Replied to Total Request Live! Taylor, Lana, Kim, and More (with Sam Sanders) (Switched on Pop)

NPR’s Sam Sanders stops by to break down the tracks that Switched On listeners have been loving. Swedish dancefloor confessionals, songs that stop time, the specificity of Lana Del Ray, and the awkwardness of descending fourths: it’s all on the table in this freewheeling conversation of deep musical nerdiness.

Sam Sanders discussed Taylor Swift’s vocal up tick in Cruel Summer. This is something she does in Getaway Car. Both tracks feature collaboration with Jack Antonoff. Interestingly, this is a technique used in Antonoff’s own music with The Bleachers on tracks Everybody Loves Somebody and Don’t Take the Money. I therefore wonder if it is something that he has introduced to Swift or even vice versa?
Listened Lover (album) – Wikipedia from Wikimedia Foundation, Inc.

Lover is the seventh studio album by American singer-songwriter Taylor Swift. It was released on August 23, 2019, by Republic Records. As executive producer, Swift worked with producers Jack Antonoff, Joel Little, Louis Bell, Frank Dukes, and Sounwave on the album. Described by Swift as a “love letter to love”, Lover celebrates the ups and downs of love and incorporates brighter, more cheerful tones, departing from the dark sounds of its predecessor, Reputation (2017). Musically, it is a pop, pop rock, electropop and synth-pop record that contains influences of country, dream pop, pop punk, funk and R&B.

I find Lover an intriguing album. What does one expect from a Taylor Swift album? How much can it really break ‘new’ ground? I think Nick Catucci captures the feeling best by describing it as an “evolutionary rather than revolutionary.” There are moments when it feels like a cover of Ryan Adam’s covering Taylor Swift, other times it feels like continuation of the pop journey of 1989. I am not sure if the album is ‘good enough’ to paper over the cracks in her persona. However, I feel that how one responds to music is somewhat personal. Overall, I think Kitty Empire sums the album up best when she suggests that, “an album so long is bound to be a mixed bag.”
Bookmarked Look What They Made Her Do: Taylor Swift To Re-Record Her Catalog

For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told Rolling Stone back in 1996, “If you don’t own your masters, your master owns you.”

This is such an intriguing state of affairs, what is involved in ‘re-recording’ a record? Are there limits to what can be reproduced? What does this all say about the ‘masters’?
Liked Taylor Swift’s Music Ownership Controversy With Scooter Braun: What It Means and Why It Matters (Pitchfork)

With her open letter and the high-profile back-and-forth, Swift is bringing visibility to one of the music industry’s longest standing issues. And while it’s not a new problem, Swift’s discussion of it was enough to encourage artists including Sky Ferreira and Halsey to come forward about their own difficulties with label deals and ownership.