ENCHANTED
The most unabashedly romantic song on the album, and also one of the best, "Enchanted" describes the aftermath of meeting a special someone without knowing whether the instant infatuation is at all reciprocated.
"That song is about pining away for if you're ever going to see someone again-walking away too early," she explained. "It was about this guy that I met in New York City, and I had talked to him on email or something before, but I had never met him. And meeting him, it was this overwhelming feeling of: I really hope that you're not in love with somebody. And the whole entire way home, I remember the glittery New York City buildings passing by, and then just sitting there thinking, am I ever going to talk to this person again? And that pining away for a romance that may never even happen, but all you have is this hope that it could, and the fear that it never will.
"I started writing that in the hotel room when I got back. Because it just was this positive, wistful feeling of: I hope you understand just how much I loved meeting you. I hope that you know that meeting you was not something that I took lightly, or just in passing. And I think my favorite part of that song is the part where, in the bridge, it goes to sort of a stream of consciousness of 'Please don't be in love with someone else/Please don't have somebody waiting on you.' Because at that moment, that's exactly what my thoughts were. And it feels good to write exactly what your thoughts were in a certain moment."
Apparently, nothing came of this enchantment, except for the song. At least that's the impression given by how Swift acknowledges the guy in question hasn't heard it yet, though she expects him to recognize that it's about their brief encounter when he does hear it. "I think so," she said with a slight laugh. "Using the word 'wonderstruck' was done on purpose," she added (referring to the line "I'm wonderstruck, blushing all the way home"). Because that's a word which that person used one time in an email. And I don't think I've ever heard anybody use that term before, so I purposely wrote it in the song, so he would know."
(And now every guy who ever ran into Taylor Swift at a social event in New York is thinking: "I did say 'wonderstruck,' right?")
Seems like they love Enchanted too to write it this long compared to the other tracks.
ENCHANTED
The most unabashedly romantic song on the album, and also one of the best, "Enchanted" describes the aftermath of meeting a special someone without knowing whether the instant infatuation is at all reciprocated.
"That song is about pining away for if you're ever going to see someone again-walking away too early," she explained. "It was about this guy that I met in New York City, and I had talked to him on email or something before, but I had never met him. And meeting him, it was this overwhelming feeling of: I really hope that you're not in love with somebody. And the whole entire way home, I remember the glittery New York City buildings passing by, and then just sitting there thinking, am I ever going to talk to this person again? And that pining away for a romance that may never even happen, but all you have is this hope that it could, and the fear that it never will.
"I started writing that in the hotel room when I got back. Because it just was this positive, wistful feeling of: I hope you understand just how much I loved meeting you. I hope that you know that meeting you was not something that I took lightly, or just in passing. And I think my favorite part of that song is the part where, in the bridge, it goes to sort of a stream of consciousness of 'Please don't be in love with someone else/Please don't have somebody waiting on you.' Because at that moment, that's exactly what my thoughts were. And it feels good to write exactly what your thoughts were in a certain moment."
Apparently, nothing came of this enchantment, except for the song. At least that's the impression given by how Swift acknowledges the guy in question hasn't heard it yet, though she expects him to recognize that it's about their brief encounter when he does hear it. "I think so," she said with a slight laugh. "Using the word 'wonderstruck' was done on purpose," she added (referring to the line "I'm wonderstruck, blushing all the way home"). Because that's a word which that person used one time in an email. And I don't think I've ever heard anybody use that term before, so I purposely wrote it in the song, so he would know."
(And now every guy who ever ran into Taylor Swift at a social event in New York is thinking: "I did say 'wonderstruck,' right?")
Seems like they love Enchanted too to write it this long compared to the other tracks.
And don't forget the super-creepy response by Adam Young.
Well, here's the epic-fail from that article. Where he suggested that Taylor would close it with another song for a dog.
Quote:
Long Live
Hard to imagine there's any way the closing number isn't about Lautner, if the ongoing affection she's publicly expressed for him is true (not to mention the remorse heard earlier in the album in "Back to December"). She describes herself and her paramour in heroic terms: "The crowds in the stands went wild/We were the kings and the queens/And they read off our names..." That may strike some listeners as self-important for a celebrity to have written, but later in the song, Swift describes things more in the terms of a homecoming king and queen than Hollywood royalty, saying: "You traded your baseball cap for a crown/And they gave us our trophies/And we held them up for our towns."
Taken at its word, the song would seem to have been written during this moment of mutual triumph, but the conquistador attitude occasionally gives way to bittersweet prophecy, as Swift sings, "If you have children someday, when they point to the pictures, please tell them my name..."
I love how that review of Enchanted balances "Taylor the Artist" with "Taylor the Lovestruck Tabloid Relationship Girl."
More of "Taylor the Artist" in the future please.
THIS! I want 'Taylor the Artist'. Pitchfork & Friends, pleaseeeeee be nice to her. I'd like the results from those (what ppl here would call) flop music blogs rather than ****** ass piece-of-**** that's downright blasphemous by celeb-watch sites/magz.
NME, Pitchfork, and others. I'll put it on my prayer now for them to review album #4 and give it a 8.0++ score, and label it as Best New Music.
But you all missed what I consider to be the most astounding feature of “Speak Now” and the musicianship of Miss Swift: everyone of the 14 songs on the album is in a different musical genre. When I downloaded the album in the early morning hours of October 25, I was convinced that Apple had screwed up and given me a Paramore track instead of a Swift song. “Better Than Revenge” channeled Haley so perfectly I am fooled even after 50 listenings. Dixie Chicks, Def Leppard, Prince, Sinead O’Connor, R&B, gospel — I hear them all and more. I still grin every time I hear “Dear John” — Swift wrote and performed a John Mayer tune to convey her emotions in the aftermath of an infatuation with the second-best singer/songwriter living today. How devastating! (As an aside, I hope we are treated to a decade of song and response and re-response and re-re-response from the two of them). My point is that she is so immersed in contemporary music in all styles — from hip-hop and rap to punk rock — that she can create 14 different tunes that defy genre. I am not capable of identifying all of the artists she has “copied” or all of the influences she has absorbed, and would love to see someone who is a truly knowledgeable music critic identify them all — rather than concentrating on guessing who the songs were written about. - SOURCE
