It was about expressing her real self in songs, but in a way her fans would embrace. Yet all of them were enlisted not to create her album for her, but to create the album she envisioned. Translating that vision into songs and a cohesive album required collaborators. Interviews conducted with these collaborators article confirm this, as well: the vision for the songs and production was Taylor’s. This album, although created with a several collaborators (including Swedish producer/songwriter/hitmaker Max Martin) proved she is an artist, and not some manufactured pop star. Her songs were shaped by co-producers and co-writers, but always started with her, and always with the intention of being real.
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Every one of the songs, as confirmed by those collaborators, began with a full song or a partial one that she brought in. But she was a child of 1980s America more than anything, and knew her music should express her true musical soul.īut, despite the doubt of those ever-present doubters, who clung to their certainty that she was not a real artist, but a manufactured pop star with no true creative core of her own, in fact she is. She loved that music and its great songwriting traditions. Yet the truth was that she wasn’t comfortable with the Country label she was given, as she felt she was a real pop artist, one moved more by the synths and sonics of her childhood than the Country music she came to embody. It wasn’t the advice she received from the music folks around her, who wanted her – as they always do with commercial artists – to keep doing what she was doing. Her vision was emboldened by her faith that the music closest to her soul, the songs which genuinely expressed here inner truth itself, and not some stylistic experiment calculated to connect commercially at that moment in time, was the obligation of a true songwriter. It was never her intention to make a statement, regardless of the reaction. If it failed, those would be her terms as well, but it would have been real. She know if that was a success, then it was a triumph on her own terms. Rather than go the usual rational route of following any trends which might bring millions to you music, she had the confidence, which some considered crazy, to trust her own passion as the deciding factor, to make a record true to herself. The idea was to embrace that which was the genuine music of her heart and soul. She didn’t want to create songs that might be right for now according to anyone else’s calculations. That’s where it began, with the brave intention of defying anyone who tries to steer her away from the music that she felt was true to her. I’d been making ’80s synth pop, so i thought I’m just gonna do that.
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“I woke up,” she said, “and I called 1989. It was a title and realization which came to her with surprising clarity one night at 4 am. Named after the year of her birth, it was a title which Taylor Swift explained was a perfect way of defining and owning the music she was making, which was less country and much more about synth-driver 80s pop. She made the album 1989 mostly in 2014, when she was 25. most of the songs are supposedly in the style of the Smiths, but this one is more straight Ryan Adams, and he calls it a Heartbreaker sounding version." But what in the world is he going to do with " Welcome to New York"? He already wrote his own anthem to the city in 2001.On the creation of her first official pop album, which won the Best Album of the Year Grammy, in the words of the artist and her collaborators He’s almost halfway through the tracklist by now. Stereogum notes, "In what initially seemed like a joke but has now become gloriously real, Ryan Adams has spent the past few days recording a full-length cover album of Taylor Swift’s 1989. He also shared a little bit of "Out of the Woods": Gonna sound so good w strings /vESRvYJPsn
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This is me and playin a chimney guitar coda And the bones are good-Adams declared the song, from a songwriters perspective, to be "unreal."īad song, Taylor. Over the weekend he shared a couple of clips through late night tweets, giving us a taste of "Bad Blood" stripped away from its hyped-up, celebrity-filled blockbuster video, and bringing it down to its bare bones.
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This kind of thing has been done before, and it's been done its best by Adams himself ( remember Wonderwall?), who seems to have a knack for turning good pop songs into something that sounds a little more important, or depressing, or meaningful.
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Ryan Adams has been in the studio recording his own versions of every song from Taylor Swift's most recent release, 1989.