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Taylor Swift: Speak Now

by richard

Taylor Swift

Big Machine Records: Speak Now

It’s no mystery that 20-year-old country pop mega-star Taylor Swift has no problem letting it all hang out. Not letting it all hang out as in getting caught in a camera phone sexting fiasco where she literally lets it all hang out like many of today’s young lady entertainers. Letting it all hang out as in writing practically each one of her songs like it’s a page right out of her diary metaphorically letting her emotions hang out in lyrical detail.  Most people would rather eat a bowl of rocks before sharing the types of stories that Swift shares, stories that document the most sentimental and intimate moments in her life.

This brutally personal music is one of the leading forces in the fight to save country music. Even though Swift’s sound has the pop edge, it has been greatly successful at guiding a younger audience to the often taboo music genre that is country. Swift’s last album Fearless sold and charted incredibly well, solidifying itself as one of the most potent albums ever put out. Even though the record was put out two years ago, Swift has ridden its success into 2010 emerging as not one of country music’s biggest stars but as one of music’s biggest stars.

Her third and latest album Speak Now could be called Fearless: Vol. II. Thoughtful lyrics, mature themes and exquisite music inhabit the record just as it did the other before; the kind of music that would lead someone to think Swift is a chiseled 35-year-old country music veteran and not a thriving new artist that isn’t even old enough to drink yet.

What is perhaps her best attribute is that Swift can write one hell of a pop song. Lyrics that are catchy and easy to remember yet remain passionate and void of mindless robotic dialogue. “Sparks Fly” is a prime example of her ace love song writing abilities. Strumming away on her acoustic guitar with ease for verses, then joining the rest of the band for the addicting chorus – “Drop everything now/ Meet me in the pouring rain/ Kiss me on the sidewalk/ Take away the pain/ ‘Cause I see sparks fly/ Whenever you smile” – singing with a voice that rings the slight hint of an assertive country tone and moves up and done with certain words.

Swift wields her guitar like a solder does his gun, it almost always never heard on the album. (I think you forgot something here? Doesn’t make sense to me) She hammers light little chords at a mellow speed representing the pop aspect of her orchestration, while the band complete with electric and steel string guitars, drum kit and string arrangement, provide the country. Her voice helps channel the twang as well, chiming with heart.

Swift seems to have a “hit-list” of sorts on the track list; at least three songs are aimed at a guy who affected her life up until this point. Exhibit A, hip-hop guru/ douche bag Kanye West who famously embarrassed Swift at the MTV Video Music Awards in a drunken spell is the focus of “Innocent.” Exhibit B, guitar whiz with the racist ding-ding John Mayer who supposedly hit on a reluctant Swift who in response wrote the song “Dear John.” And Exhibit C, wolf-boy teen heart-throb Taylor Lautner who was part of a failed Swift relationship resulting in “Back To December.”

Yes, Swift can throw some lyrical water balloons. They are meant to hit, but they’ll never hurt (the Kanye one is a stretch though). It’s understandable why a Taylor Swift album can seem so attractive; it offers no negativity but still has room for a little bit of girls-can-play-too attitude. The songs on the record are a little too similar to one another but it’s easy to look past when realizing that Swift produced her album (of course with help from Nathan Chapman). It probably won’t appeal to general alternative rock and above fans but fact that she is so much involved with her craft is a reason to give it a serious, considerate listen. Even if it’s just once, who knows, it may have you speaking up for Swift.

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