download album reputation SK-360. On Aug. 18, Taylor Swift went dark, wiping her social media accounts clean and replacing them with a cryptic clip of a snake. By the end of the week, Swift had announced her sixth album, Reputation, and released its moody, electro first single, “,” with its lyric: “The old Taylor can’t come to the phone right now … ‘Cause she’s dead!” The , her first solo release in three years, broke 24-hour records for Spotify, Vevo and YouTube streams, and ended the 16-week reign of Luis Fonsi and Daddy Yankee’s “Despacito” atop the Billboard Hot 100 with 2017’s highest single-week sales. But the single has since set some less glamorous records as well. A week after reaching No. 1 on the Pop chart, it moved to No. 7 — the largest fall from the top in the chart’s history — and from No. 5 to No. 20 on the all- format Radio Songs chart, the biggest fall from the top five in that chart’s 27-year history. Subsequent releases haven’t fared as well, either; after debuting at No. 4 on the Hot 100, second single “…Ready for It?” fell to No. 53 (though it has rebounded since the Oct. 26 release of its video), while “Gorgeous” dropped from a No. 13 debut to No. 69 in its second week. Download Taylor Swift – Reputation Album (Zip) TRACKLIST 01. Taylor Swift – …Ready For It 02. Taylor Swift – End Game 03. Taylor Swift – I Did Something Bad 04. Taylor Swift – Don’t Blame Me 05. Taylor Swift – Delicate 06. Taylor Swift – Look What You Made Me Do 07. Taylor Swift – So It Goes… 08. Taylor Swift – Gorgeous 09. Taylor Swift – Getaway Car 10. Taylor Swift – King Of My Heart 11. Taylor Swift – Dancing With Our Hands Tied 12. Taylor Swift – Dress 13. Taylor Swift – This Is Why We Can’t Have Nice Things 14. Taylor Swift – Call It What You Want 15. Taylor Swift – New Year’s Day Download Taylor Swift – Reputation Album (Zip) Top 5 Taylor Swift Reputation Albums Download Free. 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These well-known music recorders to have Taylor Swift reputation album mp3 download all work a little bit differently and have many different features. Select the one you need. Download Taylor Swift’s Album “Reputation” to MP3. Since first released on August 24, "Look What You Made Me Do” broke a string of records, including the record for the most plays in a single day on Spotify, and became the most-watched music video within 24 hours. It is the lead single from Taylor Swift’s sixth studio album "Reputation" (2017). And now the album “Reputation” is dropped on November 10, 2017 in retail outlets as well as online stores like iTunes. This album is expected to score one of the biggest chart debuts of the year. And it is Taylor Swift’s follow-up to 2014’s critically acclaimed pop masterpiece 1989 which was her biggest seller, finishing in the top three in global sales in both 2014 and 2015. Ahead of the album release on Nov. 10, Swift released the full track listing consisting of 15 songs. Of those songs, Swift has already released four: "Look What You Made Me Do," "Ready For It?", "Gorgeous," and "Call It What You Want." All of them are available in iTunes Apple Music and Spotify. You can play theses song directly online. For Apple Music users, you can also download these songs in “Reputation” from Apple Music to MP3 format with NoteBurner iTunes Audio Converter for streaming on more devices. The most important thing you should know about Apple Music is that Apple adds a layer to its streaming music collection. That's to say, anything you download from Apple Music's streaming catalog is protected. In this case, subscribers can't download and convert Apple Music to plain MP3 format and enjoy on some MP3 player. What's worse, when the subscription ends, the protected songs will be disabled and inoperable. Tool Required: NoteBurner iTunes Audio Converter. 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I often buy music albums by Amazon and recommend everyone to buy original from them. Taylor Swift Reputation Album(2017) Artist: Taylor Swift Album: Reputation Label: , LLC. Released Date: 2017 Length: 55:38. Album Songs. Ready for it? End Game(feat: Ed Sheeran & Future) I Did Something Bad Don’t Blame Me Delicate. Look what you made me do So it goes… Gorgeous Getaway Car King of my heart Dancing with our hands tied Dress This is why we can’t have nice things Call it what you want New Year’s Day. This album fits my expectations perfectly and I think you might have liked it too. Every song of this will make you feel different and you can listen again and again. I love Ed Sheeran’s, You can also download the Ed Sheeran Divide album. Apart from this, there are many other options from which you can download this album. Because we only write about the original product, so we did not put other options before you. Taylor Swift Is a 2017 Pop Machine on ‘Reputation,’ but at What Cost? Taylor Swift is known for the kiss-off, the eerily intimate way she dismantles those who have wronged her. She is a songwriter and performer who has long thrived on antagonism (it’s one of her two poles; the other is swooning), and no pop star of the modern era has communicated the contours of her disappointment with such emotional precision and melodic sophistication. “I Did Something Bad,” which comes third on her new album, “Reputation,” has all the hallmarks of a classic Swift assault: lyrics about men who are out of their depth sprinkled with just enough details to imply grave shortcomings. But the chorus is something different: “They say I did something bad/Then why’s it feel so good?” On the surface, it’s an awakening, but really, it’s a takedown. The target is herself — her innocence, her naïveté, the way in which striving to be flawless is perhaps the ultimate flaw. The bombastic, unexpected, sneakily potent “Reputation” is many things: It’s the first album on which Ms. Swift has cursed (“damn” doesn’t count); it’s the first time she has sung about consuming alcohol (and repeatedly at that); and it’s the vehicle for her most overt songs about sexual agency. Ms. Swift is 27 now, and the things she used to deny herself — in song, at least — are no more. But it is also Ms. Swift chasing that good feeling, pushing back against a decade of following her own instincts. And it works. “Reputation” is fundamentally unlike any of her other albums in that it takes into account — prioritizes, actually — the tempo and tone of her competition. “Reputation” is a public renegotiation, engaging pop music on its terms, not hers. And even though what’s au courant in pop — post-Drake lite-soul noir, or gothic but plain dramatists like Halsey and Selena Gomez — doesn’t necessarily play to Ms. Swift’s strengths, she barrels ahead here, finding ways to incorporate it into her arsenal, and herself into it. Some things are lost, to be sure, but it turns out that Ms. Swift is as effective a distiller of everyone else’s pop ideas as she was at charting her own sui generis path. That means a shift away from her signature melodies to an approach that uses her voice as an accent piece, or seasoning — the difference between songs that are 24K Taylor and ones that are merely Taylor-plated. It means a continued de-emphasis — one that began on her last album, “1989” — of the sorts of dense narratives that were so integral to her early career. It means that on a few songs here, Ms. Swift is doing something at least a little bit like rapping. (I’m sorry, the old Taylor can’t come to the studio right now.) Make no mistake: these are jarring propositions. And yet Ms. Swift commits to them and thrives, an act of liberation from her past, and also a calculation about what the marketplace can bear. That’s because after “1989,” all that was left for Ms. Swift to do was make pop songs the way most other superstars do. All the songs on “Reputation” are produced either by with his associates, or by Jack Antonoff with Ms. Swift. Both men are longtime collaborators of hers, and both have had an outsized role in shaping the sound of current pop. Where they bring Ms. Swift is into soft-core pop-R&B, with synth-thick production that moves at a sensual gallop. “Delicate,” one of the album’s standouts, could pass for a Drake-Rihanna collaboration. Here, Ms. Swift whisper-sings with a newfound attention to rhythm. (She also sings through a vocoder on part of the song.) Something similar, but even more outré, is happening on “Dress,” which — with Ms. Swift’s blushing exhales — sounds like something the club-soul revivalists AlunaGeorge might make. These songs emphasize the cadence of her singing, not the melody or range. And on a few other songs here, she breaks into a kind of intermittently unconvincing talk-singing. This is a persistent theme on this album: borrowing styles and approaches from black music, then softening them enough to where Ms. Swift can credibly attempt them. The most striking example of this is “End Game,” a smoothly swaggering thumper featuring Future and Ed Sheeran. That Ms. Swift would go sigh for sigh with Future’s warbles would have been unthinkable five years ago, but here, in a twist, the person who sounds least at home is Mr. Sheeran. The ideas that Ms. Swift and her producers are borrowing from have been long simmering in the pop mainstream. (Nothing here has the same jolt as when she imported a drop into “,” in 2012, back when that was still novel.) What’s notable, though, is that she hasn’t gone to the innovators of these ideas, but rather used Mr. Martin and Mr. Antonoff as alchemists and filters. That approach also serves another purpose, which is to protect her from the limitations of her voice. A few songs here — “Don’t Blame Me,” especially, which faintly recalls Madonna’s gospel-choir era — call out for melisma, or a soul-informed vocal approach that blends the tough and the nimble. But those are not Ms. Swift’s gifts. She is as strong a singer as ever (even if this album doesn’t much let her loose), but much of her singing here is done piecemeal. That’s because almost all of these songs are the sum of very different parts; many move in several different directions, one hard turn after the next. Guitars, when they’re present, are generally distant in the mix. This kind of structural maximalism is becoming a hallmark of pop-era Swift. “I Did Something Bad” has the energy of a revving motorcycle, and the first two singles, “ … Ready for It?” and “Look What You Made Me Do,” both use harsh sounds and urgent buildup segments to theatrical, bruising effect. This is the work of both producers: Mr. Martin and his team handle most of the album’s rowdy first half, and Mr. Antonoff is dominant on the more emotionally focused second half. Ms. Swift’s tone changes throughout the album as well — in the beginning, she is indignant and barbed, but by the end she’s practically cooing. She still has adversaries in her sight; there are jabs at , and also at an ex-boyfriend or two. But here, too, she turns the magnifying glass around. Some of the most caustic and aware songwriting on this album is about herself. “Getaway Car” is about what happens when you leap blithely from one relationship to another. Ms. Swift is at her imagistic best here: “The ties were black, the lies were white/in shades of gray in candlelight/I wanted to leave him, I needed a reason.” This is familiar Swift stuff — or at least, what was once familiar Swift stuff. On this album, it’s no longer the priority. The album closer, “New Year’s Day,” is the only acoustic song, and also one of the best written (though it feels as indebted to Mr. Sheeran as to Ms. Swift). It is also probably the only song here that, upon first listen, doesn’t prompt the existential question of what, exactly, constitutes a Taylor Swift song in 2017. In making her most modern album — one in which she steadily visits hostile territory and comes out largely unscathed — Ms. Swift has actually delivered a brainteaser: If you’re using other people’s parts, can you ever really recreate your self?