Taylor Swift is not the next Faith Hill. If her talent had propelled her to fame, she might have been the next Carrie Underwood. As it is, Swift's self-titled debut has climbed the charts because of a strategically named song that plays homage to one of country music's greatest living legends, Tim McGraw. And it might help that she's 16.
It could be a good thing that country is getting younger. There is a large untapped listening audience that could turn into a hotbed for talent. Underwood was just 22 when she won American Idol. Blaine Larsen was 18 when "How Do You Get That Lonely" climbed the charts. And LeAnn Rimes was all of 14 when she got the Grammy for Best New Artist.
But the rush toward a younger audience has its downfalls, and Swift is proof of many of them. Although the lyrics are powerful at times, they become unconvincing in the context of these pop melodies. How can a 16 year-old have experienced so much heartbreak and bitterness? Either the words are targeting an older audience, or kids are growing up way too fast these days.
"Tim McGraw," the first track on Taylor Swift, is already overplayed on country radio. Though it's probably what will drive most people to the purchase, it's one of the weaker songs on the album. In a cliché, the girl remembers a summer love, but this truck-driving boy seems shallow. "When you think Tim McGraw, I hope you think of me," Swift sings in a melancholy tone. It's a soft and comforting song, but it's also nauseatingly saccharine. The mentions of a little black dress and back roads at night are disconcerting. Ultimately, the song is more of a milestone for McGraw than it is for Swift.
"Picture to Burn" is a stronger, bitterer story that trashes an ex. It's catchy with a repetitive tune, channeling some of the country-girl spunk that Gretchen Wilson and Jo Dee Messina are known for. This track is home to the album's funniest line, which might leave you laughing even after the song is over: "So go and tell all your friends that I'm obsessive and crazy / That's fine; I'll tell mine you're gay." The maturity and political correctness are mind-boggling. Although Swift grew up not too far from Philadelphia, these values mirror those of Middle America: "If you come around saying sorry to me / my daddy's gonna show you how sorry you'll be." But she doesn't have enough anger to pull it off.
"Stay Beautiful" is the best song on the album. Amidst the rocking banjos and guitars, Swift sings about a boy who is the highlight of her day. Her youthful innocence makes the crush believable. Despite the fact that her love is unrequited, she has only the highest praise for him: "If what you are is a daydream I'll never get to hold / at least you'll know you're beautiful," she sings openly. The refrain, "you're beautiful," is a bit repetitive, but the lyrics capture her sentiment well: "It's hard to make conversation / when he's taking my breath away."
"Teardrops On My Guitar" is another strong emotional track and proof that Swift's soul is connected to her music. It's very similar to "Stay Beautiful," but the boy's name is Drew instead of Cory. This song is a bit more desperate, because the girl thinks about him at night (is that risqué?) and wishes on stars: "Drew walks by me / can he tell that I can't breathe?" Swift sings in a cutesy tone. She describes faking smiles to cover up her lust. Unfortunately, all he talks to her about is his love for another girl. She should have stuck with Cory.
Swift's sugary descriptions of dreamy boys are sure to hit it big with the middle school crowd. But if you're older than 16, don't listen to this album on repeat, because you might throw up.
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