Album info

Album-Release:
2019

HRA-Release:
28.08.2019

Label: Taylor Swift

Genre: Pop

Subgenre: Pop Rock

Album including Album cover

I`m sorry!

Dear HIGHRESAUDIO Visitor,

due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.

We suggest, that you bookmark the album and use our Short List function.

Thank you for your understanding and patience.

Yours sincerely, HIGHRESAUDIO

  • 1I Forgot That You Existed02:50
  • 2Cruel Summer02:58
  • 3Lover03:41
  • 4The Man03:10
  • 5The Archer03:31
  • 6I Think He Knows02:53
  • 7Miss Americana & The Heartbreak Prince03:54
  • 8Paper Rings03:42
  • 9Cornelia Street04:47
  • 10Death By A Thousand Cuts03:18
  • 11London Boy03:10
  • 12Soon You’ll Get Better03:21
  • 13False God03:20
  • 14You Need To Calm Down02:51
  • 15Afterglow03:43
  • 16ME! (feat. Brendon Urie of Panic! At The Disco)03:13
  • 17It’s Nice To Have A Friend02:30
  • 18Daylight04:53
  • Total Runtime01:01:45

Info for Lover



Lover is the seventh studio album by American singer-songwriter Taylor Swift. It was released on August 23, 2019, by Republic Records. As executive producer, Swift worked with producers Jack Antonoff, Joel Little, Louis Bell, Frank Dukes, and Sounwave on the album. Described by Swift as a "love letter to love itself", Lover celebrates the ups and downs of love and incorporates brighter, more cheerful tones, departing from the dark sounds of its predecessor, Reputation (2017).

At 18 tracks long, there are songs that easily slip through the cracks on Lover among so many shining pop tracks. Swift follows the paths of Beyoncé’s “If I Were a Boy”, Ciara’s “Like a Boy”, and even PJ Harvey’s “Man-Size” on her own feminism-fueled track “The Man”. “London Boy” features an extensive itinerary for the British city with a surprise appearance from Idris Elba, and the smooth and sexy “False God” is full of religious imagery, with Swift comparing the altar to her hips.

But pointing out what could have been better about Lover defeats the purpose Swift’s seventh album. After spending years becoming associated (often unfairly) with bitterness and gaining awareness about the reputation she’d garnered, Swift simply chose love. It’s a conclusion that required many mistakes, sacrifices, and petty lyrics to arrive at. In a spoken outro on the album’s final track, “Daylight”, solely written by Swift, she says pensively, “I wanna be defined by the things that I love/ Not the things I hate … I just think that you are what you love.” Maturity for Taylor Swift means shrugging off what isn’t worth a fight, looking inward rather than blaming others, and being able to admit when you were wrong. “I once believed love would be burning red, but it’s golden,” she says in the song’s bridge, looking to both the past and the future with equal devotion.


Taylor Swift
is a seven-time GRAMMY winner, and the youngest recipient in history of the music industry’s highest honor, the GRAMMY Award for Album of the Year. She is the best-selling digital music artist of all time, and the only female artist in music history (and just the fourth artist ever) to twice have an album hit the 1 million first-week sales figure (2010’s Speak Now and 2012’s RED). She’s a household name whose insanely catchy yet deeply personal self-penned songs transcend music genres, and a savvy businesswoman who has built a childhood dream into an empire.

But the numbers don’t tell Taylor's story half as well as she could. After all, it’s the intangibles that elevate Swift into the stratosphere of our pop culture planet, allowing the 24-year old singer-songwriter to orbit in a more rarified air. Her large-scale charitable contributions are one thing, but it’s in the small gestures – the notes of compassion she posts on the Instagram photos of lovelorn fans, the genuine hugs she distributes without discretion – where Swift proves time and time again that platinum-selling, record-setting success has not changed her inherent nature. She is awkwardly honest and powerfully empathetic; a brazen superfan, loyal friend, fierce protector of hearts; and one of the world’s greatest ambassadors for the power of just being yourself.

Granted, for Taylor, “being herself” tends towards shimmering, gossamer perfection – but that’s an image regularly blown whenever she dons fake braces and a tri-pony to clown around on late night TV. She’s the first artist since the Beatles (and the only female artist in history) to log six or more weeks at #1 with three consecutive studio albums, and while she’s been named one of Time magazine’s 100 Most Influential People in the World, she’s probably the only person on that list who uses social media to post notes to her best friends and videos of her cats.

As Billboard’s youngest-ever Woman of the Year prepares to release her fifth album, 1989, she finds herself, as always, in the glare of a blinding spotlight of expectation – but if you think that scares her, you haven’t been paying attention. She calls 1989 her most sonically cohesive collection, and armed with first single, “Shake It Off,” she’s ready to blaze into the next phase of her still-young career, where she’ll continue to dance like no one’s watching, write like she stole our collective diary, and inevitably soar to ever-greater heights. All that’s left to wonder is how many more lives she’ll lift in the process.

This album contains no booklet.

© 2010-2020 HIGHRESAUDIO