album Taylor Swift - 'THE TORTURED POETS DEPARTMENT'

[Lemon]

Everyone losing the plot in here. 

[LiamVillain]

forget TTPD
TS13 will be her biggest era 

[mael]

I need Her to do another "limited" print for the black dog edition outside of NA….. 

 

 

 

[MidnightsAtPeace]

I need her to release every track as a promotional single just like what she did for bejeweled and question to help them enter the top 10

 

[LiamVillain]

I need this to be her Lover era 2.0 and we're gonna have woodvale

[Dear Reader]

 

No drums in sight. TTPD about to be an acoustic album 

[Arrows]

Less than Midnights? Please be serious

[Monster Queen]

No, I CANT

Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!!

I can't handle this, her power on me is insane and I don't want another person to affect my life like that. I'm tired of suddenly thinking about this album and then screaming on the bus. I'm afraid of everything about this album. She is driving me crazy and making me meltdown. So for my mental health please just scrap this album.

[Klein]

45 minutes ago, Dear Reader said:

 

No drums in sight. TTPD about to be an acoustic album 

A dream. Literally a dream. Give me Taylor and a guitar and that's all I need 

[vale9001]

this tweet 

 

 

 

 

 

 

 

[Post Malone]

No new posts in 39 minutes despite us having absolutely 0 miliseconds of the music to discuss? TTPD flop confirmed

 

[G.U.Y_Del_Rey]

1 hour ago, Dear Reader said:

 

No drums in sight. TTPD about to be an acoustic album 

I know you're joking but I'd take this over another Lover/Midnights a synth pop album again. 

[Arrows]

What if I tell you it's gonna debut with 1 million SEA alone

[Klein]

3 minutes ago, G.U.Y_Del_Rey said:

I know you're joking but I'd take this over another Lover/Midnights a synth pop album again. 

Well anyone who'd be against an acoustic Taylor album is someone who just don't understand how powerful it is when it's just her, her guitar and her pen. 

[Dear Reader]

6 minutes ago, G.U.Y_Del_Rey said:

I know you're joking but I'd take this over another Lover/Midnights a synth pop album again. 

oh I wasn't joking at all! I think this picture says a lot 

[Klein]

I'm so grateful for Beyoncé's album because it will keep me entertained until TTPD. I've never felt so good since the album announcement. 2024's music was lacking so far. Thank god the two queens are turning things over by releasing back to back masterpieces. 

[wastedpotential]

Some of y'all have lost your goddamn minds

 

 

OT: I'm really excited to press play on the first track!

 

Spoiler

Since I didn't have the mental capacity yesterday, here's my track 8 ranking. Standard warning against anyone who reports this as *ff t*pic (or any mod who gives it points): if you report this, let it be known that I will find some way to curse you and all of your descendants in a way that will make you regret ever signing up for this website in the first place. That being said:

Spoiler

1. august

2. dorothea

3. Tell Me Why

4. Florida!!!

5. We Are Never Ever Getting Back Together

6. Paper Rings

7. Gorgeous

8. Bad Blood

9. Never Grow Up

10. Stay Beautiful

11. Vigilante ****

 

Spoiler

10/10s: What can I say about aotygust that hasn't already been said? There are literally thousands of people out there that have lyrics from this song tattooed on their bodies. It's a career-defining song, and will go down in history as one of her greats. I'm a little salty that it thrashed exile in the second biggest folklore song race, but it was a very worthy contender. The LPSS version of this is an all-time classic, as is the tour rendition. I'm not gonna say anything else here because I burned myself out on this song years ago and barely listen to it anymore, but I know this is where it deserves to be. 

 

diamondthea is, pound for pound, the least appreciated and most deserving song in Taylor's entire discography. It's so comforting to listen to, and is literally Taylor mentally taking the place of Drew Dunlap and writing a song from his perspective as the boyfriend from before. Like... that's a brilliant POV to adopt (especially when played against her own in Tis The Diamond Single, and Lord pulls it off so ******* well. The melody sits so lightly on the ear and really feels like taking a leisurely 10am stroll in May or June, when it's warm but not stiflingly hot and you can bask in the sun but not get burned, or it reminds me of sitting on the side of the road, watching wheat in a field blow back and forth in the wind with the sun reflecting off the vivid green stalks. "Down in the park, honey, making a lark of the misery" is such a Taylor-coded line that I just... adore and that I've never seen singled out before. Tupelo was an excellent small town for her to pick to place in the narrative (at random, I'd assume, since I don't know of any connection she has to it), because I've driven through before and it's a... pretty miserable place that's long past its heyday, and I can just perfectly visualize the point she's making, PLUS the Elvis connection, and I do love Tupelo honey (which I know isn't from the town but it's a nice callback nonetheless). The little yodeling bits interspersed throughout the pre-choruses, before the yodeling explosion in the bridge were (at that time) such a unique element for a Taylor song, and it adds such a folksy and rootsy character to the song. I think this rival seven as one of her most 'folky' folk songs, and it makes a solid case for being the most americana she's ever sounded. A band like Kansas or Chicago could've made this in the 1970s and it would be an enduring classic, and it's a real shame that Taylor's career has so many strong standouts that a song like this can get lost, but maybe that's part of its beauty. 

 

Pray Me Why, despite being one of the weaker ditty's on Fearless (this ranking series has reinforced my position that Fearless is a top 5 album in her career, and has her most consistently strong and hooky melodies), has some insanely stellar moments. It's sandwiched between two 3-career-defining track runs (WH-Breathe, YNS-F&A), so in comparison it's a bit dull. That being said, I adore how she sings "day" in the second chorus, I adore how she changes the chorus lyrics, and "I need you like a heartbeat" is criminally underrated and misunderstood. The tea spilled on the bridge "why do you have to make me feel small so you can feel whole inside?" is the precursor to her single most destructive evisceration (that being of John Mayer on Swift 3:5). The little stripped back chorus moment is cute and how it feeds back into the full chorus production is cuter, honestly this entire song is just really... cute. I think we've decided this one is about one of the high school khia boys she dated, and I fear that man can no longer have children because she served castration here. 

 

9/10s: We Are Never Ever Streaming The Re-Recorded Version is a hit to end many hits. It's such a simple concept that I really think Lord executed better than anyone, and it's one of those lyrics where I have to wonder 'how has no one written a song with this line before?'. The little guitar intro serves as an homage to her country side before that Max Martin drum and bass kicks the song into high gear and the sing-along chorus explodes up, dispelling any notions that Taylor was staying in the Nashville ecosystem. WANEGBT, more than any other song, set Taylor on her career trajectory, proving to the curdled old men at BMR and 13 Dinosaurs that the pop world was Taylor's for the taking. No other song would blend the pop/country elements on Red well enough to serve as the lead single (imagine the trainwreck if she'd chosen MIAB over this and then made it the lead... oh I'm already shuddering). The weee-eeee rollercoaster vocal is such a strong and memorable, little hook (****the original, as the re-recording is an abomination and this is the only one I literally do not ever listen to) that was excellent over car speakers back when it was on the radio. As for the lyrics, this really hits so many universal and specific points that it's no wonder it's on the fast-track to a diamond certification: "I remember when we broke up... the first time", "I miss you and I swear I'm gonna change, trust me" (I love the emphasis in her voice with this one), "I'm really gonna miss you picking fights", "with some indie record that's much cooler than mine" etc are all just... exactly things I've said to someone or that someone's said to me (excluding the latter, but I think it's funny given where her career ended up and the fact that she made this song personally to annoy the hell out of Jake whenever he heard it). I remember reading a critical argument that unlike other breakup songs from this era (like Stronger or Part of Me for example), Taylor did an excellent job of not making her ex out to be a literal storybook, larger than life, villain (there's no metaphors about poison or "getting the last laugh" or whatever), and by keeping him human and meticulously listing out all the snide and believable and relatable ******* things he did, she made a more compelling song.  Also, this is a key piece of evidence in my theory that Taylor and Jake were secretly ******* on the side all the way through the Grammys in 2014 (before she and Harold went exclusive), well after his All Too Well evisceration, which makes me wonder what he thought about all of that and about how awkward the conversations must've been when she flew in for a booty call. 

 

Diamond Rings would've made an excellent lead single from Lover, but that's not what this list is here to discuss. I love this little spunky pop rock moment, I love the admission that she met Jobless's friends while they were high (which reaffirms my belief that they were all kinda stoner losers and she was the best thing that happened to him). I love the warmth and shimmer of the chorus, I love everything about the instrumentation choices, I love Jack's shouted countdown intro to the chorus, I love that Lord basically said "it's okay if you're poor, I still love you", I know the THOTS are predisposed to hate Taylor for being a billionaire just because they hate her, but that line shows her to be a woman of the people and those who use economic arguments against her really ought to consider that. The fact that this went quasi-viral, in which it never really had a moment as a viral song, but it's still doing ludicrous numbers for a non-single, is also really underappreciated - I can't believe this has more streams than all versions of 22 combined, for instance. The people really decided the true singles from Lover (title track, CS, and this), and the 2019 me who was sitting in the trenches while fantasizing about how things could've gone better would be so pleased to see that. 

 

8/10s: Now, I know I'm going to have to explain what Garbageous (actually, for the sake of this ranking, Godgeous) is doing this high on the list, because a lot of people, myself included, consider it a career-low. In my defense, it's such a fun song to listen to at a party with your friends. I've probably done over 100 shots of tequila or vodka to this song over the years, which gives me a lens through which I can really appreciate it. The melodies are strong, the synths are synth-ing, and I love speak-sing Taylor on occasion, and this scratches that itch. Finally, as someone who suffers this exact same mental issue (I like you, so I'm going to pretend you don't exist because if I speak to you I will embarrass myself and make you hate me), it's very relatable in a way that's not often expressed. The bridge? A camp classic. I also stumble home to my cat, alone from time to time, so I just feel very seen here. 

 

Katy's Gushing Blood is a very enjoyable listen, no matter what the haters may say. It doesn't come anywhere close to Taylor's best lyrics, and it suffers a bit from the villainization issue that WANEGBT avoids, but I ******* love listening to this song in the gym or on a run, and it did play a pretty significant role in the destruction of Katy Perry's career, so it did exactly what she wanted it to. It's easily her least... good #1 hit, but I listen to it quite often and it's always a fun time. Not every song has to be a lyrical masterpiece, and I love the fake theory that Taylor wrote it this way to eviscerate Katy with a song at her own lyrically shallow level nnn. The Kendrick verse (and changed production) is great, and I'm glad he came back for the re-recordings. Also, the music video is unhinged, as is best explained in this video, but tldr Ellie Goulding's rocket launcher is ******* deranged in the best way. The summer of 2015 was a very fun time to be a Swiftism practitioner, largely because of this song and video, and for that I'll always be grateful. 

 

Taylor Moves Out And Feels New Emotions (doesn't warrant a good nickname but I don't feel right giving it a bad one) is gut wrenching and I cried when I listened to it right when I moved out (granted, when I moved out of my parents house I moved continents), but my god is the production and melody are a dirge. This is one of Lord's least hooky songs ever, and that knocks it back several points, because the lyrics are very sweet and the sentiment is heart-tugging. 

 

7/10s: Rarely Played-in-ful is a very mixed bag for me. Cory's eyes being jungle-like and his smile being radio-esque have always bothered me because it's an INCOMPREHENSIBLE line. Why is he whispering in Lord's window? Shitty verse lyrics aside (and really, she should've gone back to the drawing board for both of the verses), the chorus is a very... cunty Nashville melody, and is the most... Grand Ole Opry melody of her entire career. I love her little vocal raises in the last chorus and the beautiful, beau-ti-ful and the oh-oh-oh outro bit, it's clear that Borshitta told her she could only have one sub-3 minute song on the album so Lord had to put in the work throwing together that filler. In an alternate timeline where Taylor never made Fearless and never pushed anything to pop, and thus never crossed over, this would be a honky-tonk classic, but in this timeline, SB is just a... C-tier country song on an album with true highlights. 

 

Listening-Experience-is **** is only really saved by the tour performance from falling into a 6/10 tier or even lower. I can appreciate that she's going after Scooter hard, but there's enough of this song that just comes across as either petty or "cringey", as much as it's cringey to even say that. There's a camp element to "draw the cat eye sharp enough to kill a man" or "lately I've been dressing for revenge", but when I'm not in the right mood I HATE them. I get that this is just as unserious as Gorgeous or Bad Blood, but those are a lot more fun to listen to and have strong melodies (something this song completely lacks), which saves them. I kinda hate that Taylor spent the second verse hyping up Yael Cohen when she was going around political fundraising parties in LA calling Taylor anti-lesbian slurs fjsdlkf. Also... if Taylor was going to emulate the Billie Eilish sound, I really wish she'd picked a different Billie sound to go after, maybe something like Your Power rather than You Should See Me In A Crown. I do really love the play on words with "while he was doing lines, and crossing all of mine", but the fact that it's followed up with "someone told his white collar crimes to the FBI" lands a bit phony, because I think a word like "gave" would flow better than "told", and would make more grammatical sense, and also, the thought of Taylor actually ratting on Scooter is ******* iconic and her teasing like that drives me a bit insane. 

 

I'm actually surprised how low the quality is here, I guess august, dorothea, and TMW set the standard for track 8s so high that I'd forgotten that not all are good. With one key exception, all track 9s are pretty much 11/10s, so expect a full dissertation from me about them tomorrow. No 11/10s this time, but I did hit the 2k word mark, so my novelization streak continues nnnnn

 

Spoiler

also @Dear Reader if only you weren't too ******* scared of the WPs to organize more daily rankings... I really want to know how others rank these songs nnn

 

Spoiler

kidding mwah ilysm please don't feel pressured to continue the rankings 

 

 

 

 

[tayliviaoutsold]

"So Long, London" is a 9-minute-long powerful rock ballad.

 

[Klein]

58 minutes ago, wastedpotential said:

Some of y'all have lost your goddamn minds

 

 

OT: I'm really excited to press play on the first track!

 

  Hide contents

Since I didn't have the mental capacity yesterday, here's my track 8 ranking. Standard warning against anyone who reports this as *ff t*pic (or any mod who gives it points): if you report this, let it be known that I will find some way to curse you and all of your descendants in a way that will make you regret ever signing up for this website in the first place. That being said:

  Hide contents

1. august

2. dorothea

3. Tell Me Why

4. Florida!!!

5. We Are Never Ever Getting Back Together

6. Paper Rings

7. Gorgeous

8. Bad Blood

9. Never Grow Up

10. Stay Beautiful

11. Vigilante ****

 

  Hide contents

10/10s: What can I say about aotygust that hasn't already been said? There are literally thousands of people out there that have lyrics from this song tattooed on their bodies. It's a career-defining song, and will go down in history as one of her greats. I'm a little salty that it thrashed exile in the second biggest folklore song race, but it was a very worthy contender. The LPSS version of this is an all-time classic, as is the tour rendition. I'm not gonna say anything else here because I burned myself out on this song years ago and barely listen to it anymore, but I know this is where it deserves to be. 

 

diamondthea is, pound for pound, the least appreciated and most deserving song in Taylor's entire discography. It's so comforting to listen to, and is literally Taylor mentally taking the place of Drew Dunlap and writing a song from his perspective as the boyfriend from before. Like... that's a brilliant POV to adopt (especially when played against her own in Tis The Diamond Single, and Lord pulls it off so ******* well. The melody sits so lightly on the ear and really feels like taking a leisurely 10am stroll in May or June, when it's warm but not stiflingly hot and you can bask in the sun but not get burned, or it reminds me of sitting on the side of the road, watching wheat in a field blow back and forth in the wind with the sun reflecting off the vivid green stalks. "Down in the park, honey, making a lark of the misery" is such a Taylor-coded line that I just... adore and that I've never seen singled out before. Tupelo was an excellent small town for her to pick to place in the narrative (at random, I'd assume, since I don't know of any connection she has to it), because I've driven through before and it's a... pretty miserable place that's long past its heyday, and I can just perfectly visualize the point she's making, PLUS the Elvis connection, and I do love Tupelo honey (which I know isn't from the town but it's a nice callback nonetheless). The little yodeling bits interspersed throughout the pre-choruses, before the yodeling explosion in the bridge were (at that time) such a unique element for a Taylor song, and it adds such a folksy and rootsy character to the song. I think this rival seven as one of her most 'folky' folk songs, and it makes a solid case for being the most americana she's ever sounded. A band like Kansas or Chicago could've made this in the 1970s and it would be an enduring classic, and it's a real shame that Taylor's career has so many strong standouts that a song like this can get lost, but maybe that's part of its beauty. 

 

Pray Me Why, despite being one of the weaker ditty's on Fearless (this ranking series has reinforced my position that Fearless is a top 5 album in her career, and has her most consistently strong and hooky melodies), has some insanely stellar moments. It's sandwiched between two 3-career-defining track runs (WH-Breathe, YNS-F&A), so in comparison it's a bit dull. That being said, I adore how she sings "day" in the second chorus, I adore how she changes the chorus lyrics, and "I need you like a heartbeat" is criminally underrated and misunderstood. The tea spilled on the bridge "why do you have to make me feel small so you can feel whole inside?" is the precursor to her single most destructive evisceration (that being of John Mayer on Swift 3:5). The little stripped back chorus moment is cute and how it feeds back into the full chorus production is cuter, honestly this entire song is just really... cute. I think we've decided this one is about one of the high school khia boys she dated, and I fear that man can no longer have children because she served castration here. 

 

9/10s: We Are Never Ever Streaming The Re-Recorded Version is a hit to end many hits. It's such a simple concept that I really think Lord executed better than anyone, and it's one of those lyrics where I have to wonder 'how has no one written a song with this line before?'. The little guitar intro serves as an homage to her country side before that Max Martin drum and bass kicks the song into high gear and the sing-along chorus explodes up, dispelling any notions that Taylor was staying in the Nashville ecosystem. WANEGBT, more than any other song, set Taylor on her career trajectory, proving to the curdled old men at BMR and 13 Dinosaurs that the pop world was Taylor's for the taking. No other song would blend the pop/country elements on Red well enough to serve as the lead single (imagine the trainwreck if she'd chosen MIAB over this and then made it the lead... oh I'm already shuddering). The weee-eeee rollercoaster vocal is such a strong and memorable, little hook (****the original, as the re-recording is an abomination and this is the only one I literally do not ever listen to) that was excellent over car speakers back when it was on the radio. As for the lyrics, this really hits so many universal and specific points that it's no wonder it's on the fast-track to a diamond certification: "I remember when we broke up... the first time", "I miss you and I swear I'm gonna change, trust me" (I love the emphasis in her voice with this one), "I'm really gonna miss you picking fights", "with some indie record that's much cooler than mine" etc are all just... exactly things I've said to someone or that someone's said to me (excluding the latter, but I think it's funny given where her career ended up and the fact that she made this song personally to annoy the hell out of Jake whenever he heard it). I remember reading a critical argument that unlike other breakup songs from this era (like Stronger or Part of Me for example), Taylor did an excellent job of not making her ex out to be a literal storybook, larger than life, villain (there's no metaphors about poison or "getting the last laugh" or whatever), and by keeping him human and meticulously listing out all the snide and believable and relatable ******* things he did, she made a more compelling song.  Also, this is a key piece of evidence in my theory that Taylor and Jake were secretly ******* on the side all the way through the Grammys in 2014 (before she and Harold went exclusive), well after his All Too Well evisceration, which makes me wonder what he thought about all of that and about how awkward the conversations must've been when she flew in for a booty call. 

 

Diamond Rings would've made an excellent lead single from Lover, but that's not what this list is here to discuss. I love this little spunky pop rock moment, I love the admission that she met Jobless's friends while they were high (which reaffirms my belief that they were all kinda stoner losers and she was the best thing that happened to him). I love the warmth and shimmer of the chorus, I love everything about the instrumentation choices, I love Jack's shouted countdown intro to the chorus, I love that Lord basically said "it's okay if you're poor, I still love you", I know the THOTS are predisposed to hate Taylor for being a billionaire just because they hate her, but that line shows her to be a woman of the people and those who use economic arguments against her really ought to consider that. The fact that this went quasi-viral, in which it never really had a moment as a viral song, but it's still doing ludicrous numbers for a non-single, is also really underappreciated - I can't believe this has more streams than all versions of 22 combined, for instance. The people really decided the true singles from Lover (title track, CS, and this), and the 2019 me who was sitting in the trenches while fantasizing about how things could've gone better would be so pleased to see that. 

 

8/10s: Now, I know I'm going to have to explain what Garbageous (actually, for the sake of this ranking, Godgeous) is doing this high on the list, because a lot of people, myself included, consider it a career-low. In my defense, it's such a fun song to listen to at a party with your friends. I've probably done over 100 shots of tequila or vodka to this song over the years, which gives me a lens through which I can really appreciate it. The melodies are strong, the synths are synth-ing, and I love speak-sing Taylor on occasion, and this scratches that itch. Finally, as someone who suffers this exact same mental issue (I like you, so I'm going to pretend you don't exist because if I speak to you I will embarrass myself and make you hate me), it's very relatable in a way that's not often expressed. The bridge? A camp classic. I also stumble home to my cat, alone from time to time, so I just feel very seen here. 

 

Katy's Gushing Blood is a very enjoyable listen, no matter what the haters may say. It doesn't come anywhere close to Taylor's best lyrics, and it suffers a bit from the villainization issue that WANEGBT avoids, but I ******* love listening to this song in the gym or on a run, and it did play a pretty significant role in the destruction of Katy Perry's career, so it did exactly what she wanted it to. It's easily her least... good #1 hit, but I listen to it quite often and it's always a fun time. Not every song has to be a lyrical masterpiece, and I love the fake theory that Taylor wrote it this way to eviscerate Katy with a song at her own lyrically shallow level nnn. The Kendrick verse (and changed production) is great, and I'm glad he came back for the re-recordings. Also, the music video is unhinged, as is best explained in this video, but tldr Ellie Goulding's rocket launcher is ******* deranged in the best way. The summer of 2015 was a very fun time to be a Swiftism practitioner, largely because of this song and video, and for that I'll always be grateful. 

 

Taylor Moves Out And Feels New Emotions (doesn't warrant a good nickname but I don't feel right giving it a bad one) is gut wrenching and I cried when I listened to it right when I moved out (granted, when I moved out of my parents house I moved continents), but my god is the production and melody are a dirge. This is one of Lord's least hooky songs ever, and that knocks it back several points, because the lyrics are very sweet and the sentiment is heart-tugging. 

 

7/10s: Rarely Played-in-ful is a very mixed bag for me. Cory's eyes being jungle-like and his smile being radio-esque have always bothered me because it's an INCOMPREHENSIBLE line. Why is he whispering in Lord's window? Shitty verse lyrics aside (and really, she should've gone back to the drawing board for both of the verses), the chorus is a very... cunty Nashville melody, and is the most... Grand Ole Opry melody of her entire career. I love her little vocal raises in the last chorus and the beautiful, beau-ti-ful and the oh-oh-oh outro bit, it's clear that Borshitta told her she could only have one sub-3 minute song on the album so Lord had to put in the work throwing together that filler. In an alternate timeline where Taylor never made Fearless and never pushed anything to pop, and thus never crossed over, this would be a honky-tonk classic, but in this timeline, SB is just a... C-tier country song on an album with true highlights. 

 

Listening-Experience-is **** is only really saved by the tour performance from falling into a 6/10 tier or even lower. I can appreciate that she's going after Scooter hard, but there's enough of this song that just comes across as either petty or "cringey", as much as it's cringey to even say that. There's a camp element to "draw the cat eye sharp enough to kill a man" or "lately I've been dressing for revenge", but when I'm not in the right mood I HATE them. I get that this is just as unserious as Gorgeous or Bad Blood, but those are a lot more fun to listen to and have strong melodies (something this song completely lacks), which saves them. I kinda hate that Taylor spent the second verse hyping up Yael Cohen when she was going around political fundraising parties in LA calling Taylor anti-lesbian slurs fjsdlkf. Also... if Taylor was going to emulate the Billie Eilish sound, I really wish she'd picked a different Billie sound to go after, maybe something like Your Power rather than You Should See Me In A Crown. I do really love the play on words with "while he was doing lines, and crossing all of mine", but the fact that it's followed up with "someone told his white collar crimes to the FBI" lands a bit phony, because I think a word like "gave" would flow better than "told", and would make more grammatical sense, and also, the thought of Taylor actually ratting on Scooter is ******* iconic and her teasing like that drives me a bit insane. 

 

I'm actually surprised how low the quality is here, I guess august, dorothea, and TMW set the standard for track 8s so high that I'd forgotten that not all are good. With one key exception, all track 9s are pretty much 11/10s, so expect a full dissertation from me about them tomorrow. No 11/10s this time, but I did hit the 2k word mark, so my novelization streak continues nnnnn

 

  Hide contents

also @Dear Reader if only you weren't too ******* scared of the WPs to organize more daily rankings... I really want to know how others rank these songs nnn

 

  Hide contents

kidding mwah ilysm please don't feel pressured to continue the rankings 

 

 

 

 

I only have one thing to say: 8 - 9 - 11 - 2 - 4 - 5 - 3 - 7 - 10 - 6 - 1.

 

All I know is Florida!!! is a song for the ages. It will be an anthem. I don't see it being better than august or dorothea for example, which are two titles that I chose completely randomly and not because of any rate at all before anyone comes for me. 

 

I'm also excited to hear Florida!!! because the exclamation point on "****!" was a bait and switch and I wonder if it'll be the case here too. 

 

Spoiler

No I'm not trying to avoid WP. 

 

Edited March 30 by Klein

[scottstreet]

20 minutes ago, tayliviaoutsold said:

"So Long, London" is a 9-minute-long powerful rock ballad.

 

So is Sophie and The Gang, right? I guess Teneo has created a new account to entertain us while we wait.

[Goaty]

35 minutes ago, wastedpotential said:

(this ranking series has reinforced my position that Fearless is a top 5 album in her career, and has her most consistently strong and hooky melodies)

This part alone -- let me log into goodreads to give this novel its well-earned 5 stars. 

[tayliviaoutsold]

20 minutes ago, scottstreet said:

So is Sophie and The Gang, right? I guess Teneo has created a new account to entertain us while we wait.

That's actually a track from THE TORTURED POETS DEPARTMENT: ACT II. 

[scottstreet]

3 minutes ago, tayliviaoutsold said:

That's actually a track from THE TORTURED POETS DEPARTMENT: ACT II. 

Oh ACT II: THE TORTURED COOCHIE DEPARTMENT you already are so loved.

Edited March 30 by scottstreet

[wastedpotential]

33 minutes ago, Klein said:

I only have one thing to say: 8 - 9 - 11 - 2 - 4 - 5 - 3 - 6 - 10 - 7 - 1.

 

All I know is Florida!!! is a song for the ages. It will be an anthem. I don't see it being better than august or dorothea for example, which are two titles that I chose completely randomly and not because of any rate at all before anyone comes for me. 

 

I'm also excited to hear Florida!!! because the exclamation point on "****!" was a bait and switch and I wonder if it'll be the case here too. 

 

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No I'm not trying to avoid WP. 

 

Oh I'm also very excited to hear Florida!!!, the exclamation point terrifies me. 

 

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I'm actually surprised you dislike Paper Rings that much nnnnnnn 

 

I'm quite interested what the rationale is for putting it behind VapidLoser Song and Grudgeous 

 

[Mandalore]

TS 12 cover dropped:

 

Spoiler