Red | ||||
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Studio album by | ||||
Released | October 22, 2012 | |||
Recorded | 2011–2012 | |||
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Length | 65:09 | |||
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Producer | ||||
Taylor Swift chronology | ||||
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Singles from Red | ||||
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Red is the fourth studio album by the American singer-songwriter Taylor Swift. It was released on October 22, 2012, by Big Machine Records. The album's title refers to the tumultuous, "red" emotions Swift experienced during the album's conception; its songs discuss the complex and conflicting feelings resulting from fading romance.
Hoping to experiment with new sounds beyond her previous albums' country pop style, Swift engaged new producers Dann Huff, Max Martin, Shellback, Jeff Bhasker, Dan Wilson, Jacknife Lee, Butch Walker, alongside her long-time collaborator Nathan Chapman. The record combines styles of pop, country, and rock, with eclectic elements including arena rock, Britrock, dance-pop, and dubstep. Big Machine promoted Red as a country album but many critics disputed this categorization and deemed it a pop record. The album was supported with seven singles, including the US Billboard Hot 100 number-one lead single "We Are Never Ever Getting Back Together" and the Mainstream Top 40 number-one single "I Knew You Were Trouble".
In the US, Red spent seven weeks atop the Billboard 200—making Swift the first female artist and the second act after the Beatles to have three consecutive albums each spend at least six weeks at number one—and was certified seven-times Platinum by the Recording Industry Association of America (RIAA). It topped the charts and received multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom. The album received nominations for Album of the Year at the 2013 Country Music Association Awards, and Album of the Year and Best Country Album at the 2014 Grammy Awards. Swift promoted the album with the Red Tour (2013–2014), which grossed $150 million.
When it was first released, music critics praised Swift's songwriting in Red but they were divided on the album's sonic range; praise was directed at the album's versatility but criticism targeted its inconsistency. Retrospectively, many critics regard Red one of Swift's best albums and a transitional record bridging her country roots to mainstream pop. It appeared in publications' lists of the best albums of the 2010s decade and ranked at number 99 in the 2023 revision of Rolling Stone 's 500 Greatest Albums of All Time. Following a dispute regarding the ownership of Swift's back catalog, she re-recorded the album and released it as Red (Taylor's Version) on November 12, 2021.
Taylor Swift released her third studio album, Speak Now , in October 2010. Rolling Stone reported in 2020 that Swift wrote the music to Speak Now alone to prove to critics she was capable; [2] Swift herself says it happened by accident as she would write songs in early morning hours and did not have a co-writer around before she finished the songs. [3] Speak Now, which was co-produced by Swift and her longtime collaborator Nathan Chapman, expands on her characteristic country pop sound with increasingly frequent elements of radio-friendly pop crossover, which are evident on its predecessor, Fearless (2008). [4] It incorporates various rock styles, including pop rock, arena rock, and new wave rock. [5] [6] Speak Now was the fastest-selling digital album by a female artist, with 278,000 downloads in a week, earning Swift an entry in the 2010 Guinness World Records . [7] At the 54th Grammy Awards in 2012, the album was nominated for Best Country Album, and its single "Mean" won Best Country Song and Best Country Solo Performance. [8]
After the release of Speak Now, Swift planned to continue collaborating with Chapman for its follow-up. [9] By October 2011, she had written around 25 songs. [10] Executives at Swift's label Big Machine congratulated her on having finalized the album within one year. [11] Swift said she had been repeating the same songwriting process she used for Speak Now, which diminished her creativity. [11] She sought to collaborate with Chapman and new producers to venture outside of her comfort zone of writing songs alone. [11] While Speak Now was Swift's statement as a songwriter, she envisioned her fourth studio album as a statement of her "thirst for learning". [2] She reworked the new album while touring Speak Now. [12]
Swift, aiming to experiment with as many styles as she could, decided her fourth studio album would not follow one coherent genre. [11] To this end, she recruited musicians whose works she admired, hoping to learn from them. [12] Although Swift wanted to experiment with various musical styles, she prioritized the lyrics over the production and strove to capture her emotions, as she had done on her previous songs. Songwriting would start by identifying an emotion with a song, and production would follow. [13] On songs Swift co-wrote, she first presented her co-writers with the feelings she had been going through, played a rough demo on her guitar, and asked for their ideas on ways to better convey the story. [9] Each song's production corresponded to the emotion it portrayed, resulting in an eclectic mix of styles. [11]
The first song written for the album was "All Too Well", which Swift began writing in February 2011 during a rehearsal of the Speak Now tour. [2] Having recently ended a relationship, Swift began ad-libbing self-written lyrics about heartbreak on a four-chord guitar riff as her touring band spontaneously played backing instruments. [2] A critical point during a recording session with Chapman was the song "Red", on which her creativity "started wandering to all the places [she] could go". [9] Big Machine's president Scott Borchetta overheard Chapman's original production and suggested a more pop-oriented sound. [14] After several failed attempts to get the desired sound, Swift asked Borchetta to recruit Swedish producer Max Martin, whose ability to "just land a chorus" for his chart-topping pop songs intrigued Swift. [9] [14] Martin and his frequent collaborator Shellback produced the songs "22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together", all of which are characterized by a synth-driven electronic production. [14] The final version of "Red" was produced by Swift, Chapman, and Dann Huff. [15] Huff, who had produced for several country artists, worked with Swift and Chapman on "Starlight" and "Begin Again". [12] [15]
Another new collaborator was Jeff Bhasker, whose production of "We Are Young" (2011) by the indie band Fun captivated Swift by its drum instrumentation. [11] [16] Bhasker produced two songs: "Holy Ground" and "The Lucky One". [15] Swift worked with Butch Walker on the song "Everything Has Changed", a duet with the English singer-songwriter Ed Sheeran. [12] She admired Walker for the way "he creates this really organic but emotionally charged music". [11] "Treacherous" was produced by Dan Wilson, whose work with his band Semisonic inspired Swift. [12] [16] She engaged musicians Gary Lightbody and Jacknife Lee of the Irish-Scottish band Snow Patrol, saying, "they can just hit you when they are singing about loss or longing". [9] Lee produced "The Last Time", on which Lightbody sings. [12] Swift wrote more than 30 songs for the album, 16 of which made the final cut of the standard edition. [17] Of those 16 tracks, Swift was the sole writer of 10 and co-wrote the other six. [16]
Red spans genres and departs from the country-pop sound of Swift's past albums. [18] It incorporates eclectic styles of pop, folk, and rock, namely dance-pop, indie pop, dubstep, Britrock, and arena rock. [19] [note 1] In addition to the acoustic instruments incorporated into her previous albums, Red features electronic synths and drum machines. [18] Swift called Red's diverse musical styles a "metaphor for how messy a real breakup is" and described it as her "only true breakup album". [2] Its first half consists of country and pop songs intertwined with each other; [23] three tracks—"22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together"—have a pop production that incorporates electronic vocal processing and hip-hop-influenced bass drums. [24] [25] The rock stylings of Speak Now expand on tracks "State of Grace", "Red", and "Holy Ground", which musicologist James E. Perone found reminiscent of 1980s arena rock. [26] [27] Other tracks, such as "I Almost Do", "Stay Stay Stay", "Sad Beautiful Tragic", and "Begin Again", embrace the country sound of Swift's earlier music. [28] [29]
Critics were divided on the album's genre classification. Jon Dolan's review for Rolling Stone appeared in their column for country music, but he described Swift's musical foundation as "post-country rock". [30] Some reviewers commented that Red blurred the divide between country and pop, [23] [31] but others called it a straightforward pop album with little trace of country. [32] [33] The Los Angeles Times ' Randall Roberts and The New York Times ' Jon Caramanica wrote that Red signified Swift's inevitable move in mainstream pop to broaden her audience. The former said much of the album could perform well on commercial country radio but at its core, it is "perfectly rendered American popular music" with influences from modern trends; [34] the latter described Swift as "a pop star in a country context". [24] For American Songwriter 's Jewly Hight, debating Swift's genre was pointless because her music was meant for a young audience who thought of music "iPod shuffle-fluidly". [35]
Although Red transcends Swift's country roots, her storytelling ability, nurtured by this country background, remains intact in her songwriting. [20] [36] The album's title refers to what Swift termed the tumultuous, extreme, "red" emotions that were evoked by unhealthy romantic relationships she was experiencing during the album's conception phase; such emotions ranged "from intense love, intense frustration, jealousy, confusion" and shaped the lyrics. [37] [38] Pitchfork's Brad Nelson summed up the album's theme as disappearances, from lost romance and relationships to Swift's old country sound. [39] For Nelson, this serves as the influence for the album cover, on which Swift is looking downward with her face partially shadowed from her brimmed hat. [39] Reviewers observed the similarities between the cover of Red and that of the Canadian singer-songwriter Joni Mitchell's 1971 album Blue , [22] [39] [40] which inspired Swift's songwriting on Red. [41]
Whereas Swift's previous songs contain fantasy-driven narratives with happy endings, Red realizes the uneasy reality of how a seemingly enduring relationship can painfully end. [39] In the album's liner notes, Swift quotes a line from Pablo Neruda's poetry collection Tonight I Can Write (The Saddest Lines), "Love is so short, forgetting is so long", which she deems simultaneously relatable and simple, appropriate for the album's overarching theme. [42] [43] Critics observed a sign of maturity in Swift's perspectives and recognized additional themes—wide-eyed optimism, insecurity about one's perceived image, and the pressure of stardom. [20] [32] Hints of sex, absent from Swift's earlier music, are apparent on Red, which coincided with her outgrowing of her public image as an innocent sweetheart. [20] [note 2]
The A.V. Club 's Michael Gallucci acknowledged the deeper observations of Red's songs but did not appreciate their criticism of Swift's ex-lovers. [44] NPR's J. English, meanwhile, noted the album portrays Swift at her most vulnerable and maturity for recognizing her coming of age in "plaintive, reflective tones". [20] Billboard similarly noted the album's portrayal of maturity through vulnerability, saying "she most effectively lays bare her emotional life in all its messy complexity". [38] Most of the songs on Red were inspired by one ex-boyfriend who, according to Swift, contacted her after listening to the album and described the experience as "bittersweet". [45]
Red opens with "State of Grace", an arena-rock song featuring chiming guitars, dynamic drums, and lyrics about the tumultuous feelings that are evoked by the first sights of love. [39] [46] The title track, "Red", incorporates acoustic banjo, guitars, and electronic voice manipulation. [47] It combines soft rock, country, and mainstream pop. [28] [47] Its refrain relates the stages of love to colors; "losing him" is blue, "missing him" is dark gray, and "loving him" is red. [48] The third track, "Treacherous", begins with slow guitar strumming and percussion and gradually builds up, [23] [39] with lyrics about fighting to protect a dangerous relationship. [28] "I Knew You Were Trouble", which Swift said was a completely new style for her, [49] begins with a pop-rock production before building into a dubstep-tinged refrain with aggressive synthesizer backing. [23] [39] [50] Its narrator blames herself for a toxic relationship that has ended. [24] Critics considered the track Swift's most radical sonic change on Red, with Perone viewing the syncopated bass drums as exemplary of her experimenting with hip hop, [19] and Caramanica saying the dubstep drop was "a wrecking ball, changing the course not just of the song but also of Ms. Swift's career". [24]
Critics regarded "All Too Well" as the album's emotional centerpiece. [2] [39] [51] It features a slow-burning production blending country, folk, and arena rock, with overdubs of acoustic guitar, electric guitar, bass, drums, and background vocals. [52] The lyrics chronicle a lost relationship from the peak of romance to the lingering memories after it has ended. [23] [33] The imagery of a scarf left in a drawer became a symbol associated with the song; according to Rob Sheffield of Rolling Stone, "no other song does such a stellar job of showing off her ability to blow up a trivial little detail into a legendary heartache". [53] [54] "All Too Well" is followed by "22", a pop song featuring pulsing synthesizers that recall 1980s pop. [24] [55] The lyrics of "22" celebrate the joys of being young and confident while acknowledging the uncertainty of adulthood, and the heartache the narrator and her friends endured in the past. [20] [36] "I Almost Do" is a country-pop and soft-rock ballad featuring gentle guitar strums. [23] [51] In the song, a narrator struggles to decide if she should rekindle with a former lover. [56] It is followed by "We Are Never Ever Getting Back Together", in which the narrator promises her ex-lover they will never rekindle their broken relationship. [23] The song is a gleeful dance-pop tune with pulsing synthesizers, processed guitar sounds, and hip-hop-influenced bass drums. [32] [57]
"Stay Stay Stay" is a fast-tempo song combining country with elements of 1980s pop. [57] It is instrumented with a toy piano, ukulele, mandolin, and hand claps, and has lyrics about two lovers trying to reconcile after a fight. [24] [33] "The Last Time", a duet with Gary Lightbody, has a melancholic production backed by string instruments; [57] Perone compared its production with the music of late-1970s and early-1980s rock bands but with a muted texture. [58] Both Swift and Lightbody sing lead vocals; in the first verse, Lightbody sings about his character's perspective on a failing long-term relationship and in the second verse, Swift presents her character's view. [58] The refrain is backed by strings and brass, intensifying the emotional tension between the two. [59] In "Holy Ground", a narrator reminisces about an absent lover and the fleeting moments of their past. It is a country rock and heartland rock track with persistent drums and a recurring guitar riff. [33] [58] [60] The next track, "Sad Beautiful Tragic", is a melancholic, slow, folk-oriented waltz about a doomed love affair. [23] [28]
The soft-rock "The Lucky One" is a cautionary tale about the perils of celebrity. [20] [34] Narrated from a third-person perspective, it references the story of a successful singer who "chose the rose garden over Madison Square". [23] [33] "Everything Has Changed" featuring Ed Sheeran is a stripped-back guitar ballad about a blossoming new romance, [23] [61] and "Starlight" is an uptempo, dance-pop song about Robert F. and Ethel Kennedy's relationship. [23] [30] [33] The standard edition's final track, "Begin Again", is a gentle country song expressing a narrator's vulnerability post-breakup and willingness to start over. [23] [51] Perone noted Red, after exploring other genres, concludes with a country song, confirming the importance of Swift's musical roots. [29]
The deluxe edition of Red includes the extra original songs "The Moment I Knew", "Come Back ... Be Here", and "Girl at Home"; original demo recordings of "Treacherous" and "Red", and an acoustic version of "State of Grace". [62] "The Moment I Knew" is a somber piano ballad and narrates a story of a woman's birthday party from which, despite a Christmas theme and good friends, her boyfriend is absent, signaling a failing relationship. [63] The 2000s-adult-contemporary-oriented "Come Back... Be Here" has lyrics about a long-distance relationship with few chances to endure. [64] "Girl at Home", a song combining country with 1980s music elements, [51] [65] is about a woman's feelings when her boyfriend is out and flirting with other women. [62]
Swift and Big Machine implemented an extensive marketing plan for Red. [66] On August 13, 2012, Swift announced the album's details through a live webchat via Google Hangouts, [37] [67] and released the lead single, "We Are Never Ever Getting Back Together", which was her first number-one song on the US Billboard Hot 100. [37] [68] An alternative version of "We Are Never Ever Getting Back Together" was released to US country radio; [69] it spent ten weeks atop Hot Country Songs. [70] On September 22, Swift announced on Good Morning America a four-week song release countdown from September 24 until the album's release week. [71] The four songs—"Begin Again", [72] "Red", [73] "I Knew You Were Trouble", [74] and "State of Grace" [75] —were released for digital download onto the iTunes Store. "Begin Again", which peaked at number seven on the US Billboard Hot 100, was later released as a single to US country radio on October 1, 2012. [76] [77]
Both the standard and deluxe versions of Red were released on October 22, 2012. [66] In the US, the standard edition was available in digital and physical formats, and the deluxe edition containing six extra tracks was available exclusively for physical purchase at Target. [66] Swift had tie-ins with corporations including Keds, Walmart, and Papa John's. [66] A day after the release, she began a cycle of television appearances, starting with a live performance on Good Morning America, which was followed by pre-recorded television appearances on such talk shows as The Ellen DeGeneres Show and 20/20 . [66] She gave interviews to as many as 72 radio stations, mostly in the US and some international outlets from South Africa, New Zealand, Spain, Germany, and Mexico. [66] Her live performances at awards shows included the MTV Video Music Awards, [78] the Country Music Association Awards, [79] and the American Music Awards. [80]
Red was further promoted with a string of singles. "I Knew You Were Trouble" was released as an official single to pop radio on November 27, 2012; [81] it was a big hit on pop radio, peaking for seven weeks atop Mainstream Top 40. [49] The single peaked at number two on the Billboard Hot 100, [82] and was a top-ten hit in Oceania and Europe. [83] "22" was released to pop radio in March 2013 [84] and "Red" was released to country radio in June 2013. [85] The singles peaked at number 20 and number six on the Billboard Hot 100, respectively. [86] Tracks "Everything Has Changed" [87] and "The Last Time" were also released as singles, with the latter having a UK-exclusive release. [88] Despite Red's promotion as a country album, its diverse musical styles sparked a media debate over Swift's status as a country artist. [69] [89] Spin argued Red is difficult to categorize because country music is "the most dynamically vibrant pop genre of the last decade or so". [90] Other critics commented Swift had always been more pop-oriented than country and described Red as her inevitable move to mainstream pop. [91] In an interview with the Wall Street Journal , Swift responded country music "feels like home" and dismissed the debate, saying "I leave the genre labeling to other people". [91]
Swift announced the album's accompanying world tour, the Red Tour, shortly after the album's release. [92] On October 26, 2012, she announced the first 58 dates for the North American leg, beginning in Omaha, Nebraska, visiting Canada and the US throughout the spring and summer of 2013, and concluding in Nashville, Tennessee, in September. [93] To support a high demand, Swift held the concerts mostly in sports arenas and stadiums. [92] After the North American leg, the Red Tour visited Australasia, [94] the UK, [95] and Asia. [96]
The Red Tour was a box office success. The four shows at Staples Center in Los Angeles extended Swift's total of sold-out shows to 11, making her the solo artist with the most sold-out shows at Staples Center. [97] She was the first female artist to sell out the Sydney Football Stadium since its opening in 1988. [98] Tickets for the Shanghai show sold out within 60 seconds, setting the Chinese record for the fastest sellout. [96] When it ended in June 2014, the tour had grossed $150.2 million and became the highest-grossing tour by a country artist of all time. [99]
In the US, Red debuted at number one on the Billboard 200 with first-week sales of 1,208,000 copies, surpassing Garth Brooks's Double Live (1998) as the fastest-selling country album. [100] [101] With Speak Now and Red, Swift was recognized in the Guinness World Records as the "First Solo Female with Two Million-Selling Weeks on the U.S. Albums Chart". [102] Red spent seven non-consecutive weeks at number one on the Billboard 200, [103] and made Swift the first female artist, and the second after the Beatles, to have three consecutive studio albums each spend six or more weeks atop the chart. [note 3] It was the third consecutive time—after Fearless (2008) and Speak Now (2010)—that Swift had a number-one album during the last week before Christmas, traditionally the most competitive week of the year. [105] On Billboard's Top Country Albums chart, it spent 16 weeks at number one, and was the year-end number-one album of both 2012 and 2013. [106] Surpassing 3.11 million copies after two months of sales, Red was the second-highest-selling album of 2012. [107] As of January 2024, its US sales stood at 4.582 million copies. [108] The Recording Industry Association of America (RIAA) certified the album seven-times Platinum for surpassing seven million album-equivalent units. [109]
The album reached number one on the record charts of European and Oceanic countries, including Australia, [110] Canada, [111] New Zealand, [112] Ireland, [113] and Scotland. [114] It received multi-platinum certifications in Australia (4× Platinum), [115] Canada (4× Platinum), [116] and New Zealand (2× Platinum). [117] In the UK, Red was Swift's first number one on the Albums Chart and had four top-ten songs on the Singles Chart, the most of Swift's albums; [118] it was certified 2× Platinum by the British Phonographic Industry (BPI) and sold 619,000 copies as of June 2021 [update] . [119] [120] Less than a month after its release, Red sold 2.8 million copies worldwide. [121] By the end of 2012, Red finished as the global second-best-selling album with 5.2 million copies. [122] By August 2014, it had sold over eight million copies. [123]
Aggregate scores | |
---|---|
Source | Rating |
AnyDecentMusic? | 6.6/10 [124] |
Metacritic | 77/100 [125] |
Review scores | |
Source | Rating |
AllMusic | [32] |
The A.V. Club | B+ [44] |
The Daily Telegraph | [31] |
Entertainment Weekly | B+ [55] |
The Guardian | [126] |
Los Angeles Times | [34] |
MSN Music (Expert Witness) | A− [127] |
Pitchfork | 9.0/10 [39] |
Rolling Stone | [30] |
Spin | 8/10 [90] |
Red generally received positive reviews from contemporary critics, most of whom commended Swift's songwriting. [66] [128] Jon Dolan from Rolling Stone called the album "a 16-song geyser of willful eclecticism", said Swift "often succeeds in joining the Joni [Mitchell]/Carole King tradition of stark-relief emotional mapping", and that "When she's really on, her songs are like tattoos". [30] Pitchfork's Brad Nelson lauded the "newfound patience to Swift's observations" and deeper exploration of emotion in Red's songwriting. [39]
The album's production polarized critics. Billboard praised Red's radio-friendly tunes that catapulted Swift to even greater fame. [23] Stephen Thomas Erlewine from AllMusic asserted that although Swift's lyrics about romantic relationships and social anxiety sound somewhat clumsy, they add substance to "the pristine pop confections", which makes Red a compelling album. [32] The Guardian 's Kate Mossman described the album as "one of the finest fantasies pop music has ever constructed". [126] Roberts was impressed by the different musical styles as Swift "strives for something much more grand and accomplished". [34] Caramanica agreed, commenting that the production is a striking feature of Red that proves Swift is more of a pop star than a country singer. [24]
Critics often considered Red to be a sign of Swift growing up. Billboard considered Red to be her first adult pop album, describing her previous works as that of "an accomplished teenager". [23] Caramanica stated that her growth was "largely musical, not experiential." [24] He noted that she was beginning to show more maturity as a strategist and adult. [24] Caramanica asserted that there are indications that Red shows her "body is as alive as her mind," which was "territory she's generally skipped before now." [24] Dolan considered the album part "Joni Mitchell-influenced maturity binge" and part pop, describing the combination as "not just inevitable but natural." [30] Spin's Michael Robbins characterized the album as a record "full of adult pleasures". [90]
Some reviewers were more reserved in their praise. Jonathan Keefe from Slant Magazine considered Red not consistent enough to be "truly great" but asserted that some of the songs were "career-best work for Swift, who now sounds like the pop star she was destined to be all along". [33] Michael Gallucci from The A.V. Club argued the music was more ambitious than Swift's previous records but considered the album as a whole "complicated and sometimes unfocused". [44] He considered the duets boring and the occasional use of Auto-Tune to "sound like any number of indistinguishable female pop singers". [44] Writing for MSN Music , Robert Christgau viewed Red as an inferior version of the Magnetic Fields' 1999 album 69 Love Songs but appreciated "Begin Again" and "Stay Stay Stay", considering them to "stay happy and hit just as hard" as songs on 69 Love Songs. [127] The Daily Telegraph 's James Lachno found the production bloated and commented the album would be better had Swift fully embraced mainstream pop and abandoned her old country sound. [31] Mesfin Fekadu of the Associated Press asserted that the album "sounded empty" compared to Fearless (2008) and Speak Now (2010), but praised "I Almost Do" and the duets. [129]
Red received accolades in terms of both critical and popular recognition. Mainstream publications featuring Red on their lists of the best albums of 2012 included Billboard, [130] The Daily Beast , [131] The Guardian, [132] Idolator , [133] MTV News, [134] Newsday , [135] PopMatters , [136] Rolling Stone, [137] Spin, [138] and Stereogum . [139] Jon Caramanica ranked the album second on his list of 2012's best albums for The New York Times. [140] Red was placed at number 17 on the 2012 Pazz & Jop, an annual mass critics' poll conducted by The Village Voice . [141] Spin proclaimed Red one of 2012's best country albums. [142]
At the 56th Grammy Awards in 2014, Red was nominated for Album of the Year and Best Country Album. [143] The album received nominations at US country music awards, including two nominations for Album of the Year at the 2013 Country Music Association Awards [144] and the 2013 Academy of Country Music Awards. [145] It won Favorite Country Album at the 2013 American Music Awards, [146] Top Album and Top Country Album at the 2013 Billboard Music Awards, [147] Top Selling Album at the 2013 Canadian Country Music Association Awards, [148] and Top Selling International Album of the Year at the 2014 Country Music Awards of Australia. [149]
Red appeared on many publications' lists of the best albums of the 2010s. According to Metacritic, it was the fifteenth-most-acclaimed album of the decade. [150] It featured on Atwood Magazine's unranked list, [151] and was included on lists of The Independent [152] and Pitchfork. [153] It was ranked within the top 10 by Insider (first), [154] Uproxx (third), [155] Billboard (fourth), [156] Rolling Stone (fourth), [157] the Tampa Bay Times (ninth), [158] and Stereogum (tenth). [159] Taste of Country ranked Red as one of the best country albums of the decade. [160] In 2023, Rolling Stone ranked Red at number 99 on its revised list of the 500 Greatest Albums of All Time. [161]
The album's production straddling country and pop inspired Swift to venture into genres she had not tried before. [162] The successful pop radio singles, specifically the dubstep-infused "I Knew You Were Trouble", served as a "signal flare" for Swift to collaborate with pop producers Max Martin and Shellback, who are known for radio-friendly pop, again. [163] [164] Upon reading reviews calling Red an inconsistent album, Swift fully embraced the electropop sound, transcending her earlier country image. [165] Its upbeat pop production laid the groundwork for the electropop [166] and synth-pop sound of her next album, 1989 (2014). [162] [167] Swift continued to explore pop with its successors Reputation (2017) and Lover (2019). [168]
Red [was] where [Swift] proved herself not just the supreme pop songwriter of her generation, but one of the all-timers. [...] Red wasn't her first masterwork, but it's the one that established the Swiftian universe as a place where every lost scarf is a ticking time bomb that can take years to explode into a classic song.
–Rob Sheffield, Rolling Stone (2021) [169]
Many critics claim Red as Swift's best body of work. [170] According to Pitchfork, Red progressed Swift's sound "to meet the highest aspirations of her songwriting", watching her push herself outside of traditional boundaries "to stray into the interzone between pop and country". [171] Clash demarcated Red as the turning point of Swift's career—it "was the first time Taylor actively stepped away from the pretty dresses and southern girl chic" to the outrage of "old fashioned listeners". According to the magazine, Red proved an album can be "both ground-breaking and wildly commercial", because avant-garde is not the only way to experiment with music, as Swift "opened a door for every other musician" in 2012 to coalesce multiple genres. [172] Jordan Sargent of Spin named Red "one of the best pop albums of our time". [173]
Various media outlets have credited Red with inspiring a generation of artists; The New York Times 's Steven Hyden said Red encouraged new indie artists to put out music that is "aesthetically much closer to Swift's pop than anything in the rock underground". [174] MTV said Red normalized intimacy in pop music and popularized Swift's vulnerable songwriting style with future artists such as Halsey, Kacey Musgraves, Troye Sivan, Billie Eilish, Olivia Rodrigo, and Conan Gray. [175] Fans and critics have also dubbed Red an "autumnal album" due to its aesthetic and lyrical imagery. [176] In 2019, an indie rock album titled ReRed, featuring Wild Pink, Adult Mom, Chris Farren, and other artists, was released as a tribute to Red. All of its proceeds go to Equal Justice Initiative. [177]
In November 2020, following a dispute over the ownership of the masters to her back catalog, Swift began to re-record her first six studio albums. [178] The first one was Fearless (Taylor's Version) , released on April 9, 2021. [179] On June 18, 2021, Swift announced Red (Taylor's Version) would be released on November 12, 2021, a week earlier than originally planned. [180] The album contains all 30 songs Swift recorded for the 2012 release of Red; [181] these include the charity single "Ronan", her recordings of the 2016 Little Big Town single "Better Man" and 2018 Sugarland single "Babe", the ten-minute version of "All Too Well", and six other previously unreleased tracks. [182] [183]
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "State of Grace" | Taylor Swift |
| 4:55 |
2. | "Red" | Swift |
| 3:43 |
3. | "Treacherous" |
| Wilson | 4:02 |
4. | "I Knew You Were Trouble" |
|
| 3:39 |
5. | "All Too Well" |
|
| 5:29 |
6. | "22" |
|
| 3:52 |
7. | "I Almost Do" | Swift |
| 4:04 |
8. | "We Are Never Ever Getting Back Together" |
|
| 3:13 |
9. | "Stay Stay Stay" | Swift |
| 3:25 |
10. | "The Last Time" (featuring Gary Lightbody of Snow Patrol) |
| Lee | 4:59 |
11. | "Holy Ground" | Swift | Jeff Bhasker | 3:22 |
12. | "Sad Beautiful Tragic" | Swift |
| 4:44 |
13. | "The Lucky One" | Swift | Bhasker | 4:00 |
14. | "Everything Has Changed" (featuring Ed Sheeran) |
| Butch Walker | 4:05 |
15. | "Starlight" | Swift |
| 3:40 |
16. | "Begin Again" | Swift |
| 3:57 |
Total length: | 65:09 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
17. | "The Moment I Knew" | Swift |
| 4:46 |
18. | "Come Back... Be Here" |
| Wilson | 3:43 |
19. | "Girl at Home" | Swift |
| 3:40 |
20. | "Treacherous" (original demo recording) |
| Wilson | 4:00 |
21. | "Red" (original demo recording) | Swift |
| 3:47 |
22. | "State of Grace" (acoustic version) | Swift |
| 5:23 |
Total length: | 25:19 |
Credits are adapted from AllMusic. [15]
Musicians
Production
Visuals and design
| Managerial
|
Chart (2012–2013) | Peak position |
---|---|
Australian Albums (ARIA) [110] | 1 |
Australian Country Albums (ARIA) [186] | 1 |
Austrian Albums (Ö3 Austria) [187] | 3 |
Belgian Albums (Ultratop Flanders) [188] | 2 |
Belgian Albums (Ultratop Wallonia) [189] | 25 |
Canadian Albums (Billboard) [111] | 1 |
Chinese Albums (Sino Chart) [190] | 1 |
Croatian Albums (HDU) [191] | 27 |
Danish Albums (Hitlisten) [192] | 3 |
Dutch Albums (Album Top 100) [193] | 7 |
Finnish Albums (Suomen virallinen lista) [194] | 49 |
French Albums (SNEP) [195] | 30 |
German Albums (Offizielle Top 100) [196] | 5 |
Irish Albums (IRMA) [113] | 1 |
Italian Albums (FIMI) [197] | 3 |
Japanese Albums (Oricon) [198] | 3 |
Mexican Albums (Top 100 Mexico) [199] | 4 |
New Zealand Albums (RMNZ) [112] | 1 |
Norwegian Albums (VG-lista) [200] | 2 |
Portuguese Albums (AFP) [201] | 8 |
Scottish Albums (OCC) [114] | 1 |
South African Albums (RISA) [202] | 4 |
South Korean Albums (Gaon) [203] | 12 |
South Korean International Albums (Gaon) [204] | 1 |
Spanish Albums (PROMUSICAE) [205] | 4 |
Swedish Albums (Sverigetopplistan) [206] | 8 |
Swiss Albums (Schweizer Hitparade) [207] | 9 |
UK Albums (OCC) [208] | 1 |
US Billboard 200 [209] | 1 |
US Top Country Albums (Billboard) [210] | 1 |
Chart (2019–2023) [note 5] | Peak position |
---|---|
Austrian Albums (Ö3 Austria) [211] | 4 |
Croatian International Albums (HDU) [212] | 4 |
German Albums (Offizielle Top 100) [213] | 8 |
Greek Albums (IFPI) [214] | 1 |
Swiss Albums (Schweizer Hitparade) [215] | 7 |
US Independent Albums (Billboard) [216] | 3 |
Year-end charts
| Decade-end charts
All-time charts
|
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA) [115] | 5× Platinum | 350,000‡ |
Austria (IFPI Austria) [261] | Platinum | 20,000* |
Belgium (BEA) [262] | 2× Platinum | 60,000‡ |
Brazil (Pro-Música Brasil) [263] | Gold | 20,000* |
Canada (Music Canada) [116] | 4× Platinum | 320,000^ |
Colombia [264] | Gold | |
Denmark (IFPI Danmark) [265] | Platinum | 20,000‡ |
France (SNEP) [266] | Gold | 50,000‡ |
Germany (BVMI) [267] | Platinum | 200,000‡ |
Ireland (IRMA) [268] | Platinum | 15,000^ |
Japan (RIAJ) [269] | Platinum | 250,000^ |
Japan (RIAJ) [270] Digital download | Gold | 100,000* |
Mexico (AMPROFON) [271] | Gold | 30,000^ |
New Zealand (RMNZ) [117] | 2× Platinum | 30,000^ |
Poland (ZPAV) [272] | Gold | 10,000* |
Singapore (RIAS) [273] | 2× Platinum | 20,000* |
Sweden (GLF) [274] | Gold | 20,000‡ |
Switzerland (IFPI Switzerland) [275] | Platinum | 30,000‡ |
United Kingdom (BPI) [120] | 2× Platinum | 619,000 [note 9] |
United States (RIAA) [109] | 7× Platinum | 4,582,000 [note 10] |
* Sales figures based on certification alone. |
Country | Date | Edition(s) | Label |
---|---|---|---|
Canada [276] [277] | October 22, 2012 |
| Universal Music |
India [278] | Standard | ||
New Zealand [279] |
| ||
United Kingdom [280] [281] | Mercury Records | ||
United States [282] [283] [284] [285] |
| Big Machine Records | |
December 4, 2012 | Vinyl LP | ||
February 5, 2013 | Karaoke CD+G/DVD | ||
Italy [286] [287] | October 23, 2012 |
| Universal Music |
Australia [288] | |||
Spain [289] [290] | |||
Japan [291] [292] | October 24, 2012 | ||
Netherlands [293] [294] | October 25, 2012 | ||
Germany [295] [296] | October 26, 2012 | ||
Thailand [297] [298] | October 27, 2012 | Deluxe | |
October 31, 2012 | Standard | ||
France [299] [300] [301] | November 5, 2012 |
| Mercury Records |
April 22, 2013 | Limited CD/DVD | ||
Philippines [302] | November 5, 2012 |
| MCA Music Inc. |
Indonesia [303] [304] | Standard | Universal Music | |
February 28, 2013 | Deluxe | ||
China [305] [306] | December 31, 2012 | Standard | Universal Music |
May 25, 2013 | Deluxe |
Taylor Alison Swift is an American singer-songwriter. A subject of widespread public interest with a vast fanbase, she has influenced the music industry, popular culture and politics through her songwriting, artistry, entrepreneurship, and advocacy.
Taylor Swift is the eponymous debut studio album by the American singer-songwriter Taylor Swift. Under Big Machine Records, it was released in North America on October 24, 2006, and elsewhere on March 18, 2008. Swift had signed with Sony/ATV Tree publishing house in 2004, at age 14, to pursue a career as a country musician. Her contract with Big Machine Records in 2005 enabled her to work on the album during her second year of high school.
The Taylor Swift Holiday Collection is a Christmas-special extended play (EP) by the American singer-songwriter Taylor Swift. The EP was first released as a Target exclusive on October 14, 2007, by Big Machine Records. It was released to other retailers on December 2, 2008 and was re-released to Target on October 6, 2009.
Fearless is the second studio album by the American singer-songwriter Taylor Swift. Under Big Machine Records imprint, it was released in the U.S. and Canada on November 11, 2008, and elsewhere on March 9, 2009. Written predominantly by Swift while she was promoting her 2006 self-titled debut album in 2007–2008, Fearless features additional songwriting credits from Liz Rose, Hillary Lindsey, Colbie Caillat, and John Rich. Swift wrote seven of the standard edition's 13 tracks by herself and, in her debut as a record producer, co-produced the album with Nathan Chapman.
"Love Story" is a song by the American singer-songwriter Taylor Swift. It was released as the lead single from her second studio album, Fearless, on September 15, 2008, by Big Machine Records. Inspired by a boy who was unpopular with her family and friends, Swift wrote the song using William Shakespeare's tragedy Romeo and Juliet as a reference point. The lyrics narrate a troubled romance that ends with a marriage proposal, contrary to Shakespeare's tragic conclusion. Produced by Swift and Nathan Chapman, the midtempo country pop song includes a key change after the bridge and uses acoustic instruments including banjo, fiddle, mandolin, and guitar.
Speak Now is the third studio album by the American singer-songwriter Taylor Swift, released on October 25, 2010, through Big Machine Records. Swift wrote the album entirely herself within two years while touring to promote her second studio album, Fearless (2008).
"Eyes Open" is a song written and recorded by the American singer-songwriter Taylor Swift for The Hunger Games movie soundtrack, The Hunger Games: Songs from District 12 and Beyond, though the song is not included in the film itself. Produced by Swift and Nathan Chapman, it was released as the second single from the album and was sent to mainstream radio on March 27, 2012. A lyric video consisting of animation was released on Vevo in May 2012.
"We Are Never Ever Getting Back Together" is a song by the American singer-songwriter Taylor Swift and the lead single from her fourth studio album, Red (2012). Big Machine Records released the song for download and to U.S. pop radio on August 13, 2012. Written and produced by Swift, Max Martin, and Shellback, "We Are Never Ever Getting Back Together" is an upbeat incorporation of many pop styles. Its production contains pulsing synthesizers, processed guitar riffs, bass drums, and a spoken-word bridge. Its lyrics express Swift's frustration with an ex-lover who wants to rekindle their relationship. An alternate version was released to U.S. country radio on August 21, 2012.
"Begin Again" is a song written and recorded by the American singer-songwriter Taylor Swift for her fourth studio album, Red (2012). It was released as the second single from Red on October 1, 2012, by Big Machine Records. Produced by Swift, Dann Huff, and Nathan Chapman, "Begin Again" is a gentle country and soft rock ballad with acoustic guitar, steel guitar, and percussion. Its lyrics are about falling in love again after a failed, toxic previous relationship.
"Red" is a song by the American singer-songwriter Taylor Swift and the title track of her fourth studio album (2012). The song was produced by Dann Huff, Nathan Chapman, and Swift. Big Machine Records released the song onto the iTunes Store on October 2, 2012, as Red's second promotional single, and to U.S. country radio on June 24, 2013, as an official single. Musically, "Red" combines country, roots rock, pop rock, soft rock over acoustic banjo, guitars, and electronic vocal manipulation. Lyrically about a tumultuous relationship, the refrain likens the conflicting emotions to a spectrum of colors, including the color red which symbolizes the ensuing intense feelings.
"I Knew You Were Trouble" is a song by the American singer-songwriter Taylor Swift from her fourth studio album, Red (2012). Swift wrote the song with its producers, Max Martin and Shellback. A dance-pop, pop rock, and teen pop song with a dubstep refrain, "I Knew You Were Trouble" features electric guitars and synthesizers, with lyrics that talk about self-blame after a toxic relationship. The dubstep production divided music critics, who noted it as a radical move from Swift's previous country pop songs.
"State of Grace" is a song written and recorded by the American singer-songwriter Taylor Swift from her fourth studio album, Red. To promote the album before its release, Big Machine Records released the song for download on October 16, 2012. Produced by Swift and Nathan Chapman, "State of Grace" is an arena rock song that uses chiming, feedback-drenched guitars and pounding drums. An acoustic version features as a deluxe-edition bonus track. The lyrics are about the tumultuous feelings evoked by the first signs of love.
"22" is a song by the American singer-songwriter Taylor Swift from her fourth studio album, Red (2012). It was released as the album's fourth single on March 12, 2013, by Big Machine Records. Written and produced by Swift, Max Martin, and Shellback, "22" combines pop styles such as dance-pop and bubblegum with disco and 1990s rock. The track begins with an acoustic guitar riff and progresses into an upbeat refrain which incorporates pulsing synthesizers and syncopated bass drums. The lyrics celebrate being 22 years old while acknowledging the heartache that the narrator experienced in the past.
"All Too Well" is a song by the American singer-songwriter Taylor Swift. The song was developed by Swift while she was on the Speak Now World Tour in 2011, and she co-wrote the final version with Liz Rose. A truncated version, at 5 minutes and 29 seconds, was produced by Swift and Nathan Chapman and released on Swift's fourth studio album, Red (2012). After a 2019 dispute regarding the ownership of Swift's masters, she re-recorded the song as "Taylor's Version" and released a "10 Minute Version" containing the trimmed lyrics from the 2012 release as part of the re-recorded album Red in November 2021.
"Everything Has Changed" is a song by the American singer-songwriter Taylor Swift featuring the English singer-songwriter Ed Sheeran from Swift's fourth studio album, Red (2012). It was released as the sixth single from the album on July 14, 2013, by Big Machine Records. A music video for the song was released earlier on June 6, 2013. Produced by Butch Walker, "Everything Has Changed" is a guitar-led folk-pop ballad. Its lyrics are about wanting to know a new lover better. The song received mixed reviews from critics, who either complimented or criticized the production.
"The Last Time" is a song by Taylor Swift featuring Gary Lightbody, taken from Swift's fourth studio album, Red (2012). Swift wrote the track with Lightbody and Jacknife Lee; the latter two are members of the rock band Snow Patrol. A power ballad, the song sees Swift's and Lightbody's characters expressing their perspectives on a failed relationship, torn between heartbreak and forgiveness. The production combines alternative rock and folk over dramatic string instruments and an orchestral background in the refrain. "The Last Time" was released in the United Kingdom on November 4, 2013, as a single from Red.
"Holy Ground" is a song written and recorded by the American singer-songwriter Taylor Swift for her fourth studio album, Red (2012). Produced by Jeff Bhasker, "Holy Ground" is an upbeat song combining country rock and heartland rock with insistent drums. In the lyrics, the narrator reminisces about a good moment in a failed relationship; she describes where she and the ex-lover once stood as "holy ground".
1989 is the fifth studio album by the American singer-songwriter Taylor Swift, released on October 27, 2014, by Big Machine Records. Inspired by 1980s synth-pop, Swift conceived 1989 to recalibrate her artistry to pop after critics disputed her status as a country musician when she released the cross-genre Red (2012) to country radio. She titled 1989 after her birth year as a symbolic artistic rebirth and enlisted Max Martin, who produced Red's electronic-influenced pop tracks, as co-executive producer.
"Delicate" is a song by the American singer-songwriter Taylor Swift from her sixth studio album, Reputation (2017). Swift wrote the song with the producers Max Martin and Shellback. Inspired by events surrounding Swift's celebrity and personal life, the lyrics depicts a narrator's vulnerability when she ponders if her reputation would affect the blossoming romance. "Delicate" is an electropop and synth-pop ballad that features vocals manipulated with a vocoder. Its production incorporates dense synthesizers and beats that evoke tropical house and dancehall.
Red (Taylor's Version) is the second re-recorded album by the American singer-songwriter Taylor Swift, released on November 12, 2021, by Republic Records. It is part of Swift's re-recording projects following the 2019 dispute over the ownership of her back catalog.