Spotify (https://open.spotify.com/album/64LU4c1nfjz1t4VnGhagcg?si=qhSW5d2HQ-2nzx8e7zaVhg&context=spotify%3Aalbum%3A64LU4c1nfjz1t4VnGhagcg)
The album is out, and I'm angry because every song sounds like a major downgrade from its original version.
Christopher Rowe and Taylor handled the production of all the tracks that were previously produced by Max and Shellback, with the exception of Wildest Dreams (which was released in anticipation a few years ago).
Jack Antonoff, Ryan Tedder and Imogen Heap did handle the production of their tracks, these are still downgrades but not as noticeable.
Taylor is definitely not on good terms with max and shellback, I was expecting at least shellback in these recreations but she dropped him right after REDTV. The fact that she has not even mentioned them even tho they were the core of og 1989 is insane. She is a bit of hypocrite. So ''worried'' about songwriter rights but at the same time doesn't give a shit about her former friends and producers.
I think it's the other way around, listening to these versions made me realize how complex and how much effort was put into making these songs back in 2014, probably it was them not wanting to go all that through without making new songs or something
Is there really a beef between Max and Taylor?
There is a beef between TS and everything in this world that doesn't lick her a33.
Taylor could just went with any of the swedes to get help, instead she decided to keep working with Christopher Rowe who's clearly not up for the task.
She could have went with Elvira Anderfjärd since she nailed the production of Message In a Bottle with Shellback for the release of Red TV.
Quote from: j.fco.morales on October 27, 2023, 05:16:22 PMIs there really a beef between Max and Taylor?
Yes listen to this at 12:25 It's about money basically... https://soundcloud.com/natalia-volkov/taylor-swift-zane-lowe-full-interview-beats1?si=d78807c12ea445dda3041506ee01b783&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Quote from: david on October 27, 2023, 06:48:43 PMYes listen to this at 12:25 It's about money basically... https://soundcloud.com/natalia-volkov/taylor-swift-zane-lowe-full-interview-beats1?si=d78807c12ea445dda3041506ee01b783&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
I've always thought it was for a reason that Taylor never got a credit on a Max/Shellback song, I mean... there's clearly a reason listening to her productions in the TV songs. But it has to be about what she really did in those songs rather than money because Max have shared production credits with artists in the past (The Weeknd and Justin Timberlake are examples)
terrible
Quote from: bugmenot on October 29, 2023, 03:18:49 PMToday I listened to the vault tracks. They are blunt flat boring. She has no musical talent. Never had. It is so sad that such musicians are popular.
she's only as good as the producers she works with. her songwriting has gotten repetitive and boring. the melodies, vocal delivery, it's all the same. she's a writer. not a musician. and the hype she has is hype of the hype itself. gen z is on board and it's now "cool" to be a taylor swift fan. it's not genuine or organic and she monopolizes the charts, streaming. the "records" she breaks isn't even impressive anymore, it's a given. sycophants and sheep propelling her up and making her richer as she pollutes the skies with tons of carbon emissions. she's a capitalist.
The more I listen the more odd differences I keep finding.
For example in Style there's a clap in the first chorus in between the first and the second part (around 1:20) where it's just flat with no reverb or any other effects, and that's supposed to be the connector between the two parts.
Aren't the mixers supposed to pick up this obvious mistakes that could end up happening because of rushing everything? Serban Ghenea is not touching these things?
At the beginning of new romantics there's a white noise that is marking the tempo, it feels like they forgot to remove it