1989: A Literary Tribute to Father John Mistys Cover (via the Velvet Underground) or Ryan Adams Cover of Taylor Swifts 1989 Album by Nathan FanOnce upon a time, there was a Taylor Swift who released a 1989 album. With hits such as Welcome to New York and Blank Space, singer-songwriter Ryan Adams was inspired to cover said 1989 album, which then sparked Father John Misty to cover Ryan Adams cover in the style of the Velvet Underground, which then sparked these writers to cover the 1989 album again, but with short stories. Ms. Swifts 1989 album has inspired post-apocalyptic tales (OUT OF THE WOODS, BAD BLOOD), bildungsroman fairy tales (HOW YOU GET THE GIRL, CLEAN), and Murakami-esque prose labyrinths (STYLE, THIS LOVE). There are stories of marriage and suicide (BLANK SPACE), of God and laughter (WELCOME TO NEW YORK), of dreams and dolls (I WISH YOU WOULD), of manic and depressed (SHAKE IT OFF), of sexuality, death, and teddy bears (WILDEST DREAMS); also featuring references to Flannery OConnor (ALL YOU HAD TO DO WAS STAY) and the Quietest Place on Earth (I KNOW PLACES). Its been our honor and privilege to make this. Special thanks to Ms. Swift, Fr. Misty, the Venerable Mr. Reed, and yeah, even the washed-up Mr. Adams. DISCLAIMER: The short stories are in no way based on Ms. Swifts lyrics or personality and there is absolutely zero copyright infringement intended.
Here is his statement on why he removed them. Ryan Adams' full-album tribute to Taylor Swift's is out digitally today, and the two artists went on Zane Lowe's Beats 1 show to talk about the project, their past collaboration history, and Adams' forthcoming double-album. To share his feelings about the project, he took to Twitter with the news that he'd covered Adams' versions of Taylor Swift's "Blank Space" and "Welcome To New York," complete with album art peeled from The Velvet Underground's debut album. And they're not exactly laudatory gestures. And there's a little dash of Bob Dylan in there, which is a stylistic burden Adams has been carrying from decades of reviews citing his prolific output. Tillman, because the more Taylor Swift covers—even ones specifically recorded to needle other folkish rock artists—the better.
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Tuesday, Tillman issued a lengthy statement on why he pulled the tracks: Lou Reed came to him in a dream. I had a very strange dream that I abruptly woke up from around 3am early this morning. I was crab-walking around a neighborhood in New Orleans that, though it does not exist, is a recurring location in my dreams. A crowd which had formed around me began to sing along, with tears streaming down their faces. The crowd was obviously hypnotized and I assumed if I crept away discreetly no one would notice. All of a sudden it was time to soundcheck, which I was late for, and Barack Obama offered to give me a ride on Air Force One. He told me he needed urgent advice regarding some important policy decisions, and we spent the day in Hawaii playing basketball, petting his dogs, golfing and the like when I, gripped with anxiety, told him I really needed to get to soundcheck so we needed to discuss the ruling of the free world.
A journalistic cottage industry surrounds the work of Father John Misty, most of it dedicated to figuring out whether he's trolling us or not. As evidenced on his three albums under the moniker, the talents of former Fleet Foxes drummer turned-folk rock love guru Josh Tillman are indeed undeniable. But it's becoming increasingly difficult not to wonder whether Tillman is becoming too smart for his own good. We often find ourselves asking if he's a genius or a jackass. But what we really should be considering is whether Tillman is Advanced. Hatched by pop-culture philosophers Jason Hartley and the late Britt Bergman, the Advanced Genius Theory provides a lens through which to view the often misunderstood work of artists the public historically writes off as having "lost it"—see such divisive works as Lou Reed's Metal Machine Music , or Bob Dylan going electric at Newport Folk Festival.