It actually kind of reminds me of something you’d hear off Evermore, which is maybe why I appreciate it more now. I knew The Last Time featuring Snow Patrol’s Gary Lightbody was a great song, but this album really shows that. Songs that I appreciate so much more now, and I think Swift’s newer vocals are partly to thank. It’s an upbeat song and it’s so catchy to sing, but longtime fans of hers will surely get a huge kick out of hearing classic singles such as this one, 22, and the iconic We Are Never Ever Getting Back Together which does sound remarkably different this time around – especially the “We-ee” in the chorus.Īnd interestingly enough, there are a handful of songs on this re-recording that struck me so much different to the originals. Now, hearing this same song with updated production and Swift’s more mature vocals, it was like getting hit with a brick of pure emotion. Of course, as a kid, I wasn’t really sure what the song was about – I just knew it sounded damn good. Every time I was in the car with my parents as a kid and I heard Swift’s music on the radio, I would get extremely excited, and one of the first times I remember this happening was when I heard I Knew You Were Trouble. Swift and her music have been a major part of my life ever since I was about eight or nine years old. You hear about the singles and of course, All Too Well which I’ll get into later on, but Red is a seriously infectious pop anthem that has an amazing guitar instrumental. Sure, people talk about it but you almost never hear it talked about these days. The title track has always been somewhat of an underrated gem for me, at least in my opinion. As the drumbeat kicks in and Swift swoops in to sing “I’m walking fast through the traffic lights / Busy streets and busy lives”, it feels like a warm hug from a long-lost friend. State of Grace is an absolutely beautiful way to open this album just like it was all the way back in 2012. Swift’s Red storyline has expanded and now we can see the bigger picture like never before. Every track here has something important to say. After all, they weren’t included in the original Red for a reason, right? Well, not necessarily. Perhaps one of those From The Vault tracks just doesn’t mesh or something. You’d think that with thirty songs, something would feel out of place. Despite the fact that this record is two-hours and ten minutes long, Swift’s songs always make you want to stay for more, and it’s even more amazing how coherent this thing feels. It certainly felt like a hugely long wait to finally get to hear the entirety of this thirty-track album, but the day is officially upon us and I can wholeheartedly say that it was absolutely worth the treacherous wait. And although almost every Swiftie believed that 1989 (Taylor’s Version) would be the second re-released album thanks to Swift dropping numerous hints on social media and on talk shows, she actually threw us a red herring, instead announcing that it would be Red. There’s just something so incredibly endearing and tear-jerking about listening to songs such as Love Story and You Belong With Me sung by a thirty-one-year-old Taylor Swift. Yet in April of this year, Swift released Fearless (Taylor’s Version) which had almost the entire fanbase in tears being left with a humongous wave of 2000s nostalgia and updated, more mature vocals and production. There is a ton of work that goes into it, not just vocally, but also in terms of production, mixing, mastering, etc. And recording a song is not that simple, either. Well over a year ago, it was announced that legendary singer-songwriter Taylor Swift would officially re-record and re-release her first six albums as part of her plan to regain her masters from record label Big Machine. This is undoubtedly going to be a terribly long and time-consuming project to do for Swift, as she will have to re-record literally hundreds of songs. Taylor Swift’s goosebump-inducing thirty-track album Red (Taylor’s Version) is masterful proof that the singer-songwriter will forever continue to change the game.
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