The artist closes the new full and extended recording of one of the most important albums of her career.
Free from the gags that once contained her voice as an author, whether self-imposed or suggested, Taylor Swift has become a great scourge of machismo in the world of music that, in the reworking of the album Red, does not hesitate to proclaim: Fuck The Patriarchy (Fuck the patriarchy).
That relief is part of the lyrics that contains the unpublished version of more than 10 minutes of his song All Too Well, with which the new full and extended recording of one of the most important albums of his career closes, the one with which he began to rebel against the most stale of old Nashville.
The Red original (2012) has gone down in history as the album in which he began his transition to adult pop from the sounds of “country” more accessible than already with his previous works –Taylor Swift (2006), Fearless (2008) and Speak Now (2010) – had made her a politically correct star.
Commercially it was a success, as it repeated for the third time in a row the feat of dispatching more than a million copies in its first week on the market, but, even more so, through songs like I Know You Were Trouble He let his character glimpse for the first time, also his anger and helplessness, and he revolted against the conformity and modesty that are supposed to be more elegant, especially in the case of them, at the end of relationships.
Those emotions were present even on the first single, We Are Never Ever Getting Back Together, although the purpose of derision (supposedly against actor Jake Gyllenhaal) was softened by the playful tone of the cut and the video clip with giant stuffed costumes.
A milestone of that transit was the complaint for 1 dollar that he won against an announcer who went too far by taking advantage of the capture of a photograph together and who, at first, reported a certain image of fussy and exaggerated, instead of being seen as a victim of the patriarchy against which he now cries out.
Years would still go by in which she was reproached for being too lukewarm in condemning retrograde policies and attitudes that, with “Trumpism” in vogue, were preying on women and the LGTBQ + collective, her main breadbasket of followers.
On how she suffered those criticisms and why she decided to shake off the image of a good girl representative of conservatism the documentary was about Miss Americana (2020), which in rondón allowed us to better understand his prolific capacity for composition, endorsed in albums raised by critics such as 1989 (2014), Lover (2019) and, above all, Folklore (2020) and Evermore (2020).
From that freer and more empowered position, the new Red (Taylor’s Version) (2021), which is the result of another of her blows to the table in defense of her rights after a commercial maneuver that had the representative Scooter Braun as the architect and that stripped her of all control over the first part of her discography.
Although the ownership of those masters was no longer within his reach, the creativity behind the songs was his, so he started with Fearless the re-recording of all the lost albums, taking advantage of the occasion to give each work an outline even more faithful to its spirit.
Although subtle, the production he initially took over mostly Nathan Chapman now has its newest sound allies “indie” Aaron Dessner and Jack Antonoff. In parallel, his voice, nine years later, gives even more body and depth to those lyrics always loaded with content.
In front of the sixteen original cuts (in addition to the six extras of the version “deluxe”), Swift serves in this own version a total of thirty songs, nine of them unpublished, among which the danceable surprises Message In A Bottle, that with the signature of Max Martin y Shellback it was probably left out in 2012 to reinforce the melancholic tone of the album.
There he is still as a companion of adventures Ed Sheeran, this time in two cuts (Everything Has Changed and the new Run), as well as Gary Lightbody (Snow Patrol) on The Last Time. They are added Chris Stapleton in the most “country” I Bet You Think About Me and above all alternative artist Phoebe Bridgers to round out the message of Nothing New.
In an album that deals with the emotional disorientation caused by sentimental failure, the cuts also stand out. Better Man and Babe, which he had given to other artists and now finally resounds in the throat of its original author.
The icing on this multi-tiered cake is the aforementioned All Too Well, which comes accompanied by a short film titled in the same way, written and directed by Swift herself to show that she is not willing to rest on the honeys of success and that she has a lot to tell and sing about. (I)
Paul is a talented author and journalist with a passion for entertainment and general news. He currently works as a writer at the 247 News Agency, where he has established herself as a respected voice in the industry.
