Archive | 1:26 PM

First Impressions of Taylor Swift’s Evermore

11 Dec

My first listen of Evermore was during a work day. I wanted to note my genuine and untainted (by Tumblr ideas or Twitter takes or magazine blurbs) thoughts, but also I had to work. So I wrote my impressions on a post-it, then had to really struggle to get the type OFF of my work network. So here is a more readable version.

Willow:  I am immediately relieved to hear the instruments.  It’s automatically more alive than folklore.  I also like when she sings at a higher octave, and the faster cadence in the chorus.

Champagne Problems:  Nice piano.  Very quiet, stripped down song. The little interlude is a bit faster, and the backing is quite Enya. I like the one for the money two for the show lines.

Gold Rush:  Faster singing.  Hair fallin’ into place like dominoes is a very cleaver line, packed with meaning. Very sudden ending.

Tis the Damn Season:  Sounds like a bitter song, and you know how I like that!  The emotions are very strong through her singing here.

Tolerate It:  An introspective song, that tells a detailed story, but I’m unable (so far) to figure out who it’s about?  $cott B? Her father? “Reading head low.  Older and wiser.  Wait by the door like I’m just a kid.  I greet you like a battle hero’s welcome.  You were out building other worlds.  I made you my temple…  Now I’m beggin for footnotes.  Always takin’ up too much space or time.”  The production is minimal, which lets the listener focus on the lyrics.

No Body No Crime:  I love the instruments a lot!  Is that more harmonica?!  I also like the faster singing and cadence of the song.  I also like the “I think he did it” part.   It’s a murder mystery song.  Estes?  And I’m listening for hints that it’s based on someone real.  Husband’s acting different and it smells like infidelity.  I’m gonna call him out.  I think he did it [cheated on her?  Or killed her?] but I just can’t prove it.  He reports his missing wife, and his truck has some brand new tires.  Esty’s sister?  Took out a big life insurance policy.  The pronouns and subject of the song switch several times.  I think this crime song morphs maybe more into the love triangle situation.  She thinks I did it but she just can’t prove it.  It’s the campainion song to Goodbye Earl song

Happiness:  This has some similarities to folklore.  This song has a quiet rage.  “I can’t see facts through all my fury.”  This song shows how Taylor has matured, and she says “I can’t make it go away by making you a villian.”  Taylor is not going to write one of her favorite fuck you broken up songs.  She can sit with the sadness, heartbreak, and anger, without lashing out.  I like when the instruments pick up toward the middle.  No one teaches you what to do when a good man hurts you and you know you hurt him too.  It’s the difinitive ‘Kaylor is over’ song.

Dorothea:  Another song that tells a detailed story.  Someone in Tupelo?  An old friend?  “Skippin’ the prom just to piss off your mom and her pageant schemes.”

Coney Island:  The National’s voice sounds terrible–the song would be a lot better without it.  His voice reminds me of that last Jonny Cash album after he was old and his voice was shot.  But he was a legend, which salvaged it.  The production is sparse.  I like the story this song tells, but The National really ruins the song.  I think parts of this song might reference her dad?  ” If I can’t relate to you who am I related to?”

Ivy:  I like the warmer instruments on this track–on the others that don’t have it I miss it.  “Grieving for a livin'” is a neat line that shows Taylor writes songs about her heartaches.  Another story of Karlie cheating on Jo$h.

Cowboy Like Me:  The guitar is nice.  The story is bleak, but detailed.  The syncopation of the “I had tricks up my sleeve, takes one to know one” is both interesting and calls attention to the lines.

Long Story Short:  The beat is already fast and good.  Taylor is rising above drama here.  She’s a more mature version of herself.  The faster, more pressing ending is good.   I think this song is mostly about Taylor’s label dispute and masters battle.  I tried to pick my battle til the battle picked me.  “War of words.”  I was in an ally surrounded on all sides.  Fell from the pedistal.  Right down the rabbit hole.  Wrong guy [label?]. No more keepin’ score, I just keep you warm.  Long story short it was a bad time.  I looked better in the rearview.  Past me (she’s giving $cott advise for his future business partnerships with artists) I wanna tell you not to with these petty things.  I’m not sure what the song is about, but my first impression is that it’s not a romatic relationship.  I think the you in “I’m all about you now” is her new label–who is beniffiting wildly right now, P.S. Long story short–I survived.

Marjorie:  There’s a sadness to Taylor’s voice.  “Never be so polite you forget your power.  Never weild such power you forget to be polite”  It’s good advice.  I take it this was her grandmother’s advice.  She’s not dead to Taylor, because her advice can still be heard.  But she does wish she had asked more, and written down more things, before her Grandmother died.   “I still feel you all around.”  This song means a lot to me personally, because I had/have a very close relationship with my grandma.  And I believe the sentiment someone can live in your heart.

Closure:  The intro sounds like construction.  But like small scale.  Taylor is reeling from this break-up, and Karlie’s concern is just to get closure.  Taylor isn’t having it.  The song itself doesn’t offer much after the lyrics, which are complete and good.

Evermore:  Sweet singing over beautiful piano.  Writing letters addressed to the fire.  It’s good imagry of letters I never sent.  Bon Iver sings falestto here.  It’s not as intrusive as The National.  And the layered effect is still complex and impressive.  “This pain wouldn’t be forevermore at the end of the song.”  So a little of a brighter ending than folklore, despite this being a break-up, broken heart album.

Right Where You Left Me

It’s Time to Go:

My 1st Sweep for Kaylor Klues on Evermore

11 Dec

Here it is–easier to read!

Kaylor Evidence

I didn’t look at social media before I listened to the album for the express purpose of formulating my own options on the song meanings.

Willow;  Wherever you stray [my emphasis] I follow.  Wreck my plans.  Bait and Switch.  I’m wondering if part of this (the chorus? “Show me the places where the others gave you scars”) are sung from Karlie’s perspective.  Cut through like a knife.  Like you were a trouphy…  There was one prize I’d CHEAT to win.  I’ll meet you after dark.

Champagne Problems:   Bustlin’ crowds of sleeping cabs, don’t know which is worse.  Your heart was glass I dropped it.  Told your family for a reason, you couldn’t keep it in.  Your sister, now nobody’s celebrating.  Your midas touch.  Shame she’s stuck in her head.  I’m getting vibes that Karlie came out to her family, maybe friends, but Taylor was too hesitant and scared.  Love slipped beyond your reaches.  “I couldn’t give a reason”  I never was ready so I watched you go.  She would have made such a lovely bride… Something real instead.  I dropped your hand while dancin.

Gold Rush:  I think this might be Taylor’s first relationship where she wasn’t the obvious more publically desired partner.  Karlie had her own career, money, fans, and suitors.  What’s it like to grow up beautiful?  Everybody wants you.  Rose.  Turned you into folklore.  The coastal town we never found.  Sudden ending of song symbolizes the sudden ending of a relationship?

Tis the Damn Season:  I don’t think this is a Karlie song, but it does seem to be an ex from her hometown.  You can call me, babe, for the weekend.  The road not taken looks real good now and it always leads to you and my hometown.  So I’ll go back to L.A. The only soul who could tell which smiles I’m fakin’.  And the heart I know I’m breakin’ is my own.  I’m leavin’.  Mud on your truck tires.

Tolerate It:  I think most of this song may be about Taylor’s dad?  But there’s still some Kaylor-like references here.  Use my best colors for your portrait.  I take your indescredtions all in good fun.  My love should be celebrated, but you tolerate it.  Took this dagger in me and removed it. 

No Body No Crime:  The switching pronouns/subjects may make this into a metaphor at the end.   I think this crime song morphs maybe more into the love triangle situation. And the lesson–everyone is somewhat guilty.

Happiness:  Above the trees, harkens back to “Seven.”  Showed you all of my hiding spots.  I haven’t met the new me yet.  They’ll be happiness after you.  There was happiness past the blood and bruise.  This song has a quiet rage.  “I can’t see facts through all my fury.”  This song shows how Taylor has matured, and she says “I can’t make it go away by making you a villian.”  Taylor is not going to write one of her favorite fuck you broken up songs.  She can sit with the sadness, heartbreak, and anger, without lashing out.  There is happiness in our history.  I woulda loved you for a lifetime.  Tell me when did your winning smile begin to look like a smirk?  Begin to look like weapons pointed at my deepest hurt.  Leave it all behind.  I can’t make it go away by making you a villian.  I guess It’s the price I pay for 7 years of heaven.  Pillow where you used to lay your head.  No one teaches you what to do when a good man hurts you and you know you hurt him too.   Leave it all behind–and there is happiness.

Dorothea:  Not about Karlie, but there are some similarities.  When we were younger.  A tiny screens the only places I see you now.  Stars in your eyes.  I think Taylor uses this line several times on this album to convey someone thirsty for fame or money or status.  And I think that’s why a song about an old relationship pops up here.  This girl’s hunger to get out of town and be famous, makes Taylor think of Karlie, who is always chasing a bigger, greater life.  Tired of bein’ known for who you know.  In magazines.  You’ll go on with the show.

Coney Island: Did I shatter you?  Where did my baby go?  Sorry for not making you my centerfold.  Colder and colder when the sun goes down.  You were too polite to leave me.  Sorry for not winning you an arcade ring over and over.  Did I paint your bluest skies the darkest gray?  But when I walked up to the podium, I forgot to say your name.  I think that I forgot to say your name over and over.

Ivy:  My pain fits in the palm of your freezin’ hand.  My house of stone.  I want to know the fatal flaw…cursed. opal eyes.  Your hand…  It’s been promised to another.  What would he do if he found us out?  He’s gonna burn this house to the ground.  Compares Karlie to ivy.  I lived and died.  Fire, it’s a violent blaze in the dark.  You started it.  So yeah, it’s a war, and you started it.  Now I’m covered in you.

Cowboy Like Me:  You asked me to dance, and I said dancin is a dangerous game.  Now I know I’m never gonna love again.  Takes one to know one.  Never wanted love, just a fancy car.  Tellin’ all the rich folks everything they wanna hear.  Eyes full of stars, hustlin’ for the good life.  Skeletons in both our CLOSETS.  I really did believe I was the one.  Before I locked it down.  Gardens of Babylon (Queer as Folk referenced this hedistic place by calling their main club, Babylon).  Never gonna love again.

Long Story Short:  Golden gates they once held the keys to.

Marjorie:  The same sentiment of keeping a person within yourself, after they’ve passed away, applies to break ups too.  “What died didn’t stay dead, you’re alive in my mind” 

Closure;  Pain.  It’s not all right.  It cut deep to know you, right to the bone.  I know that it’s over.  Don’t treat me like a situration that needs to be handled.  I can feel you smoothing me over.  It sounds a lot like my tears and my beards and my candles…  We know Taylor’s a WINE drinker.  I know I’m just a wrinkle in your new life, stayin’ friends would iron it out so nice.  As someone who always follows the rule to just end things when it ends, I agree strongly with Taylor not wanting to give Karlie a pass, and not try to be friends.  Reaching across the sea you put between you and me. 

Evermore:  I’ve been down since July.  Can’t remember what I used to fight for.  All it does is pause on the very moment all lost.  Sending signals to be double-crossed.  Can not think of the cost or the things that will be lost. Our shipped wrecked.  In the cracks of light, I dreamed of you.  It was real enough to get me through.

Taylor wrote a whole ass album to give us Kaylors closure.  We were, afterall, her biggest supporters all this time, awknowledging and embracing her true story.  I’m sad it’s over, because at one point TAylor and Karlie looked so happy together, but I’m glad Taylor told us definitively that it was real–she even gives us 7 years, and that it’s for sure over.

The Good: 2020 Albums Countdown (30-14)

11 Dec


Eminem (2 amazing 9 good 2 alfred talking(3 tot); and hated 4 of 17  =

11.8% awesome; 

52.9% good songs; 

Awesome good avg = 32.35%

23.5% hated = 

Awesome – hated = neg%

Good – hated = 29.4% good

Awesome good avg – hated = 8.85%

I had to deliberate long and hard to decide where to place the album on the list.  It contains probably the best rap song of all time (yup, I said it) and also a really powerful song, that’s ne of the best of anybody this year.  Unfortunately, it also contains that Eminem-brand misogyny, violence, and toxic masculinity, as well as a denial of white privilege.  I used to overlook those things a lot because I was younger, and I could think of the guy’s real life upbringing and struggles and somewhat justify all that toxicity.  Rap is a historical record of racial politics and socio-economic struggle.  But also, it’s 2020, and these issues are at the forefront, and Marshall Mathers has had plenty of time to get counseling, perspective, and education.  So I could not bring myself to rate it in the Awesome grouping for those reasons.


Alanis Moressette (3 awesome; 3 good; OK; 1 meh; 2 dislike OF 11 = 

27.3% awesome; 

27.3% good; 

9.1% meh; 

18.2% dislike

Awesome – dislike =

9.1% awesome

Good-dislike =

9.1% good

Awesome good avg – dislike = 


I feel like half of this album is my favorite.  It’s a more mature version of Morissette, though she’s still got that edge I’ve always loved.  She is honest and emotional, independant, yet in this album, there’s more vulnerability then I remember on prior works.

But then half of the songs fall into the “trite” category.  Maybe a little too saccharine for my liking.


T.I. (3 awesome; 9 good; 3 ok; 2 meh; 2 dislike of  20 = 

15% awesome; 

45% good; 

Awesome good avg = 30%

15% meh; 

10% dislike

Awesome – dislike = 5% awesome

Good – dislike = 35% good

Awesome good avg – dislike =


Taylor Swift

Evermore (1 awesome; 10 good; 3 ok; meh; 1 dislike of 15 (so far)

6.7% awesome; 

66.7% good

Awesome good avg = 36.7%

93.3% OK & up

6.7% dislike

Awesome – dislike = 0

Good – dislike = 60%

Awesome good avg – dislike 30%)



Kelsie Ballerini (11 of 13 good; 1 strongly dislike message = 

84.6% good 

– 7.7% dislike = 

76.9% good)

I have this little theory that Taylor Swift went around and did some (uncredited) featured work on all her friends’ albums.  Like just for fun and because she can.  I talked about it on the Selena album and on Katy Perry, and I thought I heard some contenders in this album too.  I heard her on those other 2 albums, then made my theory, then listened  for it on this album.  Song candidates:

1) The Other Girl- the parts where it says, “They know about me” and also “red dress” line.

2)  and/or Love and Hate

3)  and/or Hole in the Bottle (the layered voice could easily be TS, and that last laugh?  If that’s not Taylor, then it sounds identical.  


Smashing Pumpkins (awesome; 3 good; 1 ok; 6 meh; dislike of 10= 

30% good; 

40% Ok & up)

I mean, they haven’t given me all that much to say about the album.  It’s Ok, nothing really stands out except for the progressive track title spellings.  Not bad, could be more noteworthy next time around.


Nada surf ( AWESOME 6 GOOD 1 OK MEH of 9 = 

66.7% good; 

77.8% ok and up )

Not the “Popular” sound at all!  Far from it.  It’s actually more of a Death Cab for Cutie sound.  I was surprised this one ranked above my honorable mentions list.  It’s mellow, but not boring, and they gave me just a taste of their 1990s sound, but mostly had a new vibe.


John Legend ( 4 good 3 ok of 16 =

25% good; 

44.8% ok & up)


There were many songs on this album that I didn’t like something about.  But each of those disliked songs had at least one redeeming factor, or this entire album would have been ranked lower.


Katy Perry (5 good 7 OK of 12 = 

41.7% good

100% OK & up)


Bon Jovi (2 awesome; 6 ok; 4 meh of 13 = 

15.4% awesome; 

46% ok; 

Aweseome + good avg=

30.7% good)

Bon Jovi wins easiest, most genuine segway into current events.  He does a seamless job of staying true to his own sound, and having an album that discusses all of today’s issues.  He hits on:  Political ugliness, the division in the country, war, racial justice, covid, and I applaud him for taking it on, and doing it well.  Every artist has a responsibility to do that right now.


Rufus Wainwright (2 awesome; 3 good; 3 ok; 4 meh; dislike of  12= 

16.7% awesome;

25% good; 

Awesome good avg = 20.87%

66.7% ok & up)


The Strokes (1 AWESOME 5 GOOD 3 ok of 9 = 

11% awesome; 

55.6% good; 

Awesome good avg = 33%

100% ok & up)

This is one of those albums that just might be too cool for anyone listening to it.  I’m glad to hear some more true alternative genre, but some of the experimental sounds are just too much.


Haim (4 awesome; 5 good; 7 ok;  meh; dislike of 16 = 

25% awesome;

31.3% good; 

Awesome good avg = 28.15%;

100% OK & up)

I tried to listen to Haim before, because I heard a lot about them.  But I just didn’t really connect.  But some of their stuff was good on this album, and it made me want to listen to more of their catalogue again.


Chris Stapleton (3 awesome; 6 good; 1 ok; meh; dislike of 14 = 

21.4% awesome; 

42.9% good; 

Awesome good avg = 32.15%

71.4% ok & up)


Miley Cyrus (3 awesome; 8 good; 4 ok; meh; dislike of  15 = 

20% awesome; 

53.3% good;

Awesome good avg = 36.65%

100% OK & up)

This album is awesome–but not really because of Miley herself.  She pairs with standouts and covers some favorites.  But whenever it’s Miley, by herself on her own track–it doesn’t really hold up.


Lauren Alaina 

Getting Over Him

(2 awesome; 4 good  of  6 = 

33.3% awesome; 

66.7% good)

Overall, I was disappointed.  If your EP is made of a few really great songs, put it out.  But if the songs are not perfect, either edit til they are better, or add some stunners and make a full album.  Also, the two things I liked best about her past album, was Alaina’s positivity and good messaging, and her vocal strength.  This EP showcased neither.

Yet, here it is at the top of the ‘Good’ list, because it’s out of 6 songs.  So maybe it’s the smartest way after all…

I didn’t realize Alaina had put out two EPs until (embarrassingly late) the day before I was ready to publish the finalized list.  Why not just make them 1 album?  So to all the people I said edit and put out an EP if you need to–never mind on that.  Spotify made it a complete pain in the ass!  It was hard to see them.  Hey Spotify developers, if you’re reading this–puh-leeze make all kinds of music chronological.