Album Title
Artist IconTaylor Swift
Artist Icon Speak Now
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First Released

Calendar Icon 2010

Genre

Genre Icon Country Pop

Mood

Mood Icon Needy

Style

Style Icon Rock/Pop

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Release Format

Release Format Icon Album

Record Label Release

Speed Icon Republic Records

World Sales Figure

Sales Icon 4,200,000 copies

Album Description
Available in: Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon
Taylor Swift est le premier album studio de la chanteuse de country pop américaine éponyme, Taylor Swift. Après la signature d'un contrat de disque en 2005, l'album est sorti le 24 octobre 2006 chez le label indépendant Big Machine Records alors que Taylor Swift n'avait que 16 ans.

La plupart des chansons ont été écrites au cours de première année de lycée de Taylor Swift. Elle a écrit ou coécrit avec Liz Rose toutes les chansons de l'album. Musicalement, l'album est un mélange de musique country et de musique pop et lyrique centré sur les relations amoureuses.

Cet album a été accueilli favorablement par les critiques internationales, qui ont salué le talent de Taylor Swift. L'album connaît un grand succès commercial aux États-Unis, il atteint la cinquième place au Billboard 200, il est en tête du Top Albums Chart Country pendant vingt-quatre semaines non consécutives, et a été certifié quatre fois disque de platine par la Recording Industry Association of America ( RIAA). Taylor Swift a donc marqué le plus long nombre de semaines dans le Billboard 200 pour un album sorti au cours de la décennie. Il a également été bien classé en Australie, au Canada et au Royaume-Uni.

Cinq singles ont été tirés de l'album, qui ont tous été certifié disque de platine par la RIAA. Tim McGraw est sorti en tant que premier single de Taylor Swift, il est devenu un top dix sur Songs Billboard's Hot Country. Teardrops on My Guitar est deuxième single de l'album et la meilleure chanson de Taylor Swift sur le Billboard Hot 100. Our Song est le troisième single extrait de l'album et est devenu son premier numéro un du Hot Country Songs. Picture to Burn et Should've Said No ont suivi en qualité de quatrième et cinquième single extrait de l'album, respectivement, à la fois de devenir un succès sur les palmarès country aux États-Unis et d'atteindre le numéro dix-huit dans les classements singles en Nouvelle-Zélande. Taylor Swift a promu l'album en effectuant plusieurs concerts en différents endroits, dont la plupart en ouverture des concerts de Rascal Flatts, George Strait, Brad Paisley, Tim McGraw et Faith Hill.
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User Album Review
They grow up so fast these days, don’t they? Having taken the lion’s share of the writing credits on 2008’s mammoth-selling Fearless, all of the songs on Taylor Swift’s new album are self-penned, betraying the sort of accomplishment that should keep her sitting pretty in the rock firmament for as long as she likes. Still only 20, that could be a mighty long time.

Although Nathan Chapman is still in the producer’s chair, there’s a perceptible, sonic move away from Nashville; the shift had clearly begun on Fearless, managing the crossover to the global mainstream with ease, but Speak Now plugs a sturdy marker in the pop-rock soil. On current single and terrific opening track Mine, the slide guitar is buried so deep in mix, it’s almost apologetic – or even a joke at the expense of Swift’s roots. But the twang in her voice is here to stay, somehow reinforcing the emotional heft of her homespun tales of teen love and loss.

Those preoccupations remain to the fore, yet a creeping maturity is plain. On serene ballad Dear John, Swift wonders, "Don’t you think 19’s too young to be played by your dark, twisted games?", and later, on the spidery Innocent, she sighs, "It’s okay, life is a tough crowd". This is a more bruised writer than the young Juliet on Love Story. Last Kiss is heartbreaking ("You told me you loved me so why did you go… away?"), a lump in the throat to a music box waltz. Nestled amid all the love and regret, however, are sunburst pop nuggets like Never Grow Up and Enchanted that would brighten any daytime radio playlist. And on closer Long Live, personal reflections take on a more triumphant tone, a late shot of versatility that underlines Swift’s narrative skill.

Talent to burn has its own pitfalls, of course. At 14 songs – and most comfortably over four minutes – Speak Now is too long, and when you’ve heard half a dozen perky laments you’ve heard, well, quite a lot. Swift is less convincing too when practising a snarly edge on Better Than Revenge or letting rip with her overwrought inner Bonnie Tyler on Haunted, but these only jar because quality elsewhere is so high. With some judicious – let’s have it then – tailoring, this is a sparky and affecting record, moving Swift on at a stately and assured pace.


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