106 of 123 people found the following review helpful
4.0 out of 5 stars Taylor Swift, Taylor-Made
With "Speak Now" Taylor Swift ups the singer/songwriter aspect of her art and turns down the radio-ready emphasis a notch. It is a little less calculated and a little more comfortable than her last two, especially 2008's non-stop hit factory "Fearless."
It is also less focused and tight, but since this is Swift's debut effort without any co-writers, her...
Published on October 26, 2010 by Rudy Palma
31 of 41 people found the following review helpful
3.0 out of 5 stars Taylor Has Lyrics Down, But Music Not Always Exciting
I've been playing this over and over really wanting to like it, but with the exception of a couple of songs, something's missing. I haven't been able to put a finger on it yet, but after going back and listening to Fearless, I'm starting to get some ideas about why Speak Now isn't striking a chord with me.
I'm not finding a "Love Story" here...or a...
Published on October 27, 2010 by HuskerDog
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106 of 123 people found the following review helpful
4.0 out of 5 stars Taylor Swift, Taylor-Made,
It is also less focused and tight, but since this is Swift's debut effort without any co-writers, her melodies and lyrics composed independently, this was inevitable. The result is akin to comfort food - unpretentious, honest and warm. She has the natural talent and flair for catchy song craft to make a less precious recording - which "Speak Now" certainly is - work especially well.
Because Swift was clearly given more leeway to do as she pleases both her strengths and excesses are more prominently on display than previously. A few of her melodies sound simple and similar to one another, and she is often bursting with lyrics, with every other tune or so a bit overwritten. However, this is also one of the strengths of "Speak Now." It shows that Swift is the real deal - an artist from whom strong songs flow naturally.
Much has been made of the men whom Swift has written songs about, and that transparency shows her age, but "Speak Now" proves she does not need the controversy to validate the music. From the inventive, shrewd, near power-pop of "The Story of Us" and "Enchanted" to the elegant, apologetic "Back to December," these songs stand on their own.
Accents of country remain, but Swift is transitioning into pop/rock territory, and she cannot be blamed for it - at 20, she is, in spite of her major success, still finding her voice. "Mean" with its cheeky, smartly executed humor, is the only outright country tune.
"Someday I'll be living in a big old city and all you're ever gonna be is mean," she forecasts.
Her eye for detail and sense of levity are prominent. In the classy, tuneful title song she paints the picture of a wedding - which she hopes to put a stop to - in delightful detail:
"...and she is yelling at a bridesmaid somewhere back inside her room wearing a gown shaped like a pastry."
She also plays the role of big sister on "Innocent" and "Never Grow Up," affectionate odes to the importance of childhood. The latter especially demonstrates her depth as she sings of the importance of love, family and innocence.
"But don't make her drop you off around the block," she affectionately sings to her younger listeners about their mothers. "Remember that she's getting older too, and don't lose the way that you dance around in your PJs getting ready for school."
In an industry with plenty of flesh and flash and little substance, Taylor Swift remains refreshing and real, and "Speak Now" is just the right record for her to be releasing now - a collection of songs that proves the validity - and sincerity - of her still-burgeoning talent.
106 of 126 people found the following review helpful
5.0 out of 5 stars Deluxe Edition Update: Taylor Takes the High Road,
CD VS. DOWNLOAD - WINNER: CD!
Speak Now wins the prize for best CD packaging and booklet of the past decade (pricey box sets and reissues excluded). What you get: an embossed cover and an 18 page booklet filled with eye-popping color and some of the best photographs you'll ever see of Taylor. She playfully creates scenes from the songs - the damsel in distress on the train tracks gets the most press, but Taylor breaking up the wedding is the most hysterical. Plus - you get the rare shot of Taylor with straight hair. 2 pages of liner notes written by Taylor, lyrics - and a stellar shot of Taylor and her full band. Plus, the CD wins for superior sound. This brings back memories of bringing home an album on vinyl and having hours of artwork to pour over while listening to the album over and over.
STANDARD EDITION VS. DELUXE - WINNER: DELUXE
I'm not a big fan of pricier deluxe editions. Why exclude people from some of the content? Wouldn't it be better to encourage first-week sales by making all first-pressing CDs deluxe and then making it a collectible by taking it out of print. Afterward, making ALL the bonus tracks available for purchase online. But I digress - this is one of the most action-packed deluxe editions I've ever purchased. You get a different color dress on the cover; six bonus tracks (3 new songs, two acoustic versions and a remix). Of the new songs, Superman is a sure-fire radio hit. The others are simple and wonderful and would have fit in nicely on the album. The acoustic versions are nice but don't stray too far from the originals and I'd be hard pressed to notice too much difference between the Mine remix and the original version (a Victor Calderone club banger remix it isn't). As for the video content - who would think a half hour documentary about the making of a 3 minute video would be so captivating? It was one of the most enjoyable half hours of TV I've seen in years - despite the fact I thought the "enhanced CD" was a technology that died in the 90's. Best parts of the docu: Taylor getting attacked by bugs, Taylor coaching kids to act and the local Maine townspeople all but shutting down the shoot. Wait til you see how Taylor saves the day in the row boat.
Would Taylor Swift be so universally adored if she wasn't so adorable? Probably not. If you disagree, name one ugly pop star since the dawn of MTV - let alone CMT. Sure she's no stranger to the occasional flat note of off-key chorus, but thanks to the miracle of studio-wizardry anyone from T-Pain to Britney Spears can have a hit record these days. What sets Taylor apart is she proved you don't need to sell sex to sell records; you don't need to be on major label to top the charts; you don't need to be old to write songs that are universal tales about the human condition; you can be a role model without being a hypocrite or a prude; you can be a celebrity without being a train wreck - and most importantly for the sake of this review - you can pack 14 singles onto an album without a single dud. No filler here. This would have made a good soundtrack to summer, but we'll have to settle for it warming our hearts and tapping our toes all winter long. Sure, the road she's traveled in her 20 years is quite different from yours or mine, but the mark of a true artist is capturing snapshots of real life and presenting them in a way that is timeless, captivating and honest.
74 of 95 people found the following review helpful
5.0 out of 5 stars Swift matures artistically, keeps same old charm.,
However, her songs were always so damn catchy! Every once in a while, there would be a song or two from her that I just couldn't get out of my head. This album made me respect her on a whole new level. Almost every song on here could be a radio hit, and the lyrics show incredible growth in maturity.
Many tracks are reminiscent of songs on her first two albums. "Mine" is particularly strong in it's poppy, giddy goodness. Also, "Enchanted" is very unique and "Sparks Fly" has an irresistible chorus.
The most impressive tracks on the album, however, show signs of Swift's maturing as an artist vocally and as a songwriter. "Dear John" and "Back to December" both bear ghosts of Swift's love life and are hauntingly emotive. "Never Grow Up" is a gorgeous track that brings nostalgic feelings with it, and "Innocent" is deeply reflective and carries wisdom. Her words are carefully chosen.
The album is not perfect however. Some of the weaker tracks, such as "Mean", "Speak Now", and "Long Live" show a lack of artistic ingenuity that Swift has worked so hard to develop on this album.
Overall, "Speak Now" is a CD that won't leave your iPod for a long time. You'll be humming the tracks in your sleep. Bravo! Color me impressed.
5/5 Stars, and probably the best album I've heard this year.
8 of 9 people found the following review helpful
4.0 out of 5 stars Speak Now: An Album Appraisal,
This is a question which a multitude of artists attempt to answer every year. For Taylor Swift, the answer to this question has proven simple -- poignant lyrics, memorable melodies, and universal themes of love and heartbreak have become her trademark style, and listeners across all genres have raced to embrace her vision of country music. After a groundbreaking year in which she won awards at a multitude of venues, anticipation for the the twenty-year-old's third studio album was so thick that it was almost tangible. With Speak Now, Taylor Swift has attempted to solidify her place as the biggest act in country music, but with such a roller coaster ride over the past two years, could she top her previous success? Answering this question requires a detailed look at Swift's latest record.
The cornerstone of Swift's widespread appeal is undoubtedly her unique songwriting ability. As a lyricist, Swift manages to condense the emotions of her experiences into songs to which anyone can relate. Her wit and charm have earned her numerous supporters across the world, but some doubted that she could transition from songs about high school heartbreak and adolescent angst into a writer of mature songs about adult life. In Speak Now, Swift proves that her songwriting skills extend beyond the locker-lined hallways of high school into the realm of young-adult life. From capturing the uncertainty of balancing love with real life in "Mine", to giving a heartfelt apology (a first for Swift in an album) in "Back To December", to expressing the ambivalence teenagers feel towards the increased responsibility of age in "Never Grow Up", Swift lays a foundation for an emotional journey of unparalleled scope and clarity for someone her age. Once again, Swift manages to craft songs that can be understood by a younger audience who are living through similar experiences, while also appealing to any older listeners who can remember what it felt like to be her age. Though there are still some fairytale references in songs like "Enchanted", Swift has largely let the themes which ran through her sophomore album, Fearless, remain in the past. In doing so, Swift proves to the critics that she can mature as a songwriter and continue to produce tighter, deeper, and more satisfying lyrics.
Like most albums, Speak Now is constructed around a theme. Swift's theme for her third album is that of saying things she left unsaid -- each song is a confession to a specific person, telling each one what she failed to say in the heat of the moment. The result is a collection of songs with finely-honed lyrics, and each track sends a clear message. Unfortunately, a side effect of such specificity in her writing is that Swift may have constructed an album which reminds listeners more of her personal life than it does of their own. Those who have not closely followed Swift for the past two years may be more inclined to draw their own conclusions from the songs, while anyone who follows her activities may have a difficult time embracing some of the material. While this may be detrimental to the listening experience of some, it may not be entirely fair to blame Swift for the problem. If Speak Now is any indication, she has remained true to the same songwriting strategies that she established in her first two studio albums, and the only difference is that people now know the subjects of her songs before listening to the album for the first time.
A prime example of the nature of this controversy is "Mean", a song Swift reportedly wrote for music critic Bob Lefsetz. In it, she rebukes his commentary on her vocal ability and accuses him of cruel and unnecessary negativity in his evaluation of her talent. By tackling this topic head-on in an album, Swift has ostensibly risked additional rebuttals from other music pundits who may argue that she has proven an inability to handle criticism, but this is perhaps only a cursory understanding of the song. Few singers have managed to polarize listeners as strongly as Swift -- people either adore or despise her vocals, and perhaps the only people undecided about her voice are those who have never heard it. In Speak Now, Swift does little to change people's minds about her voice. Although the album features material that showcases both Swift's softer and louder singing abilities, her limited vocal range remains apparent throughout the listening experience. While it may be considered constructive criticism to point out her limited voice, many critiques of Swift's singing go far beyond what can be considered valid commentary. A host of online comments, ranging from degrading to hateful, seem to follow in the wake of everything Swift does, and it is difficult to believe that this has had no impact on the singer over the past two years. For someone whose trademark style is writing material about her own life, it seems not only understandable, but necessary, that Swift would address this topic in an album. While a professional critic like Lefsetz may make a convenient target for the song, it seems reasonable to interpret Swift's message in a broader sense that applies to everyone who propagates hateful speech.
Similar concern has been expressed over the impact of Swift's rise to stardom on a related attribute of her music: its universal appeal. Having built her career upon music that presents her as an average person who experiences the same things as her listeners, would leading the high-profile life of a celebrity cause her to lose perspective and create distanced music that no longer resonated with her core audience? The fact that most of the songs on Speak Now are directed at celebrities with whom Swift has been involved over the past two years might seem to speak to this point, but a more open-minded approach to the music is advisable. While "Mean" may be a personal rebuke directed at someone who has demeaned Swift in the past, does that prevent listeners from applying the scenario to their own lives? Surely Swift is it not the only person who has dealt with someone speaking cruelly about her. Similarly, Swift may apologize for her own relationship mistakes in "Back To December", but even though she has been involved with celebrities, Swift still keeps the song's message in simple, human terms -- someone loved her, and all she did was reject that affection. If Swift's latest batch of songs are any indication, she has been able to transition into the public eye without letting the attention derail her ability to reach out to regular people.
Of course, no album can rely on lyrics alone; a record depends on lyrics to send a message, but music is necessary to set the tone of that message. The music of Speak Now is perhaps the album's most intriguing quality. Swift's musical choices are nothing short of eclectic: from power ballads, to acoustic guitar renditions, to electric guitars combined with full orchestras, Speak Now covers a musical range that far eclipses her previous works. Swift's compositions have arguably advanced so far from the simple tunes of her first album, that having instrumental versions on the deluxe edition of Speak Now would have been a welcome surprise.
Despite this advancement in her musical repertoire, Swift's followers from the country scene may be disconcerted that the one musical style which is under-represented on the album is country. For someone who has cited country stars like Faith Hill as her inspiration for becoming a musician, it is somewhat perplexing that Swift would take her musical style in such a direction. On one hand, it is refreshing to see a musician who is unwilling to compromise her artistic vision to satisfy the expectations of specific genres, as some of the album's most impressive compositions would not exist on a traditional country album. On the other hand, the album's style may be a let down for those who hoped Swift would return to the country production of her eponymous debut album. The decision to stray further from a traditional country sound may cause some of her supporters to question whether Speak Now qualifies as a country album at all, and when compared to the few country acts who adhere to a more traditional sound, such questions may be valid.
It is, however, important to be objective when considering how an artist fits into the tapestry of a genre that has become as broad as country music. The days of country consisting almost exclusively of banjo, fiddle, and steel guitar have apparently passed (for better or for worse), and a great number of country artists have expanded their musical palette to include more popular sounds of electric guitar, increased percussion, and other elements previously underrepresented in the genre. When considering the entire gamut of songs on country radio, Swift's musical choices are perhaps not so out of place. In a climate where traditional country artists who sing about tractors like Jason Aldean can perform on the CMA Awards with mainstream artists like Kelly Clarkson, is it truly fair to label Swift's compositions as "not country enough"? While it would be refreshing to see Swift return to a more classic sound in a future album, it is important to acknowledge that her unique style of country has brought more listeners to the genre than that of any other artist in the last decade. Without Swift, many people would never have been exposed to the artists who have a more traditional sound, so even if her musical style strays from typical country fare, as long as she is able to enlarge the base of country music listeners, she deserves recognition alongside the genre's more traditional acts.
Even so, the fact that the music on Speak Now is more mainstream than either of her previous two records is perhaps the album's most prominent vice, even though the music also showcases the progression of Swift's capabilities as a composer. For someone who has defined a distinct lyrical style for herself, it is disappointing to see Swift emulate other mainstream musical styles instead of putting her immense talent towards defining a sound that she can call her own. This is not to say that the music of Speak Now is inherently deficient; indeed, the album contains many stellar compositions. It is rather to express a wistful desire to know how much more country the album could have been if Swift's skill at composition had been focused in that direction.
With these observations in mind, does Taylor Swift's latest offering have what it takes to be considered a great country album? Despite her deviations from the genre's traditional sound, Swift continues a proud country tradition of writing personal songs about real life, and by refining her craft for yet another album, she has proven that she has long-lasting promise as one of the genre's finest introspective lyricists. Swift has managed to expand the boundaries of her skill as a writer and composer once more, and only time will tell how her genre-defying musical choices settle with her core supporters in the country scene. While it remains uncertain whether Taylor Swift will return to a more traditional sound or continue to expand the boundaries of what is considered country music in the future, one thing is certain: Speak Now is a work of art.
8 of 9 people found the following review helpful
5.0 out of 5 stars CANNOT STOP LISTENING TO IT!,
5 of 5 people found the following review helpful
4.0 out of 5 stars Exactly what I was hoping Taylor Swift would do,
Can I say that Taylor genuinely surprised me with the release of her third album? (BTW...thank you Amazon for selling the MP3 download version of her album for four dollars). Taylor is not screaming as much on this album as "Fearless": she's finding the key to her voice that is soothing and not making the ears cry out in mercy. But "Speak Now" is more than her voice maturity: on this album, you have solid lyrics. The songs aren't about puppy love--she's sings about true emotion...love that is beautiful, and love that is hurtful. The songs are about cherishing what you had as a young child and to value parents (a lesson that can only be learned by growing up). Taylor is not just focusing on past relationships...she's focusing on all aspects of her life from these past few years.
Most of the tracks on this album will have you singing from the top of your lungs or tug at your heart. I'm not a huge fan of "Mean"... to me, this is a very petty song. But I am not surprised that she wrote and sang about this event of her life. So in a way it fits.
Thanks for surprising me Taylor. I believe this is the album that does deserve an award.
31 of 41 people found the following review helpful
3.0 out of 5 stars Taylor Has Lyrics Down, But Music Not Always Exciting,
I'm not finding a "Love Story" here...or a "Fifteen"...or a number of other great songs from that album, but the reason is those songs have a lot of dynamic range, stronger melodies, and overall better production. A lot of songs on this new record are loud, from beginning to end.
I do think the lyrics are very good...very real. I listen to a variety of styles of music, and the appeal of Taylor Swift for me is that she writes real songs without the need for gimmicks. The lyrics mean something to her, and they are easy to relate to, whether you're 16 or 45. But the vehicle for the lyrics is the music, and that's where things fall flat for me here.
Yes, there's more variety in styles, from a decidedly country song with banjos ("Mean") to an Avril Lavigne-type rock song ("Better Than Revenge"), and everything in between. But when she leans too much towards country, it feels a little forced, and "Mean" has no originality to it whatsoever. A lot of the songs suffer from a lack of originality musically...they've been written hundreds of times before by many different artists. What saves them from total disaster are Swift's personal lyrics, so I'm not overly surprised with the positive reviews from fans and critics alike.
Thankfully, there are exceptions to the drop-off in music, melodies and production. Everyone seems to be talking about "Dear John", and it is good, mainly because of a passionate vocal performance. Still, it drags on and doesn't go anywhere musically. My heart starts to beat a little faster once I get to "Enchanted", and even though producers use a little auto-tune to spice up the vocal (which normally I would abhor), it works to perfection and the song builds in intensity and has a great melody. "Innocent" has a dark, eerie mood with some edge to it...something we haven't heard from Taylor before but suits her vocal tone perfectly. And on "Last Kiss", producers finally push the right buttons to help create a ballad that invokes goose bumps.
Overall, this is still a solid album...just not one I'm going to like from start to finish. I applaud her for writing all of the songs herself, but next time, I hope she gets a little help from her friends.
7 of 8 people found the following review helpful
5.0 out of 5 stars A real gem in a sea of utter crap,
It's hard for a 25 (close to 26) year old guy to admit it but I truly LOVE Taylor Swift now. I have all 4 of her albums (including her Xmas one) and I just can't get enough of her. She truly has talent that is heads and shoulders above 90% of her musical peers. I recently went to her Speak Now concert and found out she could not only play the regular six string guitar and banjo, but she was amazing with the 12 string and the piano too!!
Her Speak Now album is her first album where she wrote every single one of her songs by herself and it shows in both good and bad ways (but mostly good). I find the songs to be much more honest and as such, some of them just aren't quite as catchy. (Haunted and Last Kiss come to mind). BUT Swift truly shines and stands out in her other songs (Mean, Speak Now, The Story of Us, Better Than Revenge, and ESPECIALLY Sparks Fly). That one line is simply ingrained into me and is just soooo touching "I'm on my guard for the rest of the world but with you, I know it's no good."
Simply put, if you're a fan of her 2 earlier albums, you will love Speak Now. The album as a whole is a bit more mellow and less upbeat but you can really hear Swift's talent and slow maturity in every one of her songs on this album. Please support artists such as Swift and John Mayer who actually have real talent and turn off all the lady gaga, katy perry, miley cyrus crap.
-Openly proud Taylor Swift fan
4 of 4 people found the following review helpful
5.0 out of 5 stars Trapping the World in a Snowglobe,
Speak Now traps individual experiences perfectly in song form, synthesizing experiences in a way that can be applied to anyone that's ever lived, yet still be deeply personal. Nary a co-writer can be found on the album, which lends itself even greater to the experience. Speak Now works as well as Fearless did as a whole, but each track is so dense that the album is best reviewed in a track-by-track manner.
Mine: As the lead single, Mine does the perfect job of showcasing the development in Taylor's songwriting. While it seems like a contemporary rehash of Love Story, the lyrics are crafted more masterfully, lending to an altogether more tangible listening experience. Taylor's vocals have also improved, noted in the elongated 'mine' that stretches after the bridge.
Take-away lyric: 'You made a rebel of a careless man's careful daughter'
Sparks Fly: This song has spent the longest time in work, and several of the lyric couplets prove as much. The sound is turned into more of a pop-rock track rather than a country one, soaring on the opening guitar line and exploding on the bridge. This song has the most potential to be considered a 'throwback' to Taylor's earlier songwriting, feeling younger and more naive and innocent than anything else on the record.
Take-away lyric: 'The way you move is like a full-on rainstorm, and I'm a house of cards'
Back to December: A powerful ballad, the stage is set within the opening instrumentation, chilling the air and yet warming the soul with melancholy. The triplet structure of the chorus suits the conviction of Taylor's vocal delivery, granting the song an urgency that its tempo wouldn't betray. At nearly five minutes, Back to December marks a trend in lengthier song structure for Taylor.
Take-away lyric: 'I'd go back in time and change it, but I can't. So if the chain is on your door, I understand.'
Speak Now: The title track is coyly infectious and immediately arresting, painting a portrait of a wedding gone awry masterfully. The light as air production paired with the hitches in Taylor's vocal delivery reveal that there's more to singing than pure belting ability, and the rapid fire bridge barrels the song on like a freight train.
Take-away lyric: 'I am not the kind of girl who should be barging in on a white veil occasion, but you are not the kind of boy who should be marrying the wrong girl.'
Dear John: A power ballad if there ever was one, Dear John nearly hits seven minutes. In that time, it builds slowly with wobbling guitar and tortured words, so glacial that when the bridge erupts and Taylor wails with more skill than she was once ever capable of, the many layers have been snuck in. Every bit of the song feels like a work of art rather than a simple tune, and at its length, that's an incredibly accomplishment.
Take-away lyric: 'But I took your matches before fire could catch me, so don't look now; I'm shining like fireworks over your sad, empty town.'
Mean: The sole outright country song on the album, Mean is deceptively catchy and sly in its wit. Not feeling quite as massive as its predecessor, it instead falls back on fiddles and a strong hook, Taylor's delivery serving up a bite that she hasn't quite let out before.
Take-away lyric: 'Washed up and ranting about the same old bitter things; drunk and grumbling on about how I can't sing. But all you are is mean.'
The Story of Us: This song builds itself around sturdy guitars, driving forward the way a good power pop song does. This instead feels much less disposable, with hasty lyrics sung over a more hopeless atmosphere, anonymous profiles meandering about. Taylor's delivery is skilled in its desperation on several of the lyrics here, channeling vulnerability in a way that only someone who has experienced the circumstances first hand could recall.
Take-away lyric: 'I'd tell you I miss you, but I don't know how; I've never heard silence quite this loud.'
Never Grow Up: Twinkling in on a tragic rhythm, Never Grow Up feels intensely personal, yet universally relevant. Taylor softly recounts memories from second-person, cautioning youth with the experiences still lingering fresh in her mind. This song doesn't swell or build, but there's no need for it. Rather, it's a maelstrom of emotions that settle like debris after a hurricane.
Take-away lyric: 'Remember the footsteps, remember the words said, and your little brother's favorite songs. I just realized everything I have is someday gonna be gone.'
Enchanted: From the steady introduction to the swelling chorus that ignites into a stadium-filling anthem, Enchanted is the very core of the album. Taylor's delivery shifts from awestruck to desperate to impassioned, all within the span of nearly six minutes. The two-part chorus, the pleading bridge, and the feathery ending complete what is the masterpiece of Taylor's career.
Take-away lyric: 'The lingering question kept me up; two a.m. who do you love? I wonder 'til I'm wide awake.'
Better Than Revenge: Opening with a spoken command and followed by aggressive drums, Better Than Revenge is an all-claws battle from a woman scorned. It's the most rock-oriented song Taylor's ever done, and she takes control with the rage warranted. The tone doesn't shift throughout the song, relentless in its delivery until it all comes to a perfectly orchestrated, immediate conclusion.
Take-away lyric: 'Soon she's gonna find stealing other people's toys on the playground won't make you many friends.'
Innocent: Playing the roll of forgiver, Taylor delivers quiet verses while offering solace in a chorus that swells on its second take, the entire song feeling like thousands of candles in the wind on a cool fall night. The message is the centerpiece of the song, and it is driven home with expertise.
Take-away lyric: 'Wasn't it easier, run wild 'til you fell asleep, before the monsters caught up to you?'
Haunted: An orchestra of stringed instruments compliment the band on Haunted, a bleak song of desperation and anger. Taylor cries out in abandonment, infecting each lyric of the chorus with equal parts aggression and heartache. The bridge draws it all back until the final line, which ignites the embers into a wildfire within the cold forest that the song brings to mind.
Take-away lyric: 'You and I walk a fragile line; I have known it all this time, but I never thought I'd live to see it break.'
Last Kiss: In the vein of the stripped back Never Grow Up, this song is saturated in pain and regret rather than childhood memories, detailing a relationship that took a piece of Taylor with its conclusion. The inhalation of breath right before the final chorus, paired with the whispered, broken delivery give the song a lonely, tragically beautiful sound.
Take-away lyric: 'You can plan for a change in weather and time; I never planned on you changing your mind.'
Long Live: A powerful arena song that draws the album to a close, Long Live feels very much like a content ending to a world of memories, both good and bad. The guitars open up and the band comes alive as Taylor sings with all the passion she can muster, as though throwing a fist in the air in triumph. You have a right to, Taylor. You have created a true masterpiece.
4 of 4 people found the following review helpful
4.0 out of 5 stars I had to speak to get this CD,
A Kid's Review
1- Mine - 10/10
2- Sparks Fly - 9/10
3- Back To December - 9.5/10
4- Speak Now - 10/10 Favorite song
5- Dear John - 8.5/10 Maybe too long
6- Mean - 10/10 Second favorite song
7- The Story of Us - 8/10 Not too catchy
8- Never Grow Up - 9.5/10
9- Enchanted - 10/10
10- Better Than Revenge - 9.5/10 Pretty good song, catchier than The Story of Us
11- Innocent - 9.5/10 Sweet, I know who is it about, and I think Taylor's fans do know too
12- Haunted - 8.5/10
13- Last Kiss - 10/10 This is really sweet
14- Long Live - 9/10
It's pretty good, but I give it 4 stars out of 5 because some songs could have been better, but I LOVEEE the album :D. I don't regret buying it, I'll be sure to buy more of her music soon.
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