Tag Archives: song

This Time Tomorrow [Brandi Carlile In These Silent Days]

20 Jan

The third track is This Time Tomorrow.

This song compares well with a few other songs in Brandi Carlile’s catalogue [see my post about these songs, Travelin’ Man: https://kit10phish.wordpress.com/wp-admin/post.php?post=11954&action=edit%5D. It’s a song from the perspective of a person that travels a lot, and is very busy. But in all of those songs, the narrator says their heart is always with the other person. And that narrator looks forward to physically being with their lover again. But this iteration is more downtrodden and hopeless, with lyrics like:

begins to grow faded/hard to see the ground on which you stand/feel like a stranger/carve a faith/broken spirit /hope that you hold tightly to has all but vanished/no words of comfort/lost and without love/fight to kill that deafening sound/holy dreams of yesterday aren’t gone/haunt us like the ghosts of Babylon

The light has gone out of the partner’s eyes. Not only can this partner not be counted on anymore to ground our troubled narrator, the main character is indicating that the other person is so unstable, the ground cannot even be seen. The lover isn’t grounded at all anymore.

Thus, instead of feeling comfort when physically home with the partner, the narrator feels lost, like a stranger. There is no familiarity anymore. Carving a faith is laborious and doesn’t come easily. Spirits were once hopeful, but now the partner left home is broken. The narrator holds their lover tightly, though every positive emotion has already vanished. Instead of coming home to comfort and love, the narrator only finds a stranger they have lost track of, and who gives them silence.

Through all theses signs of being over, the narrator insists their previous dreams (hopes) haven’t disappeared. Haunt us like ghosts of Babylon is saying their tangible love, which had the couple feeling so hopeful despite constant distance (and a damaged traveler) haunts them now. The love and hope and support are only ghosts of Babylon. Babylon was the club in Queer as Folk. Queers like to use it because it’s this supposed wonder of the world. It’s supposed to be a comforting, accepting place of beauty. But it might not have even existed. It’s a good stand-in for something hidden, ephemeral, or elusive. Which also describes these past positive feelings in this relationship.

You and Me on the Rock [Brandi Carlile In These Silent Days]

19 Jan

The second song on the album is, You and Me on the Rock. I think it’s a double meaning: Physically living on a rock, like rocky land, or a cliff, or some island? And also a relationship on the rock(s).

The first verse beautifully describes ice fishing in vivid detail. The point is transient shelters are built on an unstable, impermanent surface, fun is had during the season, then everything is cleaned up so you can’t tell anything was ever there. The song is also describing a relationship built on a slippery foundation, where both people knew it couldn’t last forever, but they had fun anyway. And now fishing season is over, so to speak.

The chorus is very co-dependent with the main character saying she can’t even stand to be apart from her lover while one is in the garden and the other is on a walk. The narrator says she doesn’t need their (our/the audience/fans) money, just her relationship/marriage.

The 2nd verse explains that the narrator didn’t build a strong, airplane out of her life, so to speak. She says it was paper (vs strong metal) and crooked (so it’s not a sound vessel to start with). Because of this faulty construction of both plane and person, ending up in the water has always been a consequence close at hand.

The narrator tells the other person (and us) that nobody cared about them in the way this wife(?) does. Nobody was asking why’s she so thin (unhealthy, not getting nourishment) and why’s she drinking again (ending up addicted or ‘in the water’). The narrator was close to crashing into the water when this other person caught her and saved her from that terrible fate (sloppiness? alcoholism?).

The bridge[is that what it’s called?] uses a tsunami as a metaphor for their relationship problems. It’s a big wave, but the couple can make it through. They will avoid the water together.

In the bigger picture of the album theme, the 1st song made clear there were relationship problems (caused by the narrator?) but this problematic main person doesn’t want to give up, and thinks things can get sorted out. In this 2nd song, the narrator acknowledges they are a bit faulty as a person, but that’s why they need their lover (as Taylor would say). And together crises can be averted.

Brandi Carlile: Right on Time

17 Jan

First of all, I don’t understand Brandi’s new look.

It’s like David Bowe & wild-days Elton John mashed up. I get that those were her heroes/idols, but the look is definitely a “show look” not street wear. So I figured it must be like an era (al la Taylor Swift) and probably fit the theme of the new album. But it was confusing that the twins didn’t change their look at all. They looked the same as they ever did. But I waited for the album, hoping it would fall into place once I heard it.

Nope.

I don’t know what’s happening. The album is not a funsy-disco, or campy gay theme, nor is it thematic like outer space, or anything that warrants a costumy look. So I chalk it up to midlife crises. And the album might support that view…

It opens with Right On Time– With the words, “It’s not too late” this song sets the album’s tone. The piano-driven, lyrically-centered tune reminds me of “That Wasn’t Me.” That latter song was the single off of Bear Creek which is apt, because I think that album was the beginning of the story arc discussed in this current album. I feel like Bear Creek was all excitement and hope for what was to come, all getting together and family-building. While In These Silent Days is the impending ending/inevitable divorce, maybe staying together unhappily in co-dependence

There are nice bits of electric guitar w/the piano, to show both regret and a bit of edginess. And oh, the singing! Brandi’s voice shines through this song, as well as every song on the entire album. She is always a stunner on vocals, but in each track she makes sure to showcase it, not in just one or two outstanding singles. In this album-opener, Brandi hits that high note. Twice. Then it’s an even higher note!

Brandi/the narrator of the song acknowledges bad behavior, which does warrant anger/hurt in the other person, but makes clear it’s not too late, and she(?) wants to try again. So this album starts at big relationship problems, and indicates things are about to fall apart. But the main character is grasping tightly, not wanting to give up and let go.

Re-rank Evermore

15 Jan

Last time I ranked the album, it had only been out a short time. The songs are mostly lyrically-based so it takes longer to appreciate them. I decided to rank them again now that I’ve listened a lot more.

Willow- Gr-G (it’s very catchy, but way too much “…man” repeats)

Champagne Problems- Gr (lyrically dense)

Gold Rush- A-Gr (Track 3?! Very visual of a song)

Tis the Damn Season- G-N

Tolerate It- A (Captures that gay feeling accurately)

No Body No Crime- A-Gr (What a fun song)

Happiness- G

Dorthea- G-N

Coney Island- G-S (Lots of repetition, and I think his singing is bad)

Ivy- A-Gr (super-gay!)

Cowboy Like Me-A

Long Story Short- A (Catchy AF)

Margorie- A (So sentimental for me)

Closure- A

Evermore- G (Too depressing)

Right Where You Left Me- N

It’s Time to Go- G-N

(A)wesome 5; A-Gr cusp 4.5; (Gr)eat 4; Gr-G cusp 3.5; (G)ood 3; Good-Neutral cusp 1; (N)eutral -1; Good to Skip cusp -1.5; (Meh) -3; (S)kip -6

5 A25; 2 A-Gr9; 1 GR4; 1 Gr-G3.5; 2 G6; 3 G-N3; 1 N-1; 1 G-S-1.5; 0M; 0S

48

2021 Album Ranking [bottom of the barrel]

20 Dec

Gone are the days when artists can hide meh-bad songs in an album and still sell based on 1-2 singles (thank goodness).  As such, I penalized the less than good songs more than I scored the awesomes high.  Streaming is harsh.  Here’s the scale I used for this entire list:

  • awesome 5
  • A-Gr cusp 4.5
  • Great 4
  • Gr-G cusp 3.5
  • Good 3
  • G-N cusp 1
  • Neutral -1
  • N-M cusp -2
  • Meh -3
  • M-S cusp -4.5
  • Skip -6

Another aside-I try only to rank songs released on the calendar year.  Sometimes I’m unaware a ‘live’ song isn’t new, or I judge a remix or something.  This year I must say there were a LOT of cheatee, not actually new, music put out in 2021:

Madonna-True Blue (35th Anniversary Edition); Green Day- Insomniac (25th Anniversary Deluxe Edition); Avril Lavigne- Bite Me single; Metallica single; Sam Smith-Love Goes (live) & soundtrack produced by him?  Rufus Wainwright-live; Jason Isbell- live; Sarah Bareilles-live; The Black Keys- remastered, live; Pink-remixes; Blondie-Spanish; Kelly Clarkson-Christmas

You see there were a lot of people putting something out, so the Wiki 2021 Albums list looked overwhelming, but a lot of artists were tricky.  They got their name out, but didn’t put in a lot of work *side-eye* Seems to me like everyone had a lot of time to think and write and get something together during the 2020 Covid-pause.

There’s my parameters.  Let’s commence the count-from bottom of my reviewed to the best of the best 2021!

Vampire Weekend– S (too experimental & discordant)

tot = nope

I abandoned this one, because I just couldn’t.  You’ll see a theme this year-not everything is made for me, not everything is appreciated by me.  It’s fine.  This is one of those.

John Mayer-Sob Rock

I was torn about even reviewing this album.  John Mayer has been a long time staple of mine, but new information has come to light (Jessica Simpson) and I feel like it isn’t all that ethical to support him.  But I thought I’d at least give it a chance.  Well, I shouldn’t have.  It’s nothing special.  Nothing much was going on in the songs.  Boring.  And by the time I got to the baby-talking track (cringe!) I was over it.  There are just too many albums this year to fuss about with a meh one.  So I aborted mission halfway through.

tot = NOPE

Last Train Home M

Shouldn’t Matter but It Does G

New Light M

Why You No Love Me S (baby talk)

Wild Blue M

Shot in the Dark; I Guess I Just Feel Like; Til the Right One Comes; Carry Me Away; All I Want is to be With You

Those were the only two albums that I could not make myself finish.  The next ones scored in the negatives.  That just means they either had tracks to skip, mehs, or not enough songs that moved me.

Neil Young Crazy Horse-Way Down the Rust Bucket-Live

I really couldn’t get past the awful singing.  IDK why listeners are very hard on women who don’t/can’t/lose their singing, but it seems like it’s tolerated if men do it *cough patriarchy/misogyny*

awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

0awesome; 2Great8; 5Good15; 3Neutral-3; 5Meh-15; 2Skip-24 = tot-20

Country Home- S (pretty bad singing)
Surfer Joe and Moe the Sleeze- S (bad)
Love to Burn- N
Days that Used to be- G
Bite the Bullet- M
Cinnamon Girl- M
Farmer John- M
Over and Over- G
Danger Bird- N (terrible singing knocks the score down)
Don’t Cry No Tears- G
Sedan Delivery- G
Roll Another Number (for the Road)- M (bad singing)
Fuckin’ Up- M
T-Bone- S (About 5 words in the song)
Homegrown- N (good harmonies)
Mansion on the Hill- S (bad)
Like a Hurricane- Gr (probably best on album)
Love and Only Love- Gr
Cortez the Killer- G

David Gray-Skellig

awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

0awesome; 3Good9; 1G-N cusp1; 2Neutral-2; 6Meh-18; 1M-S cusp-4.5; 0Skip =tot-14.5

Skellig- M
Dun Loaghaire- G
Accumulates- G
Heart and Soul- N-G cusp
Laughing Gas- N
No False Gods- M-S cusp
Deep Water Swim- G
Spiral Arms- M (repetitive)
The White Owl- M
Dares My Heart be Free- N
House with No Walls-M
Can’t Hurt More Than This- M
All That We Asked for- M

Doja Cat- Planet Her:
Now, I know.  This is the album that is getting the most hype this year.  I only listened to it for that reason.  And last year I listened to Dua Lipa for the same reason, and really liked it.  The magic didn’t happen this year.  I like the title of this album, and that’s about it for me.  And that’s OK.  Not every album is made for me, nor enjoyed by me.  I wasn’t feelin’ this one.  I might be the only one on the planet.
awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; G-M cusp 0; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6
A; 1Gr4; 2Gr-G7; 2G3; 1G-N1; 1G-M0; 3N-3; 7M-21; S = tot -9
Woman- G (Repetitive.)
Naked- N
Payday- Gr-G (Good ambient sounds, but Minnie Mouse singing.)
Get Into It (Yuh)-  Gr-G (Baby-voice is ehhhh, but rap is good and fast.)
Need to Know- Gr (Catchy and I like the repeated words)
I Don’t Do Drugs- N (Xylophone is interesting and different, but the rest of the song is kinda boring.)
Love to Dream- M
You Right- N
been Like This- N-M (Somewhat high note is good, but the song is just boring.)
Options-Gr (Moag!)
Ain’t Shit- M (The only thing I liked was the counting.)
Imagine- M
Alone- M
Kiss Me More- G-M (Disco sound)
You Right (Extended)- G (The duet is probably the best on the album.  I also liked the breathes/breathing sounds.)
Up and Down- G-N
Tonight – M
Ride- M
Why Why- M

Kaleo

I wanted to love this one like I loved their last album.  But it really fell off in the second half.  It probably would have ranked higher if the latter half was edited out completely.

awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

0awesome; 0Great; 2Good6; 2N-G cusp2; 2Neutral-2; 1M-N cusp-2; 4Meh-12; 0Skip = tot-8

Brother Run Fast G

Break My Baby N-G

Alter Ego G

Free the Slave N-G

Skinny N

Hey Gringo M-N

My Fair Lady M

I Want More M

Backbone N

I Walk on Water M

Into My Mother’s Arms M

Aly & AJ:  a touch of the beat…[title is long and annoying, I’m not writing all of it]

awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

0A; 0Gr; 2Gr-G7; 0G; 3G-N3; 2N-2; 3M-9; 1S-6 = tot-7

Pretty Places M

Lost Cause G-Gr (I love a bitter song)

Break Yourself S (I died of boredom)

Slow Dancing M

Paradise N

Symptom of Your Touch Lucky to Get Him G-N

Listen!!! N-G (the brr brr noise saves it.  and nice piano)

Don’t Need Nothing N-G (finally, a beat!  is this what the album is missing?)

Stomach N

Personal Cathedrals Gr-G (a better singing style, more lyrically intricate)

Hold Out M

Billie Eilish- Happier Than Ever:
I almost aborted listening, because the entire first half of this long album was pretty ‘background music’ (boring).  But it bothers me to not finish things so I pressed on a little more, and I’m kinda glad I did, bc it did get better.  Track order is a major problem here!  Mix it up or cut the front half.
awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; G-N cusp 1; Gr-S cusp -1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6
0A; 1A-Gr4.5; 1Gr4; 4G12; 2G-N2; 2N-2; 6M-18; 1S-6 = tot -3.5
Getting Older-M
I Didn’t Change My Number- G
Billie Bossa Nova- N
my future- M
Oxytocin- G-N (Good base and moag)
Goldwing- G
Lost Cause- M
Hailey’s Comet- N-G (Sounds a lot like 1930s type of singing/crooning.  This goes on for too short of a time.  There’s a pause and then it seems to be a whole different song?  Then, that’s too short as well.)
Not My Responsibility- S (Need to sing)
Overheated M
Everybody Dies- M (I can hear her breathes a lot, and it doesn’t sound good. Big yawn.)
Your power- G
NDA- Gr-A.  (catchy . Same tune as  her 1st album. Good moàg)
Therefore I Am- N
Happier Than Ever- Gr
Male fantasy- G
M (Glitch is always welcome.  Has rap :-/  .)

Shovels & Rope- Busted Jukebox Volume 3

Soooo?  Is this supposed to be a kid’s album? Title it better, because I needed to listen with that expectation in mind.

awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; N-G cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

1awesome5; 0Great; 3Good9; 3Neutral-3; 2Meh-6; 1Skip-6 =tot-1

Hush Little Baby- S (WTF is this shit?)
In My Room- G
What a Wonderful World- N (Great song, played too slow. Whistle & talking sucked)
You Are My Sunshine- N
Cry Baby- G
My Little Buckaroo- M
Everybody Hurts- N (Weird choice for a kid’s album, if this is one…)
Mother Earth and Father Time- M
The Ants Go Marching- A (Fucking great syncopation!)
Tomorrow- G

We’ll get into the middle of the pack tomorrow.  And I’ll come back and number these when I finish the last two album-rankings.

Travelin’ Man: A Trilogy of Related Brandi Carlile Songs

2 Nov

The song, “This Time Tomorrow” on the new album, ‘In These Silent Days’ is quiet and a bit inconspicuous. But I noticed a theme running through Brandi’s catalogue: This song compares well with “Closer to You” and also to “Wherever is Your Heart” off Firewatcher’s Daughter. It’s (all 3, really are) a song from the perspective of a person that travels a lot, and is very busy. But in all three songs, the narrator says their heart is always with their love back at home (GF? wife? the subject may change over time). And that narrator looks forward to physically being with their partner again. I’m going to awkwardly refer to whoever the primary perspective in the song as “narrator” because I’m not certain who this story belongs to. All 3 seem to write a lot of the music, and maybe it’s the combined experience of Brandi, Phil, and Tim. I haven’t seen interviews or other info that tells which one might be talking for sure.

Closer to You (the first written of these 3 similar sentiments):

I’m staring out at endless rows of green
There are miles of hay like I have never seen
Just when you think you’ve had enough and
your dreams come true
I just want to be closer to you

My mind wanders through all that I’ve been hiding from
I tried not to let you down
Now I wonder if I’ve been doin’ something wrong
Help me get my feet back on the ground

Tomorrow I’ll be lying under you
With a heart of gold and arms to fall into
I know that there might come a day
where my life is through
But I just want to be closer to you

My mind wanders through all that I’ve been hiding from
I tried not to let you down
Now I wonder if I’ve been doin’ something wrong
Help me get my feet back on the ground

Someday we might learn to tell the truth
We might even find the fountains of our youth
We all needed something real we all need proof
I just want to be closer to you
I only want to be closer to you

The tone of this song is excited, almost wonderous at these novel sights. And when the narrator gets fatigued of all the travel–all their dreams (of adventure? money? fame? musical growth?) come true. They will press on with the travel over the long term. The writer of this song thinks maybe they’re going about the relationship, career, and/or life wrong, The final verse conveys a searching for something higher-and alludes to a spiritual crises. Even so, the narrator has the tangible in their mate. And knows their loved one will be there to ground them when they get back home. It is indicated that the narrator KNOWS this person with golden heart will be there. There’s no doubt.



In Wherever is Your Heart, written early on in relationships, it’s decidedly upbeat and hopeful:

I think it’s time we found a way back home
You lose so many things you love as you grow
I missed the days when I was just a kid
My fear became my shadow, I swear it did

Wherever is your heart I call home
Wherever is your heart I call home
Though your feet may take you far from me, I know
Wherever is your heart I call home

You made me feel like I was always falling
Always falling down without a place to land
Somewhere in the distance I heard you calling
Oh it hurts so bad to let go of your hand

Wherever is your heart I call home
Wherever is your heart I call home
Though your feet may take you far from me, I know
Wherever is your heart I call home

Even when you’re high, you can get low
Even with your friends you love, you’re still alone
We always find the darkest place to go
God forgive our minds, we were born to roam

Wherever is your heart I call home
Wherever is your heart I call home
Though your feet may take you far from me, I know
Wherever is your heart I call home

Oh God forgive my mind, oh God forgive my mind
When I come home, when I come home
Oh God forgive my mind
There’s a road that’s long and winding, it hollers home
I’m calling home

Oh God forgive my mind, oh God forgive my mind
When I come home, when I come home
Oh God forgive my mind, oh God forgive my mind
When I come home, when I come home

Wherever is your heart I call home
Wherever is your heart I call home
Though your feet may take you far from me, I know
Wherever is your heart I call home

Wherever is your heart I call home
Wherever is your heart I call home
Though your feet may take you far from me, I know
Wherever is your heart I call home



Or, might I say, the song of the song is upbeat and gives an optimistic vibe, and the chorus is true to that sentiment. This 2nd song says no matter how far apart geographically the two partners are, they both take solace in the fact that their hearts are together. They don’t need to be physically together to feel and know the love they share. BUT the verses betray a darkness in the narrator. They lost things/people as they aged, and reminisce about a simpler time of when they were a child. Now, they feel fear nearly always. The falling verse that’s next directly ties back to the plane metaphor in “You and Me on the Rock” and tells of that broken foundation that comprises this person. The narrator tells that even with this beautiful sentiment of loving and spiritually being with your lover, even when separate, their mind still fights. The mind is still lonesome amongst friends, sad during happy times, aberrant from the happy chorus.

Which brings us back to this current song, You and Me on the Rock:

When the fire inside that burns
So bright begins to grow faded
It can be hard to see the ground on which you stand
Though you may not be afraid of walkin’ in the darkness
You will feel like a stranger in this land

You can try to carve a faith out of your own
But a broken spirit may dry out the bone
And the edges of the night may cause you sorrow
You know I may not be around this time tomorrow
But I’ll always be with you
Yeah, I’ll always be with you

When the hope that you hold tightly to has all but vanished
And there are no words of comfort to be found
You will know what it means to be lost and without love
May you fight to kill that deafening sound

But our holy dreams of yesterday aren’t gone
They still haunt us like the ghosts of Babylon
And the breakin’ of the day might bring you sorrow
You know I may not be around this time tomorrow
But I’ll always be with you
I’ll always be with you

Ooh
Ooh
Ooh

repeats

Now the person at home doesn’t have a golden heart, but that bright fire faded. They can’t even find the ground, and aren’t the stable force they were in “Closer to You” anymore. Instead of coming home to comfort, the narrator feels like a stranger. Carving faith is more laborious than how easily it came in the first 2 songs… What is the exact same in all the songs, is the narrator will always be with this other person in spirit when they travel, just as before. The next verse gets at the heart of this entire album again. The lyrics reiterate that love has all but vanished, yet the narrator grasps tightly to whatever is left of it. The person left at home, no longer has words of comfort as mentioned in the prior songs, which makes the narrator feel even more lost than they already felt.

I like the new album, but it’s a bleak story. And this trilogy of songs shows the trajectory of a traveling person with a broken foundation who found, and then lost, love and now lives in a codependent state. ‘In These Silent Days’ tells the same story of the catalogue, just in a more condensed form.

PS- I think I’m going to do a few of these similar song postings, as I heard a lot of pairs and triplet songs while going through the album.

IG Catalogue Ranking-post its (same order, different formatting)

26 Apr

I did this project while working.  As such, I just ranked the songs on that post-it app on my desktop.  So if this is easier for you to read than the bottom to top list of songs–here ya go!

IG Awesomes
1= elite awesome
1a top ever songs
1b = exactly elite
1c = better than your avg awesome
2= solid awesome
2a = top of list
2b = bottom of list
3 = better than good
3a = top of list
3b = bottom of list

IG AWESOME-ELITE 1
1A top of the top (final)
Closer to Fine (1200): C, L, N, S(!), U (pennywhistle?) = 1a (b/c you can hear how important/popular this song is w/the crowd = pure joy & a lesbian initiation)
Don’t Think Twice, It’s Alright (SDtBD): C, L, N (harmonies), S, U (Brandi!) = 1a (this song makes me super-enthuastic!)
Watershed (NIS): C, L, N, S(!) = 1a
Go (LwUoCSO): C, I, L, N, P = 1A (Amy belts it out!)
The Rise of the Black Messiah (OLD): C, I, L, N, P, U (strong & haunting) =1a
Galileo (RoP): C, L, P, S = 1a (same with this old friend-felt guilt out-ranking it)
Fill It Up Again (AtWLI); C, L, N, S = 1a
Kid Fears (ST): C, L, N, S, U (feat Michael Stipe) =1a
Closer to Fine (ST); C, L, N, S = 1a (I felt like I was somehow betraying these staple-favorites ranking any song higher)
Pushing the Needle Too Far (NIS): C, L, P, S = 1a
Prince of Darkness (ST): C, L, N, P, S =1a
Second Time Around (SDtBD): C, I, L, P, S, U (live = more emotional) 1A
Become You (BY): C, I, L, P, S = 1a
Compromise (LwUoCSO): C, I, N = 1a

AWESOME-ELITE
1B (exactly elite)
top exactly elite = i (final)
Galileo (1200): C, L, P, S = 1bi
Kid Fears (SDtBD): C, L, S, U (feat Shreena Mead sounds good) = 1bi
Moment of Forgiveness (SDtBD): C, L, N, S = 1bi
Yield (BY): C, I, L, N, S = 1bi
Hammer and a Nail (NIS): C, L, N, P, S! = 1bi
Chickenman (1200): C, I, L, N, P, U (harmonica= 1bi (best version?
Become You (SDtBD); C, L, P, S, U (accordian?) = 1bi
Yoke (BQS): C, I, L, P, S = 1bi
Moment of Forgiveness (BY): C, L, N, S =1bi
World Falls (1200-live): C, L, N, S = 1bi
Happy in the Sorrow Key (OLD): C, I, L, N = 2Bii (ENDING!)
Happy Joyous Hanukkah (HHD): C, I (BASS!), L, P, U (mandolin?) = 1Bi
Devotion (SDtBD): C, L, N = 1bi
I Feel the Christmas Spirit (HHD): C, I, L, N, U (blue grass) = 1bii

AWESOME-ELITE
1B (exactly elite)
bottom exactly elite = ii (final)
Tangled Up In Blue (1200); C, I, L, N, P = 1bii (Emily sings her ASS off!)
Pushing the Needle Too Far (1200): C, L, P, S = 1bii
Second Time Around (PatBB): C, I, L, P, S, U (harmonica?) = 1Bii
Go (CoNS): C, I, L, N, P, U (talking about activism in background, chanting) = 1Bii
World Falls (LwUoCSO): C, I, L, N!, P = 1bii (sounds just different enough; the singing!)
Land of Cannan (ST): C, I, L, S = 1bii
Least Complicated (1200): C, L, N, P, S = 1bii
Deconstruction (BY): C, L!, N, S! = 1bii
Bury My Heart at Wounded Knee (1200-live @ atwood): C, L, N, P, U (feat artists, drumming) = 1bii
Money Made You Mean (DOD-live): C, I (banjo-wow!), L, P = 1bii (don’t like plosives)
Cold Beer & Remote Control (SDtBD): C, L, N, P = 1
Love of Our Lives (PatBB): C, L, N, S = 1bii
Joking (1200): C, I, (bass @ end) L, N, P, S, U (false ending) = 1bii
Fugitive (LwUoCSO): C, I, N = 1bii

AWESOME-ELITE
1C (better than your avg awesome) (final)
Hope Alone (BY): C, L, N, S =1c
Last Tears (DOD: C, L, N, S = 1c
Philosophy of Loss (CoNS): C, I, L, P, S = 1c
Heartache for Everyone (AtWLI): C, I, L, S = 1c
Shame On You (SotS): C, L, N, P, S, U (road block trippin’ break-down) = 1c1
Scooter Boys (SotS): C, I (jengling) L, P, U (wail) = 1c
Shit Kickin (LL): C, I, L, P, U (choral backing) = 1c
Go (SDtBD): C, I, L, N, P = 1C
Howl at the Moon (LL): C, I, L, N, U (tribal) = 1c
Get Out the Map (SDtBD): C, L, N, P = 1c
Salty South (SDoBD): C, I, S = 1c
Rock and Roll Heaven’s Gate (SDtBD): C, L, N, P =1C
Land of Cannan (SF): C, L, N, S, U (harmonica) = 1c
Make It Easier (SF): C, I, L, N, P = 1c
The Wonder Song (HHD): C, L, N, U (country) = 1C
Second Time Around (PatBB-acoustic): C, L, P 1C
Shame On You (SDtBD): C, I, P, U (cajin instrument) =1c2 (different tempo from orig bothers me)
Money Made You Mean (DOD): C, I, L, P = 1c

see other post it for lower awesome groups

between awesome and good
final
1,2,3 (NIS): C, N, S = 2a
Blood & Fire (ST): C, L, N, P, S = a1i
Bury My Heart at Wounded Knee (1200): C, I, L, P = 2a (a cause near to my heart)
Chickenman (LwUoCSO): C, I!, L, N!, P = 2a
Tether (SDtBD): C, I, L, P = a1i (Amy belts. it. out!)
Sugar Tongue (LwtUoCSO): C, I, L, P = a1i
Yoke (LwtUoCSO); C, I, L, N, P = a1i (wow-low register!)

final
You and Me of the 10,000 Wars (NIS): C, L, P, S = a1i
Hand Me Downs (NIS): C, I, L, S = 2b
Driver Education (PatBB): C, L, S = 2a
Cold Beer & Remote Control (CoNS): C, L, P, S! = 2a
Joking (RoP): C, L, P, S, U (false ending) = 2a
Collecting You (BY): C, L, N, S! = a1i
Philosophy of Loss (CoNS): C, L, P, S = a1
Fugative (SDtBD): C, L, N, Pa= 1i

final
Heartache for Everyone (SDtBD): C, L = 2b
It’s Alright (SotS): C, L, P, S = 2b
Get Out the Map (SotS): C, L, N, P, U (banjo?) = 2b
Kid Fears (LwtUoCSO): C, I, L, N = a1i (crowd singing)
Midnight Train to Georgia (1200): C, L, N, P = a1i (Emily really sings!)
Sugar Tongue (SDtBD); C, N = 2a
O Holy Night (HHD): C, I, N, S = a1i (high difficulty notes)
Our Deliverance (BY); C, L, N, P, S = a1i
Rock and Roll Heaven’s Gate (DOD): C, L, N, P = a1i
Fill It Up Again (SDtBD); C, L, S = 2a ( a bit different from my fave version, audience sings)
Faye Tucker (CoNS): C, L, N, P, U (laugh, chanting) = 2b
Center Stage (ST): I, L, N, P = a1i (ending)

final
All the Way(DOD): C, L, S! = 2a (strong vocab, meaningful to me)
I’ll Change (PatBB): C, L, S = 2b
Believe in Love (SDtBD): C, I, L, N = a1i
Burn All the Letters (SotS): C, I, L, N, P, U (powwow chant) = a1i
Land of Cannan-radio single (ST): C, I, L, N, P, S = a1i
Love’s Recovery (ST): C, L, N, S = (don’t like Emily’s deep singing) = 3

final
Dairy Queen (AtWLI): C, I, S! = 2b
Olympia Inn (OLD): C, P = 2B
Learned It On Me (OLD): C, L, N (harmonies) = 2b (yes! a burn-song)
Favorite Flavor (LL): C, L = 3
Little Perennials (DOD): C, L = 1C
Love of Our Lives (LwtUoCSO): C, I!, L, N = a1i
This Train Revised (1200-live): C, I, N = 2b

final
Touch Me Fall (SO): I (really rocks at end) = 2b
I Don’t Wanna Know (1200); C, I, L, N = a1i (more lively version, “I don’t care either!”)
I Believe in Love (DOD): C, L!, S = 2b
I Don’t Wanna Know (SF): C, I, N, U (harmonica?) = 2b
Run (DOD): C = 2b

final
Chickenman (RoP): C, L, P, U (harmonica?) = 2b
Last Tears-acoustic (DOD): C, L, N, S = a1i
Least Complicated (SO): C, L, N, P, S = 2a
Beauty Queen Sister (BQS): C, I, L, P = a1i

ig good
a= almost awesome
b= exactly good
c= almost OK
1 = top of catagory
2 = bottom of catagory
i = top of almost awesome
ii = bottom of almost awesome

a= almost awesome
1 = top of catagory
see different post it for higher goods group

a= almost awesome
1 = top of catagory
ii = bottom of almost awesome (final)
Closer to Fine (SDtBD): C, I, L, N, P, S = a1ii
World Falls (NIS): C, L, N, P, S = a1ii
Secure Yourself (ST): C, L, N, P, S = a1ii
Faye Tucker (CoNS): C, I, L, N, P = a1ii
Fugative (SO) = C, L, N, P = a1ii
Tried to be True (ST); C, L, S = a1ii
Happy in the Sorrow Key (LwtUoCSO): C, I, L, N, P = A1ii
Cut it OUt (SotS): C, I, L, P = a1ii
You’ve Got to Show (BY): C, L, S = a1ii
Three County Highway-live (DOD): C, L, N, P = a1ii
Damo (LwtUoCSO): C, I, L, N, P = a1ii
Lay My Head Down (DOD); C, L, N, P = a1ii
Airplane (RoP): C, L, N = a1ii
Little Perennials-live (DOD): C, I, N = a1ii
Angels We Have Heard On High (HHD): C, N, S = a1ii

a= almost awesome
2 = bottom of catagory
i = top of almost awesome (final)
Welcome Me (NIS): C, I, L, P, S = a2i
Galileo (LwtUoCSO): C, I, L, N, P = AIi (good, but I like original better)
Tether (AtWLI): C, I, L, N, P = a2i
Able to Sing (LwtUoCSO): C, I!, L, N = a2i
Sugar Tongue (PatBB): C, L, P, S = a2i
Shed Your Skin (SofS): I, L, N, P, U (native american backing) = a2i
Starkville (BY); C, I, L, S = a2i
Southland in the Springtime (NIS): C, L, S = a2i
Pendulum Swinger (DOD): C, L, N, P = a2i
Gone Again (CoNS): C, I, L, P = a2i
Strange Fire (SF): C, I, L, N = a2i
Three County Highway (SDtBD): C, L, N = a2i
Love of Our Lives-acoustic (PatBB): C, L, N = a2ii (stronger singing)
Making Promises (BQS); C, L = a2i
Watershed (SDtBD): = C, I, L, N, S = a2i (5d, live singing = less)
Damo (BQS): C, I, L, N = a2i

a= almost awesome
2 = bottom of catagory
ii = bottom of almost awesome (final)

They Won’t Have Me (DOD): C, I, L, P = a2ii
Trouble (CoNS): C, I, L, N, P = a2ii
This Train Revised (SO); C, I, L, N, P = a2i
Free in You (AtWLI): C, N = A2i
Leeds (SotS): C, L, P, U (Indian chanting) = a2ii
Let it be Me (RoP): C, N, P = a2ii
Three Hits (RoP): C, I, N, P = A2ii
Romeo and Juliet (RoP); C, L, N, P = a2ii
What Are You Like (PatBB): C = A2ii
Crazy Game (SF): N = a2ii (great harmonies, bluesy)

b= exactly good
1 = top of catagory (final)
Keeper of My Heart (NIS): C, L, P, S = b1
Woodsong (LwtUoCSO): C, I, N = b1
Down by the River (1200): C, I, N = b1
True Romantic (PatBB): C, L, N = b1
Love of Our Lives (SDtBD): C, L, N = b1
Ozilline (SDtBD): I, L, N = b1
Reunion (SO): C, I, L, N = b1
Ozilline (CoNS): C, I, L, U (old lady talking) = b1
Jonas and Ezekiel (RoP): C, I, L, P = b1
Jonas and Ezekiel (1200): C, L, N, P = b1
The Girl w/the Weight of the World in Her Hands (NIS); L, P, S = B1
Run (DOD): C, N = b1
K.C. Girl (LL): C, L, = b1

b= exactly good
2 = middle of catagory (final)
Fleet of Hope-acoustic (PatBB); C, L = b1
What Are You Like-acoustic (PatBB): C = B1
The Wood Song (SDtBD): C, N = b1
Your Holiday Song (HHD); C, I, L, N = b1
Muster (LL): L, P = b1
Elizabeth (OLD): L, N = B1 (DETAILED STORY)
Change My Heart (LL); I, N, P = b1 (kinda weird lyrics)
Mariner Moonlighting (BQS): L = b1

b= exactly good
3 = bottom of catagory (final)
Fly Away (SDtBD): C, L, N = b2
Come a Long Way (LwtUoCSO): C, I, L, N = b2 (Uneven singing; ending!)
I’ll Change-acoustic (PatBB): C, L, S = b2
True Romantic-acoustic (PatBB): C, L, N = b2 (the yearning!)
War Rugs (LwtUoCSO): C, I, L, N, P = b2
Perfect World (AtWLI): C, L, P = b2
Digging for Your Dream (PatBB) = C, L, P = b2
Nashville (RoP): C, L, P = b2
The Wood Song (SO): C, L, N = b2
Ghost of the Gang-acoustic (PatBB): L, P = b2 (substancial story)
Peace Tonight (CoNS): C, L = b2
We are Together (CoNS): C, N = b2
Wild Horses (SDtBD); C, N = b2
Sorrow and Joy (LL); N, P = b2 (WTF is this song about? I like the sentiment of the chorus)
Southern California is Your Girlffriend (OLD): C, L = b2
Dead Man’s Hill (SO): C, L, P = B2
Get Together (SF) = C, L, P = b2 (NICE HARMONY)

c= almost OK
1 = top of catagory (FINAL)
Digging for Your Dream (SDtBD): C, L, P = C1
Salty South-acoustic (PatBB): C, I, L, P = c1
Dirt and Dead Ends (DOD): L, P = C1 (BLEAK)
Spread the Pain Around (OLD): C, I, L = c (CAJUN SOUNDS)
Feel this WAy Again (LL): C, L = c1
Something Real (AtWLI): C, L, N = c1
It Really is (A Wonderful Life) (HHD): C, N = c1
I’ll Be Home for Christmas (HHD): I, N = c1
Come a Long Way (OLD): L = c1
Love Will Come to You (RoP): C, L, N = c1
Walk Away (SF): C, I, N = c1

c= almost OK
2 = bottom of catagory (FINAL)
Love’s Recovery (1200): C, L = c2 (too much brass)
Thin Line (1200): c2
Ghost (RoP); C, I, L, N, P = c2
Country RAdio (LL): L, N, P = c2
Gone (BQS): C, N = c2
Back Together Again (1200): C = c2
Everybody’s Waiting for Someone to Come Home (SF): C, N = c2
Alberta (OLD): C, L = c2

IG OK (A[1,2], B, C)

IG OK
OA
1 (final)
Prince of Darkness (SDtBD): C, N, P, S = OA1
Compromise (CoNS): C, I, L, N, P = OA1
Three Hits-live (RoP): C, I, L, P = OA1
War Rugs (BQS): C, I, L, P = OA1 (instruments!)
What are You Like (SDtBD); C, I, L = OA1 (end!)
Pendulum Swinger-live (DOD): C, L, P = OA1
Virginia Woolf (LwtUoCSO): C, I, L, N = OA1 (some of the singing a bit iffy, instruments good!)
Rise Up (AtWLI): C = OA1
Bitterroot (BY): C =OA1
Three County Highway (DOD): L, S = OA1
Ghost of the Gang (PatBB); C, L, P = OA1
We Get to Feel it All (BQS); C, I, L, N = OA1

IG OK
OA
2 (final)

Fleet of Hope (PatBB): C, L = OA2 (harmonies even stronger than usual)
Driver Education-acoustic (PatBB); C, L, P = OB1
Ghost (LwtUoCSO): I, L, N = OA1
In the Bleak Midwinter (HHD): I, N = OA1 (original; harmonies!)
Don’t Give that Girl a Gun (SotS): C, L, N, P = OA2
Caramia (SotS): C, I, L, N = OA2
She’s Saving Me (BY); L, N, S = OA2
Come On Home (LwtUoCSO): C, I, L, N = OA2
Share the Moon (BQS): C, I, L = OA2 (pretty strings)

IG OK
OB
1 (final)
Sugar Tongue-acoustic (PatBB): C, L = OB1
Crazy Game (SF): C, N = oa2 (kinda bluesy & has flute?)
Sister (CoNS): L = (too quiet) = OB1
Dirt and Dead Ends (PatBB): L, N, P =ob1
Fly Away-acoustic (DOD): L, N =OB1
Virginia Woolf (1200); C, L, N = OB1
Digging for Your Dream-acoustic (PatBB): C, L, P = OB1

IG OK (final)
OB
2
Center Stage-live (ST): C, L, P = OB2 (little off-key)
Come On Home (SDtBD): C, L = ob2
Everything in it’s Own Time (SotS): C, I, L, P = OB2
Ghost-live (1200): L, N = OB2
I’ll Be Home for Christmas (HHD); N, S = OB1
Cordova (SDtBD): C, L = OB2
Fishtails (OLD): L, N, P = OB2
Soon be to Nothing (CoNS); C, L =ob2
Virginia Woolf (RoP): C, L = OB2

IG OK (final)
OC
1
Fly Away (DOD): C, L, N, P = OC1
Power of Two (SO); L = OC1
All That We Let In (AtWLI): C, L = OC1
If I Don’t Leave Here Now (OLD): N = OC1 (more in depth)
Hey Kind Friend (SotS): I, L = OC2
Look Long (LL): C, L, N, P = OB2
Language or the Kiss (1200): L, N = OC1

IG OK (final)
OC
2
Language or the Kiss (SO); L, U (bike bell) = OC2
Love Will Come to You-live (RoP): L = OC2
Mystery (SO): L, N = OC2
Closer to Fine (LwtUoCSO): C, I, L, P = OC2 (Emily sounds out of breath; slow)
Texas was Clean (OLD): L = oc2
Findly, Ohio 1968 (OLD); L, P = OC2 (slow & depressisng)

…Ready for it? Lyrical Analysis & Bearding Plan

11 Jan

Sidenote:  I apologize for the shitty formatting.  I don’t know who WordPress cators to, but their platform is not user-friendly, not intuitive, and I HATE IT.  But I wouldn’t know how to get these million blog posts moved to a different platform quickly, so I remain…

Reputation was released 2017

I think this is Taylor’s song spelling out her bearding plan, code-phrase:  That’s My Man.

Knew he was a killer first time that I saw him

la·dy·kill·er/ˈlādēˌkilər a charming man who is very attractive to women.

Attractive to women. Doesn’t say this man likes women, or has many affairs with women. The definition specifically says this man is the recipiant of women’s attraction. And he’s charming/polite.


Wonder how many girls he had loved and left haunted

Taylor Swift explained the meaning… “‘Haunted’ is about the moment that you realize the person you’re in love with is drifting and fading fast…captured the intense, chaotic feeling of confusion I was looking for.”


But if he’s a ghost, then I can be a phantom

  1. phan·tom/ˈfan(t)əm a ghost
    • a figment of the imagination.
    • denoting a financial arrangement or transaction that has been invented for fraudulent purposes but that does not really exist.
      • “he diverted an estimated $1,500,000 into “phantom” bank accounts”

Interesting. Especially that last definition. If Joe is a ghost (he confused many girls), then it allows Taylor to have a financial arrangement for something that does not actually exist (love). Hmmm.

Holdin’ him for ransom

ransom ran-suhm ] noun

the redemption of a prisoner or kidnapped person, of captured goods, etc., for a price.

the sum or price paid or demanded.

a means of deliverance or rescue from punishment for sin, especially the payment of a redemptive fine.

Taylor takes Joe and keeps him for a price. Alternate definition is Taylor rescues Joe from sin for a redemptive fee.

Some, some boys are tryin’ too hard
He don’t try at all, though

Taylor reminds us some of her beards were not believable bc it was too much (Tom Hiddleston in that shirt). But this man doesn’t do anything to arouse suspicion. He’s more lowkey, and all the “privacy” he/they require means he’s a blank slate for the media and public.


Younger than my exes but he act like such a man, so
I see nothing better, I keep him forever
Like a vendetta-taI-I-I see how this is gon’ go

Taylor, who has been criticized for being a man-eater, but who also doesn’t want to ruin her career coming out as LGBT doesn’t see an alternative to keeping this beard around forever. If she has a long-term beard, she can keep her secret, but the media and public might lay off about her dating life.

A vendetta begins when one family correctly or incorrectly believes itself to have been attacked, insulted or wronged by another. Intense feelings of resentment result in the initial retaliation, which leads to the other family feeling equally resentful, angry and vengeful . Ultimately there is a long-running cycle of retaliatory violence. This continual cycle of provocation and retaliation makes it almost impossible to end the vendetta peacefully. Vendettas frequently involve the entire family members, all the relatives and associates, and can last for generations.

NDAS, anyone?

Touch me and you’ll never be alone
I-Island breeze and lights down low

No one has to know In the middle of the night, in my dreams
You should see the things we do, baby
In the middle of the night, in my dreams
I know I’m gonna be with you
So I take my time

The music changes in this part of the song, as does Taylor’s mood. Here, she’s softer, and sings, no one has to know (b/c this is a secret) in her [sexy, apparently, based on the noises] dreams she thinks of “you” someone different than the person in the rest of the song.

Are you ready for it? Me, I was a robber first time that he saw me
Stealing hearts and running off and never saying sorry

This is getting at what I was saying earlier about the man-eater stuff. Robber talks about her stealing something (hearts of boys) that aren’t hers to take. The love of a man is not Taylor’s b/c it’s not real and she’s not actually into these guys she “dated.” Running off and never saying sorry implies that after the “relationships” Taylor left and felt no remorse (bc it’s a business transaction). Short-term bearding contracts were hiding her LGBT truth but also making Taylor look too man-hungry.
But if I’m a thief, then he can join the heist

Cowbody Like Me. Taylor does the bearding contracts, but now she’s saying she found a like-minded beard, who also has the same goals as she does.
And we’ll move to an island-and
And he can be my jailer,

Taylor is trying to put out her own cutesy ship name. But she already “dated” a J, so instead of Joe-Taylor fans went Taylor-Joe, and the result is a very un-cute (in my opinion) Toe.

Burton to this Taylor

I looked Burton up in the most basic of searches and read that there were, indeed, rumors of homosexuality linked to him. He even talked about it himself in an interview:

In a February 1975 interview with his friend David Lewin he said he “tried” homosexuality. He also suggested that perhaps all actors were latent homosexuals, and “we cover it up with drink“.[24] In 2000, Ellis Amburn’s biography of Elizabeth Taylor suggested that Burton had an affair with Laurence Olivier and tried to seduce Eddie Fisher[page needed], although this was strongly denied by Burton’s younger brother Graham Jenkins.[25]

It’s no secret that Liz Taylor had more than a few gay fans, or that she had more than a few gay friends…and possibly husbands.

http://ryan-field.blogspot.com/2012/11/was-richard-burton-gay.html 

Given this information, what an interesting comparison for Taylor to make! She says Joe is like Burton (gay?) to this Taylor (in a lavender marriage?) but the public will see it as a great romance.

Every lover known in comparison is a failure

I forget their names now, I’m so very tame now

All the short-term beards could be easily debunked as fake by the media, general public, and fans. It was a failure b/c these boyfriends did not help Taylor’s public image. But a “private” long-term beard, would make Taylor look more stable (tame), and as a bonus, straight.

Never be the same now, nowI-I-I see how this is gon’ go
Touch me and you’ll never be alone

I-Island breeze and lights down low
No one has to know
(No one has to know) In the middle of the night, in my dreams

It’s important that the “no one has to know” is on the same line as the description of Taylor’s dirty dreams. She is saying no one has to know who she actually dreams about (a female?). These dreams are about someone else/not the subject of the song/not Joe.
You should see the things we do, baby
In the middle of the night in my dreams
I know I’m gonna be with you
So I take my time

This person in Taylor’s dreams, who no one has to know about, b/c it’s not the subject of this song, Joe, is the one she wants to be with. And she takes her time (in both this sex-dream, and also with this long-term bearding plan).
Are you ready for it?
Ooh, are you ready for it? Baby, let the games begin
Let the games begin
Let the games begin
Baby, let the games begin
Let the games begin
Let the games begin

If Toe is real and true love, why does Taylor refer to games many times at the end of this song? True love should not have games. Taylor just set out her long-term bearding plan in this song, so she can obscure LGBT rumors, not look like a man-eater with all the shorter boyfriend relationships, but eventually be happy with this 2nd song subject.

I-I-I see how this is gon’ go
Touch me and you’ll never be alone
I-Island breeze and lights down low
No one has to know In the middle of the night, in my dreams
You should see the things we do, baby
In the middle of the night, in my dreams
I know I’m gonna be with you
So I take my time In the middle of the night
Baby, let the games begin
Let the games begin
Let the games begin
Are you ready for it? Baby, let the games begin
Let the games begin
Let the games begin
Are you ready for it?

Taylor Swift’s Evermore as Amalgamation: Marjorie Analysis

17 Dec

There’s a sadness to Taylor’s voice.  Her Grandmother Marjorie is not dead to Taylor, because her advice can still be heard.  She sings, “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 that someone can live in your heart, and mind.  “What died didn’t stay dead, you’re alive in my mind” is the primary purpose of the song. 

But it’s still an amalgamation like the rest of the songs on Evermore.  The same sentiment of keeping a person within yourself, after they’ve passed away, applies to career endings (and break ups too).  I think a teeny work sentiment is in the lyrics, a little bit of Taylor needing to remember her grandmothers advice, b/c she’s taking advantage of Joe too much, and the secondary subject of the song is Karlie.

 

[Verse 1]

Never be so kind

You forget to be clever

Never be so clever

You forget to be kind

These lyrics could address Taylor’s music career.  She needs to balance being nice with being business savvy.

 

What does Marjorie mean?  Greek, Persian, Hebrew, Irish, Latin: [one of the meanings is] Child of light.

Light = sun = Karlie.  What a konvenient and apt koincidence!

[Verse 3]

The autumn chill that wakes me up

You loved the amber skies so much

Amber is a yellow, even golden color.  And you know who that represents.  Karlie.

Long limbs and frozen swims

Long, tall limbs like Karlie might have?  Frozen like the ground in Hoax.

You’d always go past where our feet could touch 

Symbolic for risk-taking?

“I’d hold you as the water rushes in” [Dancing with our Hands Tied, aka the Kissgate song]

And I complained the whole way there 

Taylor is always afraid and hanging back.  Maybe she’s refusing to come out of the closet.

The car ride back and up the stairs

I should’ve asked you questions

I should’ve asked you how to be

Asked you to write it down for me

Should’ve kept every grocery store receipt

‘Cause every scrap of you would be taken from me

I get that this is a little story of a memory Taylor has with her grandmother.  But the verse does double-duty here, invoking some Kaylor symbolism.  

Tall, sunshiny Karlie and Taylor were in love.  Karlie had dated women more publicly before Taylor.  And Taylor was reluctant to come out or seem gay.  Car rides are a feature of many songs about Karlie, and going up to their secret place with boarded up windows for privacy.  And now that it’s over, Taylor wishes she had been a bit more skeptical, and cynically kept some receipts of their relationship transgressions.  But this is in the song, because she can hold the good Kaylor times in her heart too.

 

The song quickly addresses her boyfriend/beard as well.

[Verse 2]

Never be so politе

You forget your power

Nevеr wield such power

You forget to be polite

Well He is English and they’re known for their manners.  She may be walking over him and stepping on his feelings by using him for publicity when she needs to, but neglecting to mention him in any real way otherwise.  So both Joe and Taylor need to balance their power dynamic with agreeability.  Nobody should be a tyrant, nobody should be a doormat.

[Outro]

And if I didn’t know better

I’d think you were singing to me now

If I didn’t know better

I’d think you were still around

I know better

But I still feel you all around

I know better

But you’re still around

The outro applies to everyone in the song.  Taylor’s grandmother is the primary subject of the song, whos voice is literally in the song.  Taylor still remembers her advice, and holds her in her heart.  But she also holds her memories of BMR good-times, and Kaylor-love in her heart.  Those good memories will always be with her.  Even though she knows better.

Taylor Swift’s Evermore as Amalgamation: Tolerate It Analysis

16 Dec

The production is minimal, which lets the listener focus on the lyrics.

Tolerate- accept or endure (someone or something unpleasant or disliked) with forbearance.

[Verse 1]

I sit and watch you reading with your head low

First subject of the song reads.  Maybe it’s her father, b/c we know Taylor is an avid reader.

I wake and watch you breathing with your eyes closed

The second subject in the song is a more intimate relationship.  Karlie?

I sit and watch you

The third subject of the song is more distant, professional maybe.  Scott Borchetta?  She goes through three lines of description to denote each character addressed in the song.

I notice everything you do or don’t do

Her father was a dreamer, though Taylor never said (as far as I know) if her lyric about “a careless man’s careful daughter” is autobiographical: “My mom thinks of things in terms of reality and my dad always thinks in terms of daydreams… ” He was the one who envisioned (and funded) success: “I never really went there in my mind that all of this was possible. It’s just that my dad always did.” 

So Taylor admired her dad’s dreamy thinking, at least as far as getting her on her trajectory as a star.  Yet, in the Miss Americana doc, her and her father don’t sit next to each other.  He doesn’t seem to treat her with sympathy or talk to her like a daughter, in my opinion and from my own father-daughter experiences.  The relationship portrayed in those couple of scenes (I know, it’s not the whole story) was more like one of client, or even product.  And lines like, “leaving like a father running like water” [“Cardigan” folklore] underline the fact that not all is well between Taylor and her dad.

You’re so much older and wiser, and I

These lines show that these three characters are people Taylor watches and learns from, people she admires.  Authority figures and maybe even inspirations.

[Chorus 1]

I wait by the door like I’m just a kid

“Kid” tells me this verse is speaking to a person around when Taylor was a child.  

Use my best colors for your portrait

These two lines also remind of of “Illicit Affairs” in folklore, suspected to be about Karlie cheating on Jo$h with Taylor.

“And you wanna scream

Don’t call me kid

Don’t call me baby

Look at this godforsaken mess that you made me

You showed me colors you know

I can’t see with anyone else”

Lay the table with the fancy shit

This table could be a family dinner.

And watch you tolerate it

If it’s all in my head, tell me now

Tell me I’ve got it wrong somehow

I know my love should be celebrated

But you tolerate it

These last four lines in the chorus really speak to the gay experience.  To me, “tolerate” invokes religious figures preaching tolerance of sinful behaviors, “Hate the sin, love the sinner.”  And this sentiment has historically been used in regard to LGBT people when churches interpret the Bible as condemming homosexuality.  It’s bled into the mainstream with people believing tolerance isn’t homophobic (spoiler alert: It is homophobic).  And Taylor sings on her personally-wrenthing TRACK 5 that the hurt of someone who you really look up to not accepting you for who you are is painful. Track 5 is not going to be a made up fairytale/horror story.  This is Taylor’s life.

[Verse 2]

This verse, unlike the other two doesn’t begin with the “kid” line, so we know this could be one of Taylor’s more recent relationships.

I greet you with a battle hero’s welcome

Here’s an actual headline I found:

Karlie Kloss Is a Fashion Week Hero | W Magazine | Women’s …

www.wmagazine.com › karlie-kloss-louis-vuitton-garage

Feb 12, 2016 —

This line also reminds me of folklore’s My Tears Ricochet, largely thought to be about $cott

“I didn’t have it in myself to go with grace

And you’re the hero flying around, saving face”

See  how the lines are doing double-duty and addressing more than one person simultaneously?

I take your indiscretions all in good fun

See my analysis of “Illicit Affairs” about how Karlie Kloss was cheating on Jo$h with Taylor as the other woman.

Talking about Karlie in a song mostly about people Taylor looks up to not accepting her sexuality, still works in the song.  Because Taylor seems to have truly loved Karlie, and really invested in their relationship.  To the point that Taylor was participating in behavior she wasn’t entirely comfortable with (being the other woman).  And overlooking behavior in Karlie that she normally wouldn’t put up with (cheating, chasing fame, being thirsty for money).  Taylor changed herself and her morals, to impress and to keep Karlie, who she looked up to as a true soulmate.

I sit and listеn, I polish plates until they gleam and glistеn

I can see how each surface of a disco ball might be referred to as a plate.  Like, a plate of glass.  Tolerate It speaks to how she had to change and hide pieces of herself to keep others happy, and keep them in her life.  She shines up each of those plates to present.  Which references Mirrorball’s sentiment:  Taylor is perpetually putting on a performance only to be met with indifference, or dismay. 

You’re so much older and wiser and I

[Chorus 1]

I wait by the door like I’m just a kid

Here’s the kid line again to denote this person was around during Taylor’s childhood.

Use my best colors for your portrait

Online there was a photographic portrait of $cott Borchetta.  

This line could also harken back to 

“The rest of the world was black and white, But we were in screaming color.” [Out of the Woods, 1989] 

widely thought to be a song about Swift’s (secret) relationship with Karlie Kloss.

Lay the table with the fancy shit

Maybe the table is some kind of professional table for merch or photo-ops.

And watch you tolerate it

If it’s all in my head, tell me now

The line “’Cause I knew everything when I was young” [Cardigan, folklore] has been decoded!  Taylor knew her sexuality when she was young.

Tell me I’ve got it wrong somehow

Remember all those lines from folklore:  “I’m only 17, I don’t know anything” [Betty] “When you are young, they assume you know nothin’” [Cardigan] “?  Now Taylor gives us more context.  It’s so reminiscent of a young LGBT kid being told that their feelings are probably a phase.  A way to invalidate their (divergent) sexual identity..

I know my love should be celebrated

But you tolerate it

[Bridge]

While you were out building other worlds, where was I?

$cott Borchetta used money (some of it from the sale the Taylor’s masters) to buy 5 properties on Music Row in TN according to: https://www.digitalmusicnews.com/2019/08/22/scott-borchetta-music-row-properties/

Where’s that man who’d throw blankets over my barbed wire?

$cott softened her rough edges, feminized her.  He didn’t want her secret out.  Taylor’s identity was treated as a shame, a dirty secret. Taylor knew her love wasn’t wrong, but yet Scott still tried to stifle this in her.  Despite the pain, she still tries her best to be what he wants, fit into a princess mold, do what she has to (stay closeted and beard/stunt) to make them both successful. This is her dream and she believes him that this is the right thing to do.

I made you my temple, my mural, my sky

Taylor Swift-commissioned “wings” mural being removed from The Gulch

  • WSMV DIGITAL TEAM
  • POSTED MAY 2, 2019

These lyrics are very representative of Lover-era Karlie.

Now I’m begging for footnotes in the story of your life

Taylor wants is her masters, her music, her life story. 

Drawing hearts in the byline

Always taking up too much space or time

You assume I’m fine, but what would you do if I

[Chorus 2]

Break free and leave us in ruins

Taylor left her first label on bitter terms.  

Took this dagger in me and removed it

Threw out our cloaks and our daggers because it’s morning now It’s brighter now, now [Daylight, Lover]

I read “Daylight” and stepping out into the sun and living authentically by coming out of the closet.  It’s interesting the lyric is referenced near the end of a song about hiding your sexuality at the bequest of someone you look(ed) up to.

Gain the weight of you, then lose it

Believe me, I could do it

$cott betrayed her by selling her masters to the man who she cried to him about = $cooter. Taylor put her everything into both career and $cott’s.. She made Big Machine. But instead of acceptance from $cott, she has to constantly defend herself from his attacks on her character and business ethics.

If it’s all in my head, tell me now

Tell me I’ve got it wrong somehow

I know my love should be celebrated

But you tolerate it

We all look up to someone and want to be like them. We change our behavior to make ourselves more likeable for the person we admire because they mean a lot.  

Taylor has hidden 3 different people, not to mention similarities to Charles and Diana and the unspoken relation this track has to Taylor’s fans.  Will her audience embrace her if she shows her true colors?  Or will the audience read this Track 5 song as somebody else’s story in order to straightwash Taylor for their own palatability?

Taylor pours her entire heart into her family, her romance, her career, and primarily her audience–showing them what they want to see (vs what is actually in front of them).  And it’s very meta, and brings us back to 3-5 possible subjects in 1 song to obscure the truth.

[Outro]

I sit and watch you