It affords the listener the opportunity to listen in startlingly new ways, with equal parts virtuosity and good humor. An orchestra of young musicians from the three Baltic States, they first performed in Riga, Latvia in February and have gone on to tour throughout the world. The group went on to release the Grammy Award-winning recording After Mozart in , followed by a recording of two works by Enescu in to much critical acclaim.
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Nonesuch Records. Search form Search. You are here Home. Happy Birthday. Track Listing. Polka Schnittke. Variations brillantes et concertantes sur l'air "God Save the King", Op. Elegy Tchaikovsky. Souvenir Kupkovic. Read more. More From. Gidon Kremer , Astor Piazzolla. December 04, Gidon Kremer , Kremerata Baltica.
September 25, Cut to the fateful day, and the news was … Swift, who is a pop singer, was releasing a new pop song. The only silver lining?
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The crowd, not being idiots, responds with an enthusiastic yes. A spirited vocal performance in the outro saves the song from feeling like homework. Or was she a white woman playing the victim to demonize an outspoken black man? Most of them work.
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He produced her early demos, and she fought for him to sit behind the controls on her debut; the two would work together on every Swift album until , when his role was largely taken over by Max Martin and Shellback. Listen to the screams during the chorus and try to guess where this one was recorded. If you had forgotten that this song came out in , she keeps the line about Tae Bo.
Max Martin and Shellback pack the track with all sorts of amusing audio doodads, but the melody is a little too horizontal to stick, and the lyrics have a touch of first draft about them. Perhaps too much — you get the sense it might work better as a Bleachers song. As if to reassure nervous country fans, the fiddle goes absolutely nuts. Swift often plays guessing games about which parts of her songs are autobiographical, but this one is explicitly a fantasy.
The slangy Trump jabs to say nothing of the slight West Indian accents in the chorus may read as a few years behind the times, but when it comes to straight pop stars penning gay-rights theme songs , you could do a lot worse. Inspiration works in mysterious ways. Despite the extravagant title, the date described here is charmingly low-key: The dude wears a T-shirt, and his grand gestures are showing up on time and being nice.
The production and vocals are appropriately restrained — sometimes, simplicity works. Turns out, adolescent self-mythologizing is the same no matter where you are — no surprise that Swift could pull it off despite leaving school after sophomore year. The high point comes when she contemplates forgiving a hater, then bursts into an incredulous guffaw. Reader, I laughed out loud. The key to a good apology has always been sincerity, and whatever faults Swift may have, a lack of sincerity has never been one of them. No matter.
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As a slice of gothic pop-star paranoia, it gives a much-needed bit of edge to Bumped up a couple of spots for the line about vultures, which I can only assume is a shout-out. Finally, at a pivotal moment she stands up in front of everyone and protests the impending union. Luckily the guy is cool with it, so we get a happy ending! Mostly for better. The way the whole song starts and stops is an obvious trick, but I like it. In just her second album, she and Rose gave us this clear-eyed look at the emptiness of symbolic gestures, allegedly finished in a mere 45 minutes. Almost left off the album, but saved thanks to Shonda Rhimes.
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Here, we go from Kelly Clarkson verses to a roller-coaster chorus to a dubstep breakdown that dates the song as surely as radiocarbon — then back again. Good to see you? Never mind that Red had its own sugary singles. Docked ten or so spots for the spoken-word bridge and cheerleader breakdown, which might be the worst 24 seconds of the entire album.
The exuberance of the lyrics is matched in the way she tumbles from line to line into the chorus. Accidents happen.
But careers take hard work. Even as a teenager, Swift was savvy enough to know that country fans love nothing more than listening to songs about listening to country music.
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Are those fucking gunshots? The boys in the debut were just Nashville randos; this one was about a Jonas Brother, back when that really meant something. Obligatory fiddles aside, the original version is just about a perfect piece of pop-rock — dig how the guitars drop out at a pivotal moment — though the extended edition of Fearless also contains a piano version if you feel like having your guts ripped out. Despite the dress-up games in the chorus, this is one of the rare Swift love songs to feel truly adult: Both she and the guy have been down this road too many times to bullshit anymore.
They all come so naturally here. For a singer often slammed as being sexless, those sighs in the chorus tell us everything we need to know. Bumped up a few spots for the invigorating double-time bridge, the best on