a fan party of 30 sensitive, angry and transformative songs

More importantly, Red (Taylor’s Version), repeats how the album transformed Swift’s career from country sagacious to striking pop star, the explosion of drums on the opening. State of Grace and Swedish pop polish by Max Martin and Shellback on We Never Come Back Together main entry points for her then new direction.

But the biggest occasion to celebrate this version of Red is the addition of 10 tracks, including a lyrically rich 10-minute version of All Too Good. With a full duration of two hours and 11 minutes, the album is a feast for fans and an intriguing study of Swift’s lyrical skill, even a decade ago.

Swift's voice, of course, gained muscularity and confidence with age.

Swift’s voice, of course, gained muscularity and confidence with age.Credit:AP

Red (Taylor’s version) highlights include:

Ronan: Recorded in 2012 as a charity single for Telethon Stand Up to Cancer, the tense ballad was written for Ronan Thompson, a little boy who died of neuroblastoma in 2011, just before his fourth birthday. Having received permission to re-record Ronan’s mother’s song, Maya, whom Swift credits as a co-author for taking lyrical inspiration from her blog posts about her ailing child, Swift exposes her sensitivity. Yyou were my best four years, she sings over soft guitar and piano, gut fist even for those without parental tendencies.

Nothing new: Swift is joined by Phoebe Bridgers, who shares lead vocals. Although also from the 2012 vaults, the rustic trends and production of Swift friend Aaron Dessner’s song from The National provide an atmosphere closer to her current production (Folklore and Evermore). But even nearly a decade ago, Swift’s self-awareness was right when she meditated on being dumped after the glow faded. How did I go from growing to breaking? she wonders. And then How can a man know everything at 18 but nothing at 22? And will you still want me when I’m nothing new?

Better man and Baby: Both songs were hits for other artists – Little Big Town in 2016 and Sugarland in 2018, respectively – but hearing them in the author’s hands gives them extra strength.

Message in Bottle: No, it’s not a cover of The Police classic (though wouldn’t that be funny?), But a popbanger by Max Martin and Shellback. Irresistibly brilliant, it would have made an exuberant addition to Swift’s live shows.

I Bet You Think About Me: Although Chris Stapleton is the draw on paper – and no doubt his whiskey-toned song is the beautiful sand to Swift’s smooth voice – the melody should be remembered for some of Swift’s most snarky lyrics. Speculation abounded that the original Red, so steeped in heartbreak and anger, was written primarily about a Swift lover at the time (Jake Gyllenhaal) and here, she leaves little doubt. I bet you think of me when you’re out / At your great independent music concerts every week / I bet you think of me in your house / With your organic shoes and your million-dollar couch / I bet you think of me when you say “Oh my God / She is crazy, she wrote a song about me. Meow.

Kuri: Another reunion with a dear friend Sheeran, the beautiful harmonization of the duo – completed by the London Contemporary Orchestra – sounds effortless, only two like-minded feed each other the musical forces.

All Too Good: This 10-minute version, produced by frequent Swift collaborator Jack Antonoff, goes through encyclopedic lyrics that both bite and hurt in their honesty and pain. And you call me again / Just to break me as a promise / So casually cruel in the name of being honest / I’m a crumpled paper lying here / Because I remember everything, everything, everything / They say everything. well that ends well / But I’m in a new hell every time / You cross my mind twice.

McClatchy, USA Today

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