Who would have guessed that “Despacito” would spend the entire summer at the top of the chart? After all, 16 weeks ties the all-time record for the most weeks at No. 1 on the Hot 100. And before that, we had four new number one records in four weeks, which was the first time that had happened since 1990.
It was starting to look like “Despacito” might never be unseated. But then, all of a sudden, new T-Swizz!
From Reputation, due November 10 on Big Machine.
People have lots to say whenever Taylor Swift does anything. There are a couple of obvious reasons for this. First of all, she is a provocative artist who does interesting things. Additionally, haters are compelled to hate, hate, hate, hate, hate. Either way, she is a ridiculously successful artist who guarantees eyeballs and everybody wants a piece of that action. So it goes.
In some ways it doesn’t even matter what the music sounds like. There are plenty of trappings to focus on when it comes Taylor Swift™ (and pop music in general). But how’s it sound?
Pretty cool actually. A sparse 808 beat with spooky piano and strings. It builds up to some drama-drama in the pre-chorus, and then the chorus switches gears with a stripped down interpolation of Right Said Fred’s “I’m Too Sexy.” Who knows why, but it must have been worth it to give away 12.5% of the songwriting credit (but none of the publishing) to a couple washed up one-hit wonders. She moves in mysterious ways.