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Taylor swift red12/14/2023 On Taylor’s Version, Swift included the extended track, reworked it into its full 10-minute glory, and released it as the album’s promotional centerpiece. In the years since the album first came out, Swift revealed that she’d originally created a 10-minute version of “All Too Well,” the painful breakup ballad that has emerged as a cult favorite over the years. It’s the so-called “From The Vault” tracks that Swift included on her re-release that may best convey the significance of Red and flaunt her range. The foundation Swift laid with Red gave way to her becoming a musical chameleon, so that when she released her surprise, back-to-back indie-folk albums Folklore and Evermore in 2020, they landed more like a well-earned homecoming to her earlier work-a full-circle moment for an artist who never left her singer-songwriter roots behind. It teased her future embrace of introspection and exploration of adulthood with Reputation’s dark synth-pop, and it anticipated her hard-won liberation on the ’80s dream-pop record Lover. What Red did most of all, however, was prime Swift’s full-blown, cinematic pop transition for her next album, 1989. Red signaled Swift’s initial experiments with pop, folk, rock, and even EDM. Without Swift’s boundary-pushing sonic palette on Red, it’s possible that Swift’s current sound as we know it might not have existed. While fans embraced her for going through love and heartbreak right alongside them, the media machine had no such sympathy, painting her as a boy-crazy, vengeful ex.īut it’s the music that has allowed Swift’s career to persist it’s what fans continue to obsess over and critics came to celebrate, even if they weren’t ready to in 2012. The media presented Swift as prone to skewering her ex-flames, gossiped about her, and sent photographers after her to fuel the news cycle. With the release of Speak Now, whose songs fans believed detailed a handful of Swift’s relationships with famous men, like Taylor Lautner and John Mayer, an interest in Swift’s love life mounted further, becoming a core part of her public image. Then she’d win Album of the Year at the 2010 Grammys, skyrocketing her into a level of global renown that few artists her age ever see. She faced the infamous public humiliation of Kanye West storming the stage with an unwelcome interruption while she tried to accept an award at the 2009 VMAs. In the years leading up to Red, there was increasing media scrutiny surrounding Swift. Swift was just 16 when she shared her eponymous debut, while Red came out when she was 22-she was an artist on the cusp of adulthood, grappling with leaving her teen years behind. ![]() When Red was released, it was the epitome of Swift being at a crossroads. Swift was already priming herself for more creative control, taking a more authoritative role over the direction that her career would take. On her third LP, 2010’s Speak Now, the calculated singer made a bold move-she took ownership of her songs completely as a writer and producer. She had penned a handful of tracks on both of her first two studio albums, Taylor Swift and Fearless, along with co-writes with collaborators like Liz Rose and Hillary Lindsey. Prior to the Red era, Swift had been working to prove herself a songwriting savant. Send me updates about Slate special offers.
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