[ SECRET POST #3984 ]

[case]

⌈ Secret Post #3984 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 01 pages, 09 secrets from Secret Submission Post #570.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

Yeah, this is exactly what I meant. Red is far less quintessentially pop than 1989 or Reputation. The popiest tracks on Red are, not surprisingly, the major singles. Begin Again and Red were also singles, but, also not surprisingly, they never became the huge hits that pop jams We Are Never Ever Getting Back Together, 22, and I Knew You Were Trouble became.

Besides those three major hits, I'd say pretty much all the tracks on Red are part country, part pop, and then also a little bit of strummy melodic folk and indie vibes in there too. Or...it's almost like the collision of pop and country in Red created something that felt similar to mildly folk, mildly indie tracks -without actually being folk or indie. I'm not sure quite how to describe it, but I know that 80% of the music I like is folk or indie or both folk and indie, and Red hits a similar spot for me when I listen to it - while still being more accessible and infectious and radio-friendly than most folk/indie.

I do also like the true pop hits off of Red, but not in the way I love All Too Well, Holy Ground, Sad Beautiful Tragic, I Almost Do, or Red. (Or State Of Grace, or Treacherous, or Come Back Be Here. Lol, I just love almost all of Red.)