“Red (Taylor’s Version)”: Track-by-Track Review
On November 12th, Taylor Swift released her fifth new album in the last 27 months — sort of. Red (Taylor’s Version) is the second of Swift’s re-recordings of her first six albums, a virtually unheard of endeavor that she embarked upon after being blocked from purchasing the master recordings of them. The album features 30 tracks and is an impeccably crafted masterwork that is capped by a brilliant 10-minute elaboration of her greatest song — “All Too Well.”
Red: A Turning Point in Taylor Swift’s Career
Red was a major turning point in Taylor Swift’s career. By the time of its release on October 22, 2012, she had already released three multiplatinum albums (2006’s self-titled debut, 2008’s Fearless, and 2010’s Speak Now) and won 7 Grammys (including being the youngest person ever to win Album of the Year, a feat recently surpassed by Billie Eilish). Despite this astronomical success, she was still seen by many as a country music ingenue; a genre-bound novelty that would soon wear off.
Her fourth album, Red, marked her bid for crossover success into pop and rock music. The album’s lead single, “We Are Never Ever Getting Back Together,” had virtually no country music trappings and its catchy chorus, frothy lyrics, and glitzy music video were far more befitting a young pop star than a country singer-songwriter. It was a gamble that paid off. The song became her first #1 on the all-genre Billboard Hot 100 (she has a total of 7 to date). The album debuted at #1 on the all-genre Billboard 200 Albums chart, was certified 7x platinum by the Recording Industry Association of America, and scored 4 Grammy nominations (including Swift’s second for Album of the Year).
Critics praised the maturity and complexity of the songwriting, but many complained that the vast array of musical styles and tones crammed into the album resulted in a lack of sonic cohesion. Admittedly, it does jarringly bounce back and forth between genres and tempos at times (see the odd decision to follow the wrenching tear-jerker “All Too Well” with the uber-frothy pop ditty “22”.) But, to me, the massive scope and unpredictability of Red is a large part of what made it such a dizzyingly impressive masterwork. In subsequent years, there has been a significant critical re-evaluation of the album and it is now widely seen as an essential and successful transitional album that marked Swift’s arrival as a a genre-defying commercial powerhouse and her marked growth as a lyricist, vocalist, and producer.
Red also marked a major turning point in my personal feelings regarding Taylor Swift. I wasn’t particularly enthralled with her early work when it was first released (I have markedly changed my stance in the years since), but I started to come around during the Speak Now era. I specifically remember being wowed by her performance of her anti-bullying anthem “Mean” at the 54th Grammy Awards and wondering if perhaps I had misjudged her. My brother, who fell in love with Taylor much earlier than me, told me shortly after its release that Red would be the album to win me over. He was right. I listened to the album and instantly fell in love with tracks like “All Too Well,” “I Knew You Were Trouble,” “Begin Again,” “The Lucky One,” and “Red.” And from that first listen of the album on, I was a bona fide Swiftie.
An Overview of Red (Taylor’s Version)
The saga over the master recordings of Taylor Swift’s first six albums is an epic one that has played out very publicly. I recapped the whole affair in my review of Fearless (Taylor’s Version), the first re-recording of her albums that was released in April of this year. (Click here for that article.) The re-recording of Fearless was a major critical and commercial success upon its release. Its impeccable and nuanced update of the original tracks and numerous top-notch additions erased any concerns that it was a cash-grab as opposed to a rich creative endeavor. It also became her 9th #1 album on the Billboard 200 and continues to chart. Its success only heightened buzz for Red (Taylor’s Version).
The re-recording, released last Friday, contains the 16 songs from the standard edition of the original album as well as four of the songs from the deluxe edition (which consisted of three original tracks, an acoustic rendition of album-opener “State of Grace,” and two demos of tracks that are not featured here). Red (Taylor’s Version) features a whopping 10 additional tracks, which includes four songs that had already been heard in other forms. She re-recorded “Ronan,” a heartbreaking charity single about the death of a child that she released shortly before Red dropped. She also recorded her own versions of “Better Man” and “Babe,” songs that Swift wrote around the time of Red and were turned into big country hits for the bands Little Big Town and Sugarland, respectively. And, of course, there is the long-awaited 10-minute version of fan favorite “All Too Well.” That is the track that has served as the marketing centerpiece for the release, which included the release of a riveting and gorgeously mounted 15-minute short film written and directed by Swift, as well as an epic live performance of the song in full on Saturday Night Live. The re-recording also features six songs she wrote for Red but were never released. Three of these six songs feature vocals from other artists — Phoebe Bridgers (“Nothing New”), Chris Stapleton (“I Bet You Think About Me”), and Ed Sheeran (“Run”).
These new recordings bring the number of songs Taylor Swift recorded and released since the onset of the pandemic 20 months ago to a jaw-dropping 90. There is simply no major artist in the music industry as prolific as Taylor Swift at this moment in time. And the consistently high quality of her output is even more astonishing than the sheer quantity of the output. It is a thrilling (borderline exhausting) time to be a Taylor Swift fan, but we wouldn’t have it any other way.
Now, without further ado, here is my track-by-track review of Red (Taylor’s Version).
Red (Taylor’s Version): Track-by-Track Review
“State of Grace”
This thrilling opening track is an arena rock anthem that depicts the dizzying state of a passionate new love. Its dynamic drums, chiming guitars, layered background vocals, and soaring belts mark a commanding and charming opening to the album.
- Favorite Lyrics: “This is a state of grace/ This is the worthwhile fight/ Love is a ruthless game/ Unless you play it good and right/ These are the hands of fate/ You’re my Achilles heel/ This is the golden age/ Of something good and right and real”
“Red”
Taylor Swift has stated that the album and this track were entitled Red because they were meant to evoke the burning intensity of the emotions she was going through at the time — both the euphoria of new love and the utter heartbreak of a new love’s end. (Many have also speculated that it also has parallels to Blue, Joni Mitchell’s landmark color-named album about lost love and growing up.) Both the fiery red of lust and anger are perfectly encapsulated in this impeccable title track. The banjo-fueled song straddles the line between country and soft rock and is bursting at the seams with figurative language. It has a soaring chorus that marks one of the most infectious of her career.
- Favorite Lyrics: “Loving him is like driving a new Maserati down a dead-end street/ Faster than the wind, passionate as sin, ending so suddenly/ Loving him is like trying to change your mind once you’re already flying through the free fall/ Like the colors in autumn, so bright, just before they lose it all”
“Treacherous”
This subdued song about being drawn to a romance that you know will end in heartbreak features a highly effective vocal performance and moving, sensitive songwriting. It is a slow burner that starts out with a slow strumming guitar and builds into something approaching arena rock.
- Favorite Lyrics: “I can’t decide if it’s a choice/ Getting swept away/ I hear the sound of my own voice/ Asking you to stay/ And all we are is skin and bone/ Trained to get along/ Forever going with the flow/ But you’re friction”
“I Knew You Were Trouble”
Prior to the release of Red, there was deafening buzz that Taylor Swift was leaving her country music roots for a more pop/rock oriented sound. But few were prepared for this game-changing song, which starts off with a simple acoustic guitar and percussion arrangement only to explode into a dubstep, synth-fueled banger just past the one minute mark. The lyrical themes are familiar. Here is Taylor blaming herself for overlooking the warning signs that a new boyfriend clearly displayed (many suspect she is referring to Harry Styles). But, it is technically innovative, emotionally resonant, and very mature composition. It is not only one of her greatest songs, but also one of the greatest pop songs of the 21st century to date.
- Favorite Lyrics: “No apologies, he’ll never see you cry/ Pretends he doesn’t know that he’s the reason why/ You’re drowning, you’re drowning, you’re drowning/ And I heard you moved on from whispers on the street/ A new notch in your belt is all I’ll ever be/ And now I see, now I see, now I see/ He was long gone when he met me/ And I realize the joke is on me”
“All Too Well”
Even before it became the stuff of pop culture legend and was expanded into a 10-minute epic, “All Too Well” was a deeply beloved fan favorite. Continuing the trend of heart-wrenching “Track Fives” that fans noticed as a pattern on her albums, this rock-country-folk hybrid chronicles the euphoric rise and devastating fall of her romantic relationship with actor Jake Gyllenhaal. Its lyrics are profound and penetrating, filled with unforgettable anecdotes and images. And its spectacular production, which ebbs and flows alongside the emotional trajectory of the lyrics, is equally flawless. In my opinion, it remains her greatest song and is a truly monumental musical achievement.
- Favorite Lyrics: “Well maybe we got lost in translation/ Maybe I asked for too much/ But maybe this thing was a masterpiece/ ’Til you tore it all up/ Running scared, I was there/ I remember it all too well/ And you call me up again/ Just to break me like a promise/ So casually cruel in the name of being honest/ I’m a crumpled up piece of paper lying here/ ’Cause I remember it all, all, all too well”
“22”
After an opening string of five songs about the reckless pursuit of soul-crushing love, the album takes a sharp turn thematically and sonically. This 1980s pop throwback is a joyous and unabashedly youthful ode to having fun with your girlfriends. It may be slight overall, but its exceedingly infectious and charming.
- Favorite Lyrics: “It seems like one of those nights/ We ditch the whole scene/ And end up dreaming/ Instead of sleeping”
“I Almost Do”
This stirring yet restrained country/pop/rock ballad finds Taylor exploring the moment when you have to decide whether to give a relationship one more chance or move on. It is simple but deeply affecting and features some of the album’s most mature songwriting.
- Favorite Lyrics: “I bet you think I either moved on or hate you/ ’Cause each time you reach out, there’s no reply/ I bet it never, ever occurred to you/ That I can’t say hello to you and risk another goodbye”
“We Are Never Ever Getting Back Together”
The album’s lead single (and Taylor Swift’s first #1 hit on the Billboard Hot 100) is a sassy and humorous dance-pop song that heavily utilizes synthesizers and even has a faint hint of hip-hop. Its scream-along chorus and spoken-word interlude add to the joy of this song, which is the perfect example of how even her songs that seem like frothy pop trifles on the surface contain impressive nuance and impeccable production. It may not be her best song, but it is one of her most important as it marked her official arrival onto the pop music scene.
- Favorite Lyrics: “I’m really gonna miss you picking fights/ And me falling for it, screaming that I’m right/ And you would hide away and find your peace of mind/ With some indie record that’s much cooler than mine”
“Stay Stay Stay”
This jaunty, uptempo song incorporates clever instrumentation (e.g., a ukelele, mandolin, toy piano) and features a playful and hopeful Taylor daydreaming about an ideal love. Of all the songs on the album, this is the one that its hardest to resist cracking a smile during.
- Favorite Lyrics: “You took the time to memorize me/ My fears, my hopes, and dreams/ I just like hanging out with you, all the time/ All those times that you didn’t leave, it’s been occurring to me/ I’d like to hang out with you, for my whole life”
“The Last Time” (featuring Gary Lightbody of Snow Patrol)
This power ballad feels like a precursor to the memorable and powerful duets featured on folklore and evermore (e.g., “Exile,” “Coney Island”). Like those songs, it features dramatic orchestration and finds Taylor trading verses with a powerful male vocalist in which they both give their perspective on a dying relationship. It may not reach the lyrical heights of some of Red’s other gems, but Taylor Swift and Gary Lightbody’s vocals blend superbly and the song builds to a thrilling climax that it is almost impossible not to get caught up in.
- Favorite Lyrics: “You find yourself at my door/ Just like all those times before/ You wear your best apology/ But I was there to watch you leave/ And all the times I let you in/ Just for you to go again/ Disappear when you come back/ Everything is better”
“Holy Ground”
Another song that straddles the line between country and rock, this uptempo, guitar-fueled track finds Taylor reminiscing about a past relationship. It is nostalgic without being maudlin or bitter and features some of the album’s best production, songwriting, and vocals. It is one of the best and most underrated songs on the album (and perhaps of her career).
- Favorite Lyrics: “Spinning like a girl in a brand new dress/ We had this big wide city all to ourselves/ We blocked the noise with the sound of, ‘I need you’/ And for the first time, I had something to lose/ And I guess we fell apart in the usual way/ And the story’s got dust on every page/ But sometimes, I wonder how you think about it now/ And I see your face in every crowd”
“Sad Beautiful Tragic”
Probably my least favorite song from the original standard edition of Red, this is a subdued, overlong, folk-oriented waltz that never reaches its dramatic potential. Like all of the songs on Red, it is elegantly written and features an appropriately aching vocal performance, but I have always found it a bit monotonous.
- Favorite Lyrics: “In dreams, I meet you in warm conversation/ We both wake in lonely beds, different cities/ And time is taking its sweet time erasing you/ And you’ve got your demons/ And darling, they all look like me”
“The Lucky One”
Since the first time I heard it, this song has been one of my absolute favorites that Taylor have ever crafted and I remain stupefied that more fans don’t routinely sing its praises. Its soft-rock, guitar-heavy production may not be particularly innovative but the lyrics are some of her all-time best. The third-person account of a musical superstar from her wide-eyed youth through her early stardom all the way to her eventual retirement from the public eye is filled with some of the wisest, cleverest, and most moving lyrics of her career.
- Favorite Lyrics: “It was a few years later, I showed up here/ And they still tell the legend of how you disappeared/ How you took the money and your dignity, and got the hell out/ They say you bought a bunch of land somewhere/ Chose the rose garden over Madison Square/ And it took some time, but I understand it now”
“Everything Has Changed” (featuring Ed Sheeran)
This stripped-down guitar ballad finds her in the throes of new love with duet partner Ed Sheeran. Their vocals blend beautifully and it is certainly a catchy and enjoyable listen, but it has always felt rather slight to me, both in terms of lyrics and production.
- Favorite Lyrics: “Come back and tell me why/ I’m feeling like I’ve missed you all this time/ And meet me there tonight/ And let me know that it’s not all in my mind”
“Starlight”
Inspired by a picture she saw of Ethel and Bobby Kennedy when they were 17, this euphoric dance-pop song is one of the most ebullient songs Taylor has crafted in her career to date. It is an entire mood, evoking a passionate night of two young and innocent lovers. It is timeless and memorable.
- Favorite Lyrics: “I met Bobby on the boardwalk, summer of ‘45/ Picked me up, late one night at the window/ We were 17 and crazy, running wild, wild/ Can’t remember what song it was playing when we walked in/ The night we snuck into a yacht club party/ Pretending to be a duchess and a prince”
“Begin Again”
It is utterly beguiling that after trying to convince us for 15 consecutive tracks that she is more than just a country artist, Taylor wraps the album with its most country-tinged song. This immensely moving song depicts Taylor being so beaten down by romantic disappointments that she is caught completely off-guard when someone kind, gentle, and adoring comes along. Perhaps it was the specific moment in my own romantic journey that led me to this conclusion (the album was released weeks after I moved in with my now-husband and I was reflecting on how a lifetime of romantic disappointments had led me to him), but I have always deemed this one of the most memorable and evocative songs she has ever crafted. It is also a gorgeous, tentatively hopeful end to an emotional roller coaster of an album.
- Favorite Lyrics: “‘Cause you throw your head back laughing like a little kid/ I think it’s strange that you think I’m funny ’cause he never did/ I’ve been spending the last eight months/ Thinking all love ever does is break and burn and end/ But on a Wednesday in a café, I watched it begin again”
“The Moment I Knew”
This slow-building power ballad finds Taylor heartbroken when her boyfriend doesn’t show to her 21st birthday party, prompting her to realize their love is doomed. It builds to a rousing climax and features a confident and impassioned vocal performance, but it is one of the album’s lesser tracks in terms of the depth and nuance of its songwriting.
- Favorite Lyrics: “And it was like slow motion/ Standing there in my party dress/ In red lipstick/ With no one to impress/ And they’re all laughing And asking me about you/ But there was one thing missing/ And that was the moment I knew”
“Come Back…Be Here”
The pain of long-distance relationships is chronicled in this yearning country-pop ballad. On another artist’s album it might be a standout, but amidst the vast brilliance of Red it is rather slight and forgettable.
- Favorite Lyrics: “You said it in a simple way/ 4 AM, the second day/ How strange that I don’t know you at all/ Stumbled through the long goodbye/ One last kiss, then catch your flight/ Right when I was just about to fall”
“Girl At Home”
Of the 21 songs that she re-recorded for the album, this one gets the most notable makeover. The re-recording has a much more prominent electronica sound, which makes it more entertaining but doesn’t quite overcome the fact that its lyrics have a naïveté and simplicity that seem more in line with the albums she recorded as a teenager.
- Favorite Lyrics: “I just want to make sure/ You understand perfectly/ You’re the kind of man who makes me sad/ While she waits up/ You chase down the newest thing/ And take for granted what you have”
“State of Grace” (Acoustic Version)
Of all the songs on Red that could have gotten a subdued makeover as an acoustic guitar song, “State of Grace” would have been fairly low on my list. But she predictably nails it, exposing new layers to the production and songwriting in this stripped-down version.
“Ronan”
Taylor Swift became deeply moved by the blog of a woman grappling with the cancer diagnosis and eventual death of her four-year-old son. So what did she do? She crafted a heartbreaking memorial to the boy and his mother’s grief, credited the mother co-writer, and released it as a charity single with all proceeds going to cancer research. Even if the song had been a disappointment, it would still have been a remarkable gesture. Thankfully, the deeply emotional soft rock ballad is a combination of great artistry and raw emotion. It’s amazing to me that as a childless woman aged 21–22, Taylor Swift could so deeply channel the pain of a mother grappling with the loss of her toddler. It is yet another testament to her brilliant songwriting skills.
- Favorite Lyrics: “What if I’m standing in your closet trying to talk to you?/ What if I kept the hand-me-downs you won’t grow into?/ And what if I really thought some miracle would see us through?/ What if the miracle was even getting one moment with you?”
“Better Man”
Originally made a country hit by the band Little Big Town, this banjo-fueled country track finds Taylor lamenting about how if her lover had just been a better man everything could have worked out. It has a lovely melody and a superb vocal performance, but it’s the profound sense of disappointment captured by the mature songwriting that it is the real star here.
- Favorite Lyrics: “I hold onto this pride because these days it’s all I have/ And I gave to you my best and we both know you can’t say that/ I wish you were a better man”
“Nothing New” (featuring Phoebe Bridgers)
Of all of the new songs “From the Vault,” this one stands out to me the most. It is one of her most complex and effective lyrical compositions to date. I see it as the first-person narrative rendition of events similar to those depicted in the third-person narrative of “The Lucky One,” with Taylor Swift reflecting on the emotional cost of fame, the unfair societal expectations of young women, and the fear of being discarded when her novelty wears off. It is one of the most honest songs she has ever written and the lo-fi production and superb vocals from young indie rock singer-songwriter Phoebe Bridgers enhance its impact.
- Favorite Lyrics: “They tell you while you’re young/ ‘Girls, go out and have your fun’/ Then they hunt and slay the ones who actually do it/ Criticize the way you fly/ When you’re soaring through the sky/ Shoot you down and then they sigh/ And say, ‘She looks like she’s been through it’”
“Babe”
This lyrically straightforward kiss-off to an unfaithful lover became a big country hit for the duo Sugarland in 2018. Nevertheless, Taylor appears to have written it during the Red sessions and decided to include a decidedly more pop/rock version on the re-recording. This version features a decidedly different arrangement of instruments but it retains everything that made Sugarland’s version work — the great hook, the frank vocals, and the repeating “promises, promises” in the background.
- Favorite Lyrics: “I’m here on the kitchen floor/ You call but I won’t hear it/ You said, ‘No one else’/ We ain’t getting through this one, babe/ I break down every time you call/ We’re a wreck, you’re the wrecking ball/ You said, ‘No one else’/ This is the last time I’ll ever call you, babe”
“Message in a Bottle”
This is one of three songs on the re-recording (the others being “Girl at Home” and “The Very First Night”) that possess the electro-dance-pop vibe that would dominate her monumental fifth album, 1989. It is fairly unmemorable lyrically and vocally, but it has a joyous and complex arrangement that make it an irresistible toe-tapper.
- Favorite Lyrics: “These days I’m restless/ Workdays are endless/ Look how you made me/ But time moves faster/ Replaying your laughter, disaster”
“I Bet You Think About Me” (featuring Chris Stapleton)
By far the most country-influenced song of the “From the Vault” songs, this one features harmonizing from red-hot country star Chris Stapleton, a prominent harmonica, and lyrics about a country girl getting dismissed by her rich and entitled lover and his upper crust friends. It plays a bit too folksy and borderline disingenuous at times, but it’s cathartic and captivating. It’s the type of “all-in” country pop she dabbles in with increasing rarity. (Bonus: Taylor Swift just released an amusing music video for the song directed by her friend Blake Lively.)
- Favorite Lyrics: “Well, I tried to fit in with your upper-crust circles/ Yeah, they let me sit in back when we were in love/ Oh, they sit around talkin’ about the meaning of life/ And the book that just saved ’em that I hadn’t heard of”
“Forever Winter”
With a breathy vocal performance backed by a horn-heavy arrangement, this song about desperately trying to hold on to a man who is slipping away as he battles his own demons is a real gem.
- Favorite Lyrics: “All this time I didn’t know/ You were breaking down I’d fall to pieces on the floor/ If you weren’t around/ Too young to know it gets better/ I’ll be summer sun for you forever/ Forever winter if you go”
“Run” (featuring Ed Sheeran)
Like her other collaboration with Ed Sheeran on the album (“Everything Has Changed”), this indie-folk duet has a simplistic but effective arrangement and solid but unspectacular lyrics about the throes of new love. Their voices blend beautifully and it is a very appealing track, even if it’s not particularly memorable.
- Favorite Lyrics: “There’s a chain ‘round your throat/ Piece of paper where I wrote/ ‘I’ll wait for you’/ There’s a key on the chain/ There’s a picture in a frame/ Take it with you”
“The Very First Night”
Another 1989-style dance-pop track, this infectious and ebullient song finds Taylor Swift fantasizing about being able to go back in time and relive a perfect moment.
- Favorite Lyrics: “We never saw it coming/ Not trying to fall in love/ But we did like children running/ Back then we didn’t know/ We were built to fall apart/ We broke the status quo/ Then we broke each other’s hearts”
“All Too Well” (10 minute version)
The two-hour journey of Red (Taylor’s Version) has all been a road leading to this. It had become the stuff of legend among Swifties that a ten-minute long version of “All Too Well” was written and that her co-writer Liz Rose had to help her cut it down to a more traditional run time. When Taylor announced that the version did in fact exist and would be released on Red (Taylor’s Version), fans went wild. The song gets a flawless overhaul and elaboration here. The entire original song is encapsulated in this 10-minute version, but it has a more somber production and elongated verses and instrumental interludes prevent it from feeling like the original song plus five extra minutes. In fact, in many ways it’s a whole new song. Whereas the original version was marked by a heartbreaking sentimentality, this one is sharper, angrier, and more dramatic. The new version adds excruciating lyrics (“Just between us, did the love affair maim you too?”), powerful imagery (“You were throwing me the car keys/ ‘F*** the Patriarchy’ keychain on the ground”), and an extended, downtempo outro that is truly haunting. Whole theses can (and certainly will) be written about “All Too Well,” but for now I’ll simply wrap this up and declare it her magnum opus.
- Favorite Lyrics: “You who charmed my dad with self-effacing jokes/ Sipping coffee like you’re on a late-night show/ But then he watched me watch the front door all night, willing you to come/ And he said, ‘It’s supposed to be fun turning twenty-one’
Concluding Thoughts
Unlike the re-recording of Fearless, which benefitted immensely from how much Taylor Swift had grown personally and professionally since the release of the original album, most of the re-recorded portion of Red doesn’t sound or feel all that much different than the original. But, I hailed Red as a masterpiece when it was first released and my opinion has not changed in the 9 years since its release.
As for the new songs, there are numerous gems. Her renditions of “Better Man” and “Babe” are superb, “Nothing New” features some of her best songwriting, her collaborations with Chris Stapleton and Ed Sheeran are charming, and the ten-minute version of “All Too Well” is a career-defining masterwork.
At this point in her career, Taylor Swift is putting out such a large amount of consistently high quality music that it is easy to forget that even her lesser songs are better than 98% of what is being produced at present. Even the weakest songs on the album album are superbly executed with fascinating nuances. Red (Taylor’s Version) is yet another astonishing achievement in Taylor Swift’s legendary career.
Rating for Red (Taylor’s Version): 5/5 stars
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