What started off as a project to reclaim the musical masters that were sold off, Taylor Swift's rerecorded albums have become a beautiful tribute to her musical legacy and a brilliant way to make her fans re-experience songs that they loved years ago at an older age. The release of Red (Taylor's Version) has been met with widespread acclaim and most importantly, immense warmth by Swift's fans and the musical community.
The album breathes new life into a beloved record that is considered one of Taylor Swift's most monumental oeuvres, and every song is a delight to listen to, despite being (mostly) old material. Some tunes stood out while listening to Red (Taylor's Version).
Treacherous (Taylor's Version)
At the time of release, "Treacherous" was one of Taylor Swift's most implicitly sensual songs about a potentially dangerous love affair which she shouldn't indulge in, but she can't stop herself. The song has been a sleeper hit from Swift's fourth album which fans regard as one of the most underrated tunes.
For casual fans, the song is almost a replica of the original, but seasoned fans will recognize and appreciate the restrained yet fluid new vocals of Taylor's Version, along with the subtle use of reverb and modulation to certain lyrics, which adds to an already great song.
I Knew You Were Trouble (Taylor's Version)
Pop, dubstep, and synth came together in "I Knew You Were Trouble" to create a surprisingly enduring song that continues to be enjoyed to date.
Taylor's Version of this song was one of the most anticipated re-recordings by fans, and it definitely lives up to the hype. Musically, it represented the angst and frustration of a woman who ignored red flags, so the much-improved sonic quality brings out all the various instruments to the fore that channeled that grief and anger, and a matured Taylor Swift seems to be singing in knowing retrospection of what she went through when she first recorded the song.
We Are Never Ever Getting Back Together (Taylor's Version)
With a hook that could go down in history as one of the catchiest ever, "We Are Never Ever Getting Back Together" is one of those rare breakup songs that manages to sound ebullient and laugh about the heartbreak instead of mourning the relationship.
What makes the re-recorded version so exciting to hear are Taylor's snarky spoken one-liners, sounding slightly different but wholly brilliant in the current context. "With some indie record that's much cooler than mine" is delightful to listen to now because the songstress has not one but two top-charting alternative albums in the course of a year (Folklore and Evermore which rank highly), thus making her pretentious ex's barbs ironical and hilarious.
Holy Ground (Taylor's Version)
Red (Taylor's Version) was about broken hearts and a haze of emotions that follows it, and the Swiftie-approved "Holy Ground" checks into the positive feelings that follow acceptance and grieving — appreciating a relationship for the good moments it gifted.
Swift's vocals are like honey on the new track, soaring effortlessly through high notes and caressing the lows with acuity. Her more recent singing techniques make it to the track, and the crystal clear backing instruments make the new version a joy to listen to.
All Too Well (10 Minute Version) (Taylor's Version)
Inarguably the most anticipated tune of Red (Taylor's Version), if not her whole discography was the original, uncut 10-minute iteration of her most acclaimed song about lost scarves, autumn leaves, and casually cruel love interests, and Taylor Swift delivered in the most spectacular manner ever.
With a short film accompanying the ballad (not starring her, although Taylor Swift has some movie and TV roles under her belt), the lyrics of "All Too Well (10 Minute Version) take center-stage with much more muted, reverb-y production by Jack Antonoff, and they add unfathomable depth to an already certified classic. Incisive observations like her older partner getting involved with other girls that always stay young as she grows older, and the same terrible boyfriend sporting a feminist keychain at the same time, shows the depth of a younger Taylor's thinking.
Babe (Taylor's Version)
A Vault Track that fans have heard before, but sung by Sugarland's Jennifer Nettles, made it to Red (Taylor's Version). "Babe" was already a highly addictive song with backing vocals by Swift, but the song about an unfaithful husband takes on a new form with only Swift singing.
Nettles' spiteful delivery is replaced by an almost wistful quality in Swift's voice, and the instruments are also softer, with the exceptional addition of horns to background instrumentation. A new lyric, "What about your promises, promises" is one of the most notable changes to the track, sung by Swift in the background every few seconds, adding a new perspective to the lyrics. Overall, the joy of listening to the writer sing her words is second to none.
State of Grace (Taylor's Version)
The leading track of Red (Taylor's Version) was and is a big song, with grand lyrics about the fantastical potential of love, rousing production, and a sound that was the right start to an album like Red.
Listening to certain lyrics, like "This is the worthwhile fight" and "This is the golden age/
Of something good and right and real" after having the knowledge of the singer's relentless fight for her masters elevates the re-recorded version way past the original.
22 (Taylor's Version)
One of Taylor Swift's most played songs on TV, 22 was the ultimate pop track for young adults who tend to feel happy, free, confused, and lonely at the same time, and at an age that is all but owned by the musician.
Taylor's Version of this party essential feels like a nostalgic hug — from the Taylor Swift of the present to the younger, wilder Swift of the past. She did indeed figure out most of the things that confused her at 22, and the song is a reboot of a classic which will stand the test of time with superior sound.
Girl At Home (Taylor's Version)
The vastly overlooked "Girl At Home" from the original Red was a woman-lifting-woman track disguised as a chastising of an errant, straying boyfriend. One of the biggest changes in Red (Taylor's Version) is that the original country-style acoustic track has been transformed into a pop track.
With the ample use of synthesizers and ambient reverb-style sound, the new "Girl At Home" sounds like it almost belongs on 1989 rather than Red, but the change is a welcome one since Red was a transitional album into 1989's full-blown pop era. It's a low-key dance song now, with some exciting beats.
Red (Taylor's Version)
The title track of the album summed up the premise of the album, taking listeners through the phases of a relationship by comparing them to a spectrum of colors, in which red stood out the most.
Uncluttered production in Taylor's Version makes the guitar-heavy, peppy track much better than the sonically older song. Swift's voice rings clear, only slightly different from her younger self but solidly hitting the spot. "Red (Taylor's Version)" is an old track, but stronger and more meaningful, like all the re-recordings.