut single. Other lyrics in the song indicate that Swift has matured through the years, and I’m not referring to the sexual activity implied by the lines “his clothes are in my room.” In truth, the song subtly informs us that Swift has moved on from her teenaged fantasies of happily ever after. Instead, she’s anticipating the end of a relationship that’s still in its infancy. Despite knowing that the relationship is impermanent, Swift is nonetheless fully committed to it. While “Wildest Dreams” points to Swift’s growth as both a person and an artist, its connection to her debut single suggests that she has finally come full circle.
TaylordThe album’s opening track, the soulless and impersonal “Welcome To New York,” supports this idea. “Welcome To New York” serves as the mission statement for the album. Toto, we’re not in Nashville anymore, the song might as well be saying, and our “new soundtrack” is super-pop. Like “Wildest Dreams,” this song shares an interesting connection with one of Swift’s past singles. “Someday I’ll be livin’ in a big ole city,” she once sang on the two-time Grammy winning hit “Mean.” Then, she was victimized and insecure. Now that she’s found herself in the biggest city of them all, she radiates self-confidence. In fact, this self-confidence permeates every second of 1989, and that may be what makes the album so superb. Swift never falters, never stops to wonder if leaving country music was the right decision, never questions if teaming up with Swedish pop behemoth Max Martin would be in her best interests. Instead, she devotes herself wholeheartedly to her new sound.
TaylordThis devotion to her craft results in 1989 featuring relatively few duds. Aside from “Welcome To New York,” I count only two. The first is “Bad Blood.” The song was said to be written about another pop star who pretended to be friends with Swift only to stab her in the back. Unfortunately, the song lacks any bite whatsoever. Swift once boasted that there was “nothing she does better than revenge,” but “Bad Blood” seems to indicate that she’s not the vindictive songwriter she once was. Instead, the song’s playground-ready chorus and vague, cliché-laden verses find Swift channeling her best Katy Perry. The album’s other misstep is “How To Get The Girl.” The album’s only track with a prominent acoustic guitar treads too closely to 2012’s hit “22,” but lacks the distinctly Swiftian lyrics about life being “miserable and magical at the same time.”
TaylordElsewhere, however, Swift’s songwriting shines. The sexy and curiously named “Style” cleverly adapts the popular saying, “never go out of style” and applies it to an on-again/ off-again relationship between herself (“classic red lip”) and a faceless bad boy (“long hair slicked back”). “Style” also delivers one of the most surprising lyrics in recent pop memory. Taylor confronts her boyfriend about rumors that he’s been out with another girl, and he admits that it’s true. Rather than exploding in rage, Swift drops the bombshell confession: “I’ve been there too a few times.” This acknowledgment would be totally unexpected no matter who delivered it, but it seems especially remarkable coming from the songwriter who has built her career penning angst-filled break-up anthems. Following “Style” comes the acclaimed Jack Antonoff collaboration “Out of the Woods.” The song is a perfect marriage of Swift’s trademark personal lyricism that is universally relatable, and a production that easily blends her 80s pop inspiration with contemporary pop sounds. The song’s chorus effectively utilizes repetition to create a sense of urgency as she questions, “are we out of the woods yet?” The song builds up to an incredible middle eight, culminating in the realization that “the monsters turned out to be just trees.”
TaylordThe album’s deliriously catchy ode-to-joy lead single “Shake It Off” (read review) focused on Swift’s new approach to handling criticism. Rather than taking other peoples’ negativity to heart, she heads to the dance floor to have the most fun she possibly can. “I’m dancing on my own,” she tells us, informing us that she doesn’t need to be in a relationship in order to enjoy herself. But as much as she implores that she no longer takes criticism to heart, the rest of the album reveals that this may not be the case. Take the album’s second single “Blank Space,” for example. The sassy song finds Swift sarcastically writing from the perspective of the heartless boy-crazed caricature that the media has created of her. “I’m a nightmare dressed like a daydream,” she teases before clicking her pen to add another guy’s name to her “long list of ex-lovers.” Ryan Tedder’s second contribution to the album, “I Know Places,” utilizes fox hunt imagery to sing about finding a safe haven from the paparazzi. Other songs contain references to the paparazzi’s flashing lights and gossip that “turned to screams.”
TaylordThe standard edition of the album concludes with the stunning Imogen Heap collaboration “Clean.” The airy ballad compares finally getting over an ex-lover to conquering an addiction. The song’s bridge indicates that Swift misses her relationship(s), but now that she’s sober she claims that she’s “never gonna risk” getting back together, or perhaps even entering another relationship at all. The touching song ends the album on a bittersweet note, but it’s the right note all the same.
TaylordThen there are those bonus tracks, which may actually be three of the strongest offerings from the entire project. First comes “Wonderland.” The daring vocal effects and the contrast between the production’s innocent music box chimes and dark, brooding dubstep is so exhilarating that it renders 2012’s smash “I Knew You Were Trouble” all but irrelevant. The song is followed by the Jack Antonoff ballad “You Are In Love,” which Swift wrote about his relationship with her friend Lena Dunham. The song channels Bruce Springsteen’s “Secret Garden,” and may be the most traditionally Swiftian song on the album. “For once you let go of your fears and your ghosts/ small step, not much, but it says enough,” she sings. “New Romantics” is the final song of 1989 DLX, and it’s the unadulterated pop anthem that “Welcome To New York” failed to be. “I could build a castle out of all the bricks they threw at me,” may find Swift approaching Lady Gaga extremes of self-importance, but Taylor pulls it off with ease. Given her discography, Swift’s declaration that “Heartbreak is our national anthem/ we sing it proudly” rings truer than the Liberty Bell.
TaylordThe key to 1989’s success as a body of work is easily attributable to Taylor Swift herself. She’s always proven to have such tight control over her music that world leaders could take lessons from her, and she rules over her hit-making production team with a multi-platinum fist. Swift named the album for the year of her birth, but the album is quite clearly her rebirth as an artist. The 80s also happen to be the era of music that served as her inspiration, and it’s noteworthy how seamlessly the album strikes a balance between these 80s influences and contemporary pop. Ultimately, what makes 1989 a great pop record has less to do with who inspired it or who produced it, and everything to do with the woman at its epicenter. An eighteen year old girl once sang about being dragged “headfirst, fearless” into a moment. Now a twenty four year old woman, Taylor Swift doesn’t need to be dragged; she’s already dove in, and she’s made quite a spectacular show of it.
Welcome to New Taylor™. Pop music’s been waiting for you.
Taylor Swift announced her 5th album earlier this year in a live stream where she also announced this would be her first official foray into pop. This isn’t a big surprise as the songstress has been heading further and further into this direction with each subsequent album. The album titled after the year Taylor was born was influenced by the music of the 1980’s with emphasis on the latter part of the decade. Taylor manages to effectively weave 80’s pop with the musical styling s of the present to create a strong new sound however while this is different to her previous work long-term fans don’t have to worry as the album is still very much Taylor Swift at the core. The powerful lyrics and mind-blowing couplets that made the world fall in love with Taylor Swift still exist just wrapped in an irresistible synth pop package.
The album opens with the anthemic Welcome to New York which is a very 80’s sounding pop song reflecting on Taylor’s move to New York. I didn’t like this song much on 1st listen but after a couple listens I really fell in love with it. The production is incredible and lyrically it’s very strong (I particularly loved the opening lines "Walking through a crowd, the village’s aglow, Kaleidoscope of loud heartbeats under coats”). While I don’t live in New York (unfortunately) I think the song is relatable to anyone moving to anywhere new or even just reinventing yourself in general. It’s a great start to the album and instantly gives the listener a strong 80’s vibe.
The next track Blank Space has Taylor poking fun at her public image mockingly singing about her long list of ex-lovers and how she’s actually a nightmare dressed as a daydream. I love sassy Taylor and this song is pop perfection (it is a scarily accurate representation of me though). Following this we get the not so subtle Style which is one of my favourites. It’s a very 80’s sounding fun throwback track which is extremely catchy and really sticks out. It also shows a more mature adult side of Taylor which she’s never really explored before.
Following this we get Taylor’s 1st promo single Out Of the Woods which paints a very vivid image of a relationship and while repetitive has some very powerful lyrics that really stick with the listener. Vocally she gives somewhat of a Lorde vibe and pulls it off very well and the song is another that will get stuck in your head. Next up is the breezy All You Had To Do Was Stay which looks back on a relationship and has Taylor reminiscing over what could of been. Still Taylor is doing ok and that’s an important part of this album. Things may not have gone the way Taylor wanted but she’s not heartbroken.
Next up we get mega hit Shake it Off which sees the pop pioneer shrugging off the haters who just a few years ago on 2010’s Mean made her “feel like a nothing". This again reinforces the positive message of the album. After this we get I Wish You Would which is about a boyfriend who lives near her but avoids her due to thinking she hates him even though this song shows that’s far from the truth. It’s a very breezy track and again showcases a maturer side of Swift who is looking at both sides of the relationship. It does somewhat fade into the background though.
After this we get one of Taylor’s angriest songs to date allegedly written about fellow pop star Katy Perry. The song’s chorus is reminiscent of Hey Mickey or a number of Avril Lavigne’s earlier songs seeing Taylor engaging in childlike chanting (possible a subtle reference to Katy Perry) while the verses follow Taylor’s more traditional style. After this we get one of the albums most interesting tracks; Wildest Dreams. Vocally this song see’s Swift channeling her inner Lana Del Rey while lyrically it’s one of Swift’s strongest offerings. While she doesn’t see the relationship lasting; she still see’s it as worthwhile and simply asks the man remember her when all is said and done. There’s also some interesting parallel’s with her debut single Tim McGraw where she famously asked her boyfriend to think of her whenever he hears Tim McGraw. However Taylor see’s that it might not be happy ever after but that doesn’t mean it isn’t worthwhile again highlighting her newfound maturity.
Following this we get a lighter song with How You Get The Girl which sounds like it belongs on a John Hughes movie. It’s very anthemic and sounds like 22’s breezier little sister. After this the album takes a slightly darker turn with the completely self-penned This Love. This track is beautifully lyrically but did lose my interest somewhat although it's definitely a grower so I may feel differently about it in a few month. After this we get the brilliant Ryan Tedder produced I Know Places which uses the metaphor of hunting to describe a relationship that is being ruined by other people invading (in Taylor’s case this being the paparazzi). It’s a great track and different to anything Taylor has done before.
The standard edition of the album closes with Imogen Heap co-penned electronic ballad Clean. This is one of Taylor’s most haunting tracks to date and is something you wouldn’t expect to find on an album full of Max Martin tracks yet it fits perfectly and is one of the albums highlights. Comparing a relationship to being sober this track manages to paint a vivid picture of fragility reaching it’s climax in the 2nd verse (So I punched a hole in the roof/Let the flood carry away all my pictures of you/The water filled my lungs, I screamed so loud but no one heard a thing) but ultimately it’s a story of perseverance which is the main theme on 1989.
For anyone who bought the deluxe version there’s 3 additional tracks as well as several voice memo’s. The first bonus track uses the metaphor of Wonderland to describe the story of a relationship. It utilizes the same dubstep inspired production that made I Knew You Were Trouble a mega-hit. It’s definitely a highlight and it on par with the songs on the standard edition. Following this we get the ballad You Are In Love which is a beautiful track that incorporates Bruce Springstreen’s Secret Garden. It’s far more solemn than the rest of the album and is a little boring but a lot of fans will love it. Finally we get New Romantics which see’s Swift celebrating her newfound single life and reigning victorious over the vicious criticism she received over her personal life. Again this song gave somewhat of a Lorde vibe which Taylor pulls off perfectly. The voice memo’s are quite funny too and it’s interesting to see the songwriting process of a world renowned superstar.
Overall 1989 is a strong departure from her previous work but still retains the fundamental features of a Swift album. Lyrically she has matured a lot and views things from multiple sides rather than just her being right. She also played with a lot of different writing structures and pop sensibilities but fortunately it’s pays off and is one of the strongest pop albums to be released this year. She achieved her goal of being sonically cohesive as the album flows perfectly and nothing really sticks out strongly. The only real criticism I would make of the album is that her voice is overly processed in places so I hope she uses less auto-tune on LP6. I would recommend using a pair of high quality headphones while listening to the album to really appreciate the slick high quality production.
Best Tracks: Style, Blank Spaces, Wildest Dreams, All You Had To Do Was Stay, Clean, Wonderland, New Romantics
Iggy Azalea - Beg For It f/MØ AND Kiesza - Sound Of A Woman - 24 HOUR NOTICE You have approximately 24 hours to review Beg For It and Sound Of A Woman if you have not already.
I Bet My Life is Imagine Dragons lead single for their upcoming second album. Judging by this song, they'll suffer the dreaded sophomore slump. This single is disappointing and I say this as someone who has been supporting them before their first album came out and as someone who has seen them live. Yes the chorus is catchy but it doesn't slay me. They were clearly going for an anthemic feel but the verses ruin it. The best part of the song is the last 40 seconds when Dan screams the chorus one last time while the tribal chants echoes in the background.
1989 was made at a crucial place in Taylor's career. After the halfway house that was 2012's Red, she needed to make a decision - remain true to her country roots, or 'sell out' to her pop instincts. Rather predictably she opted for the latter, and the result is easily her second greatest album, behind only 2010's masterpiece Speak Now.
For the most part, the album is a generic yet highly enjoyable effort. The cheekily-named Style has an undeniable chorus, and the perhaps long-winded All You Had To Do Was Stay has a really well though out melody. She even keeps up her tradition of having a deluxe track that is actually single worthy (think If This Were A Movie) - Wonderland may be the best song on the entire collection, perfectly melding the electronic influence of the album with the current trend for huge beat drops.
The main problem with this album is that, for the most part, it mimics other's greatest moments. Wildest Dreams, despite being a pretty lovely track, sounds like a Born To Die leftover; Shake It Off follows the brass trend of late; hell, Taylor even copies her own 22 with album highlight How You Get The Girl. Most of the time the hooks make up for the lack of originality - on some, like the underwhelming, overhyped Hollaback Girl-esque Bad Blood aims for the diss track heights of 2010's Better Than Revenge, but is oddly restrained and, with it's shockingly weak chorus, instead comes off as petty playfighting. This may be the album's only real misstep, along with the offensively inoffensive Welcome To New York.
Overall, this is a really solid effort, and the first step in what is increasingly looking like a long-lasting pop career for the young Miss Swift.
I don't think a lot of people are aware of the review schedule that is located in the OP, so I'll post it here.
A good guideline to follow is to always check the OP before you ask a question- there's some useful stuff there.
Currently reviewing Upcoming
Kiesza - 'Sound Of A Woman' [October 26th - November 1st]
Taylor Swift - '1989' [October 27th - November 3rd]
Iggy Azalea - 'Beg For It f/MØ' [October 28th - November 1st]
Imagine Dragons - 'I Bet My Life' [October 29th - November 2nd]
The results of my atrlcritic survey showed that among those who completed the survey but have not written a review, approximately 78% said they had not written one because they do not feel like they can write good reviews.
To curb this problem, I've listed some of my tips for writing a review. These are just suggestions, and I don't care if you use them or not. I'm just trying to help out those who are struggling to write a "good" review.
1: Use as many adjectives as possible.
Instead of using vague words like "good," "bad," or "okay," try to describe your feelings towards the song in as much detail as possible. Was the chorus disappointing or irresistible and catchy? Was the beat bland and vapid or pleasant and addictive?
2: Don't censor yourself.
Don't worry what other people will think of your review, because as long as it meets the length requirements and justifies its score it will be counted. Pour out your thoughts on the song or album.
3: If you are reviewing an album, consider a track-by-track review.
Sometimes it's hard to sum up a full album in a paragraph or two, and I know that it works better for a lot of people (including me) to go through each track briefly before wrapping up a review with a quick closing paragraph.
4: Assign a score by using other songs as reference points.
If you have no idea where to start, I would suggest thinking about your favorite and least favorite songs of the year. Your favorites will be in the 8-10 range, and your least favorites (depending on how harshly you review) should be in the 0-5 range. Then, think of songs that are nothing special; neither good nor bad. For most people these fall in the 4-6 range. Find a place for the song you are reviewing along that spectrum.
5: Don't obsess over spelling and grammar.
Your review does not have to flow perfectly or be devoid of spelling errors. Care more about the content of the review, not the way it is presented. Of course, if you feel comfortable with the content you are free to polish up your review. But if you are struggling to even get some content down, don't even think about spelling and grammar.
6: Have a conclusion.
Whether it is with one sentence or two paragraphs, it's always a good idea to wrap up your review with a summary of your thoughts about the song or album, so that the tone of your review is evident. For example, if you pointed out some good things about a song as well as some bad things, a conclusion will help you determine whether the good outweighed the bad, or vice versa. Think of your conclusion as your overall opinion about the song or album. Oftentimes, I find my conclusion helpful in determining a score for my review.
If anybody has any other tips, feel free to share! I want everyone to feel comfortable writing reviews because they really are fun to do!
Great one! 
I'll write mine later when I'm not lazy 
