What are you most excited for?

i thought da damn album leaked

The songs just havent lived up to my expectations.... really. Love Story and You Belong With Me in my opinion are way better then anything released off of this album so far....

oh wow!
only 2 days till a release!!

She just always sounds the same to me..
But I've tried to listen.. x_x

^ agree

her songs sound the same to me aswell, but i've nearly heard a full album, just the singles.

I need this now. Fearless was flawless.

I thought it was a leak...but thank God it isn't

and here's a preview of how she'll dominate once again:

TWO DAYS until the release and it hasn't leaked? Just wow. Labels, take notes.

"Speak Now" has gave me life and looking at the lyrics for this album, she is going to tell all.

Big Machine is a very good lable
I hope they will have more big artists

Cant wait for the album, i love more songs with Back to december, Teardrop, Tim McGraw sound, those songs always made me sad. Or fun songs like You belong with me, Hey stephen

OH YASS!!

I actually want another Forever & Always. That song is epic in my world.

I hope there can be songs like White Horse (well, there's Back To December which is awesome) and also some You Belong With Me-like. But of course I want different mature songs. And I hope there can be a song or two that can really show off her vocals. I know she's not really the best singer but I think she has not yet given her all in the vocals department.

How is it possible that the album is not yet online?

that's my favoriteeee taylor song .. I love it soo much ..


and back to december is amazing .. I cannot stop listening to it .. I'm sooo getting this album .. cannot wait ..


surprised it hasn't leaked but then again no I'm not lol because her label is REALLY strict with leaks .. if something leaks we have to report it ASAP lol ..

Oh yas!! Finally someone who appreciates Forever & Always as much as I do. It's my favorite Taylor song too.

I'll try to resist downloading the album when it leaks. I want to hear it first when I buy my copy on Nov. 2 (release date here).

yesss I adore forever and always ..
:heart:

and I'm gonna listen to it if it leaks but good thing is is that I'm still gonna buy it lol ..
I must support my faves ..

here's a track by track review I found:

Taylor Swift “Speak Now” Review Includes A Song Written For John Mayer

The hotly anticipated album Speak Now from Taylor Swift, which comes out Oct. 25, has been held tightly under wraps until now, with only a handful of songs made available for advance listening even to journalists who have been doing interviews with Swift. Now that her label is finally starting to play the album for select critics, it’s easy to tell why its contents have been closely guarded, all fears of leakage aside. Some of the lyrics are startlingly candid, even by the standards of Taylor “Naming Names, Taking No Prisoners” Swift.

On her new album, she writes songs about different people, and she admit in a recent interview:

“”They’re all made very clear,every single song is like a roadmap to what that relationship stood for, with little markers that maybe everyone won’t know, but there are things that were little nuances of the relationship, little hints. And every single song is like that. Everyone will know, so I don’t really have to send out emails on this one.”

So it’s no surprise she wrote about her recent relationship with Taylor Lautner on “Back To December” that we already heard,but now it’s more shocking Taylor Swift wrote about John Mayer. Apparently, she and John Mayer dated in the past, and it ended on a rough note leading her to write the meanest song ever called “Dear John”. I can tell you Joe Jonas got off easily so did Taylor Lautner, but John Mayer didn’t. Read the lyrics for “Dear John” below.

The first chorus begins: “Dear John/I see it all now that you’re gone/Don’t you think I was too young/To be messed with/The girl in the dress/Cried the whole way home/I should’ve known.” A second version of the chorus includes the lines: “It was wrong/Don’t you think nineteen’s too young/To be played/By your dark, twisted games/When I loved you so.”

Taylor Swift won’t acknowledge who these songs are except for “Innocence”, but we can guess what each one is about and who she wrote it too. Right?!? But maybe “Dear John” isn’t about John Mayer after all, and it’s about some other much older man her mother warned her about who is known for “all the girls that you run dry,” and not the 32-year-old Mayer. Ya, who am I kidding. It’s about John Mayer, but when did she date him. Hmm interesting, I can’t wait to hear this track now.

Besides Taylor Lautner might have more than one song on her new album. But you can guess which one are those when the album gets release next Monday. Guess she’s still in love with Taylor Lautner.

While you wait for “Speak Now” to leaked release on October 25th. Here’s a quick review on some songs off the album that Yahoo Reviews did.

MINE

The opening track and first single is already practically a standard, having been rush-released way back on August 4, in response to a leak. Who’s it about? Definitely not one of Swift’s longer-term steadies, but a shorter-lived crush. (If you had to attach a name to it, it could be Glee actor Cory Monteith, whose are-they-or-aren’t-they-dating friendship early in 2010 never seemed to amount to much. Or, it could be about an infatuation so short-lived we never got to hear about it.)

I asked Swift how “Mine” fit with the true confessions theme of the album, since the bits about marriage clearly go beyond the sphere of sheer autobiography.

“It actually is a confession of some sort,” she responded, “because this is a situation where a guy that I just barely knew put his arm around me by the water, and I saw the entire relationship flash before my eyes, almost like some weird science-fiction movie. After I wrote the song, things sort of fell apart, as things so often do. And I hadn’t talked to him in a couple months. And the song came out, and that day I got an email from him. And I was like”-she claps her hands-” ‘Yes!’ Because that one was sort of half-confession, and half-prediction or projection of what I saw. And the fact that it came across so clearly to that guy that he would email me meant that I had been direct enough.”

How did the fellow in question take to realizing that their brief flirtation had resulted in an entire fantasy of togetherness, arguing, falling apart, and married reconciliation-ever-after? Swift suddenly became coy. “Um… I don’t know. I didn’t really respond. But he was sort of like, ‘I had no idea… I realize I’ve been naïve.’”

SPARKS FLY

“Sparks Fly” is apparently the oldest song on the album, having been performed live-and leaked to the web via a crude concert recording-back in 2008. So hardcore Swift fans are familiar with the bones of this song, if not yet the revised lyrics and arrangement. The chorus is still the same as in the live bootleg that’s circulated among fans for a couple of years, but some of the verses have been changed. Among the new lyrics: “My mind forgot to remind me you’re a bad idea.” Some of the changes make the protagonist of this upbeat song a bit cockier than before. A line that once went “Something that’ll haunt me when you’re not around” has had a role-reversal switch, so that she now promises to give her b.f. “something that’ll haunt you when I’m not around.” Apparently she’s a little more confident of her charms than she was two years ago.

BACK TO DECEMBER

This song, which was already released on iTunes, doesn’t leave many doubts about who it’s addressed to, since Swift broke up in Lautner last December. It’s been widely noted that it’s her first “apology” song. She is, after all, known more as the singer of “Picture to Burn” than for writing songs acknowledging that maybe it’s her picture that should’ve been burned. But she emphasizes that, for her, repentance was no mere lyrical exercise.

“I’ve always sort of felt like I try to write songs that the people that they’re about deserve,” she told me. “And up until now I haven’t really felt like I really, really needed to apologize to someone and someone deserved that from me. It’s just necessary. From knowing the situation and writing honestly, I can’t leave that part out, and I don’t think I should. And I think that you should be able to say that you’re sorry to someone, and sometimes the best way I know how to say anything is in a song… I think that for me, especially playing that song for the first time for people around me, like my family and my friends, they made that point right away-like, ‘You realize you’ve never done this before. You’ve never really apologized to someone in a song.’ I guess I wasn’t conscious of that when I was writing it, because it just was exactly what I needed to say. It wasn’t like ‘Oh, I haven’t covered this emotion yet.’ It was just a new emotion for me to feel.”

SPEAK NOW

Also already released on iTunes, the title track is the frothiest song on the album, at least sonically, with Swift trying out an uncharacteristic vocal style that’s closer to Feist than her usual, more conversational approach toward singing.

“The song was inspired by the idea of bursting into your ex-boyfriend’s wedding and saying ‘Don’t do it’-which was originally inspired by one of my friends and the fact that the guy she had been in love with since childhood was marrying this other girl,” she explained to me. “And my first inclination was to say, ‘Well, are you gonna speak now?’ And then I started thinking about what I would do if I was still in love with someone who was marrying someone who they shouldn’t be marrying. And so I wrote this song about exactly what my game plan would be…

“When titling an album,” she explained last month, “for me the first step is I go down the titles of the songs I have so far, and see any of those titles could be the recurring theme throughout the entire record. At this point I had probably 70% of the songs that ended up being on the album. And I just kept going back to ‘Speak Now,’ because I think it’s such a metaphor, that moment where it’s almost too late, and you’ve got to either say what it is you are feeling or deal with the consequences forever. And I feel like that’s such a metaphor for so many things that we go through in life, where you can either say what you mean or you can be quiet about it forever. And this album seemed like the opportunity for me to speak now or forever hold my peace.”

DEAR JOHN

“The girl in the dress wrote you a song…” Yes, she did. (See introduction.)

MEAN

By far the country-est song on the album, not to mention by far the country-est tune she’s ever done, with an abundance of mandolin and banjo. It’s easy to imagine this becoming a theme song or rallying cry for the growing anti-bullying movement. Verses like “Calling me out when I’m wounded/You, picking on the weaker man” and “You have pointed out my flaws again, as if I don’t already see them/I walk with my head down, trying to block you out” leading to a triumphant we-shall-overcome-the-mean-girls-(and-boys) chorus.

Said chorus could count as a case of backwards projection, flashing back to Swift’s pre-fame life: “Someday I’ll be living in a big old city/And all you’re ever gonna be is mean.” But there is a definite allusion to recent controversies when, toward the end of the song, she adds: “And I can see you year from now in a bar talking over a football game/With that same big loud opinion, but no one’s listening/Washed up and ranting about the same old bitter things/Drunk and talking all about how I… can’t… sing.” Snap!

THE STORY OF US

Early fan speculation, based in preliminary teases about the content of the tune, was that this one was about Joe Jonas. But she wrote about Joe on her last album, in “Forever and Always.” Do we think she’s going to devote a song to him at this late date any more than the New York Times is going to feature on-the-scene reporting from the Spanish Civil War?

“That was the last song that I wrote on the record,” she told me, “because it happened most recently. It was at an awards show, and there had been a falling out between me and this guy, and I think both of us had so much that we wanted to say, but we’re sitting six seats away from each other and just fighting this silent war of ‘I don’t care that you’re here.’ I don’t care that you’re here.’ It’s so terribly, heartbreakingly awkward.”

Obviously, the wound was fresh, so even though Swift did run into Jonas at a couple of awards shows this year, it seems much more likely to place its setting as the People’s Choice Awards in January, where Swift and Lautner were reported to have successfully avoided each other, just three weeks after breaking up. Key lyrics: “I’d tell you I miss you but I don’t know how/I’ve never heard silence quite this loud.” Also: “I would lay my armor down, if you would say you’d rather love than fight.”

NEVER GROW UP

No, this isn’t another song about Kanye West. (Good guess, though.) Though this one could also be called “Innocent,” it’s sung to an actual baby. “Never Grow Up” is a sweet lullabye with an undercurrent of sadness or even wary adult bitterness, as Auntie Taylor advises the infant whose nightlight she’s turning on: “To you everything’s funny/You’ve got nothing to regret/I’d give all I could, honey/If you could stay like that.”

ENCHANTED

The most unabashedly romantic song on the album, and also one of the best, “Enchanted” describes the aftermath of meeting a special someone without knowing whether the instant infatuation is at all reciprocated.

“That song is about pining away for if you’re ever going to see someone again-walking away too early,” she explained. “It was about this guy that I met in New York City, and I had talked to him on email or something before, but I had never met him. And meeting him, it was this overwhelming feeling of: I really hope that you’re not in love with somebody. And the whole entire way home, I remember the glittery New York City buildings passing by, and then just sitting there thinking, am I ever going to talk to this person again? And that pining away for a romance that may never even happen, but all you have is this hope that it could, and the fear that it never will.

“I started writing that in the hotel room when I got back. Because it just was this positive, wistful feeling of: I hope you understand just how much I loved meeting you. I hope that you know that meeting you was not something that I took lightly, or just in passing. And I think my favorite part of that song is the part where, in the bridge, it goes to sort of a stream of consciousness of ‘Please don’t be in love with someone else/Please don’t have somebody waiting on you.’ Because at that moment, that’s exactly what my thoughts were. And it feels good to write exactly what your thoughts were in a certain moment.”

Apparently, nothing came of this enchantment, except for the song. At least that’s the impression given by how Swift acknowledges the guy in question hasn’t heard it yet, though she expects him to recognize that it’s about their brief encounter when he does hear it. “I think so,” she said with a slight laugh. “Using the word ‘wonderstruck’ was done on purpose,” she added (referring to the line “I’m wonderstruck, blushing all the way home”). Because that’s a word which that person used one time in an email. And I don’t think I’ve ever heard anybody use that term before, so I purposely wrote it in the song, so he would know.”

(And now every guy who ever ran into Taylor Swift at a social event in New York is thinking: “I did say ‘wonderstruck,’ right?”)

BETTER THAN REVENGE

A fast-paced rocker in the tradition of vengeance songs like “Picture to Burn,” but aimed at a Mean Girl. “She underestimated just who she was stealing from…” Indeed. “I think her ever-present frown is a little troubling/She thinks I’m psycho because I like to rhyme her name with things.” Speaking of rhymes, the chorus rhymes “she’s an actress” with “better known for the things she does on the mattress.” Parting thought: “You might have him, but haven’t you heard?/You might have him, but I always get the last word.” Oh, we imagine “she” heard, whoever she might be.

INNOCENT

Swift premiered this song about Kanye West at the scene of the crime-the MTV Music Video Awards. “I think a lot of people expected me to write a song about him. But for me it was important to write a song to him.”

Judging from how flawlessly Swift pulled off her subway performance of “You Belong With Me” shortly after the Kanye incident, it was easy to surmise that she just brushed it off like the preternatural pro she is. But that’s hardly the case. “The fans in the subway know exactly what happened that night. It’s something I’m never gonna forget. And I’m always going to look back and smile on how they really, really helped me through that…. I’m so emotional and human.

“You have to try really hard to regulate what you feel, what you let in, and what you don’t. Because things like criticism, you are told to be very thick-skinned about things like that. But then when it comes to making an album, if you make everything general and kind of gloss over your actual raw feelings, that doesn’t benefit anyone… As far as what to feel and what level to feel it, I can’t really control any of that. It’s just how things hit you, and what you let in is definitely something you’ve got to find a balance for.”

HAUNTED

The most musically dramatic song on the album has effervescent-oops, make that Evanescence-qualities, with strings bumping up against squalling guitars, to underscore the romantic obsession being described. “Something’s gone terribly wrong/You’re all I wanted,” she sings, demanding at one point late in the song: “Finish what you started!”

LAST KISS

A much more tender post-breakup song than the desperate one that precedes it in the lineup. Best lines: “All I know is, I don’t how to be something you miss.” And: “So I’ll watch your life in pictures/Like I used to watch you sleep…” Now, that’s haunted.

LONG LIVE

Hard to imagine there’s any way the closing number isn’t about Lautner, if the ongoing affection she’s publicly expressed for him is true (not to mention the remorse heard earlier in the album in “Back to December”). She describes herself and her paramour in heroic terms: “The crowds in the stands went wild/We were the kings and the queens/And they read off our names…” That may strike some listeners as self-important for a celebrity to have written, but later in the song, Swift describes things more in the terms of a homecoming king and queen than Hollywood royalty, saying: “You traded your baseball cap for a crown/And they gave us our trophies/And we held them up for our towns.”

Taken at its word, the song would seem to have been written during this moment of mutual triumph, but the conquistador attitude occasionally gives way to bittersweet prophecy, as Swift sings, “If you have children someday, when they point to the pictures, please tell them my name…”