yourolllikethunder

FINALLT JUSTICE FOR GUILTY AS SIN, best track. begging her for more 90s soft rock with her slight twang… I need a whole album of guilty as sin, fresh out the slammer, would’ve could’ve should’ve sound
YES MORE JUSTICE FOR GUILTY AND SLAMMER

FINALLT JUSTICE FOR GUILTY AS SIN, best track. begging her for more 90s soft rock with her slight twang… I need a whole album of guilty as sin, fresh out the slammer, would’ve could’ve should’ve sound
YES MORE JUSTICE FOR GUILTY AND SLAMMER

FINALLT JUSTICE FOR GUILTY AS SIN, best track. begging her for more 90s soft rock with her slight twang… I need a whole album of guilty as sin, fresh out the slammer, would’ve could’ve should’ve sound
YES MORE JUSTICE FOR GUILTY AND SLAMMER

guilty as sin is a hit whether she likes it or not and she needs to respect that and make it the next single

this is exactly what i was thinking. sounds like something she would be afraid to release at the time (like i can see you and speak now). but sonically and lyrically it sounds like a red outtake.

If it’s a reject from any album, it’s Red.

And the fact that I've seen people say it's a Midnights reject...NO!

My bed sheets are ablaze
I've screamed his name
Buildin' up like waves crashin' over my grave
Without ever touchin' his skin
How can I be guilty as sin?
 

 
 
Like????? These might be some of my favorite lyrics in her entire discography  Guilty As Sin is top 10 Taylor Songs in my book 

The Alchemy is so good. I can't get enough of that chorus.
 
Clara Bow is another favourite and I love that she closed the album with this:
 
"You look like Taylor Swift
In this light
We're loving it
You've got edge she never did
The future's bright ... Dazzling"  

been listening to the anthology obsessively. it's giving me that same feeling i got when i was in the early stages of listening to folklore and evermore, just awestruck. i love taylor swift in all kinds of genres but THIS is where she truly thrives to me. the strings in the prophecy have me in a chokehold 

my boy only breaks his favorite toys and guilty as sin will be the hits that got away once the ttpd era is over. just like getaway car and august. 

Title track grows on me more and more everyday like this song is kind of genius 

TTPD ranking:
1. Guilty as Sin?
2. Fresh Out The Slammer
3. I Can Fix Him (No Really I Can)
4. Fortnight
5. My Boy Only Breaks His Favorite Toys
6. loml
7. So Long, London
8. The Smallest Man Who Ever Lived
9. Who’s Afraid of Little Old Me?
10. The Tortured Poets Department
11. But Daddy I Love Him
12. Florida!!!
13. Clara Bow
14. Down Bad
15. I Can Do It With a Broken Heart
16. The Alchemy
 
Anthology ranking:
1. Peter
2. The Albatross
3. I Hate It Here
4. imgonnagetyouback
5. The Bolter
6. So High School
7. The Black Dog
8. Chloe or Sam or Sophia or Marcus
9. Robin
10. The Manuscript
11. How Did It End?
12. Cassandra 
13. The Prophecy
14. thanK you aIMee
15. I Look in People’s Windows

my final ranking of the standard edition after a week:
 
1. Guilty As Sin?   (Amazing, top 10 song, 13/10)
2. But Daddy I Love Him (just wow, no words, 11/10)
3. Florida!!! (Makes me feral, 10/10)
4. The Smallest Man Who Ever Lived (That bridge deserves a 10/10 alone)
5. Fresh Out The Slammer (A big grower for me, can't get enough of the sound on this track, she needs to do more of this country style 9/10)
6. So Long, London (So beautiful, not my fav track 5  , but I ascend every time I listen 8.8/10)
7. Who's Afraid Of Little Old Me (I can see this going lower later, after the gag wears off it's still a great song, but definitely not the best one. 8.5/10)
8. loml (One of her saddest songs ever, maybe even sadder than hoax. Beautiful song, but I can't see myself going back to it, as it's too sad 8.5/10)
9. Fortnight (I love the emotionless delivery on this one, it really works imo. Makes me feel like a mental hospital patient, 8,3/10)
10. My Boy Only Breaks (A fun bop! The true single of this album, really hopes it gets played on tour 8/10)
11. I Can Do It With A Broken Heart (Another lil bop, maybe the production is a bit too much, but I enjoy it! 8/10)
12. I Can Fix Him (Too short, if it was another minute it would be much higher. I love the country saloon vibe, she really has to go this direction for TS12 .7.9/10)
13. Clara Bow (I enioy this, the production is very "You're On Your Own, Kid" but the melody doesn't do it for me. I do like hearing Taylor Swift say Taylor Swift though. 7.5/10
14. TTPD (Hmm. The lyrics on this are a bit iffy, but I find myself coming back to this song. It might rise in my ranking in time. I like the chorus a lot 7.3/10)
15. The Alchemy (This is a puzzling song, I can't tell if I like it or not. The football metaphors are not for me, none of that on TS12 please. I love the production on this though, and the chorus. Just wish it had different lyrics. The lyric I really like is "Who are we to fight the alchemy"', that's cute. 7.2/10)
16. Down Bad (Not feeling this one. Everyone likes it, it seems, but the chorus is too repetitive for me. It feels like something I can put as backround music when I work out, something I don't have to pay too much atttention to. Overall, it's monotonous. I like it when she says fuck tho. 6.9/10)
 
Overall, I'd give it a score of 83-85. Here's how it ranks among the other albums:
 
1. Evermore
2. 1989
3. Folklore
4. Rep
5. TTPD (Standard)
6. Speak Now
7. Red
8. Midnights
9. Lover
10. Fearless
11. Debut
 
If I combined it with The Anthology though, it would probably be top 3. I actually haven't finished TA yet, I have 6 songs to go. I'll make a full ranking in a few days.

my boy only breaks his favorite toys sounds SO much like the 1989 vault. it trips me out everytime i hear it 

Gray and blue and fights and 

Not with a headliner, not even on the main stage, and this is where she fucking shines. Beyond excited for Lasso. It truly feels like she’s found her people, she looks so fucking happy. I think those who are saying Lasso will be a flop like Chemtrails (which has aged beautifully, btw) will be proven very very wrong this year. 

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

Fortnight is one of her best songs I’m sorry for doubting the single choice Taygod

Just kidding I love ur review 

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

some of the bonus tracks are very folklore i like them