Shri Vanajakshi Lakshminarayan

I remember the hype when this album was first announced in late 2022. The questions "Are you gonna stay up at midnight for Taylor's new album?" was commonly circulated throughout. I was really excited for the album's release. Among the several expectations I had was that Taylor make another genre change as she had done in her previous bodies of original work "folklore" and "evermore" of 2020. Or perhaps she would continue with pop, but add a more distinct sound to it. The album's concept of nightmares and nocturnal ruminations was very appealing and relatable to me. Have you ever had so much trouble falling asleep? I felt that the album would answer that seemingly rhetorical question. I was also hoping for a similarity between Billie Eilish's "WHEN WE FALL ASLEEP, WHERE DO WE GO?" This album was going to be so great, if not her best, I thought. But I was proven wrong. Midnights is simply Taylor's attempt at scoring another hit. When both critics and listeners alike branded this a masterpiece, I was surprised. Lavender Haze, despite its simple lyricism, was a wonderful song. But it's lead single Anti-Hero was nothing more than a boring old pop tune marked by her plain vocals with lyrics that don't even make sense. Something that has always set Taylor Swift apart was her clever songwriting and her motivation to make music for herself, not for the sake of scoring a hit. I am unaware of Taylor's true inspiration for this album, so I cannot conclude that she wrote this album solely for commercial success. She may have written this album for herself, we never know. What I can conclude, however, is that Taylor shows no progress in improving her vocals and her songwriting is subpar, sinking to the levels of below-average pop hitmakers. A significant drawback from this album was Lana Del Rey's short appearance. I was really excited for Snow on the Beach, having been a fan of Ultraviolence and Born to Die. However, you could barely hear her. The featuring of more Lana Del Rey in the til dawn edition was an improvement, but still disappointing. This issue persists in her later albums as well, such as Electric Touch and Castles Crumbling from Speak Now (Taylor's Version). Her only perfect featured track would be "ME!" from Lover with Brendon Urie from Panic! At the Disco. With all due respect, I would kindly request Taylor to rectify this issue in her future albums. While I have spent majority of this review criticizing the 12 time Grammy-winning singer-songwriter, I would also like to extend some praise for this album. The concept was clever and Taylor deserves some applause for that. Lavender Haze was a wonderful first track. While it wasn't the best songwriting, listeners can feel Taylor's emotion put into the track. We not only think, but we know that Taylor wrote this track for herself. The 3am edition tracks for Midnights were the highlights of this album. Her songwriting and production was much stronger in these tracks. She was definitely writing for herself. My two stars go these bonus tracks. Midnights was certainly not the best album of Taylor Swift, and it may not even be a good album, but there were still some good work in this album. Taylor still hasn't let fans and listeners down with her subpar work. If Taylor were to add more variety in her future work and continue to grow her vocals, like developing better breath control, intonation, phrasing, and adding a vibrato, she would be met with unanimous praise from critics and audiences alike. Not bad, Taylor. Keep up the good work!

This is my favorite Taylor Swift album and it deserves a seat as one of the greatest albums of all time. When I first heard of this album, many described it as one of Taylor's weaker releases. They called it slow, quiet, and boring. I thus listened to this record with very low expectations. And Taylor proved me wrong. This album is so creative! Taylor masters the art of writing from a different perspective. She proves that music doesn't always have to be an autobiographical journey. True, her previous records are awesome, but this stands out on a whole new level. She tackles various world issues through the process of a narrative, and succeeds with a flourish. This is the album that the COVID-19 quarantine is remembered for. The 2020s also see Taylor improving her vocals. Her early albums show her singing voice in a negative light. Her pitchiness and weak breath control is apparent. In this record, however, Taylor fixes these issues. This shows that she is now paying more attention to her vocals, which she has neglected to do in her early years. With more progress, her ability could reach the levels of Dua Lipa, Miley Cyrus, Olivia Rodrigo, and Demi Lovato. I hope to see that in the future. Her vocals are one factor that power this album to its success, but its songwriting is the main one. Like all of her previous records, Swift doesn't fail to impress audiences with the introduction of the characters James, Inez, and Betty, named after the children of actors Ryan Reynolds and Blake Lively. She creates a trilogy of songs "cardigan," "betty," and "august." The beauty of an album is that the musician receives the opportunity to highlight multiple perspectives. Taylor rightfully takes advantage of this. These three songs are highlights of the album. Taylor also takes inspiration from nature for the rest of the songs. "the last great american dynasty" and "seven" are examples of such. In addition, she addresses world problems in songs like "this is me trying" and "mirrorball." Through these songs, Taylor creates a worldly record, bringing in unrepresented voices, and doing so effectively. The genre change is another plus from this album. Listeners have begun to grow tired of Taylor's signature mainstream pop sound. It was legendary in 1989, but it gradually worsened. Taylor's transition to indie folk and alternative rock is a clever musical move. Folklore is undoubtedly Taylor's best album and one of the greatest albums of all time. It definitely earned its Album of the Year award in 2021. This is pure excellence. Well done, Taylor Swift.

Most regard 21 as Adele's best album, some view it as the best heartbreak album, but few believe that it is the greatest album of all time. I fall into the lattermost category. 21 is indeed the greatest album ever made. Every factor has been dialed to perfection. I am glad that it won Album of the Year at the 2012 Grammys. Rolling in the Deep, the album's catchy soul single, deserved its awards for Record of the Year, Song of the Year, and Best Music Video. And Someone Like You, the best song in the album and the best piano ballad ever made, maintained its legacy by winning the very first Best Pop Solo Performance award in 2012. It's no surprise that Adele has since then dominated the category, with wins for Set Fire to the Rain (another very good song from 21), Hello, and Easy on Me. It is very likely that she may win again for 30's I Drink Wine in 2024. But 21 is beyond its accolades. It is the memorable feat of a woman who channeled her heartbreak into a musical success, both critically and commercially. The sales of 21 eventually saved the music industry from lagging sales--this proves why 21 is the best album to exist. Additionally, there is not a single "bad" song in this album and every track is placed in the right place. Rolling in the Deep serves as the perfect intro for this heartbreak record. Listeners can feel Adele's flaming anger, from her trademark conversational singing of "there's a fire starting in my heart" to her belting "we coulda had it all." Even for someone who has not experienced romantic heartbreak, this record can be perceived as anger towards anyone. Just when listeners are hooked on the catchy chorus, the song concludes and switches to Rumour Has It. When I first listened to it, I felt confused. It weirdly seemed out of place, but its catchiness proved to be superior once again. The album progresses with tearjerking ballads like "turning tables," "don't you remember," and "set fire to the rain." Adele's emotional vocal performance adds to the brilliance of this album. Her vocals especially shine on the tracks "Take It All," one of the first songs to be written for this album, I'll Be Waiting, and the One and Only. Her bossa-nova cover of Lovesong is a clever penultimate track, leading into the grand, critically acclaimed finale, Someone Like You. This song deserves a book-length review by itself. The simple piano production adds intimacy to the track as Adele sorrowfully sings "I heard you settled down." Adele addresses her ex-lover conversationally, but she later belts in the chorus "Never mind I'll find someone like you. I wish nothing but the best for you." Then in a hushed shriek, "Don't forget me, I beg. I'll remember you said. Her powerful mezzo-soprano vocals lead into this final line as she decrescendos, "Sometimes it lasts in love, but sometimes it hurts instead." These are some of the best lyrics that Adele has ever written and sung. There is no elegant phrasing or octave-jumping, instead it is Adele, at her most personal. Here she is, finally letting go, and understanding what it truly means to be in a relationship. This song is the most effective closing. Applaud for the album. Overall, 21 is the greatest album of all time. Adele not only laments throughout the song, but she also grows. She matures. And that is why this album is a memorable moment in musical history. Excellent work, Adele.