Paul Simon. Bob Dylan. Prince. Joni Mitchell. Paul McCartney. Bruce Springsteen. Taylor Swift. This collection of names? Some of the best songwriters of all-time.
Swift’s 30 track epic Red (Taylor’s Version) underscores that statement with an exclamation point. I’m not usually one for extended releases and double albums as they tend to be filled with half-baked ideas which appeal exclusively to hardcore fans, but Red (Taylor’s Version) is different. The entire 130 minute runtime doesn’t have a single stinker on it. Everything here feels like a complete thought.
Based off her original 2012 recording, Taylor’s re-done album (more on that shortly) is essentially an upgraded version of what made the original release so great– infectious hooks, brilliant storytelling, and production that is truly world-class. I’m a Swiftie by marriage, but have grown to love everything she puts out. This album is no exception– it’s one of her best, rivaled only by 1989 and Folklore in terms of sonic ingenuity.
So why was this album re-recorded? It’s a long story with a ton of dynamics involved but the general synopsis is this— in the music industry, the vast majority of contracts result in the record label owning the master recordings while the artist is left with nothing but a small (if any) residual payment when that song is used or played.
In Swift’s case, her old masters were held by her previous record company, which was acquired by a holding company and subsequently flipped to a different holding company for a tidy profit of $300 million. There’s a lot more to the story (a great breakdown by TIME magazine is essential reading), but effectively Swift’s mission to re-record her albums is a giant middle finger to The Man and a quest to put more financial control in the hands of artists everywhere.
Swift’s scenario is certainly unique and should not serve as a blueprint for every artist (Read: Swift is a massive star who has the financial leverage to play hardball) but it’s a principled endeavor everyone should be able to get behind. And I’m alright with that.
Standout Songs: “Red”, “Treacherous”, “Rowan”, “All Too Well (10 Minute Version)”
