Taylor Swift strives to reclaim her masterpiece, Red.

Back in 2012, Taylor Swift released arguably the best album of her career. The fourth studio album had it all. The highs and lows of love were brought to life through punchy pop, slick rock, and acoustic ballads.

Whether providing the fluffy whimsy of ‘Starlight’, anthemic power on ‘We Are Never Ever Getting Back Together’, or the rawness of ‘All Too Well’, the songs brilliantly displayed the artist’s prodigious lyrical talents.

The album sold over one million copies in its first week in the US and went on to be a tour de force.

Now, almost ten years later, its creator is back in the studio to lovingly re-enact the project and, in so doing, reclaim it.

A bitter dispute with former record label Big Machine left Swift without her original masters and no straightforward way to obtain them. The sorry tale has seen accusations of bullying, a record label attempting to block Swift from performing her own music, and more than a decade’s worth of painstaking work sold off to a private equity firm.

In an effort to take back control of her master tapes, the songstress opted to meticulously re-record each of her early albums.

In that vein, Fearless (Taylor’s Version) was successfully released in early 2021.

Red (Taylor’s Version) looks to repeat the same trick, and thanks to its author’s attention to detail, it more than matches the original.

The LP is comprised of a whopping 30 songs. This includes every track previously on the deluxe edition, as well as songs previously unreleased by the American.

As with Fearless (Taylor’s Version) before it, this latest project aims to be a faithful recreation — not a reimagining. The idea is to ensure the lyrics and compositions sound virtually the same as their doppelgängers.

The good news is that casual ears will easily be fooled by the new release. Almost every piece has been faithfully reproduced, from the cheeky chuckle on ‘Stay Stay Stay’ to an unclear line delivery on ‘Starlight’.

For those paying attention, though, there are the occasional subtle distinctions.

For example, the drums on ‘State of Grace’ appear to have been tightened up, the “weeeee” in ‘We Are Never Ever Getting Back Together’ sounds more sugary than ever, and you can now really appreciate the wafting pedal steel on ‘The Lucky One’.

From time to time, you might notice that some elements seem boosted or clearer than before. Where once an instrument would’ve faded into the background, it now gets a chance to display its nuance.

If you need an example of this, listen from the 0:41 mark of both versions of ‘The Lucky One’. In the original, the steel guitar starts to sound but soon merges into the rest of the mix. Taylor’s Version, meanwhile, allows the instrument a chance to start and finish its musical moment.

Swift has patiently recreated 2012’s effort and then applied a fresh lick of musical paint. Most won’t notice it, but those who do will better appreciate the musicianship that went into the album.

In most cases, this spruce-up proves to be a success. However, there are one or two exceptions. ‘I Knew You Were Trouble’ is let down slightly by an annoying rustling sound that pops up occasionally after the start of the track.

In the most curious case of the Red revival, ‘Girl at Home’ isn’t just touched up — it’s given a full musical overhaul. The song was a peppy pop rebuke of a knockoff Casanova looking to score a new girl despite leaving one at home. Previously found on the deluxe edition of Red, it now lives on as an overburdened, squelching club offering.

The new beats just don’t suit the deep cut, and it’s very surprising that it has been altered in such a radical fashion. In a project of such masterful mimicry, it’s a very odd adaptation.

Alongside the tweaks to existing tracks, Swift has enticed fans away from the first attempt by including eight new songs.

The marquee attraction among them is the 10-minute version of ‘All Too Well’. Long before DC fans lit the beacon of hope for a Snyder Cut, Swifties clamoured for an extended recording of the fan favourite. It holds elite status within the fandom as perhaps the best track in her discography.

The five-and-a-half-minute version truly lives up to the hype, packing in the highs and lows of a relationship with immersive emotional power. More does not always mean better, though, and the much sought-after longer version has Goldilocks to compete with.

Everything from the gentle rock instrumentation to emotionally incisive lyrics fits just right. The extended version, on the other hand, is more of a mixed bag.

There’s no issue with Swift’s lyricism, which retains the ability to convey so much in just a line. In one of the best new moments, she sings:

“You kept me like a secret but I kept you like an oath.”

With this short turn of phrase, the listener instantly knows why the relationship ultimately failed. A gaping chasm in perspective is laid bare.

The hitmaker also retains her sharp tongue as she fires off:

“You who charmed my dad with self-effacing jokes,
Sipping coffee like you’re on a late-night show,
But then he watched me watch the front door all night, willing you to come,
And he said, it’s supposed to be fun turning 21.”

If that doesn’t crush you, then Taylor’s later zinger might:

“I was never good at telling jokes, but the punch line goes,
I’ll get older but your lovers stay my age.”

The never-before-heard words would have fitted comfortably into the ‘All Too Well’ beloved by fans. The same cannot be said for the new sound of the song.

The previously gentle low-tempo rock has been supplanted by a crowded production. Soft synth washes over the backing, a pedal steel cries, and a saxophone utters a mournful refrain. You might even hear an orchestral sound, like the one found on the song The Lakes.

The lyrics are excellent, but they do feel a little forced into the song’s frame at one point. At the 2:11 mark, the artist sings:

“And you were tossing me the car keys,
F**k the patriarchy keychain on the ground…”

It’s not quite clear if it’s a small change in tempo or voice that causes it, but the slight shift into the extended verse is jarring.

After a few listens, you might start to notice one or two improvements within the new composition.

Discordant piano opens the track, perhaps as a metaphor for the relationship’s fate. Played in a major key, it would sound bright and optimistic — but in the minor, the note sounds dreary, off-kilter, and unsettling.

Overall, the production is a little too busy to surpass its shorter predecessor. Expect it to grow on you after repeated listening, though.

Many of the faithful will have been drawn in by the promise of a fresh take on ‘All Too Well’, but will doubtless stay for the top-quality new tunes.

It’s no exaggeration to say that most of the never-before-heard songs should have made the original set back in 2012. They are simply that good.

‘Nothing New’ is a melancholy-filled ode examining sexism and a personal battle to stay relevant within the music industry. More than that, the song ponders fears of being lost to time and the latest fad.

Guest artist Phoebe Bridgers sings:

“Are we only biding time ’til I lose your attention?”

Swift then responds:

“And someone else lights up the room, people love an ingénue.”

The superstar has previously spoken about the need for women to reinvent and intrigue, to beat the double standard. Her words come with extra power, because this isn’t simply a new fear, but one that has long plagued her.

“How can a person know everything at 18 but nothing at 22?” Bridgers sadly ponders.

The idea of young optimism quickly experiencing the bumpy road of life is unfortunately all too relatable.

The lyrics are painfully honest and brought to life by great chemistry between Swift and Bridgers. The song not only lets the audience in on a heartfelt personal journey but manages to keep it grounded in universal feelings.

Elsewhere, you’ll need your tissues ready for the tragic tale of ‘Forever Winter’. The song appears to tell of someone in deep depression and a friend desperately trying to help.

Thankfully, it isn’t all doom and gloom.

‘Message In A Bottle’ provides bubbly light relief, though it’s far from the strongest of the newbies, while ‘I Bet You Think About Me’ showcases the Brit Award winner’s top-of-the-range sarcasm and boasts Chris Stapleton as vocal support.

The latter is far from the best of the new additions, but it helps stop things from getting too heavy. If you want a better bubbly bop, look towards ‘The Very First Night’ to make you smile.

With reworks of Sugarland’s ‘Babe’, Little Big Town’s ‘Better Man’, and former charity single ‘Ronan’ included, punters are definitely getting their money’s worth.

Despite one or two minor missteps, Red (Taylor’s Version) confidently and comfortably surpasses the original. The re-run leaves intact what worked before and sharpens it up where appropriate.

The majority of the eight new tracks should have made the original release. Their writer continues to showcase her prolific form and leave her mark on the industry.