album Taylor Swift - 'THE TORTURED POETS DEPARTMENT'

[Tusk]

Breathe!  The only thing Colbie does on this song.

[wastedpotential]

2 minutes ago, Taylor fanboy said:

What extended version of Pray Brethren are you both streaming? @Tusk @wastedpotential

 

White Privilege is almost done for me.

Oh I fear I'm already on Bibleathe 

[Kern]

Just now, dynastee said:

a question for the culture: if you were in a debate about "puta is taylor's worst album" and are on the affirmative side, what are your main talking points?

better watch your mouth dupe!

[dynastee]

1 minute ago, SLUTTVFTV said:

oooh the return!! spill some more clara bow lyrics girlie 

Oh Clara Bow, you're the melody,

In a world of black and white, you set us free.

With your charm and your mystery,

You're the silver screen's sweet symphony.

[Achilles.]

Just now, wastedpotential said:

It's their only moment of respite from the torture, and they relish it. 

That's not entirely fair. YBWM is also (mistakenly) in that playlist. Karma is great and Bejeweled is good by pop Taylor standards. WANEGOD only constitutes an act of torture because it's the rerecording with those war crime'd weeee's. 

[wastedpotential]

2 minutes ago, Maroon legacy said:

and Midnights?

Triple the pages and triple the views of this thread, but we've still got a few months left here to catch up 

[Tusk]

3 minutes ago, Taylor fanboy said:

What extended version of Pray Brethren are you both streaming? @Tusk @wastedpotential

 

White Privilege is almost done for me.

Breathe.  Her first song about a girl 

[wastedpotential]

1 minute ago, Tusk said:

Breathe!  The only thing Colbie does on this song.

PLEASE I SCRIHMED!

 

Anyway, can we talk about the Bibleathe melody at 1:53? Truly the best melodic moment on the entire album, and considering that this is her album with the strongest melodies, that's saying something. 

[Taylor fanboy]

I'm not a Poet, this ain't a fairytale

I'm not one you'll sweep off her feet

Lead her up the department

 

This ain't Hollywood, this is a small town

I was a dreamer before you want and let me down

Now it's Torture for you and your white horse, to come around.

 

WE LOVE A GRAMMY WINNING CLASSIC

 

[Fama]

8 minutes ago, wastedpotential said:

 

 

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nah, I just reported her for that dupe stunt 

 

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cause I need to get back in the mods good graces after letting Steve Johnson's dupe run around for months without saying anything 

 

The insider and her tea is gone? 

[wastedpotential]

1 minute ago, Achilles. said:

That's not entirely fair. YBWM is also (mistakenly) in that playlist. Karma is great and Bejeweled is good by pop Taylor standards. WANEGOD only constitutes an act of torture because it's the rerecording with those war crime'd weeee's. 

I fear there has to be a Lover-single derived trauma response to any of Lord's pop songs. They're forced to listen to ME! and YNTCD so many times they can no longer distinguish it from Karma or Bejeweled anymore. I will grant that YBWC is another moment for them to breathe.mp3

[Elliot]

18 minutes ago, Taylor fanboy said:

Taylor Nation about to come in to your house with a search warrant stay safe sis

 

Thank you for your service to the cause.

 

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Share the hook / lyrics please.

 

hahah good luck to them because i don't even live in the same country as the hard drive also i don't quite remember because it's been years since i listened to it

[Tusk]

1 minute ago, wastedpotential said:

PLEASE I SCRIHMED!

 

Anyway, can we talk about the Bibleathe melody at 1:53? Truly the best melodic moment on the entire album, and considering that this is her album with the strongest melodies, that's saying something. 

I love how they do the bridge. Such amazing pace and harmony. The second "it's two a.m.” is so damn good.

[wastedpotential]

1 minute ago, Fama said:

The insider and her tea is gone? 

The "insider" and her "tea" girl lets be serious 

 

And no, I don't think so, cause the dupe is still running around 

[Nico Robin]

7 minutes ago, dynastee said:

a question for the culture: if you were in a debate about "puta is taylor's worst album" and are on the affirmative side, what are your main talking points?

Total electro pop bangers with interesting and diverse soundscape further diving into what Taylor defines pop music herself giving us different aesthetics and expensive visuals and a banger tour

Edited April 10 by TSwiftie

[wastedpotential]

Oh Pray Me Why streamings are much more enjoyable in a post April 2021 world. Now that she's actually hitting those notes, this song is quite a good listen 

[Fama]

1 minute ago, wastedpotential said:

The "insider" and her "tea" girl lets be serious 

 

And no, I don't think so, cause the dupe is still running around 

The self-sabotage 

[Achilles.]

2 minutes ago, dynastee said:

a question for the culture: if you were in a debate about "puta is taylor's worst album" and are on the affirmative side, what are your main talking points?

- Delicate, Getaway Car, Don't Blame Me, Dress, Call It What You Want, Dancing With Our Hands Tied

 

- she executed the album's concept very effectively. it's a meta-commentary on how nonsense celebrity drama overshadows the "real her" and intrudes upon the quietness of her personal life / love life. that so many people focus on the loud songs about drama and scandal suggests that she may have executed this concept too effectively. 
 

- it's her best pop album to experience live in concert. RFI, IDSB, LWYMMD, DBM have all been tour highlights, and it was easily the best pop set of the Eras Tour. 

[wastedpotential]

I think I'll give the Most Improved™ award on Fearless (New Testament) to Pray Me Why (runner up FAA), because now that this song is within her vocal range, it's really just excellence. The way she sings "you ask me for my love and you push me around" at 2:35 is just a work of beauty

 

[scottstreet]

2 minutes ago, wastedpotential said:

And no, I don't think so, cause the dupe is still running around 

I really think they are different people, maybe I'm being gaslit  

[Taylor fanboy]

4 minutes ago, Tusk said:

Breathe.  Her first song about a girl 

Sis… Mary's Song, TTWAS, IOMWIWY, APITW.

 

 

[Achilles.]

5 minutes ago, wastedpotential said:

I will grant that YBWC is another moment for them to breathe.mp3

You Belong With Cern?

[Klein]

1 minute ago, wastedpotential said:

I think I'll give the Most Improved™ award on Fearless (New Testament) to Pray Me Why (runner up FAA), because now that this song is within her vocal range, it's really just excellence. The way she sings "you ask me for my love and you push me around" at 2:35 is just a work of beauty

 

Now you know TWILY is the rightful recipient of the most improved award sis. 

 

Tell Me Why and Hey Stephen are the runner ups 

[wastedpotential]

Ohh... You're Not Sinful, my beloved. The best song on this entire album. Instead of saying anything new, here's my unhinged rant from back when I was doing those track list rankings last week:

 

Spoiler

 

I cannot believe that a song in contention to be the very best on Fearless ends up this low on this list, but that's the power of the track 9s I guess. You're Not Sinful is one of the most perfect pop ballads of Taylor's entire careers. I have literally hundreds of thoughts about this song, but I'll try to distill them and only dive into the most important. The way she weaves the guitars and the strings and the top-line vocal melodies is some of the best instrumentation of her entire career (and it was actually elevated even further by the Whitney's Version release, which is a very hard thing to do). Her vocals, even on the WV, especially on the last word of each line in the first verse: "around", "let me down" "figured you out" are some of the most delicate and soft of her entire career, and add such a depth and richness to the song. The way the instrumentation (including the rare instance of percussion coming in totally seamlessly) is dropped in at the start of the first chorus belongs in a masterclass of pop music production. Now, I genuinely believe that this should've been the followup to You Belong With Me, and that it would be Lord's biggest ballad in such an eventuality. It basically takes the best bits of insanely successful songs (OneRepublic's Apologize, Kelly Clarkson/Beyonce's Already Gone/Halo (they're basically the same song lol), Leona Lewis's Bleeding Love etc), the piano and strings combo with a percussive chorus and melancholic lyrics and throws them over a ridiculously easily accessible melody. I will forever be dying on the hill that this is one of Taylor's biggest hits that got away, but unlike some of the other hits that got away on this list, I really feel like I'm the only person carrying the banner for this song. Quite literally, if I had a time machine and had the chance to go back and intervene in Taylor's career at any point, it would be to bully people at Big Machine into making this the single instead of fuckass Fifteen. Abigail could've still been in the ******* music video for this song, it wouldn't have held the same symbolism, but it would've given her the same money to put toward her university tuition (honestly probably more, since this would've been significantly more successful than Fifteen ever was). They made this a countdown pre-release song AND shipped it to CSI with that Godawful remix, so they knew it had potential, and they IGNORED it. Even if for no other reason, Scott Borshitta isn't seeing Heaven because he screwed this song up so royally. The Fearless era faded fast after YBWM because they picked that crappy ass high school loser song when they had options like this sitting there just waiting for a day that never came. It makes my blood boil, actually. Alas, there's only so much ranting about radio single choices 15 years ago I can do before I become blue in the face and have to admit that it's obviously a lost cause and a major digression from a discussion of the merits of this immaculate song. It really is that, though. The instrumental build, growing and receding and then growing, before fading away during the bridge, only to explode back in with the last chorus and the magnificently catchy outro. Those repeating "no's" ascending up and down the melody and gliding alongside the strings are literal sonic crack cocaine, in the sense that I cannot stop listening to them and will often stop the track before it ends to listen to the last 45 seconds again. It's so insane to stan Taylor, because she can make one of the best songs of all time, then abandon it as a random album track with an atrocious CSI remix, and then only play 1/2 of it on its actual tour (because she mashed it up with that random Justin Timberlake while thrashing her head around - I vividly remember thinking it was deranged even back in 2009 when I saw it live on tour), 1/3 of it on the next tour (the fact that she mashed it up with the McSong she was trying to make a hit at that time and ******* Apologize, the song whose success I knew it could replicate and succeed), and then play it like five more times across her entire career is insane. Every artist on the planet would KILL for a song as good as this one, and Taylor has so many that she can literally just... let it exist and play it 5 times in a decade and call it a day. Maybe I do hate her sometimes. 

[Kern]

this is so annoying. I want REAL insiders like @Mr.S to spill the REAL tea. Come on, y'all know its high time we get something