It's a candid moment, hearing her sing about how she feels about this, as the story goes that Scott Borchetta was the person who signed her after she sang at The Bluebird Cafe in Nashville. This sale obviously resulted in the insane endeavour Taylor is currently on, with releasing re-recorded versions of her first six albums. The song sees Taylor very blatantly discuss relationships that have gone awry in the past, including - most notably - her relationship with her former record label Big Machine Records who was sold to Scooter Braun by Scott Borchetta. It's not necessarily a bad thing, but (!) as I said, in an album where her songwriting is really elevated, this feels a bit. I really like the production on here, but in an album that sees Taylor further push herself away from her previous songwriting and evolving it beyond telling her own stories and now mashing her own stories with the stories of others, blending the lines of what is about her and what isn't, this feels like a return to her older songwriting. This one, which I do like, definitely feels like a 'bonus track' more so than the other. It was released after on the deluxe edition of the album, which also houses "right where you left me" which is infinitely better. "it's time to go" is the closing track on evermore. Everyone give it up for "Streets" you guys.Īnd Taylor Swift loses her first track, leaving Halsey as the only remaining artist that hasn't lost a singular track in the rate so far. She's never performed this live, so here's "Streets" by Doja Cat. Ultimately, I wished this had done better and had gone after certain tracks which hopefully leave soon. JID's verse matches Doja's energy perfectly and really boosts the song too, it's a great feature even if the verse's lyrics are a bit corny. The production is really solid too, the lil' flute in the background is a bit annoying once you really pay attention to it like I am right now, but it's still overall, a really great package. It's a really sultry, sensual, sweaty track - another thing that Doja excels at I fear. The sung verses are excellent, they're the exact style of dreamy vocals I expect and love from Doja. Doja's flow is immaculate on this track, the first verse is an absolute rush. I actually feel it's a biT early to be losing this track, specially when there are far worse tracks left in the rate. This is a perfect song until one-third into the song, straight after JID's verse, it feels like the song loses all its force. BABYFACE runs a bit too long at 105-minutes but fans of the genre and the director will certainly enjoy it.Doja just can't seem to stop haemorrhaging tracks. You've also got Desiree West who is always fun to watch and Amber Hunt. Malone would apparently only appear in this one film but she too is quite memorable in the role of the teenager who is a lot naughtier than her mom thinks.
For the most part Roberts makes for a good lead and he manages to make you believe the scenario that this poor guy is going through. Obviously if the subject was taken seriously there wouldn't be a need for laughs but de Renzy brought his typical comic style and it works.
The dialogue is certainly campy and I'd argue that the entire sequence is somewhat campy in a good way. What's so hilarious about the film is that its naughty subject matter really leads to some very funny scenes including the meeting between Dan and Priscilla. Obviously the subject matter here will probably put some off even those who enjoy watching dirty movies. In fact, the more I watch of de Renzy the more I'm starting to enjoy and respect his work as it certainly has its own vibe and laughs. For my money PRETTY PEACHES is the best of these three films but there's no question that all of them have a special place in the history of adult cinema. Director Alex de Renzy ended up having a very successful run starting in 1977 with this film and the notorious LONG JEANNE SILVER before following these up the next year with the classic PRETTY PEACHES. After being cleaned up Dan joins a male prostitution group but soon he runs into Molly again. Dan is shot by a cop and falls into a body of water where he's eventually dragged out by a couple ladies. Before long the two are having sex but her mother Molly (Molly Seagrim) shows up and now the daughter cries rape.
Babyface (1977) *** (out of 4) Dan (Dan Roberts) is one day working on the docks when 15-year-old Priscilla (Lyn Malone) approaches him.