Taylor Swift fans across the world have been prepping all day for the release of “Red (Taylor’s Version)” at midnight on Friday, Nov. 12. After all, who are we kidding? Since the collection re-discharge was announced in June, the Swifties have been plotting, so who are we kidding? Before we get into the ruckus of fan reactions, let’s go through how we got here. Swift’s debut “Red” album was released in 2012, and it was widely assumed by fans and critics to be about her breakup with fellow A-lister Jake Gyllenhaal.
Swift was signed to Big Machine Records at the time, and they owned the expert accounts of her first six albums when she signed with Universal Music Group in 2018. Swift’s lords were offered to ability director Scooter Braun in 2019, whom she openly criticized for “unremitting, manipulative harassment,” so she was understandably outraged when Braun claimed her songs. As a result, she elected to re-record those albums, beginning with 2008’s “Fearless” and continuing with “Red,” which her current contract assures she will claim.
What exactly is “Red”?
Taylor Swift never acts rashly. Is it safe to assume that she is reissuing “Red,” her fourth collection, which first appeared in 2012 of 2021 in light of the mathematical reverse? Did she announce “Red (Taylor’s Version)” appearing exactly 22 weeks before one of the collection’s hits, “22”? Did she then move the delivery date from November 19 to Friday to avoid the logical Adele charge a week later?
Dedicated Swifties will most likely examine each thought about the move – it’s a game that both Swift and her fans enjoy – in the same way, that they will parse each subtlety and dissect the expressive substance in the augmentations to “Red.” Taylor Swift’s “Red (Taylor’s Version),” the 2021 rerecording of Swift’s 2012 collection “Red.” Regardless, we should remember the reason for “Taylor’s Version” of “Red,”: she’s reclaiming her imaginative possession and sticking to her promise of rerecording her first six collections following the caustic offer of her unique expert accounts.
Taylor Swift declares her dominance again
She also proves that she has won once more.
The first 16 tracks from “Red,” as well as a couple more from the collection’s “Grand Version,” have been meticulously recreated. The drums in “I Knew You Were Trouble” are sharper, and the guitars brush with more unmistakable quality and clarity in “22,” but these specialized upgrades don’t take away from the soul of the 2012 version. Swift’s voice, like most, gains strength and certainty with age, but its progression is never interrupted.
She hits the higher reach near the end of “Everything Has Changed,” her delicate two-part harmony with Ed Sheeran, and nails the laugh and “it’s so fun!” declaration that closes “Stay Stay.” Those who may have forgotten one of the collection’s prettiest melodies, “The Last Time,” with Snow Patrol vocalist Gary Lightbody, will be reminded of its quieted excellence.
The impact of Swedish-pop clean from Max Martin and Shellback on “We Are Never Ever Getting Back Together” in the prime section focuses on her then-new heading, and “Red (Taylor’s Version)” repeats how the collection changed Swift’s a vocation from country ingénue to striking pop star. The expansion of 10 tracks, including an expressively rich 10-minute version of “All Around Very Well,” is a great event to commend this rendition of “Red.” With a total running time of two hours and eleven minutes, the collection is a feast for fans as well as a captivating examination of Swift’s melodious deftness even ten years ago.
A sneak peek
The new “All too Well (Original Version)” summarizes Swift at her closest to perfect. The legend is that this was the unfinished copy before she sliced it down to an estimate, presently at long last done in an appropriate studio take with Jack Antonoff. In any case, each enthusiastic detail strikes a chord. She goes further into the story, venting her misery and fury, getting so savage it makes “Dear John” sound like “I Will Always Love You.” She hits more diligently about the age distinction, scoffing, “I’ll get more established, yet your sweethearts stay my age.” She cites Shakespeare’s All’s Well That Ends Well, seven years before breaking out that reference in “Darling.”
At the point when the person neglects to appear at midnight for her birthday — a story she’s now told in “The Moment I Knew” and “Satisfaction” — her father attempts to brighten her up. This is the initial time she’s cited him in a melody — he tells her, “it should be fun, turning 21″ — and it’s a heart-punching second. Not interestingly, you may find yourself asking Tay to dial back and allow you a moment to recuperate, yet she plunges ahead because she has no kindness”
‘Red (Taylor’s Version)’ features
The twisting song was written for Ronan Thompson, a young man who died of neuroblastoma in 2011, just short of his fourth birthday. It was recorded in 2012 as a cause single for a Stand Up to Cancer pledge drive. Swift reveals her affectability after obtaining permission to rerecord the melody from Ronan’s mother, Maya, whom Swift credits as a co-essayist for drawing melodious inspiration from her blog entries about her disabled child. “You were my best four years,” she sings over delicate guitar and piano, a stomach punch for those who aren’t parents.
Quick is joined on stage by Phoebe Bridgers, who provides lead vocals. In any case, even nearly ten years prior, Swift’s foresight was correct as she pondered being disposed of after the sheen blurred. “How could I have gone from growing up to separating?” she muses. Following that, “How could someone know everything at the age of 18 but nothing at the age of 22? Also, will you need me if I’m the same old thing?”
The back cover of “Red (Taylor’s Version)” depicts the 30 songs remembered for Swift’s rerecorded version of her 2012 collection.
Other songs in Red by Taylor Swift
‘Babe’ and ‘Better Man’
The two songs were hits for different artists – Little Big Town in 2016 and Sugarland in 2018 – but hearing them in the original creator’s version makes them sound even better.
‘Messenger in a Bottle’
No, it’s not a front worthy of The Police (though wouldn’t that be fun? ), but it’s a pop banger from Max Martin and Shellback. It would have been a powerfully lustrous addition to Swift’s live shows.
‘I Bet You Think About Me’
On paper, Chris Stapleton is the draw – and presumably, his bourbon toned vocals are the perfect sandpaper to Swift’s smooth voice – but the song should be associated with some of Swift’s snarkiest verses. Theorists speculated that the first “Red,” so rife with tragedy and outrage, was written primarily for a Swift lover at the time, and she doesn’t leave much room for doubt here.
One more collaboration with dear companion Sheeran, the pair’s beautiful orchestrating – augmented by the London Contemporary Orchestra – appears simple, only two similar craftsmen feeding off one another’s melodic qualities.
‘It’s all too well.’
This 10-minute form, created by Swift teammate Jack Antonoff, lopes through exhaustive verses that nibble and twist in their sincerity and agony.
Jake Gyllenhall and Taylor Swift
A lasting impression. Taylor Swift and Jake Gyllenhaal’s relationship may have been brief, but its impact was undeniably profound. Swifties rushed to dig for tidbits of information hidden within the verses, which not-so-subtly hinted at Swift and Gyllenhaal’s stormy relationship. While Swift did not reveal which of her well-known ex-boyfriends was the subject of the songs, she did reveal that the subject of her melodies in a flash drew an obvious conclusion.
“‘I just paid attention to the collection, and that was a truly mixed experience for me,’ he resembled. It was like going through a photo album.’ That was fantastic “recalled the Grammy winner during an interview with New York magazine in November 2013. “More pleasant than, comparable to, the fuming, insane messages I received from this one buddy.” Swift chose to rerecord every last bit of her previous collections while battling to reclaim responsibility for aces from her previous record mark, Big Machine. As she reflected on her old songs, the Pennsylvania native provided a brief glimpse into what prompted her to say “All around very Well” in any case.
“It was a day when I was simply, like, a wrecked human, strolling into practice genuinely regretting what was happening in my own life,” she explained in 2020 during a scene of Rolling Stone‘s “500 Greatest Albums” web recording. “I ended up kind of playing four harmonies over and over again, and the band started kicking in.”People have only recently begun to work with me. I’m sure they could tell I was going through a lot. I recently started singing, riffing, and ad-libbing this melody that was essential ‘All Around Well.'” Swift announced the arrival of the Red era the following year with 30 tracks on her adaptation of the now-famous collection, including a 10-minute version of “Really Well.” The better-than-ever Red follows her reissue of 2010’s Fearless, which featured a previously unreleased song called “Mr. Perfectly Fine.”
The verses for the April 2021 track were as follows: “Hello, Mr. ‘Perfectly fine’ / How’s your heart after breaking mine? / Mr. ‘Always at the right place at the right time,’ baby / Hello Mr. ‘Casually cruel’ / Mr. ‘Everything revolves around you’ / I’ve been Miss ‘Misery’ since your goodbye and you’re Mr. ‘Perfectly fine.’” While it’s unclear who she’s portraying, a few audience members noticed Swift’s use of “nonchalantly savage” in both “Mr. Perfectly Fine” and “Really Well,” speculating that the man being referred to was the Guilty entertainer.
The Romance Frenzy
The pair first began reporting on their feelings after appearing on Saturday Night Live together in October 2010 to assist Emma Stone. Swift appeared on The Ellen DeGeneres Show shortly after their night out together, where she avoided questions about the Nightcrawler star, saying, “I’m generally hopeful with regards to adore.”
After one month, the couple took a walk around New York City while visiting his sister, Maggie Gyllenhaal, for Thanksgiving. In December 2020, the Crazy Heart star let us know Weekly that it was “fantastic” having Swift over for supper. Swift and the Tony winner threw in the towel in front of January 2011, a source told Us at the time “Jake just told her it wasn’t going to work. Taylor is deeply distressed and harmed. He has completely consumed her.”
Taylor Swift’s Version of ‘Red’
The first version of Red was released in 2012. At the time, fans have convinced the songs were about the Nocturnal Animals star, specifically “Generally very Well,” as Swift sings about a trip to upstate New York and losing a scarf.
“Left my scarf there at your sister’s house / And you’ve still got it in your drawer even now,” the verses read, referring to the extra she wore while with Jake over Thanksgiving in 2010. Quick also included the lines, “Right now you mail back my things and I head back home alone, but you keep my old scarf from that very first week/Because it helps you remember guiltlessness and it smells like me.” With time, the California native was photographed wearing a scarf that appeared to be the same as Swift’s. During an appearance on Watch What Happens Live with Andy Cohen in 2017, his sister addressed rumors that the “Animosity” artist’s possessions were in fact in her home, telling the host that she never understood why everyone was so interested in this scarf.
The artist left a hint on Instagram in June 2021, confirming that a new version of Red was on the way:
“Joyful, liberated, befuddled, desolate, crushed, euphoric, wild, and tormented by memories of the past. Like taking a stab at bits of another life, I went into the studio and tried different things with various sounds and associates.” Swift then teased that “Very Well” would be delivered in its entirety, later announcing a short film starring Sadie Sink and Dylan O’Brien to accommodate it. A few fans pointed out that the Stranger Things star and the Teen Wolf alum’s ages correspond to how old Swift and Jake were at the time of their relationship.
Significance of Taylor Swift’s version of ‘Red’
Even though the first Red collection received nominations for the 56th annual Grammy Awards, including a collection of the year, it was not a success. Quick admitted in a meeting with a Grammy Pro that she “cried a tad” after losing, and that night she decided that her next collection, 1989, would be a pop collection. Many fans expected the vocalist’s next portion of her rerecording series to be 1989 — particularly after giving Easter Egg pieces of information to the collection during an appearance on The Late Show with Stephen Colbert and revealing that the re-recorded rendition of her single “Most out of this world fantasies” would be highlighted in the film Spirit.
Nonetheless, the artist has continued to leave Easter eggs. Swift teased, “Can’t stop will not quit being mysterious and abnormal. That is only the beginning. It will be a pleasant week,” after a fan shared a TikTok video showing the vehicle included in the “Generally Very Well” short film secret was a vehicle made in 1989.
It’s too bad she didn’t deliver this sooner. However, it is only in surplus that it exists. It’s the perfect culmination for Red (Taylor’s Version) — 30 tracks, including the first 16-melody Red, deceived out with B-sides and vault outtakes, all revamped with more blast and detail in the creation. The new version clocks in at precisely 131 minutes, and if you believe that number is a coincidence, make up for lost time.
Red was her most notable collection, and she seemed destined to wear it forever—until Folklore and Evermore came along. It’s where she established herself as not only the unrivaled pop musician of her generation but also one of the all-time greats. Red was not her first masterpiece, but it is the one that established the Swiftian universe as one in which each lost scarf is a ticking delayed bomb that can take a long time to detonate into an exceptional tune.