This cut from the film adaptation of the uber-popular smut novel is a clear highlight. It sells its dark aspect well, with One Direction's Zayn Malik selling the part and Taylor Swift playing off him well.

It is dreamy and simple. It sounds nice, and that is all there is to say.

It is silly and corny, and the Kendrick Lamar verse is befuddling. However, the poor reception and unofficial title of "worst Taylor Swift song" are both overblown. It is simply a mediocre pop song with below-average digs at celebrity peers and not much else.

Easily the best single from the pop era. It solidifies her as a pop star and serves as a worthy addition to the mainstream-pop-is-not-dead argument.

Proof of Taylor's growing ability to write an effective pop tune, even if the character she plays is a tad snooty.

This song is counterintuitive to its painstakingly hackneyed message. The rap section is godawful, too.

One of the better cuts off RED.

The song is silly, but the dubstep dates the song and keeps it fixed in an era. Taylor showcased successful songwriting ability, but the song contradicts itself lyrically, while remaining painfully cringeworthy.

This is where pop became Taylor's new and nearly permanent fixture. It's a little rough and saccharine, also kickstarting a long list of ex-lover kiss-offs.

Despite being one of their "weaker" outputs—a relative term in the context of their discography—YEAR OF THE SNITCH serves as the trio's most off-kilter and non-traditional album. Aside from this aspect being another distinguishable feature, YOTS also contains some DG essentials, such as the hyper quick opener "Death Grips Is Online", the post-rock anthem "Black Paint", the beautifully cacophonous "Hahaha", or the sleazy club banger ... read more

JENNY DEATH was just a preview of what was to come for the trio's first release since they threatened retirement. It features noise-rock and rap rock at their most polished yet chaotic. Still, the core of the Death Grips ethos remains clear. They are still loud, intense, but for the first time, it sounds like they're actually having fun in a way that's more traditional than before.

It's loud, it's in-your-face, it's undeniably Death Grips.

None of these tracks are outright bad, and some are quite impressive in their own right, but the second LP from the American savant is noticeably lower quality and less striking.

The Jimi Hendrix Experience's debut record is monumental, but what gets swept under the rug is how talented members Mitch Mitchell and Noel Redding were to the group's prowess. That being stated, the band's titular founder, the garish Jimi Hendrix, is at a technically creative level few have ever reached. His level of influence, along with some of the greatest rock songs of all time (think of the thunderously sinister "Purple Haze", the floating ballad "Hey ... read more

One could argue that this is formulaic, but I would counter with the song's message and strong lyricism from an artist not particularly known for it.

It's not the worst thing out there, but this song is annoying.

It's destined to be a summer jam and last on the charts, but as catchy as the song is, it does feel a bit trite at times.

This is a good single from Justin; at the time, it was merely a hope for continued improvement.

This single is among the only bright spots in what has otherwise been a hellish year for both artists.

This song is almost nonsensical. It is not downright terrible, but good Lord, it is bland, and Justin's Lewis Capaldi-esque caterwauling gets old after a second.

Despite the real friendship between the two, this collaboration is in-one-ear out the other with some terrible Chance bars.