Seeing Red (Taylor’s Version)

By Sarah Fournell

I have been a die hard Taylor Swift fan — or Swiftie — since I was about six years old, with her debut album, Taylor Swift. Since then, I have been part of one of the most prolific and loyal (some might say insane) fan bases out there. Red (Taylor’s Version) has been highly anticipated by fans and music critics alike, as it is known to be one of the crown jewels of Swift’s discography. 

Swift is in the process of re-recording her albums in an effort to own her music, after her masters were sold by her ex-record label executives, Scott Borchetta and Scooter Braun. But in true Swift fashion, this project is so much more than a re-recording of old tracks. Knowledge about Taylor’s Version albums is revealed through easter eggs and decrypted messages, leaving the most dedicated Swifties to go full-on conspiracy theorist mode to predict releases. I spent hours decoding scrambled letters to spell out song titles and the names of collaborators for both Fearless (Taylor’s Version) and Red (Taylor’s Version). Swift also heavily employs numerology as well as visual cues, such as nail polish color, to hint at release dates.

Although the goal of the project is to make the re-recordings sound indistinguishable from the originals, rendering  the masters obsolete, there are noticeable differences on Red (Taylor’s Version). The most evident distinction is the maturity of her voice. Now older, wiser, and stronger, Swift breathes a new life into her familiar tracks. The youthful exuberance of tracks “We are Never Getting Back Together (TV)” and “22 (TV)” take a backseat to allow room for a more mature tone. The vocal inflections and new cadences sprinkled throughout familiar songs serve as reminders that Swift has come so far since Red’s initial release in 2012.  “Everything Has Changed (TV) ft. Ed Sheeran” and “The Last Time (TV) ft. Gary Lightbody” metamorphosed from sweet lighthearted duets to powerful displays of each collaborator’s musical growth. 

Songs that served as bonus tracks on the original album were given more room to grow, since they don’t undergo the same scrutiny as radio singles such as “I Knew You Were Trouble (TV)” in terms of mainstream popularity. One of Swift’s least popular songs, acoustic pop track “Girl at Home,” was completely reinvented sonically this time around. After bringing on Evermore and Fearless (TV) collaborator ELVIRA, “Girl at Home (TV)” now takes on an electronic-pop beat. Whether or not fans enjoy this change is highly debatable, and many took to Twitter to voice their brutally honest, yet hilarious opinions. One user likened their first listening experience to a “jump scare” and another claimed that she threw it “into a blender without a lid.” 

The most anticipated and cherished segment of the Taylor’s Version project are the songs “From the Vault.” Swift is adding another thrilling layer to the ambitious feat of taking back her music by including songs that didn't make the initial cut of the album. Many of these new tracks feature exciting collaborations from Swift’s favorite musicians, such as Phoebe Bridgers and Chris Stapleton. Red (Taylor’s Version) includes ten vault songs, two of which were written by Swift but previously released by female country artists Sugarland and Little Big Town. “Babe (TV)” and “Better Man (TV)” are contemporary renditions of these originally country tracks. Also featured on Red (TV) is perhaps one of Swift’s most heartbreaking tracks, “Ronan (TV).” Written in memoriam of Ronan Thomspon, for the Stand Up to Cancer telethon, “Ronan (TV)” tells the story of a “beautiful boy who died” from the perspective of his mother Michelle Thompson. 

Previously unheard vault tracks “Message In a Bottle (TV)” and “The Very First Night (TV)” are displays of Swift’s first delve into the pop genre. The aforementioned youthful exuberance of her initial pop venture is prevalent in these upbeat danceable collaborations with producers Max Martin and Shellback. “Nothing New (TV) ft. Phoebe Bridgers” is a poignant tribute to the introspective aspects of aging, asking “How can a person know everything at 18 but nothing at 22?” The track takes the perspective of aging female artists, who are consistently resisting being pushed from the spotlight to make room for the next young starlet. “I Bet You Think About Me (TV) ft. Chris Stapleton” is a twangy breakup song in which Swift rips apart her ex’s ridiculous lifestyle full of “organic shoes and [a] million dollar couch.” Although distinct audibly, each song is tied together by thematically in terms of heartbreak and carefree youthfulness. 

All-time fan favorite “All Too Well” was given due justice on Red (Taylor’s Version), with a release of the original ten-minute version of the track, as well as a short film written and directed by Swift. “All Too Well (Ten Minute Version) (Taylor’s Version) (From the Vault)” is a mouthful of a title for this masterpiece. It consists of all of the original verses from the five minute version of “All Too Well” with the addition of new prose. I’m convinced that I could write an entire book on the intricacies of this ten minute version, each line a poetic elegy of a love turned cold. (Look out for a follow up article just on her insane lyricism).  All Too Well: The Short Film chronicles a relationship full of sweet, intimate moments followed by fighting and heartbreak. The “casually cruel” relationship illustrated beautifully by Sadie Sink and Dylan O’Brien. Shot on 35 mm by Rina Yang, the 13 minute (no coincidence) film is a display of Swift’s pure genius beyond the realm of musicianship. 

The most wonderful aspect of Red (Taylor’s Version) is the buzz that came with it. Fans across the globe organized listening parties and premieres of the short film, and even caused Spotify to crash for a few minutes. Starbucks paid tribute to Swift by playing her music in their stores for release week, as well as marking her favorite drink (a caramel nonfat latte) with “Taylor’s Version” stickers. In addition, the camaraderie among Swifties is at an all-time high. A quick walk down the street in my TS Cardigan attracted a wave of smiles and “I’m so excited’s” from other fans. My Twitter feed is completely full of professions of love for the album and digs at Swift’s ex, Jake Gyllenhaal. 

A quintessential coming-of-age album, Red (Taylor’s Version) practically holds your hand and guides you through every emotion in the book. Swift has an insane capability for writing songs that verbalize exactly how her fans feel. The album is a perfect blend of ‘dance so hard you forget your emotions’ and ‘feel so hard that you physically cannot breathe’ songs. It’s an album about feeling everything, and completely owning those feelings. Red (Taylor’s Version) is the perfect accompaniment to an autumn afternoon stroll down the Esplanade. Grab your scarves and a Taylor’s Version latte and just feel.