Top 10 Best Hit Songs of 2011
Alright, welcome back to Gabingston’s Pop Reviews, this time for the second of the two 2011 lists, covering the best that this year had to offer. 2011 carried over a lot of the musical trends from 2010, but also hinted at some changes that would come in the following years. The Club Boom was still riding high and Pop was arguably at its peak in terms of success. Hip-Hop and R&B, while still dominated by the club trends of the time, was beginning to form the sound that would come to define the genre in the 2010s. Country had a pretty good year (although with some of the early Bro Country sounds coming in), and as for Rock… well, it was just about dead by 2011. Overall, this was one of the better years of the 2010s, and we’ve got quite a few Honorable Mentions, including two special ones that I’ll explain. So, let’s get right to that, shall we?
Honorable Mention: Just The Way You Are by Bruno Mars (Peak: #1, Year-End: #15)
I don’t include repeats as Honorable Mentions, but I’m gonna make an exception for these first two songs. I didn’t include them on my Best of 2010 list last year, and in retrospect I should’ve, so I’m gonna make up for it here. Just The Way You Are is one of the sweetest songs ever made, a song about how starstruck Bruno is by his girl, and how he couldn’t ask for any more from her. With wonderful, romantic instrumentation and Bruno showing off his stellar voice, this was definitely a song that deserved at least an Honorable Mention on the aforementioned Best of 2010 list, but at least I can give it some justice here. Keep it up, Bruno, I’m more than ready for that fourth album.
Honorable Mention: Dynamite by Taio Cruz (Peak: #2, Year-End: #44)
For the second of the two 2010 repeats, we’ve got Dynamite by Taio Cruz, a defining Club Boom smash that was also a big part of my childhood. While Taio Cruz didn’t really have a lot of personality or vocal presence (which is probably why his career was exceptionally short lived), he rang the most out of his rather pedestrian talents and scored two massive hits at the beginning of the 2010s. I put both this and Break Your Heart as strong 4/5s when I made my 2010 lists, but looking back at it, both songs might’ve deserved the full 5/5. Dynamite is pretty much the Club Boom of 2008-2012 in a nutshell, with bombastic, nightclub-ready production, an earworm of a hook and lyrics about partying and having a good time. I cannot tell you how much little 9-10 year old Gabingston liked this song back in fourth grade, and it was one of the songs that first got me into popular music. Sure, parts of it are a bit dated (the autotune in particular), but nostalgia and the fact that this bumps at school dances and parties makes this more than worthy of an Honorable Mention. Also, here’s a mashup of this and the BTS song of the same name, you’re welcome.
Honorable Mention: Party Rock Anthem by LMFAO (Peak: #1, Year-End: #2)
For the first of the actually eligible Honorable Mentions, we’ve got Party Rock Anthem by LMFAO, the second biggest hit of the 2010s according to Billboard. The song is exactly what the title would suggest, an anthem of party rocking. Sure, the production can be a bit overblown at points, and some of the lyrics are quite stupid (“running through these h0es like drano”, really), but these flaws are ignorable when the rest of the song is a bop to the enth degree.
Honorable Mention: What The Hell by Avril Lavigne (Peak: #11, Year-End: #62)
Sure, the lyrics are about Avril acting immature and irresponsible (and possibly cheating on her boyfriend), but ah, What The Hell, it’s too fun for me to pay attention to those very obvious problems.
Honorable Mention: Just A Kiss by Lady Antebellum (Peak: #7, Year-End: #42)
Yeah, I know this is quite possibly the lamest song ever made, but I also happen to be extraordinarily lame myself, so of course I like this song so much. I’ve stated before that I have the music taste of a 40 year old wine mom, and that definitely holds true here.
Honorable Mention: For The First Time by The Script (Peak: #23, Year-End: #66)
On the topic of mom music, I like The Script. I put Breakeven as an Honorable Mention on my Best of 2010 list, and they’re getting the same honor on this list. The lyrics are about reconnecting and persevering through hard times, and that resonated with me. We’ll see how Hall Of Fame does when I get to 2013, but so far, it’s 2/2 for The Script.
Honorable Mention: F**k You by Cee Lo Green (Peak: #2, Year-End: #7)
Well, this shouldn’t be much of a surprise to anyone who’s seen a Best of 2011 list before. Yeah, F**k You by Cee Lo Green is pretty dang good, even if it is also quite dirty. It’s a real contrast to hear this upbeat, chipper instrumentation contrasted with such a blunt F-bomb right in the middle of the chorus, but that’s probably why this song works so well (although the radio would’ve played the censored version, Forget You). Cee Lo may be saying “f**k you” to this girl, but I’m definitely not saying that to this song.
Honorable Mention: More by Usher (Peak: #15, Year-End: #61)
Well, what do you know, it’s another club banger from Usher making a best list of mine. Sure, it’s not quite as great as DJ Got Us Fallin’ In Love, but it’s still on the better side of the club boom. With the exception of OMG, all of Usher’s club tracks from this time were among the best from that era, and this is definitely one of them.
Honorable Mention: Price Tag by Jessie J ft. B.O.B (Peak: #23, Year-End: #93)
We have now arrived at the final Honorable Mention, and thus the final cut from the list proper, Price Tag by Jessie J ft. B.O.B. The core message of the song is that Jessie J doesn’t care about how much money she makes, only about making other people happy, which is a nice message for a pop song to have. Oh, and the bassline doesn’t hurt, either (nor does Mr. Flat Earth himself dropping a verse). Now, time for the first entry on the actual list.
#10: Best Thing I Never Had by Beyoncé (Peak: #16, Year-End: #86)
There have been several big name artists that I have never included on one of my best lists to date. Drake is a good example, having never appeared on a best list despite making every Year-End Hot 100 since 2009. Chris Brown has never appeared on a best list either, and with Yeah 3X barely missing the Honorable Mentions this year, he likely never will (although I’ll end up quoting this if I’m proven wrong). I bring this up because Beyoncé was one of those artists, never appearing on one of my best lists until today, where she lands at #10 on this list with Best Thing I Never Had.
As is typical for me, I’ll start with the composition. Best Thing I Never Had is a Pop ballad with delicate piano keys, strong percussion and even hits of guitar on the chorus. Beyoncé’s vocals are her typical belty, confident schtick that she uses on a lot of songs, and it works very well here, considering the subject matter.
Given the title, Best Thing I Never Had, you’d expect it to be about a breakup, and you’d be right. However, this is not a sort of longing, wistful song about the one that got away, but a kiss-off to an ex who wasn’t so great after all. Granted, this isn’t a surprise coming from Beyoncé, for whom this is a mainstay to the point of being comparable to Taylor Swift putting out tons of breakup songs, but it’s still worth noting. Sure, it does feel a little bit like she’s talking directly to me (which is one of the quickest ways to make me hate a song), but there are enough good elements to outweigh that for me to overall enjoy this song. Also, one more thing, Beyoncé is absolutely gorgeous in the music video (SIMP).
#9: Good Life by OneRepublic (Peak: #8, Year-End: #25)
You know how I said that I have a mom’s taste in music? Well, that’s definitely true with OneRepublic, who I would consider myself a fan of (not a huge fan, but a fan nonetheless). They’ve appeared on two of my best lists in the past (2010 with Secrets and 2008 with Stop And State), and they’re repeating that feat in this list with Good Life).
The instrumentation of this song is incredibly nice, with a simple drumbeat, acoustic guitar strumming and whistling in the post-chorus. It’s a hopeful, optimistic sound that is definitely of its time (man, I miss the Early 2010s). Ryan Tedder’s vocals are in a similar mould, showing genuine hope for the future and enjoyment of life. That brings me to the lyrics.
According to the genius page, the lyrics are about optimism and contentment with life, which seems about right. This was just after OneRepublic had blown up with Apologize, and the band was all of the sudden playing shows all around the world. All of his (Ryan Tedder’s) dreams have come true, and he’s living the Good Life, hence the title.
“Oh this has gotta be the good life
This has gotta be the good life
This could really be a good life, good life
Say oh, got this feeling that you can't fight
Like this city is on fire tonight
This could really be a good life
A good, good life”
As mentioned earlier, this is clearly of its time in terms of the hopeful attitude, and while the song does mention “B.S. that don’t work out”, I’m not sure if a song that is this straightforwardly happy would be as successful 10 years later, but hey, at least we got it back then.
#8: Moves Like Jagger by Maroon 5 ft. Christina Aguilera (Peak: #1, Year-End: #9)
Ooh, this could ruffle some feathers. This is widely regarded in these circles as the point that Maroon 5 officially sold out, basically becoming to the 2010s what Chicago was to the 80s, pumping out bland, inoffensive mush all the way up until the decade’s end. However, A: I like a few of Maroon 5’s post-sellout hits, and B: their sellout hit is also one of their best.
The instrumentation is the band adapting their Funk-Pop-Rock sound from the 2000s to the big, flashy Electro-Pop sound of the Early 2010s. It combines a slick guitar line with a fuzzy electronic groove to produce a sound that blended the past and (then) present effortlessly. Sure, it’s a bit dated now, but it’s the “hey, I remember this, those were the days” type of dated rather than the “this hasn’t aged well” type.
Lyrically, it taps into the Early 2010s’ obsession with Mick Jagger. I mean, there was this, Swagger Jagger (which thankfully didn’t cross the pond) and the “kick ‘em to the curb unless they look like Mick Jagger” line from Tik Tok (the Ke$ha song, not the app). Specifically, it’s Adam Levine comparing his dance moves to those of Rolling Stones frontman Mick Jagger (is he known for his dance moves? IDK). Granted, by “dancing”, Adam may have meant dancing between the sheets, because Mick Jagger is much better known for having slept with a whopping 4,000 women during his life. Yeah, this song is in large part about sex, which becomes clear during various parts of the song, including the chorus.
Take me by the tongue and I'll know you
Kiss me 'til you're drunk and I'll show you
You want the moves like Jagger
I've got the moves like Jagger
I've got the moooooves like Jagger
I don't need to try to control you
Look into my eyes and I'll own you
With them moves like Jagger
I've got the moves like Jagger
I've got the moooooves like Jagger”
Changing the topic to the vocals, how about Christina Aguilera? She’s gotten a reputation for trying too hard and oversinging, but I actually think she gets it right here. For the most part, she stays more down to earth and tries to be seductive rather than going over the top into some sort of long vocal run, and for the most part she succeeds. Adam Levine is doing pretty well here, too, not doing that falsetto thing he often does. Putting all of these separate factors together gives us one of the best hits in both artists' respective careers, and one of the best hits of the year on whole. Congrats, Maroon 5 and Christina Aguilera, I’ll see if you two make any best lists in the future.
#7: The Edge Of Glory/You And I by Lady Gaga (Peak: #3/#6, Year-End: #29/#71)
Lady Gaga had a big 2011, scoring three hits off of her Born This Way album. While I think the title track is fine, it’s her other two hits this year that really stood out to me as gems, and that’s what I’ll be talking about here.
First up, The Edge Of Glory. Gaga reportedly wrote this as a tribute to her grandfather (who passed away in September of 2010), and while I can hear a bit of that in the lyrics, this is for all intents and purposes a dance banger. The lyrics describe pushing the boundaries in one’s relationship, ready to take that next step, whatever it may be.
“I'm on the edge of glory
And I'm hangin' on a moment of truth
Out on the edge of glory
And I'm hangin' on a moment with you
I'm on the edge
The edge (X6)
I'm on the edge of glory
And I'm hangin' on a moment with you
I'm on the edge with you”
The production is bombastic and colossal, with the verses and pre-chorus building up tension that is all released in the explosion of the hook. The production combines the sounds of Early 2010s pop with that of 80s pop, with a pulsating, synth-driven groove and a sublime saxophone solo from Bruce Springsteen’s saxophonist Clarence Clemons, who passed away shortly after the song’s release. This is a very straightforward flavor of great Pop music that honestly doesn’t give me a ton to talk about, so for as awesome as this song is, I think I’m gonna move on to her other great hit from 2011, You And I.
While The Edge Of Glory is an upbeat, explosive Electro-Pop song, You And I takes a different approach, opting for a rougher, Country and Rock influenced sound. Co-written and produced by legendary Rock producer Mutt Lange, Gaga sings about her man from the heartland, and how she’s been in an on-and-off relationship with him for years, letting him go only to run back to him (or at least that’s what I got from the lyrics)
“Something, something about this place
Something 'bout lonely nights and my lipstick on your face
Something, something about my cool Nebraska guy
Yeah, something about, baby, you and I”
Apart from Mutt Lange, the song also gets Brian May from Queen for both backing vocals and a freakin’ guitar solo, which was a rarity across the 2010s. Overall, it’s another very good song from one of the most interesting artists of our time. Good work, Gaga, looking forward to (probably) talking about you when I get to 2009.
#6: Honey Bee/God Gave Me You by Blake Shelton (Peak: #13/#22, Year-End: #67/#94)
Ah, welcome back, Blake Shelton. Apart from ma boi Luke Combs, Blake Shelton is a strong candidate for my favorite Country artist, and he clocks in with a two way tie at #6. While neither of these songs are as great as Austin or God’s Country, they’re still very good pieces of Country music, and I’ll start talking about ‘em right now.
Starting with the more successful of the two, we’ve got Honey Bee, his biggest hit up to that time and one of the most charmingly corny songs I’ve ever heard. The lyrics are basically Blake wooing a lady to become his lover, using a list of things that are different and yet compliment and complete each other.
“You'll be my soft and sweet
I'll be your strong and steady
You'll be my glass of wine
I'll be your shot of whiskey
You'll be my sunny day
I'll be your shade tree
You'll be my honeysuckle
I'll be your honey bee”
Once again, this is all incredibly corny, but it’s a type of sincere corniness that is a long-standing tradition in Country, and arguably forms a core part of the genre’s identity, and suits Blake Shelton’s voice and personality perfectly. Combine that with a pleasant sounding composition, and you get one of my favorite hits of the year.
However, for as great as Honey Bee is, I think I prefer the follow-up single God Gave Me You. Originally written and recorded by Contemporary Christian singer Dave Barnes, Blake heard it on the radio and decided to cover it. While Dave’s version is alright, it’s also pretty bland (being Contemporary Christian Music, that’s to be expected), so Blake brings it from a 6.5/10 right up to a solid 9.
Comparisons aside, what is this about? Well, it’s about the narrator believing that he and his partner were made for eachother, and no matter what happens, they’ll stick together through thick and thin.
“God gave me you for the ups and downs
God gave me you for the days of doubt
And for when I think I lost my way
There are no words here left to say, it's true
God gave me you”
This was a song that was in part done as a tribute to Blake’s recent marriage to Miranda Lambert, who herself has appeared on two of my best-of lists. Of course, that didn’t work out, as Blake and Miranda divorced just a few years later. As one of the top comments on the song’s music video (which begins with Miranda on the night before their wedding) says “The Lord giveth, and The Lord taketh away”. Despite that, this is still a great song, and one that may or may not be playing at my wedding regardless (if I ever do get married, that is). Great job, Blake, sorry that marriage didn’t work out (same goes for Miranda, she’s good too). Now, how about the biggest breakout superstar of 2011 for our next entry?
#5: Rolling In The Deep/Someone Like You by Adele (Peak: #1/#1, Year-End: #1/#24)
While Adele had become a critical darling in the years preceding 2011 (even winning a Grammy for Best New Artist in 2009), this was the year that she absolutely blew up, scoring two massive #1 hits, including the #1 song of 2011, even beating out Party Rock Anthem. Not only that, but both of her hits this year were also very, very good, showing that talent and quality can indeed get the success and recognition that it deserves. Of course, I’ll start with the bigger of the two songs, that being the decade-defining smash Rolling In The Deep.
In an era dominated by club bangers and flashy Pop, Rolling In The Deep isn’t the song you’d expect to top a Year-End Hot 100 list. It’s much darker in both its sound and subject matter than most Early 2010s pop hits.The instrumentation takes elements of Soul and Gospel and combines it with an almost Rock-like swell to produce a song with all the force of a ton of bricks. The lyrics describe the aftermath of a relationship that has completely and utterly fallen apart, with Adele angry and heartbroken after the breakup, wishing for him to feel the same pain she has.
“We could have had it all
Rolling in the deep
You had my heart inside of your hands
And you played it to the beat”
Do I have any clue what “Rolling In The Deep” actually means? No, but it sure sounds important coming from Adele, whose powerhouse voice turns this already good song into one of the best Year-End #1’s in Billboard history.
Of course, that’s not to look over Someone Like You, her follow-up from later in the year that also went to #1. In contrast to the stomper that is Rolling In The Deep, Someone Like You is a stripped-back piano ballad, the first pure piano ballad to ever hit #1. Over the minimalist piano backing, Adele sings about reconnecting with an old flame from long ago, knowing that he’s already found what he’s looking for (unlike Bono), but hoping in vain that there still may be a chance.
“Never mind, I'll find someone like you
I wish nothing but the best for you, too
Don't forget me, I begged
I remember you said
Sometimes it lasts in love, but sometimes it hurts instead”
This is the final nail in the coffin for this past relationship, the moment she realizes once and for all that the past is the past, and that she’s got to move on. Sometimes things just don’t work out, after all, and the best thing to do is just to put it all behind you and keep pushing on. This will likely not be the last time I talk about Adele on this blog, and she’s apparently got a new album coming very soon, so I’ll be looking forward to seeing you again, Adele.
#4: Last Friday Night (T.G.I.F.) by Katy Perry (Peak: #1, Year-End: #14)
As mentioned in the worst list, Katy Perry ruled the Early 2010s with her Teenage Dream album, scoring five #1 singles off of that project. Of those five, I’d say that this is the best of them, and also the only one that ended up in the Top 10 on one of my best lists (California Gurls was an Honorable Mention for 2010).
To start, the production is Early 2010s bubblegum at it’s very best. The groovy guitar line from the verses blends in effortlessly with the fuzzy synths on the chorus, and the saxophone solo adds an extra element of awesome. Katy Perry’s delivery also suits the song well, as while she may not have the most raw vocal talent (as this video shows), her voice is suited for this type of bubblegum pop perfectly.
Now, for the lyrics. The song is from the perspective of Katy waking up after a night of wild partying, trying to figure out exactly what went down the night before, full of a bunch of little details, such as in the chorus.
“Last Friday night
Yeah, we danced on tabletops
And we took too many shots
Think we kissed, but I forgot
Last Friday night
Yeah, we maxed our credit cards
And got kicked out of the bar
So we hit the boulevard
Last Friday night
We went streaking in the park
Skinny dipping in the dark
Then had a ménage à trois
Last Friday night
Yeah, I think we broke the law
Always say we're gonna stop, whoa
This Friday night, do it all again
But this Friday night, do it all again”
Despite how chaotic it was (and the fact that she now has an arrest warrant), she’s up for doing it all again next friday night. The party may have ended up being a complete and total disaster, but it was a complete and total disaster in the best way possible, and you can bet your ass that she’s gonna do it again, and considering how great this song was, I can’t blame her.
#3: Colder Weather by Zac Brown Band (Peak: #29, Year-End: #99)
Boy, this is a shocker, isn’t it? It shouldn’t be a surprise that a Country song is appearing in my top 3, especially one as acclaimed as this (moving it to the #3 spot above Last Friday Night was a last minute decision). This has made most Best of 2011 lists that I’ve seen (even topping some of them), and I’m no different in loving this song.
To begin, this is an absolutely beautiful sounding song. The song begins as a simple piano ballad in the first verse and chorus, before adding light percussion and pedal steel guitar in the second verse. From there, strings are added in the second chorus, and the song begins to gain steam heading into the bridge, climaxing in a brief instrumental solo before the final chorus. After the final chorus, the song dies back down into the outro. It’s a wonderfully constructed ballad, and shows Country music composition at its very best.
Now, what is this song actually about? The title would imply that this is about cold weather, and it is in part (and spoilers, it’s not the only winter-themed song on this list). It’s a story of a truck driver whose job entails traveling for extended periods of time, leaving his wife and children back home in the cold Colorado winter.
“He said I wanna see you again
But I'm stuck in colder weather
Maybe tomorrow will be better
Can I call you then?
She said you're a ramblin' man
You ain't ever gonna change
You got a gypsy soul to blame
And you were born for leavin'"
Being alone at a truck stop on a cold winter’s night away from your family mustn't be fun, nor would your spouse being away from home during the middle of a blizzard. Alternatively, one of the top comments on this song’s music video posits that the title of “Colder Weather” is a metaphor for depression, and the separation depicted in the song isn’t physical as much as it is emotional and mental (although the details don’t really support that theory). Either way, this is a tragically beautiful song that more than earned a spot in the Top 3, and is not the only song in this mould from the Zac Brown Band (Highway 20 Ride would’ve had a strong shot of topping my Best of 2010 list had it made the Year-End Top 100). Either way, great job, Zac Brown Band, you’ve done well.
#2: All Of The Lights by Kanye West ft. Rihanna (Peak: #18, Year-End: #59)
The #2 spot on the list goes to All Of The Lights by Kanye West, the final single off of his 2010 album My Beautiful Dark Twisted Fantasy. This song’s silver medal is also the highest a Hip-Hop song has ever placed on one of my best lists thus far, and it took a very special song to top this, but how about I begin on why this is one of the best hits of the year.
To begin, this composition is something special. The song begins with a brief instrumental intro, just a simple cello and piano, before the song opens up with triumphant horns. The beat in the verses is energetic and locomotive, not letting anything get in its way, and the bridge/breakdown is just gorgeous. This isn’t just any Hip-Hop beat, it’s a full-on symphony.
This is reflected in the performers. While the song only officially credits Kanye and Riri (as well as Kid Cudi in some instances), the song features uncredited vocals from John Legend, Drake, Alicia Keys and Elton freaking John! Rihanna’s hook is her at her very best, and as for Kanye… well, let’s talk about him.
Kanye West has gotten a reputation for being somewhat of an egomaniac. I mean, one of his albums was called Yeezus, and he is on record saying that his greatest pain in life is that he’ll never get to see himself perform live, so he’s more than a little full of himself. However, being an egomaniac isn’t as bad if you can actually back it up with real talent, and boy does he deliver here. His vocal performance is impassioned and powerful, and he completely sells the story the song tells.
The lyrics tell a story of a man who goes to prison for hitting his girlfriend (deservedly so), doing his time and paying his due to support their child. Once he gets out of prison, he finds that his girlfriend has found a new man, and he repeats the same mistake, ending up with a restraining order. He desperately wants to see his daughter, not wanting her to grow up fatherless, pleading with his ex-girlfriend to see her (he is paying child support, after all). It’s a story of a man trying to redeem himself after making a profound mistake, and pushing through the struggles of life. Alternatively, according to Genius, this whole story could be a metaphor for Kanye’s relationship to the music industry and the outside world, but either way, it’s a fantastic song by one of the defining artists of the past 20 years, and it was VERY close to getting the #1 spot on this list, but alas, there was one song to top it.
I just mentioned that All Of The Lights almost claimed this spot, but really, everything from Rolling In The Deep on up was a contender at one point or another. There wasn’t an obvious pick for the #1 spot on this list, but there was a frontrunner, and for as stiff competition as Adele, Katy, Zac Brown and Kanye put up, I couldn’t give the top spot on this list to anything else. This is the best single this artist has ever released, an artist realizing their full potential just as Ed Sheeran did on Castle On The Hill or Rihanna did on Diamonds. There’s no point in dragging this out any more, so I’ll just leave it at this: Congratulations, Taylor Swift, you’ve achieved true greatness.
#1: Back To December by Taylor Swift (Peak: #6, Year-End: #74)
Yup, Taylor Swift has claimed the #1 spot on this list. While she’s definitely released some great singles over the years, whether it be Country or Pop, nothing has ever topped this. So, why is this song, Back To December, not just Taylor Swift’s best single but the Best Hit Song of 2011?
The song begins with Taylor reconnecting with an old ex. She asks him how he’s been doing since they separated, before getting to the point of why Tay Tay asked to speak with him again: She dumped him, and she regrets it like hell.
She, for whatever reason, dumped him back in december, rejecting the roses he gave to her and leaving him out in the cold (both literally and metaphorically). She’s come back to him to spill out her heart and tell him how much she regrets her past decision, and how much she wants him back.
“So this is me swallowin' my pride
Standin' in front of you sayin' I'm sorry for that night
And I go back to December all the time
It turns out freedom ain't nothin' but missin' you
Wishin' I'd realized what I had when you were mine
I'd go back to December, turn around and make it alright
I go back to December all the time”
It’d be one thing if the lyrics were great but the song sounded like ass, but fortunately, that is not the case, because this production is absolutely beautiful. It begins as a simple acoustic ballad, before slowly adding percussion, strings and a faint, echoing electric guitar, which all comes together on the first chorus. This is some of the most gorgeous instrumentation of the entire decade, and might just be the best sounding out of all of Taylor’s hits.
Anyway, back to the story. The second verse details how Taylor can’t get him off of her mind, how much she looks back on the times they had together, and how she let it all slip away. She repeats the same chorus from earlier, before a brief guitar solo and the climax of the song: the bridge.
Taylor tells her ex all of the things she misses about him, his summer tan, his smile, the first time he held her in his arms, and how he saw her shed tears of joy. Over that, the percussion and strings become louder, and it’s clear that the song is about to reach it’s crux. Taylor swears to her ex that, if he were to let her back into his life, she would never take him for granted ever again, but then the instrumentation dies down, and the song reaches its most important moment in these two short lines…
“I'd go back in time and change it, but I can't
So if the chain is on your door, I understand”
So much for Taylor Swift being a psychopathic maniac like in those Bart Baker videos. If Look What You Made Me Do was Taylor at her most insufferable, vindictive and petty, this is Taylor Swift at her most mature and vulnerable, and though I haven’t listened to any of her albums, I have a hard time seeing many of her songs being better than this. After one final, remorseful chorus, the song dies down and fades away, concluding The Best Hit Song of 2011, and a magnum opus from one of the defining artists of our time, for better and for worse. Then again, All Of The Lights and Colder Weather are both very close, so I may wake up tomorrow morning regretting this being my #1, but it’s the call I’m making right now.
I’ll be honest: I’m burnt out. I’ve been doing this nonstop for the better part of a year and a half, so I’m gonna take a breather for a bit. I’ll probably resume this series in April, depending on how I’m feeling, and I might post something in March, so stay tuned for that. Until then, however, I wish you all a Happy Valentine’s Day, and I’ll see you guys next time (whenever that may be). Goodbye!
