![]() I wasn’t one of those girls, so I wasn’t about to become a Swiftie. The only way to distance ourselves from an ideal we felt certain we could never fulfill was to reject the women who embodied it. (They were, after all, great pop music.) Swift had all the markers of a specific feminine ideal, one that had been relentlessly shoved down the throats of women of my generation by the music industry during the late ‘90s and early aughts. When Swift first got big, I turned my nose down at her persona even as I enjoyed her songs. Swift has aged: Her voice is deeper and richer, more emotive, less bouncy in all the best ways her barbs pierce a little deeper, emblematic of her deeper well of lived experiences. The Swift singing “I Knew You Were Trouble” and “All Too Well” in 2021 is not the same Swift from 2012, and the album is all the better for it. There is something powerful about listening to “Red (Taylor’s Version)” in all its catchy, pop-perfect glory and knowing these are Swift’s songs, owned by the artist and heard the way she wanted them to be heard. Braun, she claimed, had bullied her for years through his current and former clients: “Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it.” “Scooter has stripped me of my life’s work, that I wasn’t given an opportunity to buy,” Swift wrote in a Tumblr post in response to the news of Big Machine’s sale. (For any music neophytes, that means Braun gained ownership over the recordings from which all copies must be made, as well as the rights to make, distribute and sell those copies.) In the wake of the acquisition, Swift spoke out against Braun and Big Machine and claimed she had been trying to buy her masters from Big Machine for years but was never offered good terms to do so. That deal included ownership of the master recordings of Swift’s first six albums. For those who aren’t: In June 2019, talent manager and investor Scooter Braun acquired Big Machine, the independent record label with which Swift had a contract until 2018. Red (my version) is out /Ji26KdOlWQ- Taylor Swift November 12, 2021Īnyone who is loosely familiar with Swift’s career likely knows why she is in the process of re-recording her first six studio albums. Red is about to be mine again, but it has always been ours. In doing so, she's positioned unromantic industry pragmatism as a retrospective celebration of her creative life: part die-hard fan treat, part legacy-artist archival reissue – think: The Bootleg Series (Taylor's Version) – and part told-you-so pet project.It never would have been possible to go back & remake my previous work, uncovering lost art & forgotten gems along the way if you hadn’t emboldened me. "But there is little precedent for an artist undertaking the endeavor in as high-profile a manner as Swift, who has leapt into this project with the big-budget ambition and creative fervor usually reserved for a blockbuster album. "Musicians rerecording their back catalog following behind-the-scenes label disputes is an age-old music industry story," writes Rolling Stone. And hey, one of them is even ten minutes long." And I'm not sure if it was pouring my thoughts into this album, hearing thousands of your voices sing the lyrics back to me in passionate solidarity, or if it was simply time, but something was healed along the way.This will be the first time you hear all 30 songs that were meant to go on Red. Like trying on pieces of a new life, I went into the studio and experimented with different sounds and collaborators. Happy, free, confused, lonely, devastated, euphoric, wild, and tortured by memories past. ![]() "It was all over the place, a fractured mosaic of feelings that somehow all fit together in the end. "Musically and lyrically, Red resembled a heartbroken person," Taylor shares. It features 30 songs, including 9 songs from the Vault with lyrics for all 30 songs, never before seen photos, artwork and handwritten lyrics for the 10 minute version of "All Too Well." The re-recording of 2012's Red follows Swift's April 2021 release of a Fearless: Taylor's Version, which debuted at No. ![]() Taylor Swift presents a vinyl 4LP pressing of Red: Taylor's Version, a re-recorded edition of her 4x Platinum plus fourth studio album Red.
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