Continuing my countdown of the songs on Taylor Swift’s Evermore…
#6. ‘Cowboy Like Me’
Marcus Mumford provides very effective backing vocals on this old-school country ballad. This is the most I want to hear any man’s voice on a Taylor Swift song! A yarn about two con artists who fall in love, this is a beautiful, sadly seductive character sketch.
Continuing my countdown of the songs on Taylor Swift’s Evermore…
#9. ‘Champagne Problems’
I really like the melody of these verses, and the piano work on this song is sublime. The bridge is very familiar (especially the “one for the money, two for the show” part). I’m not sure if it sounds like a specific Taylor Swift song or just shares a general sound and style.
Continuing my countdown of the songs on Taylor Swift’s Evermore…
#12. ‘Closure’
The song least like everything else on Folklore and Evermore, for better and worse. The track has very interesting production, with percussion closer to Nine Inch Nails territory that anything I’ve ever heard on a Taylor Swift record. A little of that goes a long way on this song, though, and it overstays its welcome and becomes a distraction.
Following Taylor Swift’s last two album releases — Lover and Folklore — I spent a week counting down the tracks in order of my preference. I never expected this to be such a frequently occurring segment, but here we are, as Swift dropped her second straight surprise album of 2020 two week back.
Evermore is a sister record to Folklore, recorded with the same collaborators and in the same style. It feels more like Folklore: B-sides than a brand-new release, but it’s a strong collection in its own right. In keeping with the new tradition, I’ll spend the week ranking Evermore‘s songs from worst to best.
Maybe it’s the David Byrne American Utopia movie released earlier this year, or maybe it’s pandemic-related, but I’ve been really digging on Talking Heads lately.
When today’s song — the opening track of the 1979 album Fear of Music — popped up as a Random Weekend selection, I was positively giddy. With lyrics based on a nonsensical Dadaist poem by Hugo Ball and music inspired by the African rhythms Byrne was increasingly drawn to, this song is unlike anything the band had done to that point, but still perfectly in character.
Meet Me In Montauk 