Taylor Swift’s New Old ‘Love Story,’ and 12 More Songs


As the first official release of their newly recorded Love Story catalog from Taylor Swift’s 2008 album Fearless, this is a wise choice. Not only is it one of her favorite hits, but it also means the first new-old lyric we hear 31-year-old Swift sing is, “We were both young when I first saw you” – one instant invocation of The Past, which subtly refreshes the recording as a kind of tender love song for her 18 year old self. Swift is more interested in impressive note-for-note simulacrum than revisionism here, though sharp-eared Swifties will be happy to note the slightest differences (like the playful staccato hiccups they experienced on the second pre-to-Rome-e- oh! chorus.) When Swift first announced their intention to re-record their first six albums, skeptics wondered if the entire project was just an uncomfortable public display of personal animosity towards their former business associates and the new owners of the songs. But Swift has so far brought a sense of triumph, grace, and artistry to the company and has begun to be able to retell their story on their own terms. It’s better than revenge. LINDSAY ZOLADZ

Suppose you want to rewrite your past. Write it like an old hard drive. Take something that made you famous and reclaim it. Send a message to the people who have deprived the thing of the joy and satisfaction it has brought you. Sure, you could do a note-by-note re-record, primarily serving as a middle finger for stock investors. Or maybe you could take the Rebecca Black Route. It’s been about a decade since her debut single “Friday” made her an early victim of social media atrocity. But Black has been releasing music steadily and quietly over the past few years, and it recently came back into the limelight as a reliably charming presence on TikTok. Musically, she has found her feet as an outré eccentric with great skill, an ideal approach for – and a natural position for – someone chewed to a pulp by the internet. Hence the recapture of “Friday” with a chaotic, crazy, happy meta-hyperpop remix with Dorian Electra, Big Freedia and 3OH! 3, all produced by Dylan Brady with 100 Gecs. The original song became an original text of the misery that was outcast. How wonderful to hold it all these years just waiting for your gang of misfits to come along. JON CARAMANICA

Dua Lipa is the cheekiest on “We are Good”, a bonus track from the new deluxe “Moonlight Edition” of her 2020 album “Future Nostalgia”: “We shouldn’t be like sleeping and cocaine.” she coos. OK then! The video is similarly full of disrespectful, not entirely safe humor, as a tank of endangered lobsters is saved from dinner by … the Titanic going down? Thankfully, the song itself is pretty straightforward and fun – a cheeky, creeping kiss that’s more reliable than this doomed luxury liner. ZOLADZ

“Fan de Tus Photos” finds the smooth reggaeton star Nicky Jam and the Bachata superstar Romeo Santos, who both long for the same woman and sing one after the other. Santos in particular is lively and sings (in Spanish), “I’m your fan looking for a ticket / concert with your body.” In the video, both office drones are possessed by the same supervisor, the two penalties for their insubordination at work imposed – she fires you (badly) and then finds more direct ways to order you around (um … not bad?). CARAMANICA

Clementine Creevy, the songwriter who runs Cherry Glazerr, has gone way beyond the sleek, guitar-driven rock of her recent past. “Big Bang” is a negotiation with an ex who is still in the picture: “I still call you if I have to escape,” she admits, only to insist, “I don’t want you to be my lifeline do.” Their mixed feelings unfold on a stately march that rises to almost orchestral peaks. Is she arguing with her ex or with herself? JON PARELES

What happens when post punks grow up? The guitar-drum duo Death From Above 1979 has an answer: a hard hug of happy monogamy and proud fatherhood. “One plus one is three – that’s magic!” The drums still pound and skitter, and the guitar still bites as the nuclear family is reconfirmed. PARELES

The pianist Robert Glasper and the alto saxophonist and multi-instrumentalist Terrace Martin played an important role in the creation of Kendrick Lamar’s “To Pimp a Butterfly” and also form the core of R + R = Now, a contemporary jazz supergroup that works in conversation with hip -Hop and R&B. (This includes Christian Scott aTunde Adjuah ​​on trumpet, Derrick Hodge on bass, Taylor McFerrin on synthesizer and Justin Tyson on drums.) As the group at Glasper’s Blue Note residence in New York in 2018 Lamar played “How Much a Dollar Cost Was part of the set. This show was released as a live album today; On the Lamar cover, the fiery interplay between Adjuah ​​and Martin takes over the narrative tasks without an MC. GIOVANNI RUSSONELLO

What might have been a country waltz turns into a hyperactive jumble of distorted Tuareg guitar riffs and three-on-two cross rhythms instead. The tired voice and ghostly lyrics of Will Oldham (Bonnie “Prince” Billy) are not only supported by Matt Sweeney, but also by the unstoppable Mdou Moctar Ensemble – which also includes their songwriter Ahmoudou Madassane on guitar from Niger. The track unexpectedly ends as something of a love song. PARELES

Slightly angry sad boy R&B by Lil Tjay and 6lack – Lil Tjay sounds exhausted while 6lack sounds like he never takes off his sunglasses when he looks you in the eye. CARAMANICA

Katy Kirby’s voice is humble and breathless, with a few undisguised cracks as she metaphysically ponders a shaky relationship: “If we break up, will we be stronger than before / have we come together into a temporary whole?” She is accompanied by calm, steady, simple piano chords in the foreground as chamber-pop co-conspirators open creaking secrets around her. PARELES

The composer and singer Lucy Gooch superimposes her keyboards and vocals in enveloping dreams. “Ash and Orange” relies on organ-colored synthesizer chords, distant church bells and countless chirl-like harmonies for a song that develops from meditation to an open quasi-confession – desperate? conciliatory? – of overlapping voices: “In my heart, in my head I’ve tried.” PARELES

Flowing up the neck of the violin, then rushing and plucking and scratching back in a rough swarm: that is the sound of Mark Feldman – unshakable and unconstrained as always – in a solo interpretation of Sylvie Courvoisier’s “As We Are”. Later he lets the off-the-grid melody of the piece take him into a phase of intense improvisation. This track opens Feldman’s new album “Sounding Point”, his first solo violin LP in over 25 years. RUSSONELLO

In “Circles”, producer and singer Brent Faiyaz ponders identity, purpose and eschatology: “Have I forgotten who I am? Hunt gold? / Heaven only knows if you can really win in the middle of a world that is coming to an end. “Nothing is reliable: not the computer-shifted pitch of his voice, not the loop of plinky notes behind him, not the beat that is sometimes interrupted, not even whether it’s a song or two. In the last 47 seconds, the track changes completely and turns into retro soundtrack rock, while Faiyaz leaves the darkness of the studio in the video, gets into his sports car and drives off. PARELES



Robert Dunfee