![]() ![]() Now, post- reputation and Lover, sex isn’t an unusual subject for Swift, but in 2012 it was bold and controversial territory for the clean-cut country-pop star. Don’t let it drift by you.Įveryone lost their minds when ‘Treacherous’ was released, as it was one of the first times Swift had alluded to sex in her lyrics: “And I’ll do anything you say/If you say it with your hands” she murmurs in the opening verse. He always said he didn’t get this song but I do, I doīut you got here early and you stand and wave.”Ī warm generous hug of a song. He didn’t like it when I wore high heels, but I do Just look at how Swift carves out these characters and an entire backstory in just the first few lines: Like the best of Swift’s songs, a whole world is contained in the few stanzas: the heartbroken yet hopeful figure, the nerve-wracking coffee shop date, the tentative laughs and smiles, the gradual warmth and letting go of fear. Speaking of vintage Swift, ‘Begin Again’ could have slipped easily onto Speak Now’s tracklist - just listen to that pedal steel guitar, for god’s sake. Like a offcut of Speak Now or Fearless, it’s a bolshy and businesslike country-pop slammer, complete with lyrics about messy airport goodbyes and long-distance pining. There are a few vintage Swift moments on Red, and ‘Come Back…Be Here’ is one of them. The difference between this collaboration and ‘The Last Time’ could not be more marked. They’re close friends in real life, which helps, but more importantly Swift and Sheeran are just very similar songwriters, which makes ‘Everything Has Changed’ feel unforced and natural. One of the rare occasions when a Swift collaboration doesn’t sound awkward. But somewhere along the line (the second verse) it just loses its way, and ends up like a song that would soundtrack the ad to a teeth-whitening product. There’s a lot of good stuff in ‘Starlight’ - the country undertones to the melody, the twang of Swift’s voice on words like ‘prince’. Swift has never been great as a feature artist - with a couple of exceptions, nearly every collaboration she’s released has been lacklustre. The chorus hook isn’t bad, but this is a tossed-off Snow Patrol song that Swift somehow ended up on. Snow Patrol’s Gary Lightbody suffocates proceedings, his limpid voice jarring against Swift’s airy vocals. Perhaps one of the strangest tracks in Swift’s back catalogue, ‘The Last Time’ mostly suffers from the crime of not really sounding like a Swift song at all. As subtle as a jackhammer, as sugary as a Nerds Rope. The first single to drop from the record, ‘We Are Never Ever Getting Back Together’ was Swift’s grand entrance to mainstream pop after three albums of pristine country-pop. ‘We Are Never Ever Getting Back Together’ ![]()
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