“What’s past is past,” Taylor Swift sang eight years ago on “Begin Again,” one of the original tracks from “Red.” And what a damnable lie that was. Sure, i…
sang eight years ago on “Begin Again,” one of the original tracks from “Red.” And what a damnable liewas. Sure, it was said in the context of one of the few unabashedly uplifting songs on that 2012 release, so she could be forgiven for getting caught up in the ray of hope the tune provided to cap off an otherwise not-that-optimistic album.
There was something about “Red” that felt a little meta: an album about obsession that we ourselves became obsessed with . Swift has gotten even better since then; pound for pound and track by track, 2020’s “Folklore” and “Evermore” are, very arguably, more consistent records, as you’d hope for from a top-flank singer-songwriter who’s pushing herself. But especially if you grew up with her, maybe you never get over the first time you felt sheyou Not Getting Over It.
There was more where that came from, and it’s arrived in the form of “Red ,” the second in her series of re-recordings of her original seven-album Big Machine catalog. As with the first in the series, “Fearless ,” which came out earlier in 2020, much will be said and written about how identical the remakes are or aren’t to the originals.
But it’s the “From the Vault” bonus material we’re really anticipating on these new albums; the A/B-ing on the recreations can be left to the pros.
“Red ” has nine previously unrecorded songs that kick in after the recreation of the original album is over. Narrow that down to six, if you want to just to consider songs that have never heard in any form before, because “Better Man” and “Babe” were later given to Little Big Town and Sugarland, respectively, to become enormous country hits, and the new 10-minute version of “All Too Well” previously existed in five-and-a-half-minute form, of course.
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