Yet another single from Speak Now, Long Live is notable in so far as it was rerecorded as a duet with Brazilian singer Paula Fernandes.
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Her rebuke is done with wit – “All you are is mean and a liar and pathetic and alone in life and mean” – although the song itself is musically lightweight. In this instance, they are “grumbling on about how I can’t sing”.
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The arrival of another of Swift’s lyrical obsessions – the opinions of that latter-day bugbear, the Haters. Its first single was as well turned as ever, sprinkled with great lines – “You made a rebel out of a careless man’s careful daughter” – and yet still carried the faintest hint of retreading old ground. The sense that Swift was reaching the limits of the country-pop style that had made her famous haunted 2010’s Speak Now. It is certainly not a bad song, but the sucker-punch power of earlier singles such as Love Story is noticeably absent. The title track of Swift’s second album came out almost two years after the album itself and the sense of slightly diminishing returns is hard to miss. Swift’s first collaboration with Ed Sheeran was feathery, slightly cliched-sounding, middle-of-the-road acoustic pop as cutesy as its accompanying video, featuring a burgeoning romance between primary school-age Swift and Sheeran lookalikes.Įverything Has Changed 35. Weirdly, the demo version, stripped of the song’s more epic production touches, packs a bigger punch. The least appealing of the singles taken from 2012’s Red, the album’s title track is an attempt to bridge the gap between Swift’s past and future: banjo up against stammering electronic vocal effects, melodramatic orchestration and stadium rock chorus. She would go on to make better singles than this in the same vein. More romantic woe, this time set to music that indicated Swift was heading away from Nashville: chugging post-Strokes guitars and something approaching a post-punk disco beat dominate and there’s not a pedal steel or banjo to be heard. Back to December (2010)Ī beautifully produced and subtly orchestrated ballad that never quite sets your pulse racing, Back to December is notable largely as the first Swift single to provoke speculation about which famous former beau it was directed at: in this case, Twilight actor Taylor Lautner.
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It was a move that managed to cause a degree of controversy, the last thing you might expect from this well-written but unexceptional song. You could tell that Swift wasn’t prepared to be confined by Nashville from the fact that her second single came in “pop” and “radio” (ie country) versions, the former ditching the mandolin and pedal steel. A bit generic in its attempts to get fists punching the air, it is not among her most distinguished early efforts. The unexpected sound of Swift singing about the struggles of being an indie artist – at the time, she was signed to Big Machine, a label set up specifically for her – was subsequently repurposed as a US Olympic theme.