Taylor Swift - Reputation (2LP, Picture Disc)
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Taylor Swift – all vocals; backing vocals (A1, A4, C2)
Max Martin –keyboards, programming (A1–4, B1, B3-4, C2-3); piano (A4, B1); backing vocals (A4)
Shellback – keyboards, programming (A1–4, B1, B2, C2-3); drums (A2, A4, C2); bass (A2, C2); guitars (B4)
Ali Payami – keyboards, programming (A1)
Jack Antonoff – programming, instruments (B2, B3, C4, D2); backing vocals (B2, C1, D2); piano, bass, guitar, synths (D3)
Oscar Görres – keyboards, programming, piano (B3)
Oscar Holter –keyboards, programming (C3)
Victoria Parker – violins (B2, C1, D1); viola (D1)
Phillip A. Peterson – cellos (B2, C1, D1)
Evan Smith – saxophones (B2)
James Reynolds – baby voice intro (B4)
Sean Hutchinson – drums (C1)
Written by Taylor Swif
1LP, Gatefold jacket
Original analog Master tape : YES
Heavy Press : unspecified
Record color : Picture
Speed : 33RPM
Size : 12'’
Stereo
Studio
Record Press : GZ Media
Label : Big Machine
Original label : Big Machine
Recorded at Conway (Los Angeles), MXM (Los Angeles), Rough Customer (Brooklyn), Seismic Activities (Portland), Tree Sound (Atlanta)
Engineered by Michael Ilbert (A2–4, B1, B3-4, C2-3), Noah Passovoy (C2), Sam Holland (A2–4, B1, B3, B4, C3), Laura Sisk (B2, C1, C4, D1, D3), Noah Passovoy (C2), Seth Ferkins (A 2)
Mixed by Serban Ghenea
Mastered by Randy Merrill
Executive Producer – Taylor Swift
Produced by Jack Antonoff (B2, C1, C4, D3), Max Martin (A1-4, B1, B3-4, C2-3), Shellback (A1-4, B1, B3-4, C2-3), Taylor Swift (B2, C1, C4, D1-3)
Originaly released in 2017
Reissued in 2017 (first time as a picture disc)
Tracks :
Side A:
- ...Ready For It?
- End Game (feat. Ed Sheeran and Future)
- I Did Something Bad
- Don't Blame Me
Side B:
- Delicate
- Look What You Made Me Do
- So It Goes...
- Gorgeous
Side C:
- Getaway Car
- King Of My Heart
- Dancing With Our Hands Tied
- Dress
Side D:
- This Is Why We Can't Have Nice Things
- Call It What You Want
- New Year's Day
Awards:
2019 Grammy Award Nominee: Best Pop Vocal Album
One of Rolling Stone's 50 Best Albums of 2017!
Reviews :
"The bad blood is coming from inside the house! After laying low for months, Taylor made a spectacularly bold return with this glittering palace of luxurious grudges and crystalline trap beats. The heel turn of "Look What You Made Me Do" is one for the history books, and pop scholars will likely debate for generations whether it was a brilliant P.R. coup or an epically tone-deaf move. Luckily, the singles are only half the story with Reputation, whose ultra-polished surface conceals some of Swift's realest, most lived-in songs ever. On "Dress," she's high on the rush of a new romantic thrill; on "New Year's Day," she's trying to figure out what she has after the party's over. It adds up to a pointed reminder that Her Royal Swiftness can reclaim her place at pop's cutting edge whenever she feels like it." - Rolling Stone magazine
“Taylor Swift never hesitated to place a veiled version of herself at the center of her songs, but reputation is her first record specifically about "Taylor Swift Superstar," not the singer/songwriter who grew up in public. reputation dispenses with the notion that Swift is a babe in the woods, swapping naivete for calculation, leaning hard into the idea that she plots her every move. In that light, it's difficult not to read reputation as Swift's first self-consciously "adult" record, one preoccupied with sex, betrayal, and the scars they leave behind. Appropriately, she dresses reputation in dark, moody sounds, dwelling on drum loops and synthesizers. Working with Jack Antonoff, Max Martin, and Shellback -- all veterans of 2014's 1989 -- her official pop makeover -- Swift achieves a steely, nocturnal sound, one that appears to exist on a gray scale: Apart from the delicate closer "New Year's Day," every song on reputation has a cool, gleaming patina that's designed to put an alluring distance between Swift and the listener. That sense of remove can highlight how clumsy Swift can be in regard to carnality -- whenever she writes about sex, she tends to be a bit on the nose -- and occasionally her attempts at villainy veer toward the absurd ("This Is Why We Can't Have Nice Things"), an awkwardness that's distracting upon first listen but less so on revisits. Upon repeated plays, these lyrics fade, as does the monochromatic production, and what's left is a coming of age album anchored by some strong Swift songs, most of which are bunched at the end of the record. "Getaway Car," "Delicate," "Dress," and especially "New Year's Day" carry Swift's trademark blend of vulnerability, melody, and confidence, but they are deeply felt and complex, signs that all of the heavy-handed persona plays of reputation were a necessary exercise for her to mature as a singer/songwriter.” Review by Stephen Thomas Erlewine
Ratings :
AllMusic : 3 / 5 , Discogs : 3.8 / 5