The narrator here has grown up, and so has the song around her; the other track’s bright primary colors replaced by a more bittersweet emotional palette. The rest of the band plays it so straight that it might take a second listen to realize that this song is, frankly, bonkers. A spirited vocal performance in the outro saves the song from feeling like homework. It gives us the unrepentant knife-twisting that Reputation only gestured at, and it gets 13 percent more fun if you pretend she’s saying, “Mouth-fuck you forever.”. The slangy Trump jabs (to say nothing of the slight West Indian accents in the chorus) read as a few years behind the times, butat least it was baby steps? an advocate for victims of sexual assault, the thinking person’s least-favorite pop star, decision to wade into politics for the first time, Swift’s appearance as an ill-fated teen on, it’s a fitting leadoff track for the album proper, Swift’s separation from her old label Big Machine, making out, smoking cigarettes, and reading Anaïs Nin. The title track from Swift’s second album has more of her favorite images — in one memorable twofer, she’s dancing in the rain while wearing her best dress — but she invests them with so much emotion that you’d swear she was using them for the first time.
Accidents happen. Her subsequent renovation job is worthy of HGTV: It’s nearly impossible to believe this was ever not a Taylor Swift song. Despite the dress-up games in the chorus, this is one of the rare Swift love songs to feel truly adult: Both she and the guy have been down this road too many times to bullshit anymore.
Like an imperfectly poached egg, it’s shapeless but still quite appetizing. In praise of one of the best senses of humor in pop music. An admirable stance, certainly, but as the doc’s closing number makes clear, creatively it remains an awkward fit.
Many of the Reputation singles aim at sexy; this airy slow jam about losing yourself in love after a scandal is the only one that gets there, though the saltiness in the verses (“all the liars are calling me one”) occasionally betrays the sentiment. The best of Swift’s songs idealizing someone else’s love story (see “Starlight” and “Mary’s Song”), this bonus track sketches Jack Antonoff and Lena Dunham’s relationship in flashes of moments. She has fun constructing parallels between herself and Harkness — their neighbors hated them!
Swift’s version leans out of the awkwardness by leaning into the materialism; she puts most of her vocal emphasis on the nice presents she hopes Santa will bring her.
A woozy R&B track livened up by an undaunted vocal performance and a saxophonist really making the most of their time in the spotlight. This blistering breakup song was the one that solidified Swift’s image as the pop star you dump at your own peril. Swift’s parents moved the family to Tennessee so she could follow her musical dreams, and she paid them back with this tender tribute.
One of the most empathetic songs in Swift’s catalogue, as well as her most reliable tearjerker. Or as she puts it: “What if happiness came in a cardboard box? It’s an ambitious conceit that I don’t think works 100 percent, but I appreciate how well the song evokes those pit-in-your-stomach days of late 2016.
Other Swift songs have clunkier rhymes, or worse production values, but none of them have such a gaping hole at the center. This cover loses the two most famous parts of Kim Carnes’s original — the synths and Carnes’s throaty delivery — but the acoustic arrangement and Swift’s intimate vocals bring out the best qualities of the tune.
Almost left off the album, but saved thanks to Shonda Rhimes.
The jury’s still out on the question of if she’s ever read the play, but she definitely hasn’t read The Scarlet Letter.
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