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Fan Base: Archived: Taylor Swift (#2)
Member Since: 1/1/2014
Posts: 1,136
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And i saw some comments saying that MM collab won't happen again. Nope, it will, because it's not only Billboard's claim, Taylor also admitted that in an interview with New York Magazine.
And yes, award shows use Taylor for ratings, no need to deny that, just like Katy Perry. It all began with Red era.
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Member Since: 7/23/2012
Posts: 8,113
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But collaborations talked about before an album release never make it on the actual record.
she could be going to MM as a mentor for hooks and whatnot, but i don't see his productions making album if she's doing something truly different.
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Member Since: 12/6/2011
Posts: 3,223
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Get rdy for nxt wave of "taylor dating/denied by so-and-so"
Aaron rodgers chatted with her at the after party/bowling party for zach efrons new movie.
Aaron Rodgers high profile qb of the Packers-recently denied he's gay-said he wanted to meet/date Taylor a couple years ago.
can almost guarantee someone will start some stories on that
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Member Since: 12/6/2011
Posts: 3,223
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Quote:
Originally posted by WayTooHonest13
Coming for an actual quarterback.
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Just saw you posted this before me.
wanted to add: Aaron stated a couple years ago he had a crush on her and wanted to meet her. Interesting he was there but if anyone's chasing its him
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Member Since: 1/1/2014
Posts: 627
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Quote:
BigMachine @BigMachine
The rumors are true! We're partnering with @MotleyCrue & @Eleven7Music for a summer 2014 release of a Country Music Tribute To MÖTLEY CRÜE!
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I really don't see Taylor in it but we never know...
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Member Since: 7/23/2012
Posts: 8,113
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Quote:
Originally posted by Elise
I really don't see Taylor in it but we never know...
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Wait this is great 
It could mean that BMR is truly trying to give its artists an edgier rock sound.
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Member Since: 10/31/2011
Posts: 16,937
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Quote:
Taylor Swift's new album opens with heaving drums and vague lyrics. The percussion—near-ponderous, seemingly pulled from a mammoth rock record—lopes along; the guitars ease in and flutter U2-like. Swift, though sounding more confident and focused than ever, lingers in abstraction and cliché for a verse: "We fall in love 'til it hurts or bleeds / or fades in time."
But then something happens: She gets writerly. "We are alone, just you and me / up in your room and our slates are clean / just twin fire signs / four blue eyes." Those are the kind of details that detach from a narrative and stretch over it like clouds, casting shadows that introduce nuance. They have a similar effect on the music itself for "State of Grace," intensifying and unlocking it: Swift's delivery enters a kind of double time, the drums become varied and alive, and the guitars spin bright webs.
Swift, an underrated and overselling pop-country songwriter, has been getting better and better at telling stories through song. On her new, fourth album, Red—which moved a decade-record-setting million copies last week—the 22-year-old seems to have picked up a few techniques from classic, acclaimed masters of narrative rock and roll. There's a critical and cultural bias against artists like Swift, whose bright, booming production and songs about ex-boyfriends can seem juvenile and unserious. But Swift brings intricate craft to seemingly simple pop about the teenage experience.
Brad Nelson Nov 1 2012, 9:13 AM ET
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Hearing echoes of master rock storytellers in the pop-country superstar's smash album Red
tswiftbanner.jpg
Big Machine
Taylor Swift's new album opens with heaving drums and vague lyrics. The percussion—near-ponderous, seemingly pulled from a mammoth rock record—lopes along; the guitars ease in and flutter U2-like. Swift, though sounding more confident and focused than ever, lingers in abstraction and cliché for a verse: "We fall in love 'til it hurts or bleeds / or fades in time."
But then something happens: She gets writerly. "We are alone, just you and me / up in your room and our slates are clean / just twin fire signs / four blue eyes." Those are the kind of details that detach from a narrative and stretch over it like clouds, casting shadows that introduce nuance. They have a similar effect on the music itself for "State of Grace," intensifying and unlocking it: Swift's delivery enters a kind of double time, the drums become varied and alive, and the guitars spin bright webs.
Swift, an underrated and overselling pop-country songwriter, has been getting better and better at telling stories through song. On her new, fourth album, Red—which moved a decade-record-setting million copies last week—the 22-year-old seems to have picked up a few techniques from classic, acclaimed masters of narrative rock and roll. There's a critical and cultural bias against artists like Swift, whose bright, booming production and songs about ex-boyfriends can seem juvenile and unserious. But Swift brings intricate craft to seemingly simple pop about the teenage experience.
In an interview with YouTube from 2011, Swift talked of how, when she was a kid, her mother would speak extensively in figurative language. "I grew up just understanding metaphor and just kind of loving that," she said. "How you could take something you're going through and speak about it in a different way that applies how you're feeling to something completely different but connects it."
The mingling of concrete and abstract detail in "State of Grace" reminds me most immediately, of all things, of Steely Dan: how Donald Fagen and Walter Becker would introduce an image to their songs that could change the entire character of a story. "Glamour Profession," from 1980's Gaucho, begins with their characteristically vague and ominous scene setting: "6:05 / outside the stadium / Special delivery / for Hoops McCann." It's all transparent allusions to drugs until the next lyric lends the scene color, recasting it in a kind of shrapnel grey: "Brut and charisma / poured from the shadow where he stood." The narrative, before a deranged and incomplete puzzle, experiences poetry, which deepens the song and gives it three dimensions. "Glamour Profession" eventually becomes a cascade of disturbed people and events—it's sort of Steely Dan's ultimate dead zone of cynicism. The cascade in "State of Grace," meanwhile, is mostly of worn phrases: "hands of fate," "Achilles' heel," etc. But small, unexpected lyrical flourishes transform their surroundings, like milk pluming in a cup of coffee.
"Holy Ground" recalls another tradition, this time without doing much to disguise itself. The percussion, the cadence, and the electrified air all point directly to Bruce Springsteen. On her earlier records, Swift would often employ the Springsteen trope of escaping a small town and entering the blurry resolution of a city, but the only hints of his city darkness were in "Never Grow Up" ("It's so much colder than I thought it would be / so I tuck myself in and turn my night light on"). "Holy Ground," though, isn't Springsteen in subject. It's Springsteen in style. The song's tempo feels his. There's no real trace of producer Jeff Bhasker, who's worked with Kanye West and fun., except in the drums, which, as in fun.'s "We Are Young," are pure bombast. They're faster here, though, and are insistent enough to act as punctuation for the lyrics, which practically tumble out of Swift and fit into one another strangely, like how early Springsteen rhymed as if by accident of memory. The drums add syllables to the words—"I was / remin / iscing / just / the / oth / er / day" —just as every snare roll divides "Candy's Room" into kinetic fractions.
Most of all, Springsteen and Swift share a sensibility: that a story can be reduced purely to its rising action. There's a central relationship to "Holy Ground," and Swift refers tidily to its end with the lyric, "Well I guess we fell apart in the usual way / And the story's got dust on every page." But the song is focused inflexibly on a single, revelatory moment that happened during the course of the relationship. The second verse begins "Took off faster than a green light—go," and the song builds itself in the shape of this line. The shape resembles ghostly restraint of "I'm on Fire" or "Brilliant Disguise," with intense, variable emotions flickering beyond a fire door. There's no climax; it's a tense framework of expectations and barely contained ecstasy. It's like the seconds right before you run into the middle of traffic. It lasts three and a half minutes.
"Holy Ground" also shows off a relatively recent development in Swift's storytelling: ambiguity. Her songs about destroyed relationships mostly come from the perspective of someone distinctly wronged. In 2010's "Dear John," her triumph over a bad boyfriend is stratospheric: She ends the bridge "shining like fireworks / over [his] sad empty town." In a 2011 interview with MTV, Swift described this attitude as a product of age and experience, and she refers to a particularly embittered song from her first record, "Picture to Burn." "Now the way that I would say that and the way that I would feel that kind of pain is a lot different," she said. "It's a lot different as you grow up and you kind of understand that there are different ways of saying things." In "Holy Ground," her way of processing a breakup has become charmingly complicated. In the chorus ("Right there where we stood / was holy ground") she enshrines a moment of mutual discovery, but the moment has passed. Later in the song, a ghostly chorus of "hooray"s drifts into the mix. They make for a frail celebration, commemorating a small, happy instant in a longer, murkier story.
Ambiguity runs throughout Red, most explicitly in the title and expressive waltzing of "Sad Beautiful Tragic." But it works best on "All Too Well," perhaps Swift's finest narrative. There's even a Chekhov's gun in the first act—a scarf left at a boyfriend's sister's house—but its reappearance, during a relationship's messy unravel, is thoughtful and brutal: "But you keep my old scarf from that very first week / cause it reminds you of innocence / and it smells like me / You can't get rid of it / 'cause you remember it all too well." It's an exhilarating piece of writing. A detail snaps into place, and the thrill experienced is half from the detail itself and half from how it refers to a haunted object, like a road sign remembered drowsily and a little too late.
The rest of the track renders the relationship and its dissolution so delicately that I'm both surprised and unfazed to discover myself contemplating it as intensely as I might a Leonard Cohen song. In the center of "All Too Well" is a lyric that's at once intricate, tender, and lucid: "And I forget about you long enough / to forget why I needed to." While not as precisely formed as the lines "Chelsea Hotel No. 2" or "Famous Blue Raincoat," it feels of a piece with "That's all / I don't even think of you that often," or "I guess that I miss you / I guess I forgive you / I'm glad you stood in my way."
This isn't to suggest Swift is operating on the level of Cohen, Springsteen, or Steely Dan. She's a pop musician; her words function less as demonstrations of artistry than they do as practical, inclusive stories. Her nearest lyrical analogue is still Ashlee Simpson's totally under-respected and still-great Autobiography, a collection of observations so specifically teenage that they come out sophisticated and strangely applicable to adulthood. But there are also songs on Red that lack immediate reference. "Begin Again," like "All Too Well," lingers in a cloudy, uncertain space, between the end of one relationship and the start of another. Swift addresses the previous boy by listing contrasts: "He didn't like it when I wore high heels / but I do." But when someone new enters a scene, she preserves the "I do" structure, and it flourishes newly in this setting, like a flower returned from darkness to a sunlit windowsill: "We tell stories and you don't know why / I'm coming off a little shy / but I do." These small, rich differences are derived from the traditions of great songwriters, but they're delivered with such ease that they sound entirely Swift's own.
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The slayage.  This Bible. It being compared to the legendary Autobiography.
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Member Since: 10/31/2011
Posts: 16,937
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Quote:
Originally posted by WayTooHonest13
But collaborations talked about before an album release never make it on the actual record.
she could be going to MM as a mentor for hooks and whatnot, but i don't see his productions making album if she's doing something truly different.
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Yes I'm sure Max Martin has time to give Lord some tips on how to steal his songwriting structure, and expects no writing credits on LP5. 
MM/Shellback on LP5 is guaranteed, thankfully.
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Member Since: 11/29/2010
Posts: 19,664
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That Aaron Rodgers dude. Why he had to deny rumors that he is gay? Nnn. Likes too much physical contact in the game? Dating rumors about him and Taylor are not gonna help his case. 
He is a strange one. Looks very good on some photos but absolutely dreadful on others. But over 30. Lord loves to go for that older D from time to time. 
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Member Since: 11/9/2011
Posts: 12,849
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So. Now we have No MM vs Team MM parties? Next few months will be interesting. 
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Member Since: 9/1/2013
Posts: 1,990
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Just got my DEBUT DELUXE edition in the mail and the cover is just.... 
I never realized it was like 3D!
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Member Since: 1/1/2014
Posts: 627
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Member Since: 8/31/2013
Posts: 21,462
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Quote:
Originally posted by thediscomonkey
So. Now we have No MM vs Team MM parties? Next few months will be interesting. |
Didn't she confirm this already?
I think her next album will be very pop. She'll have singles success, but the album won't be as big as her previous ones. She'll win zero GRAMMYs again. That will make her so sad that her next album after that will be more acoustic/country.
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Member Since: 8/26/2011
Posts: 15,572
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Quote:
Originally posted by blueeyesshined13
Just got my DEBUT DELUXE edition in the mail and the cover is just....
I never realized it was like 3D! |
My iMpaCt.
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Member Since: 7/23/2012
Posts: 8,113
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Sign ups 
Bye-bye, MM:
1. WayTooHonest13
Stay stay stay, my little Swedish fish.
1.
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Member Since: 1/1/2014
Posts: 1,136
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Well, she needs to work with MM again if she wants to keep relevant globally.
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Member Since: 3/15/2013
Posts: 481
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Quote:
Originally posted by WayTooHonest13
Sign ups
Bye-bye, MM:
1. WayTooHonest13
2. State of Grace
Stay stay stay, my little Swedish fish.
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Member Since: 8/9/2012
Posts: 6,580
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WANEGOD, 22 and Holy were Hymns, but I want a different sound
Bye-bye, MM:
1. WayTooHonest13
2. State of Grace
3. boyswifty
Stay stay stay, my little Swedish fish.
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Member Since: 8/19/2013
Posts: 198
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Quote:
Originally posted by WayTooHonest13
Sign ups
Bye-bye, MM:
1. WayTooHonest13
2. State of Grace
3. boyswifty
4. Carolx
Stay stay stay, my little Swedish fish.
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No MM, please.
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Member Since: 9/17/2012
Posts: 9,591
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Quote:
Originally posted by WayTooHonest13
Sign ups
Bye-bye, MM:
1. WayTooHonest13
2. State of Grace
3. boyswifty
4. Carolx
5. boodytay (although I'd be here for MM tracks if they were as good as IKYWT)
Stay stay stay, my little Swedish fish.
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