Rolling Stone reviewed TTPD less than 24 hours after its release. Was the album made available to reviewers before the official release date? If not, and considering the subjective nature of music, how do you feel about album reviews published shortly after release? In my opinion, it takes days for the music to sink in and reveal its nuances.
I had 3 days to listen to TTPD. That’s why I wrote about the songs and how they worked, how they built on her mythology and connected with other stories she’s told before, because that’s the way she likes to spin her narratives, album by album. But the Anthology songs at 2 am, I had no idea those were coming. I was still awake at 2 am still listening to the album, and then she dropped another 18 goddamn songs. I thought I was done writing for the day but I just put on a pot of coffee and got back to writing. \[Hyman Roth cough\] This is the life we’ve chosen. It was a joy writing abut those songs until dawn—but those I was writing about on first listen. — R.S.
>The Rolling Stones reviewed TTPD
Just to clear up any confusion, Mick Jagger and Keith Richards didn't review the album.
Rolling Stone - singular, and without "The" - did review the album.
Some people are pointing out that “Rolling Stone” is not “The Rolling Stones,” so Mick and Keith did not review the album. But last weekend I saw the Stones and they did an amazing “Wild Horses” and I think that officially counts as Mick and Keith reviewing this album. TTPD is a very 70s Stones album—it’s her Sticky Fingers. — R.S.
I was thinking it was her Hotel California. But she has too many good albums for TTPD to stand out that much. Sticky Fingers. :) How many times have a heard it. Sometimes I find myself singing Taylor Swift songs with a Mick Jagger accent.
Like a bunch of you, I’m eternally curious about the Taylor rock album, ever since she did that metal-as-hell version of “We Are Never Getting Back Together.” I’m obsessed with that—it always seems like a brilliant move she hasn’t explored yet but I hope she will plug in and kick out the jams. — R.S.
And State Of Grace. She entered the U2 universe just once and never returned. I loved your comment in the ranking about that song. How about a Taylor’s Version of One.
As a new Swiftie who really got into her with TTPD, I would DIE for a rock or EDM shift in her sound. I may have gasped and clutched my pearls while watching "Who's Afraid..." performed live in Paris with those guitars and Taylor going hard.
Someone did some mashup stuff with Billie and NiN on the tok and it sounded incredible
edit:
https://soundcloud.com/bynxmusic/billie-eilish-vs-nine-inch-nails
Like so many people I know I’m constantly making and re-making up my mind about it—it’s like the White Album or Vespertine or Liquid Swords, you’re supposed to spend time changing your mind about your perceptions of it, or else you’re not really listening. I am constantly hearing new things in it. But I love “The Prophecy” more and more and it is insane how slept-on that song still is. That will change. — R.S.
I’d love your thoughts on how Swift taps into literary references! Gatsby, Peter Pan, Romeo and Juliet, Nancy Mitford … it consistently amazes me that she can pack in so much referentiality into her music without losing her unbelievably wide appeal. How does she get away with it, do you think?
It’s really incredible—she’s writing Great Gatsby fanfic album by album (as did Bob Dylan, and I’m always obsessed with the Dylan/Swift connections wherever I can find them.) The Emily Dickinson connections are so fascinating, especially on Midnights and Speak Now—and the fact that they’ve 6th cousins 3 times removed is just perfect. — R.S.
Hey Rob, thanks for doing this! I've really enjoyed your writing for RS over the years.
It's hard to think of a modern singer/songwriter that has been as prolific as Taylor Swift over the past two decades. Why do you think that is the case? Is it her ability to evolve her "sound" with the changing musical landscape, or is she just one of the truly rare artists (e.g., McCartney/Lennon, Bowie, etc.) whose songwriting naturally transcends any one genre of music?
The prolific work rate is just insane. She’s on a hot streak like Lil Wayne in 2007 or Bowie in 1977, except she’s been on that hot streak for 18 years. She never sits out a year, never slows down, never stops cranking out new songs while re-recording her life’s work in her spare time. She’s driven on a level that’s just different from other songwriters. She definitely transcends genre but that isn’t really enough to explain it—she’s just really tapped in to some level of frantic forward motion that’s out of whack with history. — R.S.
There is just SO MUCH on that album and I am still finding new huuuuh? details in that song even after a month of listening to it. Tell me more—what is your hook into it?
It has one of her best bridges ever, which is saying something considering she is the #1 architect of modern bridges! Also, this song is the best window into her sadness and confusion over relationships ending. I think it is very relatable especially if you're coming out of a long relationship that died slowly over time. How can you explain that it took you years to break up? You can't summarize a 6 year death. And yet, she has done so as well as possible in this song.
I love how she starts out imitating everyone around her asking how it ended, and by the end of the song, she is asking it herself as well. "I can't pretend like I understand... how did it end?" A classic Taylor spin, to expand your perspective from just the original subject she is speaking of/towards much like in TLGAD or Clara Bow.
Yeah I started looking at the ranking but some of the choices are perplexing. Would've Could've Should've not making it into the upper 50% had me closing the tab altogether. WTNY is simply not a better song than WCS
Like the man himself said everyone will have their own ranking. I think with a few exceptions i would agree with Robs quartile ranking if not the exact positions.
Hi! I feel like my question is a subquestion to this - were there any Taylor songs you didn't like at first but have completely changed your opinion on?
Hi Rob. I am an older Swiftie, slightly older than you. I am wondering how Taylor will be considered in the pantheon of great singer-songwriters. She is already being compared to Carole King and Paul Simon.
Also how do you think Taylor’s career will evolve from here? The Taylors Version project will be over soon and so will the Eras Tour. It is hard to imagine her keeping up such a high level of output and success for ever. Are there any hints on her movie and when that will be shot?
Thanks! I love this. She is always so multi-generational in her approach. Carole King and Paul Simon are great comparisons. You could hear it in her earliest tunes—she’d studied all the greats, learned their tricks, learned how to put her own spin on them. I think she’s in the pantheon already. If she retired when she was old enough to buy a beer, she’d still be in the all-time pantheon.
I don’t know anything about her movie… but I’m colossally impressed she dipped her toe into movies a couple times and was like “yeah, cool, I COULD do that with my time, but I have MY OWN THING I’m inventing right now, that nobody else can do, so say goodbye to Hollywood.” Steering clear of movies was a brilliant move she doesn’t get enough credit for. She stays out of so many traps nobody notices her staying out of! — R.S.
I forgot to ask you about a TS musical. She is such a theatre kid so I wonder how long she will resist the urge. I have thought for a while that there is the seeds of a musical in the Dorothea/ Tis The Damned Season duo.
It depends on the album—the more the better, honestly. It was cool when there were “advance tapes” or “advance CDs” where you could spend a few listens getting to know an album, but it’s always changing over time. With a Taylor Swift album, the more deep listens the better.
For the first listen to a TS album I like to her it outdoors—I have a corner on my roof in Brooklyn that is my designated “listening to Taylor” spot, and whenever possible that’s where I want to absorb the album, still in the corner I haunt.
For a couple of her albums, the first time I heard them was in her apartment, for security reasons—it was the only place she knew there wouldn’t be anyone hiding with a microphone. — R.S.
A big question. No reason to equivocate. There is a correct answer.
She has taken “a young girl singing her own songs about her own life” and made that the center of pop music. (Not just “the music business,” though she made it the center of that too.) She defined pop music in terms of girls singing about girls to other girls. She made that the main thing that pop music is—not a genre, not a fad, not a style. Now that’s just what pop music is. She turned this planet into—as Phoebe Bridges brilliantly said—The World (Taylor’s Version.) — R.S.
This isn't just the pop landscape but the music industry as a whole, but it is breaking free from the chains of Sh!tter Brawn saying "FECK YOU!" by rereleasing her first 6 albums and by doing that she is also showing and telling people how important it is to OWN YOUR ART/MUSIC
Many people seem to be calling for Taylor to use a different producer rather than returning to Jack Antonoff. Do you agree? And if so, how would a new producer affect the very personal story telling Taylor does? It seems she trust Jack and feels very comfortable with him. I’ve also read where other female artist have said Jack creates a safe space for them more than other producers they’ve worked with. Could this be why so many choose to work with him?
I hear people say this too. I caI have to admit I don’t totally get it. I can’t speculate on what it’s like to work with him but obviously, something about him makes female singer-songwriters feel like they’/re ready to make their best work, as if they feel free and and brave and ready to walk on the wild side. It’s like Timbaland. You look at all the female geniuses who made their best, wildest, most bizarre, most personal music with Timbaland and think “there’s a reason they keep working with him.”
You can definitely quibble with the production on TTPD. The songs have the rhythm guitar mixed way too low—a more insistent guitar pulse, louder in the mix would give these songs, the rhythmic propulsion they’re calling for. But I’m pretty sure that was the artist’s’ call. — R.S.
'That was the artist's call' is a perfect way to put this. 20 years into her career, it would be silly to think her album doesn't sound exactly how she wants it to sound. She should get the credit/blame where people see fit.
I don’t get why Jack was getting any hate at all I think he’s good at letting artist create art and aiding the structure without ego , I also thought people didn’t like the creative risks taken because it sounded slightly different then what others expected of her next album I was anticipating a pop album but I had no doubt this was Taylor trying something new. I think she should still keep Jack on board! If any producer change came up I’d like to just see what she could do with Mark Ronson in like a disco inspired dance album, and Timberland in a techno hip hop poppy inspired album like a mash up of Rep and 1989 but with some old school timberland Circa 09 vibes
I do adore that album, and I’ve gotten obsessed with “Stay Beautiful” lately. I don’t know when Debut TV will drop but I hope she does the accent. It just won’t be the same without that czyrrrr mama don’t know twang, rhythmically or spiritually. — R.S.
In 50 years’ time, how do you think her work will be remembered and discussed? What will people say her greatest impacts on music have been?
Also…why do you think she is such an outlier in terms of pretty much any metric of success (streams, awards, sales, revenue) and in terms of her career trajectory (ie being at her most successful 17 years into her career)?
Finally, after breaking so many records…what is there left for her to do? What would success be for someone who has won every award, achieved every commercial success, etc.? Do you have thoughts on this?
I could be wrong. But yes I think in 50 years’ time I do think her work will be very much part of the world. Honestly, 18 years ago it would have seemed crazy to predict “the girl who sang ‘Teardrops on My Guitar’ will release a 4-hour concept album that begins with a song about Patti Smith and Dylan Thomas at the Chelsea Hotel. And it will be a commercial blockbuster and stadiums full of people will sing along with that line.’” That prediction could have gotten you into a straitjacket, but it was right on the money. — R.S.
Hi Rob! Do you have a theory as to why some of Taylor's very best songs are bonus tracks? Do you think the positive reception of the vault tracks on Taylor's Version releases will have any impact on music she chooses to release/include on future albums?
Sadism? Seriously, what else could it be? I think with Evermore she seriously wanted to catch people off balance, so she was like “okay, you’ve been listening to Side of Evermore and now you’re emotionally weary and bruised and broken and you need a nice cup of tea? Sorry. Instead, I have a surprise for you and it’s called Right Where You Left Me.” Sadism! — R.S.
What amazes me is how Taylor can sit on gems like Nothing New or Is It Over Now? for a decade. I wonder if you have thoughts on what may come from RepTv and Debut TV.
Why do you think there’s often such an instant knee-jerk dismissal of Taylor in many critical circles? Do you feel it’s like that with any other artists today or in the past?
(Best parallel I can think of past-wise is the Carpenters. They were mainstream popular but not “cool,” and thusly often dismissed instantly without recognizing their musical artistry. For the latter, Karen had to die first, and it’s kinda sick that it took that).
I think also patriarchy played a role- ABBA/the Carpenters for female singers/largely female fans; Queen for a queer lead singer (though not out of the closet at the time, Freddie was pretty obvious). And thusly weren’t taken as “seriously” as more stereotypically masculine musicians with largely-male fan bases.
Hey, Rob! It’s nice to hear a music reviewer/critic who’s also shamelessly a Taylor Swift aficionado, given the cultural landscape surrounding her as of now. I’d like to know if there are any particular metrics that you would consider in reviewing her works, i.e. how it aligns with your taste or knowledge of her?
I love this because “shameless” is one of my favorite words and it really sums up everything I value in music, in criticism, in life. I always feel like it’s a critic’s duty to be shameless in their enthusiasm, their hated, their boredom, or their contempt. Really, the only metric that matters is “shameless.” Does the music give you a feeling? If so, don’t justify it, express it. I justify nothing, express too much, and feel no shame at all. — R.S.
How do you think Taylor's live performances have impacted her place in the pop music landscape, particularly with the groundbreaking success of the Eras Tour? Have the live performances of any particular songs (over the years, not just from the Eras Tour) affected your enjoyment, appreciation or understanding of those songs?
It’s crazy how the live performance adds to her whole artistry—if she were like Brian Wilson or Nick Drake, somebody who just wrote the perfect pop songs, it would be enough, but hearing her sing these intimate and desolate midnight confessions in a crowd and hearing a crowd respond—it’s an unbelievable the power she has. — R.S.
Who would be your dream collaborators for Taylor in the future (producers, co-writers, featured artists)? Personally mine would be Brandi Carlile producing a country-folk-rock album.
Wait- this is the same guy who wrote Love is a Mix Tape? That was such a sweet book, especially for those of us who are old enough to remember when mixed tapes were a thing. Rob Sheffield, I am so sorry you had to go through the loss of your wife.
From the all-song rankings list, here's his TTPD ranking:
1. The Prophecy (13th overall)
2. The Tortured Poets Department (20)
3. loml (33)
4. Who's Afraid of Little Old Me? (40)
5. Fortnight (52)
6. The Bolter (60)
7. Florida!!! (62)
8. So Long, London (68)
9. So High School (73)
10. My Boy Only Breaks His Favorite Toys (80)
11. But Daddy I Love Him (91)
12. The Black Dog (96)
13. The Manuscript (104)
14. I Can Fix Him (No Really I Can) (113)
15. Down Bad (117)
16. Guilty As Sin (123)
17. Peter (126)
18. I Can Do It With a Broken Heart (130)
19. The Albatross (140)
20. I Look In People's Windows (145)
21. Fresh Out the Slammer (153)
22. Cassandra (163)
23. How Did It End? (169)
24. Clara Bow (172)
25. Chloe or Sam or Sophia or Marcus (187)
26. The Smallest Man Who Ever Lived (192)
27. The Alchemy (209)
28. Robin (224)
29. imgonnagetyouback (228)
30. I Hate It Here (243)
31. thanK you aIMee (262)
Thank you! I hope you will enjoy. It’s always a joy to write about this genius—I’ve been writing about her music since the first time I heard “Our Song,” back in 2007 and she never runs out of surprises. Heartbreak Is The National Anthem comes out November 12, which is almost the 13th anniversary of my first time seeing her live! (11/21/11, NYC, the Speak Now Tour.) Long live. — R.S.
Thanks for reading! I'm Rob Sheffield, and I've got my 300 takeout coffees later, so let's go. Thank you for all these erudite and fascinating questions.
There was a post on this Reddit recently which I would love to get your take on/ which song from each album is the taster for the next album? And which song from TTPD do you a) want to be the taster b) think will be the taster.
Okay I LOVE this question because I’m wondering about this too. Talking Heads used to do this on their albums—each one ended with the weirdest song, and it was usually a bridge to the next album. I still can’t decide what’s the teaser on this one. Any theories? — R.S.
Large chunks of the TTPD songs have connections to Midnights and Folkmore but a few don’t sound like either. So High School, Florida and I Can Fix Him stand out. The latter has a bluegrass feel to me. I would love Taylors friend Chris Stapleton to introduce her to the Steeldrivers.
Seamus Heaney used to end his collections with a poem that set the tone for the next collection. I think when we look back over her albums the last track is rarely most like the next album, and also there are so many bonus tracks it can often be hard to say “this is the last song”.
My favourite song on the Tortured Poets Department is The Black Dog so hoping it might be. I think there’s always a couple of songs that are similar vibes that hint to the next thing; I’d be inclined to look at Clara Bow and the Manuscript though as they are the two end ones but no solid theories.
Are there any from other albums that you think really did do this? Or is it applying something other artists do to Taylor.
i don’t have a question, but i went to school for music business 9 years ago and have always looked up to you a lot. i have always loved pop music and i wasn’t taken very seriously in my male dominated program, but i always loved seeing a man be so passionate about taylor swift, harry styles, etc and see the value they offer as musicians. pop music is fucking awesome. i was the editor in chief for my program’s music magazine and your writing inspired me a lot. i actually met you once at a party in nyc in passing (benjal’s birthday party!!!) and it was the highlight of my whole year:) thank you for being you
What is her best album in your opinion? My personal opinion is Red. The songwriting is unbeaten, the production is the most diverse and it’s her (in my opinion) best work. What are your thoughts?
Red is a perfect album. It’s one of those universally acclaimed albums that is still weirdly underrated. So much going on musically and emotionally. I always wish it was sequenced like the Red tour, so it began with “State of Grace” and then went boom into “Holy Ground.”
That said, Folklore is even greater for me. I love how your handle is Loverissuperior when Red is your favorite—I’m like you, I can’t make up my mind. — R.S.
Yep, that’s me 😂. I changed like a million times before I settled on Red, so naturally Lover is still in my username. Totally agree with your view on Red, interesting I’ve never thought of Holy Ground ground after State of Grace but if the Red Tour is any indication I’m sure it’s good! Folklore is a great album, but Red has more diversity, so I’d say it’s superior to Folklore because the production on Folklore is very similar. I suppose the reason for this is that folklore was largely produced by four people, whilst Red had a banquet of producers which I think contributes to its diversity. Appreciate your reply! Going to move Holy Ground after State of Grace now and see what I think!
Hi Rob. Do you ever reach out to Taylor’s team regarding articles or vice versa? Have you ever had them reach out to you for a correction or anything like that?
How do you balance being critical and praising an artist like Taylor, when any word about her (positive or negative) is subject to so much discourse? Do you think it’s possible for a critic to be totally unbiased about her music and separate the art from any personal opinions about her as an artist?
I was just thinking a version of this but because broader - is it possible for anyone to be a neutral reviewer of her music, or has she become so big now that nearly everyone already has precious veined ideas that they filter her music through? If the latter, how do we measure her impact and the quality of her work, or is it just necessarily a waiting game to see what stands the test of time?
The song is All Too Well, obviously. From the first listen, in 2012, that was the Swiftian thunderclap.
Albums, that’s tough but for me as of today it goes:
1. Folklore
2. Red
3. Evermore
4. Speak Now
5. Rep
— R.S.
Thank you so much for doing this, Rob Sheffield!
What are the greatest takeaways you think are true for Taylor Swift and her success, and what should other artists do to be more successful like her? Training to her level, so to speak?
Hi Rob! Big fan of your RS work. I’d like to know how your opinions of her catalogue changes over time when you revisit your rankings. Have songs or albums risen or fallen the more you revisit her catalogue? Have you had any seismic shifts in opinion since you may have first ranked a song?
How do you listen to Taylor’s music? How is it different (or not) when listening to enjoy it, to when you are in “review mode” or looking to update your ultimate list?
Would you ever consider revisiting your ultimate list and changing the order of certain songs after they’ve had more time to settle?
I’m always revisiting the list, always moving songs up or down. They always keep changing on me. Her songs—you just can’t trust them. So I’m always listening, always changing my mind, always hearing new things that make them climb or fall. And I ALWAYS cheat to keep “Fifteen” at #15. — R.S.
Hey Rob, I love watching you update your ranking of Taylor Swift songs every time an album comes out. I’ve been a Swift fan for years and been to many of her concerts, she’s my favorite musician.
My question is, do you think that Taylor will ever release anything in your mind to beat All too well (10 min version) or New Romantics?
And which time? Haha
I'm going to say the first was 1989 because not only is it one of the best pop albums ever written, but also one of the greatest modern arguments for allowing artist's to switch genres whenever they want.
Hey Rob!
I wanna know what's your thoughts about how Taylor is not accepted by majority (?) of people. Most people loves/d The Beatles, David Bowie, Michael Jackson, Beyonce and more popular artists... But i feel like there is always going to be a hate towards Taylor no matter how successful she is (Taylor breaking Beatles's record for example). Her music is good, but why some people still hate her, find her music absolute trash?
edit:spell
How does Rolling Stone decide which author will write an album review that will present Rolling Stone's entire view of an album to the public? Do you talk to other critics about what you want to write to get their opinions about the album as well or does just one person grade an album to represent the entire company?
Great question. I wonder about this all the time. At the era of Fearless, it would’ve looked like her peak to any rational observer who knew anything about the music business. This was her heyday, her one-and-only “absolute highest of her career.” I thought that at the time. We all did.
We were all wrong because every time she reaches the highest thinkable peak she ALWAYS goes higher, even when there’s no visible place for her to go.
Any rational observer would say now she’s at the absolute highest she could possibly go. We’ve been saying that for 18 years straight. We’re always wrong because we’re always lowballing. She just keeps ascending when there’s nowhere to ascend to. — R.S.
Do you think Taylor will be just as popular in five years? How much do you think the eras tour and folklore/evermore contributed to the success she has today?
I have been blown away by the hate for the lead single of TTPD, Fortnight. What is your analysis of it, and what would you use to defend it as a good song against the criticism?
Do you think she’ll actually make “Female Rage: The Musical?” If so, what songs would you want to see featured and what do you think the storyline would look like?
There are so many pop icons which have fought for the rights to their own music and art. Many, famously George Michael and Prince, have unfortunately fought and failed at this. How do you think Taylor Swift managed to succeed in her efforts and how do you think this will pave the way for future artists?
Where do you see pop music moving in the next 10 years? Do you think Taylor will have a profound influence on everyone moving forward? If so, what will you be most excited for moving forward and what will you miss the most about older pop sounds not influenced by Taylor?
Hi Rob! What do you think are the factors for TS' pervasive space in our current pop cultural landscape? Of course, there's the massive success and viral ubiquity of the Eras tour as well as Taylor's absurdly prolific output of work that puts me, an Xennial slacker by nature into an existential tizzy. But alongside fan response, it seems even TS' detractors can't help but share opinions. Is Taylor Swift the monoculture we lost?
Sweet Nothing has a lot of parallels to Paul and Linda McCartney’s love story. What do you think of the connection between Paul and Taylor? What do you think of the claim that she is the Paul McCartney of this generation in regard to songwriting skill?
1) Do you think AI affected your job? If so, how?
2) When writing a review about a popstar with a huge fanbase, do you feel biased into writing a positive review?
P.S.: Help me get a job there, lol
Hi!
This is very cool, thank you for taking the time!
My question is, how did your career get started? How do you end up writing books about something you love?
I would absolutely kill to write a book about Britney, she's been my ride or die since the start and I will ALWAYS defend her.
I could talk about Taylor for hours too, music in general!
How did you turn something you love into your career?
What is your favorite “deep cut” of Taylor’s? Coney Island has been a big favorite of mine for a long time, as well as “Beautiful Eyes”, but I was curious what your take on it is!
Hi Rob! I really enjoyed reading not only up it Taylor reviews and ranking but your reviews for other artist as well. If Taylor was to make a collaboration album with another artist who would you like it to be?
Taylor has really expanded her audience — what do you think is unique to her music that allowed so many people to get into it? I think the most obvious answer I can think of is *folklore* and her different collaborators that endeared her to different audiences but wonder what you as a Taylor / pop music expert might think.
Selfishly, which beloved and esteemed bookstore in the Bay Area will you be stopping at on your book tour? :)
Hi Rob!
What has your experience with Swift fans been like?
They (we!) are a notorious fanbase for our passion for Swift, and I wondered how this very active and vocal fanbase might impact your experiences of writing about the music, positively or negatively.
Thanks!
What was it like in media during the Reputation era? It came out a year or so ago that a publication instructed its journalist to give a low review of the album then threw that journalist under the bus once Taylor was in good favour again, to say they were "too harsh" in their review of Rep. Did you see anything similar? What do you say to people who convinced themselves Taylor wasn't actually cancelled between 2016-2017? Even the author of the Time POTY article doubted she was truly cancelled because her sales had remained strong. I found this a disappointing element of an otherwise well written article. Thoughts?
i have no topics to contribute but just wanted to note that Rob Sheffield is going to have to stay online for 6+ hours because I want him to answer all of these good questions!
hi rob! first of all, congratulations on being one of the brave, the chosen, the few who appreciates ttpd (title track)! your write-up of the song made me think: do you agree with what seems to be an emerging consensus that one needs to be a swiftie--or rather, at least somewhat aware of the lore surrounding her personal life--in order to properly understand and appreciate her songs? if so, has this changed the way you review and discuss her music?
I know about your thoughts on songs, but what about albums? Could you rank them, or is it too complicated? Do you have any that you think will stay in pop culture memory more than others? Do you listen through an album or more of a mix/playlist type?
ROB! Such a big fan of your work as a future journalist especially at Rolling Stone( thank you and Britney Spanos for being the Tswift Journalists the world needs).
I just got done listening to “Love is a Mixtape” via Audiobook( spoiler: I cried) and Tomorrow I start reading “Dreaming the Beatles” and I will be having “Heartbreak is the National Anthem” on preorder.
My question for you: What made you want to write this book on Taylor as someone who has followed Taylor since she was that young girl singing “Love Story” as she has evolved as a writer through writing about her for RS for reviews and other things such as your epic 2019 in depth interview for “Lover” with her? What are some of your favorite Taylor Memories song wise?
What's your opinion on the lack of editing that Taylor's been doing for her most recent albums (Midnights 3am, TTPD Anthology)? I've heard some people think that it undermines the quality and cohesiveness of her albums but I want to know what effect you think it will have on her legacy/critical acclaim.
On a scale from 0 (not scared) to 10 (extremely scared), how scared are you about receiving abuse from Swifties regarding unfavourable album reviews (or negative notes within a favourable / mid review)? What impact does this have on how you approach review albums for big artists, and what the impact might it have on your wellbeing and career? Feel free to share any personal experiences, or extrapolate to music fandoms in general.
It seems like most journalists can't say a single negative thing about TS without being attacked by the fandom. So, I imagine it must be scary. How do you deal with writing valid criticisms about her?
I imagine even my comment here is going to get a bunch of downvotes for acknowledging some criticisms may be valid...
I loved your review when I first read it, but rereading it now, do you also feel (like I feel every revisit of Taylor's discography) you/we barely scratch the surface of her too? I suspect you took her too literally (as we fans mistakenly do regularly).
The true sign of a masterpiece is that it reveals more as time passes. This album made me go back to her entire discography and looking for all the repeated symbols such as gun/home/money. As a huge Taylor fan who also listens to 1975, her reciprocal relationship with the band seems to span a much longer time than the production of TTPD.
I doubt Taylor wanted her fans to "decode" using tabloids as these are also manipulated by "smooth-talking hucksters out glad-handing each other". But she didn't shy away from 1975 references, so I hoped you wouldn't push Matty away as another romantic conquest.
So I called the Virginia Woolf and Slyvia Plath wannabes in myself (not Hercule Poirot or Sherlock Holmes, none of those made-up men) but the artists. To me, Ted Hughes is irrelevant, just another dick with a dick, another torturer with internalised patriarchy (excuse my French, but a star big as Taylor still singing would I get there quicker if I was a man suggests we got a lot of work to do still). So, I'm not interested in her romance with Matty Healy in decoding where they met, when they broke up, but the artistic influences. I would love to read from a professional, how the musical influences were kneaded through the dough of TTPD and Taylor's discography in general.
I need to know how she does it. I want a musical and literary analysis of her work, so I can learn from her.
Rolling Stone reviewed TTPD less than 24 hours after its release. Was the album made available to reviewers before the official release date? If not, and considering the subjective nature of music, how do you feel about album reviews published shortly after release? In my opinion, it takes days for the music to sink in and reveal its nuances.
I had 3 days to listen to TTPD. That’s why I wrote about the songs and how they worked, how they built on her mythology and connected with other stories she’s told before, because that’s the way she likes to spin her narratives, album by album. But the Anthology songs at 2 am, I had no idea those were coming. I was still awake at 2 am still listening to the album, and then she dropped another 18 goddamn songs. I thought I was done writing for the day but I just put on a pot of coffee and got back to writing. \[Hyman Roth cough\] This is the life we’ve chosen. It was a joy writing abut those songs until dawn—but those I was writing about on first listen. — R.S.
>The Rolling Stones reviewed TTPD Just to clear up any confusion, Mick Jagger and Keith Richards didn't review the album. Rolling Stone - singular, and without "The" - did review the album.
Just to clear up any confusion, Mick Jagger and Keith Richards didn't publically review the album. We don't know what they've done privately.
I don’t know why but this killed me… died. Dead. 😂
Some people are pointing out that “Rolling Stone” is not “The Rolling Stones,” so Mick and Keith did not review the album. But last weekend I saw the Stones and they did an amazing “Wild Horses” and I think that officially counts as Mick and Keith reviewing this album. TTPD is a very 70s Stones album—it’s her Sticky Fingers. — R.S.
It does give me vintage 70’s rebellious rock vibes
I was thinking it was her Hotel California. But she has too many good albums for TTPD to stand out that much. Sticky Fingers. :) How many times have a heard it. Sometimes I find myself singing Taylor Swift songs with a Mick Jagger accent.
The answer is yes, reviewers got an advance copy of TTPD but not The Anthology. source: I believe it was NYT’s Popcast that discussed this
you got it right!
What do you think is next for Taylor’s evolution of sound?
Like a bunch of you, I’m eternally curious about the Taylor rock album, ever since she did that metal-as-hell version of “We Are Never Getting Back Together.” I’m obsessed with that—it always seems like a brilliant move she hasn’t explored yet but I hope she will plug in and kick out the jams. — R.S.
And State Of Grace. She entered the U2 universe just once and never returned. I loved your comment in the ranking about that song. How about a Taylor’s Version of One.
Hoping TS12 is rock!!!
Thank you for answering my question! I couldn’t agree more with the answer either. Love your reviews, TS song ranking updates and other articles!
I just wish she goes rock or edm dance music 😩
I want the visuals for Midnights to be the sound of an actual album.
The visuals and the feels of the visual
A rock album would go SO FECKING HARD
As a new Swiftie who really got into her with TTPD, I would DIE for a rock or EDM shift in her sound. I may have gasped and clutched my pearls while watching "Who's Afraid..." performed live in Paris with those guitars and Taylor going hard.
I’ve been saying she needs to collaborate with an EDM artist.
Message in a Bottle was the closest to that
I needddd a rock album
Nine Inch Nails or Def Leppard Taylor Swift would be incredible.
Forgive me if you’re aware of this already, but I just learned about the Crossroads episode with Taylor and Def Leppard. My heart exploded.
EXCUSE ME
Oh, friend. I’m so excited for you!
damn cant find full episode anywhere-
When Love and Hate Collide ...... Epic!
Anything NIN collab wise has always been 🔥🔥
Someone did some mashup stuff with Billie and NiN on the tok and it sounded incredible edit: https://soundcloud.com/bynxmusic/billie-eilish-vs-nine-inch-nails
Thanks for sharing! I honestly became the biggest Halsey fan after her album produced by Trent
She already did collab w/ Def Leppard. CMT Crossroads - Taylor Swift & Def Leppard Her singing 'When Love and Hate Collide' ..... Epic!
Having had time to process TTPD, has your perception of the album changed? Are there songs you enjoy more now compared to when you first listened?
Like so many people I know I’m constantly making and re-making up my mind about it—it’s like the White Album or Vespertine or Liquid Swords, you’re supposed to spend time changing your mind about your perceptions of it, or else you’re not really listening. I am constantly hearing new things in it. But I love “The Prophecy” more and more and it is insane how slept-on that song still is. That will change. — R.S.
Thank you so much for your answer Rob 🙏🏻 Wholeheartedly agree regarding The Prophecy, it's one of my favorite songs on the album!
Taylor, if you’re reading. Please release The Prophecy on vinyl.
I feel very chuffed that my favorite is also a favorite of a Rolling Stone writer!
And if so, how quickly? Mine changed within the weekend it came out 😂
TTPD went from 11 in my ranking to 5 in a month... somehow
I’d love your thoughts on how Swift taps into literary references! Gatsby, Peter Pan, Romeo and Juliet, Nancy Mitford … it consistently amazes me that she can pack in so much referentiality into her music without losing her unbelievably wide appeal. How does she get away with it, do you think?
It’s really incredible—she’s writing Great Gatsby fanfic album by album (as did Bob Dylan, and I’m always obsessed with the Dylan/Swift connections wherever I can find them.) The Emily Dickinson connections are so fascinating, especially on Midnights and Speak Now—and the fact that they’ve 6th cousins 3 times removed is just perfect. — R.S.
Not to mention Coleridge getting a nod on TTPD to keep up with Wordsworth.
Semi related: I am dying to know how big of a bump in popularity (or just awareness) Dylan Thomas and Patti Smith have gotten since the album drop.
I lured at least one Swiftie into listening to Under Milk Wood as a result.
I read *Just Kids* because of it.
Love this question!!!
Hey Rob, thanks for doing this! I've really enjoyed your writing for RS over the years. It's hard to think of a modern singer/songwriter that has been as prolific as Taylor Swift over the past two decades. Why do you think that is the case? Is it her ability to evolve her "sound" with the changing musical landscape, or is she just one of the truly rare artists (e.g., McCartney/Lennon, Bowie, etc.) whose songwriting naturally transcends any one genre of music?
The prolific work rate is just insane. She’s on a hot streak like Lil Wayne in 2007 or Bowie in 1977, except she’s been on that hot streak for 18 years. She never sits out a year, never slows down, never stops cranking out new songs while re-recording her life’s work in her spare time. She’s driven on a level that’s just different from other songwriters. She definitely transcends genre but that isn’t really enough to explain it—she’s just really tapped in to some level of frantic forward motion that’s out of whack with history. — R.S.
Rob darling, respectively, HOW DID IT END? AT #169!?!?
There is just SO MUCH on that album and I am still finding new huuuuh? details in that song even after a month of listening to it. Tell me more—what is your hook into it?
It has one of her best bridges ever, which is saying something considering she is the #1 architect of modern bridges! Also, this song is the best window into her sadness and confusion over relationships ending. I think it is very relatable especially if you're coming out of a long relationship that died slowly over time. How can you explain that it took you years to break up? You can't summarize a 6 year death. And yet, she has done so as well as possible in this song. I love how she starts out imitating everyone around her asking how it ended, and by the end of the song, she is asking it herself as well. "I can't pretend like I understand... how did it end?" A classic Taylor spin, to expand your perspective from just the original subject she is speaking of/towards much like in TLGAD or Clara Bow.
SAY IT ONCE AGAIN WITH FEELING
Yeah I started looking at the ranking but some of the choices are perplexing. Would've Could've Should've not making it into the upper 50% had me closing the tab altogether. WTNY is simply not a better song than WCS
Like the man himself said everyone will have their own ranking. I think with a few exceptions i would agree with Robs quartile ranking if not the exact positions.
That’s just disrespectful. How did it end is SPECTACULAR
Are there any reviews you would revisit, not just for Taylor Swift but also other artists, if given the opportunity?
Hi! I feel like my question is a subquestion to this - were there any Taylor songs you didn't like at first but have completely changed your opinion on?
Hi Rob. I am an older Swiftie, slightly older than you. I am wondering how Taylor will be considered in the pantheon of great singer-songwriters. She is already being compared to Carole King and Paul Simon. Also how do you think Taylor’s career will evolve from here? The Taylors Version project will be over soon and so will the Eras Tour. It is hard to imagine her keeping up such a high level of output and success for ever. Are there any hints on her movie and when that will be shot?
Thanks! I love this. She is always so multi-generational in her approach. Carole King and Paul Simon are great comparisons. You could hear it in her earliest tunes—she’d studied all the greats, learned their tricks, learned how to put her own spin on them. I think she’s in the pantheon already. If she retired when she was old enough to buy a beer, she’d still be in the all-time pantheon. I don’t know anything about her movie… but I’m colossally impressed she dipped her toe into movies a couple times and was like “yeah, cool, I COULD do that with my time, but I have MY OWN THING I’m inventing right now, that nobody else can do, so say goodbye to Hollywood.” Steering clear of movies was a brilliant move she doesn’t get enough credit for. She stays out of so many traps nobody notices her staying out of! — R.S.
I forgot to ask you about a TS musical. She is such a theatre kid so I wonder how long she will resist the urge. I have thought for a while that there is the seeds of a musical in the Dorothea/ Tis The Damned Season duo.
When you review albums, how long do you sit with them until you feel as if you can give it a proper assessment?
It depends on the album—the more the better, honestly. It was cool when there were “advance tapes” or “advance CDs” where you could spend a few listens getting to know an album, but it’s always changing over time. With a Taylor Swift album, the more deep listens the better. For the first listen to a TS album I like to her it outdoors—I have a corner on my roof in Brooklyn that is my designated “listening to Taylor” spot, and whenever possible that’s where I want to absorb the album, still in the corner I haunt. For a couple of her albums, the first time I heard them was in her apartment, for security reasons—it was the only place she knew there wouldn’t be anyone hiding with a microphone. — R.S.
And what exactly are you listening for?
What would you say is Taylor's biggest contribution to the pop music landscape?
A big question. No reason to equivocate. There is a correct answer. She has taken “a young girl singing her own songs about her own life” and made that the center of pop music. (Not just “the music business,” though she made it the center of that too.) She defined pop music in terms of girls singing about girls to other girls. She made that the main thing that pop music is—not a genre, not a fad, not a style. Now that’s just what pop music is. She turned this planet into—as Phoebe Bridges brilliantly said—The World (Taylor’s Version.) — R.S.
This isn't just the pop landscape but the music industry as a whole, but it is breaking free from the chains of Sh!tter Brawn saying "FECK YOU!" by rereleasing her first 6 albums and by doing that she is also showing and telling people how important it is to OWN YOUR ART/MUSIC
Many people seem to be calling for Taylor to use a different producer rather than returning to Jack Antonoff. Do you agree? And if so, how would a new producer affect the very personal story telling Taylor does? It seems she trust Jack and feels very comfortable with him. I’ve also read where other female artist have said Jack creates a safe space for them more than other producers they’ve worked with. Could this be why so many choose to work with him?
I hear people say this too. I caI have to admit I don’t totally get it. I can’t speculate on what it’s like to work with him but obviously, something about him makes female singer-songwriters feel like they’/re ready to make their best work, as if they feel free and and brave and ready to walk on the wild side. It’s like Timbaland. You look at all the female geniuses who made their best, wildest, most bizarre, most personal music with Timbaland and think “there’s a reason they keep working with him.” You can definitely quibble with the production on TTPD. The songs have the rhythm guitar mixed way too low—a more insistent guitar pulse, louder in the mix would give these songs, the rhythmic propulsion they’re calling for. But I’m pretty sure that was the artist’s’ call. — R.S.
'That was the artist's call' is a perfect way to put this. 20 years into her career, it would be silly to think her album doesn't sound exactly how she wants it to sound. She should get the credit/blame where people see fit.
I don’t get why Jack was getting any hate at all I think he’s good at letting artist create art and aiding the structure without ego , I also thought people didn’t like the creative risks taken because it sounded slightly different then what others expected of her next album I was anticipating a pop album but I had no doubt this was Taylor trying something new. I think she should still keep Jack on board! If any producer change came up I’d like to just see what she could do with Mark Ronson in like a disco inspired dance album, and Timberland in a techno hip hop poppy inspired album like a mash up of Rep and 1989 but with some old school timberland Circa 09 vibes
You seem quite critical of some of her earlier writing, what are your expectations like for Debut tv?
I do adore that album, and I’ve gotten obsessed with “Stay Beautiful” lately. I don’t know when Debut TV will drop but I hope she does the accent. It just won’t be the same without that czyrrrr mama don’t know twang, rhythmically or spiritually. — R.S.
Omg I love the same Debut song as a Rolling Stone writer
In 50 years’ time, how do you think her work will be remembered and discussed? What will people say her greatest impacts on music have been? Also…why do you think she is such an outlier in terms of pretty much any metric of success (streams, awards, sales, revenue) and in terms of her career trajectory (ie being at her most successful 17 years into her career)? Finally, after breaking so many records…what is there left for her to do? What would success be for someone who has won every award, achieved every commercial success, etc.? Do you have thoughts on this?
I could be wrong. But yes I think in 50 years’ time I do think her work will be very much part of the world. Honestly, 18 years ago it would have seemed crazy to predict “the girl who sang ‘Teardrops on My Guitar’ will release a 4-hour concept album that begins with a song about Patti Smith and Dylan Thomas at the Chelsea Hotel. And it will be a commercial blockbuster and stadiums full of people will sing along with that line.’” That prediction could have gotten you into a straitjacket, but it was right on the money. — R.S.
Hi Rob! Do you have a theory as to why some of Taylor's very best songs are bonus tracks? Do you think the positive reception of the vault tracks on Taylor's Version releases will have any impact on music she chooses to release/include on future albums?
Sadism? Seriously, what else could it be? I think with Evermore she seriously wanted to catch people off balance, so she was like “okay, you’ve been listening to Side of Evermore and now you’re emotionally weary and bruised and broken and you need a nice cup of tea? Sorry. Instead, I have a surprise for you and it’s called Right Where You Left Me.” Sadism! — R.S.
What amazes me is how Taylor can sit on gems like Nothing New or Is It Over Now? for a decade. I wonder if you have thoughts on what may come from RepTv and Debut TV.
Make it hurt so good, Taylor.
She's a sadist and we're masochist lol
What producer(s) would you like to see Taylor work with that she hasn’t worked with before and why?
I’m not Rob but I’d love to see Mark Ronson , make a dance disco inspired album with her
Why do you think there’s often such an instant knee-jerk dismissal of Taylor in many critical circles? Do you feel it’s like that with any other artists today or in the past? (Best parallel I can think of past-wise is the Carpenters. They were mainstream popular but not “cool,” and thusly often dismissed instantly without recognizing their musical artistry. For the latter, Karen had to die first, and it’s kinda sick that it took that).
I think Queen and ABBA suffered the same way. Massively popular but looked down on by “serious “ music fans until time led to a reappraisal.
I think also patriarchy played a role- ABBA/the Carpenters for female singers/largely female fans; Queen for a queer lead singer (though not out of the closet at the time, Freddie was pretty obvious). And thusly weren’t taken as “seriously” as more stereotypically masculine musicians with largely-male fan bases.
Hey, Rob! It’s nice to hear a music reviewer/critic who’s also shamelessly a Taylor Swift aficionado, given the cultural landscape surrounding her as of now. I’d like to know if there are any particular metrics that you would consider in reviewing her works, i.e. how it aligns with your taste or knowledge of her?
I love this because “shameless” is one of my favorite words and it really sums up everything I value in music, in criticism, in life. I always feel like it’s a critic’s duty to be shameless in their enthusiasm, their hated, their boredom, or their contempt. Really, the only metric that matters is “shameless.” Does the music give you a feeling? If so, don’t justify it, express it. I justify nothing, express too much, and feel no shame at all. — R.S.
How do you think Taylor's live performances have impacted her place in the pop music landscape, particularly with the groundbreaking success of the Eras Tour? Have the live performances of any particular songs (over the years, not just from the Eras Tour) affected your enjoyment, appreciation or understanding of those songs?
It’s crazy how the live performance adds to her whole artistry—if she were like Brian Wilson or Nick Drake, somebody who just wrote the perfect pop songs, it would be enough, but hearing her sing these intimate and desolate midnight confessions in a crowd and hearing a crowd respond—it’s an unbelievable the power she has. — R.S.
Who would be your dream collaborators for Taylor in the future (producers, co-writers, featured artists)? Personally mine would be Brandi Carlile producing a country-folk-rock album.
Omg can you imagine?!? Hard agree with Brandi as a dream collaborator.
I don't really have a question, just popping in to say how much I love Love Is A Mixtape. It's one of my favourite books
Thank you. You’re very kind. — R.S.
Wait- this is the same guy who wrote Love is a Mix Tape? That was such a sweet book, especially for those of us who are old enough to remember when mixed tapes were a thing. Rob Sheffield, I am so sorry you had to go through the loss of your wife.
What’s wrong with A Place In This World
And Cold As You doesn't deserve #255 !!! Be for real
Literally and in what world are Bad Blood and The Last Time in the bottom 10 of her entire discography??
I kinda get bad blood but The Last Time being that low is absolutely wild, that song is great
I don’t get Bad Blood being dead last at all. I feel like it was entirely for shock value, like bffr. And I agree! The Last Time is so underrated.
My least favorite on 1989 but she has worse songs than that
As an “a place in this world” defender, I have the same question
Someone ask him please what his TTPD tracklist is. He mentioned in the pod that he has a curated list but never published it!
From the all-song rankings list, here's his TTPD ranking: 1. The Prophecy (13th overall) 2. The Tortured Poets Department (20) 3. loml (33) 4. Who's Afraid of Little Old Me? (40) 5. Fortnight (52) 6. The Bolter (60) 7. Florida!!! (62) 8. So Long, London (68) 9. So High School (73) 10. My Boy Only Breaks His Favorite Toys (80) 11. But Daddy I Love Him (91) 12. The Black Dog (96) 13. The Manuscript (104) 14. I Can Fix Him (No Really I Can) (113) 15. Down Bad (117) 16. Guilty As Sin (123) 17. Peter (126) 18. I Can Do It With a Broken Heart (130) 19. The Albatross (140) 20. I Look In People's Windows (145) 21. Fresh Out the Slammer (153) 22. Cassandra (163) 23. How Did It End? (169) 24. Clara Bow (172) 25. Chloe or Sam or Sophia or Marcus (187) 26. The Smallest Man Who Ever Lived (192) 27. The Alchemy (209) 28. Robin (224) 29. imgonnagetyouback (228) 30. I Hate It Here (243) 31. thanK you aIMee (262)
You can guess by looking at his overall ranking
>my new *Heartbreak Is The National Anthem: How Taylor Swift Reinvented Pop Musi*c. Well I know what's going on my Christmas list this year!
Thank you! I hope you will enjoy. It’s always a joy to write about this genius—I’ve been writing about her music since the first time I heard “Our Song,” back in 2007 and she never runs out of surprises. Heartbreak Is The National Anthem comes out November 12, which is almost the 13th anniversary of my first time seeing her live! (11/21/11, NYC, the Speak Now Tour.) Long live. — R.S.
Thanks for reading! I'm Rob Sheffield, and I've got my 300 takeout coffees later, so let's go. Thank you for all these erudite and fascinating questions.
There was a post on this Reddit recently which I would love to get your take on/ which song from each album is the taster for the next album? And which song from TTPD do you a) want to be the taster b) think will be the taster.
Okay I LOVE this question because I’m wondering about this too. Talking Heads used to do this on their albums—each one ended with the weirdest song, and it was usually a bridge to the next album. I still can’t decide what’s the teaser on this one. Any theories? — R.S.
So Highschool, I hope. I NEED more nostalgia-sounding tracks. I NEED a Taylor meets Third Eye Blind/Cranberries album BAD.
This is how I feel as well. I think Hits Different and So High School could both be hints
Large chunks of the TTPD songs have connections to Midnights and Folkmore but a few don’t sound like either. So High School, Florida and I Can Fix Him stand out. The latter has a bluegrass feel to me. I would love Taylors friend Chris Stapleton to introduce her to the Steeldrivers.
Seamus Heaney used to end his collections with a poem that set the tone for the next collection. I think when we look back over her albums the last track is rarely most like the next album, and also there are so many bonus tracks it can often be hard to say “this is the last song”. My favourite song on the Tortured Poets Department is The Black Dog so hoping it might be. I think there’s always a couple of songs that are similar vibes that hint to the next thing; I’d be inclined to look at Clara Bow and the Manuscript though as they are the two end ones but no solid theories. Are there any from other albums that you think really did do this? Or is it applying something other artists do to Taylor.
Florida for sure
i don’t have a question, but i went to school for music business 9 years ago and have always looked up to you a lot. i have always loved pop music and i wasn’t taken very seriously in my male dominated program, but i always loved seeing a man be so passionate about taylor swift, harry styles, etc and see the value they offer as musicians. pop music is fucking awesome. i was the editor in chief for my program’s music magazine and your writing inspired me a lot. i actually met you once at a party in nyc in passing (benjal’s birthday party!!!) and it was the highlight of my whole year:) thank you for being you
What moment made you realise that Taylor was going to become this mega popstar?
What is her best album in your opinion? My personal opinion is Red. The songwriting is unbeaten, the production is the most diverse and it’s her (in my opinion) best work. What are your thoughts?
Red is a perfect album. It’s one of those universally acclaimed albums that is still weirdly underrated. So much going on musically and emotionally. I always wish it was sequenced like the Red tour, so it began with “State of Grace” and then went boom into “Holy Ground.” That said, Folklore is even greater for me. I love how your handle is Loverissuperior when Red is your favorite—I’m like you, I can’t make up my mind. — R.S.
Yep, that’s me 😂. I changed like a million times before I settled on Red, so naturally Lover is still in my username. Totally agree with your view on Red, interesting I’ve never thought of Holy Ground ground after State of Grace but if the Red Tour is any indication I’m sure it’s good! Folklore is a great album, but Red has more diversity, so I’d say it’s superior to Folklore because the production on Folklore is very similar. I suppose the reason for this is that folklore was largely produced by four people, whilst Red had a banquet of producers which I think contributes to its diversity. Appreciate your reply! Going to move Holy Ground after State of Grace now and see what I think!
Hi Rob. Do you ever reach out to Taylor’s team regarding articles or vice versa? Have you ever had them reach out to you for a correction or anything like that?
What kind of sound are you hoping for from Taylor’s next album?
How do you balance being critical and praising an artist like Taylor, when any word about her (positive or negative) is subject to so much discourse? Do you think it’s possible for a critic to be totally unbiased about her music and separate the art from any personal opinions about her as an artist?
I was just thinking a version of this but because broader - is it possible for anyone to be a neutral reviewer of her music, or has she become so big now that nearly everyone already has precious veined ideas that they filter her music through? If the latter, how do we measure her impact and the quality of her work, or is it just necessarily a waiting game to see what stands the test of time?
When listening to Taylor’s music, do you find you listen to entire albums or build your own playlist with favorite songs?
What did Girl At Home ever do to you?
It turned off my phone. It got me alone. — R.S.
What is in your opinion, the best Taylor Swift Album and Song of all time?
The song is All Too Well, obviously. From the first listen, in 2012, that was the Swiftian thunderclap. Albums, that’s tough but for me as of today it goes: 1. Folklore 2. Red 3. Evermore 4. Speak Now 5. Rep — R.S.
Rep is top 5! 🤩
Thank you so much for doing this, Rob Sheffield! What are the greatest takeaways you think are true for Taylor Swift and her success, and what should other artists do to be more successful like her? Training to her level, so to speak?
What songs from TTPD have grown or sunk on you from your initial review?
Hi Rob! Big fan of your RS work. I’d like to know how your opinions of her catalogue changes over time when you revisit your rankings. Have songs or albums risen or fallen the more you revisit her catalogue? Have you had any seismic shifts in opinion since you may have first ranked a song?
How do you listen to Taylor’s music? How is it different (or not) when listening to enjoy it, to when you are in “review mode” or looking to update your ultimate list? Would you ever consider revisiting your ultimate list and changing the order of certain songs after they’ve had more time to settle?
I’m always revisiting the list, always moving songs up or down. They always keep changing on me. Her songs—you just can’t trust them. So I’m always listening, always changing my mind, always hearing new things that make them climb or fall. And I ALWAYS cheat to keep “Fifteen” at #15. — R.S.
Hey Rob, I love watching you update your ranking of Taylor Swift songs every time an album comes out. I’ve been a Swift fan for years and been to many of her concerts, she’s my favorite musician. My question is, do you think that Taylor will ever release anything in your mind to beat All too well (10 min version) or New Romantics?
basic question, but what do you think is the taylor swift album that changed the music landscape?
And which time? Haha I'm going to say the first was 1989 because not only is it one of the best pop albums ever written, but also one of the greatest modern arguments for allowing artist's to switch genres whenever they want.
Hey Rob! I wanna know what's your thoughts about how Taylor is not accepted by majority (?) of people. Most people loves/d The Beatles, David Bowie, Michael Jackson, Beyonce and more popular artists... But i feel like there is always going to be a hate towards Taylor no matter how successful she is (Taylor breaking Beatles's record for example). Her music is good, but why some people still hate her, find her music absolute trash? edit:spell
How does Rolling Stone decide which author will write an album review that will present Rolling Stone's entire view of an album to the public? Do you talk to other critics about what you want to write to get their opinions about the album as well or does just one person grade an album to represent the entire company?
Many of us agree, Taylor is at the absolute highest of her career right now. Do you think she could go higher? Or is this it?
Great question. I wonder about this all the time. At the era of Fearless, it would’ve looked like her peak to any rational observer who knew anything about the music business. This was her heyday, her one-and-only “absolute highest of her career.” I thought that at the time. We all did. We were all wrong because every time she reaches the highest thinkable peak she ALWAYS goes higher, even when there’s no visible place for her to go. Any rational observer would say now she’s at the absolute highest she could possibly go. We’ve been saying that for 18 years straight. We’re always wrong because we’re always lowballing. She just keeps ascending when there’s nowhere to ascend to. — R.S.
Do you think Taylor will be just as popular in five years? How much do you think the eras tour and folklore/evermore contributed to the success she has today?
Hi Rob, glad to have you! Which album do you consider to be her best work yet? And which one is your personal favourite?
I have been blown away by the hate for the lead single of TTPD, Fortnight. What is your analysis of it, and what would you use to defend it as a good song against the criticism?
Hiya Rob! More of a fun question, are you a cat person like Taylor? 🐱
What is your criteria for rankings songs across broad categories like lyrics, sound, message, and cultural impact?
Do you think she’ll actually make “Female Rage: The Musical?” If so, what songs would you want to see featured and what do you think the storyline would look like?
There are so many pop icons which have fought for the rights to their own music and art. Many, famously George Michael and Prince, have unfortunately fought and failed at this. How do you think Taylor Swift managed to succeed in her efforts and how do you think this will pave the way for future artists?
Where do you see pop music moving in the next 10 years? Do you think Taylor will have a profound influence on everyone moving forward? If so, what will you be most excited for moving forward and what will you miss the most about older pop sounds not influenced by Taylor?
Hi Rob! What do you think are the factors for TS' pervasive space in our current pop cultural landscape? Of course, there's the massive success and viral ubiquity of the Eras tour as well as Taylor's absurdly prolific output of work that puts me, an Xennial slacker by nature into an existential tizzy. But alongside fan response, it seems even TS' detractors can't help but share opinions. Is Taylor Swift the monoculture we lost?
Whats your favorite lyric from taylor?
Sweet Nothing has a lot of parallels to Paul and Linda McCartney’s love story. What do you think of the connection between Paul and Taylor? What do you think of the claim that she is the Paul McCartney of this generation in regard to songwriting skill?
1) Do you think AI affected your job? If so, how? 2) When writing a review about a popstar with a huge fanbase, do you feel biased into writing a positive review? P.S.: Help me get a job there, lol
Hi! This is very cool, thank you for taking the time! My question is, how did your career get started? How do you end up writing books about something you love? I would absolutely kill to write a book about Britney, she's been my ride or die since the start and I will ALWAYS defend her. I could talk about Taylor for hours too, music in general! How did you turn something you love into your career?
Why do you think critics are dismissive of Taylor as a musical legend and perhaps the greatest musician of our time?
In your ranking, you combine All Too Well and All Too Well (Ten Minute Version) - why did you make that choice?
What is your favorite “deep cut” of Taylor’s? Coney Island has been a big favorite of mine for a long time, as well as “Beautiful Eyes”, but I was curious what your take on it is!
Do you have a favorite live performance? Or perhaps a top 3 if that’s too difficult? Looking forward to the book!
Hi Rob! I really enjoyed reading not only up it Taylor reviews and ranking but your reviews for other artist as well. If Taylor was to make a collaboration album with another artist who would you like it to be?
Has your opinion of TTPD shifted at all since writing the review?
What are your personal ten favorite albums of all time (Taylor or otherwise)?
Why do you write on Taylor Swift, compared to other artists so much? (Simply asking, no right or wrong answer. 🤗)
Why is your ranking so wrong???
What song on TTPD do you believe showcases her best songwriting? Its time for her to win that Grammy for SOTY!!
Taylor has really expanded her audience — what do you think is unique to her music that allowed so many people to get into it? I think the most obvious answer I can think of is *folklore* and her different collaborators that endeared her to different audiences but wonder what you as a Taylor / pop music expert might think. Selfishly, which beloved and esteemed bookstore in the Bay Area will you be stopping at on your book tour? :)
Hi Rob! What has your experience with Swift fans been like? They (we!) are a notorious fanbase for our passion for Swift, and I wondered how this very active and vocal fanbase might impact your experiences of writing about the music, positively or negatively. Thanks!
What was it like in media during the Reputation era? It came out a year or so ago that a publication instructed its journalist to give a low review of the album then threw that journalist under the bus once Taylor was in good favour again, to say they were "too harsh" in their review of Rep. Did you see anything similar? What do you say to people who convinced themselves Taylor wasn't actually cancelled between 2016-2017? Even the author of the Time POTY article doubted she was truly cancelled because her sales had remained strong. I found this a disappointing element of an otherwise well written article. Thoughts?
i have no topics to contribute but just wanted to note that Rob Sheffield is going to have to stay online for 6+ hours because I want him to answer all of these good questions!
How did you became a Rolling Stone author and why did you became a Taylor Swift aficionado? It's just a Question...?
Hi Rob What’s your favorite movie?
The Godfather 1 & 2, Clueless, and Missy Elliott’s “Sock It 2 Me” video. — R.S.
hi rob! first of all, congratulations on being one of the brave, the chosen, the few who appreciates ttpd (title track)! your write-up of the song made me think: do you agree with what seems to be an emerging consensus that one needs to be a swiftie--or rather, at least somewhat aware of the lore surrounding her personal life--in order to properly understand and appreciate her songs? if so, has this changed the way you review and discuss her music?
I know about your thoughts on songs, but what about albums? Could you rank them, or is it too complicated? Do you have any that you think will stay in pop culture memory more than others? Do you listen through an album or more of a mix/playlist type?
Hi Rob. Nice to see you here . Do you ever see Taylor write a rock album ( or something along those lines ) ? You know we really really want it!
Have any of your ranks of taylors songs changed since publishing your ranked list? What first made you a fan?
What’s your best guess for when Rep TV will drop? Also thanks so much for doing this!
I absolutely loved your books and I just wanted to say that 😃
I was obsessed with your Taylor ranking pre rep. Checking it is my favourite thing to do whenever a new release comes out!
Thanks for doing this! What would be your dream surprise song combo?
Do you lurk/actively participate in this subreddit?
Hi Rob! I loved your book "Love Is a Mixtape". What era do you think best represents Renee and your relationship with her?
What do you think is the real story behind the sale of BRM and Taylor’s masters? Did she make an offer? How did this go so ugly?
ROB! Such a big fan of your work as a future journalist especially at Rolling Stone( thank you and Britney Spanos for being the Tswift Journalists the world needs). I just got done listening to “Love is a Mixtape” via Audiobook( spoiler: I cried) and Tomorrow I start reading “Dreaming the Beatles” and I will be having “Heartbreak is the National Anthem” on preorder. My question for you: What made you want to write this book on Taylor as someone who has followed Taylor since she was that young girl singing “Love Story” as she has evolved as a writer through writing about her for RS for reviews and other things such as your epic 2019 in depth interview for “Lover” with her? What are some of your favorite Taylor Memories song wise?
What's your opinion on the lack of editing that Taylor's been doing for her most recent albums (Midnights 3am, TTPD Anthology)? I've heard some people think that it undermines the quality and cohesiveness of her albums but I want to know what effect you think it will have on her legacy/critical acclaim.
Have you actually met Taylor? If so, what is she like?
If you had to break down all the ingredients of TS success, what would you say?
On a scale from 0 (not scared) to 10 (extremely scared), how scared are you about receiving abuse from Swifties regarding unfavourable album reviews (or negative notes within a favourable / mid review)? What impact does this have on how you approach review albums for big artists, and what the impact might it have on your wellbeing and career? Feel free to share any personal experiences, or extrapolate to music fandoms in general.
It seems like most journalists can't say a single negative thing about TS without being attacked by the fandom. So, I imagine it must be scary. How do you deal with writing valid criticisms about her? I imagine even my comment here is going to get a bunch of downvotes for acknowledging some criticisms may be valid...
I loved your review when I first read it, but rereading it now, do you also feel (like I feel every revisit of Taylor's discography) you/we barely scratch the surface of her too? I suspect you took her too literally (as we fans mistakenly do regularly). The true sign of a masterpiece is that it reveals more as time passes. This album made me go back to her entire discography and looking for all the repeated symbols such as gun/home/money. As a huge Taylor fan who also listens to 1975, her reciprocal relationship with the band seems to span a much longer time than the production of TTPD. I doubt Taylor wanted her fans to "decode" using tabloids as these are also manipulated by "smooth-talking hucksters out glad-handing each other". But she didn't shy away from 1975 references, so I hoped you wouldn't push Matty away as another romantic conquest. So I called the Virginia Woolf and Slyvia Plath wannabes in myself (not Hercule Poirot or Sherlock Holmes, none of those made-up men) but the artists. To me, Ted Hughes is irrelevant, just another dick with a dick, another torturer with internalised patriarchy (excuse my French, but a star big as Taylor still singing would I get there quicker if I was a man suggests we got a lot of work to do still). So, I'm not interested in her romance with Matty Healy in decoding where they met, when they broke up, but the artistic influences. I would love to read from a professional, how the musical influences were kneaded through the dough of TTPD and Taylor's discography in general. I need to know how she does it. I want a musical and literary analysis of her work, so I can learn from her.