Cah see :D

Taylor Swift

“You're Not Sorry (CSI Remix)”

sybaritic:

(taylor swift - you’re not sorry [csi remix])

this ambient reworking of a taylor swift ballad is excellent—the kind of song that makes me wish i was a fourteen year old girl so i could spend hours crying while flipping through my high school yearbook before i finally realize that i can still do that anyway—but mostly it’s an excuse to post this picture from this week’s new york times’ magazine.

AMAZING.

(download)

B.o.B

“Airplanes [feat. Hayley Williams]”

sybaritic:

(B.o.B - Airplanes [feat. Hayley Williams])

I suspect that, in a few weeks or months or whenever the gods of the music industry decide to release this as a single, this song will fall victim to the unfortunate fate that’s wrecked so many other shimmering, well-polished, inoffensively melancholy, hip-hop-inflected midtempos (OneRepublic’s “Apologize” and Nelly Furtado’s “Say It Right” spring to mind); that is, you’re going to hear it in every pharmacy and department store and shutting the fuck down every middle school dance across the country; so really, I think we have a moral obligation to listen to it now while it’s still fresh and enjoyable and get sick of it quickly, on our own, because it’s just too good of a song to waste.

(Download)

Taylor Swift

“Mine”

sybaritic:

(Taylor Swift - Mine)

I haven’t been as vocal in my admiration for Taylor Swift as maybe I should be. While Taylor has, obviously, captured the hearts of mainstream America, there’s still something (for me, at least) a little bit secret and shameful about loving Taylor Swift. As a gay man, as a New Yorker, as someone whose preferences shift toward dance music, the appeal of Taylor’s simple, straightforward pop-country songs is beguiling. I never want to like it, but of course, I always do.

To hear Taylor evolve as an artist, from the eagerness of her first album, to the more wistful sound of “Fearless,” and now with “Mine,” the first single from her upcoming third album, has been a compelling journey. Unlike many artists, Taylor really does write all of her own music — this doesn’t directly impact the effectiveness of her music, because, let’s face it, songwriting is a task best left to the professionals — but it does mean that she is a songwriter first and a singer second. Taylor, moreover, is not a songwriter in the Beyonce tradition of obligatory co-writer credits. She is the sole writer listed on “Mine”; there are no mentors, no collaborators, no guiding Ryan Tedders or Evan Bogarts to shape those earnest diary entries into something more palatable, at least not at this stage of her career. I don’t begrudge any talented (or even untalented) vocalist the skills of a squadron of hitmakers, but my experience of Taylor as an artist is deepened by the fact that these songs are hers and hers alone. And even if her vocal delivery isn’t powerful, or soulful, she is singing from the heart, and that comes through in every pain-struck note.

Because even when her songs are happy, they’re always sad, which tethers Taylor in subtler ways to the sad dancefloor anthems that Robyn, for example, has made a career out of brilliantly executing. “Mine” is currently battling Katy Perry’s “Teenage Dream” on the charts, and both songs are perfect meditations upon the ephemerality of youth. But the fairytale endings that Taylor has always written about aren’t quite as faultless in “Mine.” As with most of her songs, “Mine” tells a story, replete with those perfect images (the subject of the song “work[s] part-time, waiting tables”; Taylor describes herself as “a flight risk with a fear of falling”); but they fight at “two-thirty a.m.,” they’ve got “bills to pay” and “nothing figured out.” As a memoirist, I’ve been well-trained in the paradoxical nature of narrative detail: specific details are the quickest pathway to universality, while vagueness and abstraction render writing unidentifiable, unempathizable. Taylor brilliantly utilizes details, in “Mine” and elsewhere (although, admittedly, her songs all do seem to take place on Tuesdays).

It’s that chorus, though, that really kills: “Do you remember, we were sitting there by the water/You put your arm around me for the first time?” Taylor asks. It’s a spectacular sleight of hand, so quick that it passes you by — the “Do you remember” frames the experience through a lens of nostalgia. We’re not in the moment (sitting there by the water) but looking at it from the present, acknowledging its irretrievability. And then the clincher, “You made a rebel of a careless man’s careful daughter/You are the best thing that’s ever been mine.” I always used to resent the usage of gender pronouns in pop music — one of the pettier complaints about a heteronormative society, to be sure, but it always stung a little bit to be excluded from full identification with a song sung by a man that kept talking about “her.” Likewise, here, I am not a careless man’s careful daughter, and I don’t even know that I have anyone who “Mine” makes me think about.

But still, as I was walking home this morning through Chelsea, past the adult bookstores and outdoor cafes, muscled gymrats in tank tops and tweakers with cigarettes dangling from their lips, listening to “Mine,” my eyes suddenly filled up with tears.

(Download)

treesaw:

such a cute song.

treesaw:

Ne-Yo - Over My Head

treesaw:

Colbie Caillat - I Never Told You

lizardbr3ath:

lenahs:

shelbystardust:collaboration of these songs:

1. Bruno Mars - Just The Way You Are
2. B.O.B. feat. Bruno Mars - Nothing On You
3. Gnarls Barkley - Crazy
4. Britney Spears - Hit Me, Baby, One More Time
5. Jason Derulo - In My Head
6. Justin Timberlake - My Love
7. Lady Gaga - Just Dance
8. Leona Lewis - Bleeding Love
9. Ne-Yo - So Sick
10. Michael Jackson - Black Or White
11. Snoop Dogg - Sexual Eruption
12. Survivor - Eye Of The Tiger
13. Taylor Swift - Fifteen
14. Taylor Swift - Fearless
15. Savage Garden - The Animal Song
16. Snoop Dogg feat. Justin Timberlake - Signs

Holy shit.

(via lashix)