Global Courant
LOOKING BACK SO MUCH: Three albums into the hunt for her own recording rights, Taylor Swift hardly looks back.
Three albums after Taylor Swift’s revenge against Scooter Braun, the vault isn’t quite as solid. Revenge is still sweet.
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At the time of writing, Taylor Swift has seven albums in the top 100 in Norway. Two in the top 20. Just for the record, she’s released a total of twelve.
This, the thirteenth, is therefore the third remake of itself after the takeover and resale of record company Big Machine by Scooter Braun.
That history does not need to be repeated.
“Speak Now” was Swift’s first self-penned single. While others had had enough of touring and promoting the breakthrough “Fearless,” the superfluous completed her first album of her own barely two months before she turned 21. Centered around things the 20-year-old wanted to tell several people but never found the opportunity to.
It features John Mayer (“Dear John”), who is said to be Camilla Belle (“Better Than Revenge,” whose chorus has had Disney-ized), music critic Bob Lefsetz (“Mean”), as well as Kanye West’s “Imma let you finish » (“Innocent”).
The last one written when Ye was 32. Newly recorded when Taylor herself was 32. Key points if anyone is ever going to do a PhD in Swift.
Surely someone will.
When the numbers from the vault are revealed, the production becomes fresher than the numbers in return.
Here Taylor (18) meets Taylor (32) at her most consistent, showing that she has clearly matured as an organizer. But that an arrangement can only elevate songs to a certain point. For example, the Fall Out Boy collaboration “Electric Touch” is soft post-punk with a big chorus. The chorus just doesn’t get big enough in this collection.
The piano ballad “Castles Crumbling” with Hayley Williams, about losing interest in the news and no longer being the center of attention, is at the same time an addition to the catalog that stands extremely well on its own, and even better together with the Phoebe Bridger’s collaboration “Nothing New” from the Taylor version of “Red”.
Here, the Paramore singer and Swift complement each other beautifully in Jack Antonoff’s production. At the same time, Aaron Dessner gets to throw a production shine on both Fall Out Boy and the bittersweet “When Emma Falls in Love.”
The three remaining “new” have the impression that they were initially found too light.
Yeah, someone probably would have sold both one and the other for writing “Timeless.” But if “I Can See You” and “Foolish One” had been weekdays, it would have been a forgettable Tuesday with the prospect of rain at best.
This matter of forgetting is also a review topic. “I just realized everything I have will be gone one day” is a self-critical line in “Never Grow Up”.
Strictly speaking, that’s what Scooter Braun should be most concerned about.
published:Published: 09.07.23 at 14:21
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