Taylor Swift releases 'Red (Taylor의 버전),' an expanded rerecording of her classic 2012 앨범

공식적인. 테일러 스위프트 has unlocked the vault.

금요일에, 그래미상 수상 가수 공개 “빨간색 (Taylor의 버전),” 그녀의 극찬의 재녹음 2012 앨범 “빨간색,” as part of her ongoing mission to regain ownership of her early music.
While the original album was 16 트랙, “빨간색 (Taylor의 버전)” is an epic 30 트랙, featuring musical collaborations with Phoebe Bridgers, Gary Lightbody, Ed Sheeran and Chris Stapleton. It also includes nine previously unreleased songs that didn’t make the final product in 2012.
    And guessing from the reactions on social media, revisiting the past isn’t always a bad idea.
      I am crying @taylorswift13 #RedTaylorsVersion . Freaking AWESOME,” one fan wrote on Twitter, while another said: “taylor swift just hits different and especially when its Red we are talking about.
        Among music critics, the reception was also largely positive.
        Awarding the album five stars, Rolling Stone’s Rob Sheffield described the project asa tribute to how far she’s traveled, but it makes you even more excited for where she’s heading next. “
          Writing specifically about the long-lost 10-minute version ofAll Is Well,” he said Swifttakes her own masterpiece, tears it all up, breaks it like a promise, shreds her tapestry, and rebuilds it into a new heartbreak epic, twice as long and twice as mad.
          에 따르면 Variety’s Chris Willman, Swift benefits from having nearly all the original producers from the album back on board.
          하나, he writes: “A general initial impression is that the more acoustically based stuff is easier to exactly recreate without producer Nathan Chapman than her very first forays into electro-pop are without Max Martin, although the differences may be hard for the non-Swiftie ear to immediately be heard.
          그럼에도 불구하고, 그는 말한다, the collection of nine previously unreleased songsdoesn’t have a real dud in the bunch.
          In a four-star review entitled A retread of heartbreak,” NME’s Hannah Mylrea says 31-year-old Swift’s matured vocals are the most significant change.
          You hear it clearest on the spoken-word moments, like ‘We Are Never Ever Getting Back Together’s withering put-down: “With some indie record that’s much cooler than mine,” she writes, 그것을 추가하기 전에 “It’s the sort of eye-roll moment typical of being a young adult, and while delivered with vim in its creation, in these moments the shifts in Swift’s lyricism and vocals in the 10 years since it was first released are obvious.
          “빨간색 (Taylor의 버전)” is the second in the series for Swift’s rerecording project. In April this year, 여자 topped the Billboard 200 chart with “두려움없는 (Taylor의 버전),” which was the reworking of her 2008 sophomore album, “겁이 없습니다.”
          Swift previously announced plans to revisit her early albums (from her 2006 self-titled debut up to 2017’sReputation”) in a bid to regain ownership of the work she released under her former label Big Machine Records.
            Superstar manager Scooter Braun acquired the master recordings of Swift’s first six albums in 2019, despite her objections. 빠른 confirmed in a Twitter post in November last year that the masters have since been sold to Shamrock Holdings.
            Following the release of “빨간색 (Taylor의 버전),” 빠른 thanked fans for inspiring her to reclaim her art, 그녀에게 말하기 89 million Twitter followers: “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. Red is about to be mine again, but it has always been ours. Now we begin again.

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