Red (Taylor Swift album)

Red is the fourth studio album by American singer-songwriter Taylor Swift. It was released on October 22, 2012, by Big Machine Records. The album's title refers to what Swift described as the tumultuous "red" emotions that were evoked from unhealthy romantic relationships she was experiencing during the album's conception.

Red
Studio album by
Taylor Swift
ReleasedOctober 22, 2012 (2012-10-22)
Recorded2011–2012
Genre
Length65:11
LabelBig Machine
Producer
Taylor Swift chronology
Speak Now World Tour – Live
(2011)		 Red
(2012)		 1989
(2014)
Singles from Red
  1. "We Are Never Ever Getting Back Together"
    Released: August 13, 2012
  2. "Begin Again"
    Released: October 1, 2012
  3. "I Knew You Were Trouble"
    Released: December 10, 2012
  4. "22"
    Released: March 12, 2013
  5. "Red"
    Released: June 21, 2013
  6. "Everything Has Changed"
    Released: July 16, 2013
  7. "The Last Time"
    Released: November 4, 2013[note 1]

Swift enlisted new producers in addition to longtime collaborator Nathan Chapman, with hopes of experimenting with newer sounds that would expand her artistry beyond her previous country pop style. The final product was a genre-spanning album that combines various subgenres of pop, country, rock, and electronic, such as arena rock, Britrock, dance-pop and dubstep. The songs on Red delve into the complex emotions ensued from lost romance. Swift and Big Machine Records promoted Red as a country album through appearances at country music award shows and song releases to country radio. Many critics disputed this categorization, calling Red a straightforward pop album.

The album was supported by seven singles, including the US Billboard Hot 100 number one "We Are Never Ever Getting Back Together" and international top ten hit "I Knew You Were Trouble". Swift promoted the album with the Red Tour (2013–14), the most successful country tour with $150 million grossed upon completion. Buoyed by extensive marketing, Red was a commercial success: it spent seven weeks atop the US Billboard 200, making Swift the first female artist, and the second act since the Beatles, to have three consecutive albums each spend at least six weeks at number one. The album was certified seven times platinum in the United States and also topped charts and received multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom.

Red was positively received for Swift's songwriting craftsmanship, but divided critics on its genre-spanning production: praise directed at Swift's versatility, and criticism targeted the inconsistency. It received nominations for Album of the Year at the 2013 Country Music Association Awards, and Album of the Year and Best Country Album at the 2014 Grammy Awards. Retrospectively, critics lauded Red for showcasing Swift's abilities as a songwriter, and described it as Swift's transitional record from country to mainstream pop, which laid the groundwork to the electropop sound of her next albums.[1] Red appeared in publications' lists of the best albums of the 2010s decade, and ranked at number 99 on the 2020 revision of Rolling Stone's 500 Greatest Albums of All Time.

Background

Singer-songwriter Taylor Swift released her third studio album Speak Now in October 2010. She wrote the album entirely by herself, as her statement to her critics that she was a capable songwriter.[2] Co-produced by Swift and her longtime collaborator Nathan Chapman, the album musically expands on Swift's characteristic country pop sound, with increasing elements of radio-friendly pop crossover, which had been evident on its predecessor Fearless (2008).[3] It incorporates various rock styles, including pop rock and bluegrass.[4] Speak Now was the fastest-selling digital album by a female artist, with 278,000 downloads in a week, earning Swift an entry in the 2010 Guinness World Records.[5] At the 2012 Grammy Awards, the album was nominated for Best Country Album, and its single "Mean" won Best Country Song and Best Country Solo Performance.[6]

Recording and production
Swift on the Speak Now World Tour in 2011, when she was in the midst of the songwriting for Red.

Promptly following the release of Speak Now, Swift planned to continue collaborating with Chapman for its follow-up.[7] By October 2011, Swift had written around 25 songs.[8] Executives at Swift's label at the time Big Machine congratulated her on having finalized the album within a short amount of one year's time.[9] Swift nevertheless felt that she had been repeating the same songwriting process for Speak Now, which diminished her creativity.[9] She therefore sought to collaborate with new producers in addition to Chapman to venture out of her "comfort zone".[9] While Speak Now was Swift's statement as a songwriter, she envisioned her fourth studio album as a statement of her "thirst for learning".[2] She subsequently reworked on the album while embarking on the Speak Now World Tour.[10]

Swift decided that her fourth studio album would not follow one coherent genre, aiming to experiment with as many styles as she could.[9] To this end, she recruited musicians whose works she admired, hoping to "learn from them".[10] Although Swift wanted to experiment with various musical styles, she—as a songwriter—prioritized the lyrics over the production, striving to capture her emotions as she had done on her previous songs. The songwriting would start with identifying an emotion to a song, and the production would follow.[11] On songs that Swift co-wrote with other writers, she first presented to them the feelings that she had been going through, played a rough demo on her guitar, and then asked for their idea on how to better convey the story.[7] Each song would have a different production corresponding to the emotion portrayed, resulting in an eclectic mix of styles.[9]

The first song that Swift wrote was "All Too Well", during a rehearsal of the Speak Now tour in 2010.[2] Having gone through a recent breakup, Swift began ad-libbing self-written lyrics about heartbreak on a four-chord guitar riff as her touring band spontaneously provided backing instruments.[2] A critical point when Swift was in the midst of the recording sessions with Chapman was the song "Red", on which her creativity "started wandering to all the places [she] could go".[7] Big Machine's president Scott Borchetta overheard the original production by Chapman and suggested a more pop-oriented sound.[12] After several failed attempts at the desired sound, Swift asked Borchetta to recruit Swedish producer Max Martin, whose chart-topping pop tunes had intrigued Swift by "how [they] can just land a chorus".[7][12] Martin and his frequent collaborator Shellback produced three songs on the album: "22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together", all of which are characterized by the pair's trademark synthesizers and electronic production.[12] The final version of "Red" was produced by Swift, Chapman, and Dann Huff.[13] Huff, who had produced for several country artists, worked with Swift and Chapman on two other songs: "Starlight" and "Begin Again".[10][13]

Another new collaborator was Jeff Bhasker, whose production of the song "We Are Young" (2011) by indie band Fun captivated Swift by its drum instrumentation.[9][14] Bhasker produced two songs: "Holy Ground" and "The Lucky One".[13] Swift worked with Butch Walker on the song "Everything Has Changed", a duet with English singer Ed Sheeran.[10] She admired Walker for "how he creates this really organic but emotionally charged music".[9] The song "Treacherous" was produced by Dan Wilson, whose works with his band Semisonic served as an inspiration for Swift.[10][14] Swift enlisted musicians Gary Lightbody and Jacknife Lee of the indie band Snow Patrol, saying, "they can just hit you when they are singing about loss or longing."[7] Lee produced the song "The Last Time", on which Lightbody is as a featured vocalist.[10] Swift wrote more than 30 songs for the album, of which 16 made the final cut of the standard edition.[15] Of the 16 tracks, Swift was the sole writer of 10 and co-writer of the remaining six.[14]

Music and lyrics

Composition
Joni Mitchell, specifically her 1971 album Blue, was an inspiration for Swift's songwriting on Red.

The final 16-track version of Red is a genre-spanning record, departing from the predominantly country pop sound of Swift's previous albums.[2][16] Swift explained the diverse musical styles as a "metaphor for how messy a real breakup is" and described it as her "only true breakup album".[2] Critics are dubious on the genre that best describes the album. NPR commented that the album's influences range from Swift's well-known country sound to new genres such as dance-pop, dubstep and Britrock.[16] Rolling Stone reviewed the album under their column for country music,[17] while AllMusic called it a straightforward pop album that shows no trace of country.[18] In another review, Billboard viewed it as a crossover album that reminisces Canadian singer-songwriter Shania Twain's 2002 country-pop crossover Up![19]

The first half of Red consists of back-and-forth country-oriented and pop songs sandwiched in-between each other.[19][20] The songs that critics characterized as straight-up pop are "I Knew You Were Trouble", "22", and "We Are Never Ever Getting Back Together", all of which were produced by Swedish pop producers Max Martin and Shellback.[20] Some songs on Red expand on the rock stylings of Speak Now, such as "State of Grace" and "Holy Ground", which music professor James E. Perone found reminiscent of 1980s arena rock.[21] Others, such as "I Almost Do", "Stay Stay Stay", and "Sad Beautiful Tragic" are identical to the country pop sound of Swift's previous songs.[16][22]

Lyrics and themes

While the album's music transcends Swift's country roots, her storytelling ability, nurtured by her country background, remain intact in her songwriting.[16][23] The album's title refers to what Swift termed as the tumultuous "red" emotions evoked by unhealthy romantic relationships that she was experiencing during the album's conception.[24] She described the emotions "spanning from intense love, intense frustration, jealousy, confusion" as extreme feelings that "there's nothing in between. There's nothing beige about any of those feelings".[24] The lyrics delve into these feelings, displaying a full range of emotional intense.[25] Pitchfork summed up the album theme as disappearances, from lost romance to lost friendship and Swift's old country sounds; this is echoed in the album cover, on which Swift is looking downward, and her face is seen partially covered by a shadow from her brimmed hat.[26] Critics noted the similarities between the cover and that of Canadian singer-songwriter Joni Mitchell's 1971 album Blue,[26][27] which was an inspiration for Swift's songwriting on Red.[28]

Compared to the fantasy-driven narratives with happy endings of Swift's previous songs, Red realizes the uneasy reality where the most seemingly enduring relationships can painfully end.[26] Critics observed a sign of maturity in Swift's perspectives, and recognized the album's additional themes ranging from wide-eyed optimism, to insecurity about one's perceived image, and the pressure of stardom.[16][18] Hints of sex, a theme Swift had not written about, are also apparent on the album, which coincided with Swift's outgrowing public image as an innocent sweetheart.[16][note 2] The A.V. Club acknowledged that the songs present a deeper observation, but did not appreciate that the Red songs demonize Swift's ex-lovers.[29] NPR, meanwhile, noted that the album portrays Swift at her most vulnerable and mature, for recognizing her coming-of-age in "plaintive, reflective tones".[16] Billboard similarly noticed the album's portrayal of maturity through vulnerability, "where she most effectively lays bare her emotional life in all its messy complexity".[25]

Songs

Red opens with "State of Grace", an arena rock song featuring chiming guitars and erupting drums with lyrics about the tumultuous feelings evoked from first sights of love.[26][30] James E. Perone found the song reminiscent of 1980s rock and commented that it sets the album's overall theme of the complex feelings ensued from lost romance.[31] The title track, "Red", incorporates acoustic banjo and guitars, and electronic vocal manipulation.[32] The lyrics in the refrain correspond different stages of love to different colors, such as "losing him" to blue, "missing him" to dark gray, and "loving him" to red.[33] Spin described the track as soft rock,[32] while Taste of Country felt that the song straddles the boundary between country and mainstream pop.[22]

The third track, "Treacherous", begins with a slow-tempo guitar strum and percussion, which builds up for a climatic finale.[19][26] On the song, Swift sings about how she would fight to protect a relationship that is dangerous.[22] Regarded by critics as Swift's most radical sonic innovation on the album, "I Knew You Were Trouble" begins with a pop rock production featuring acoustic guitar before cascading into a dubstep-tinged refrain backed by aggressive synthesizers.[19][26][34] Its lyrics find Swift blaming herself for a toxic relationship that has ended.[20] Swift commented the song was a completely new style for her that she thought "people were going to be freaked out over".[35] Critic Jon Caramanica from The New York Times described the dubstep production as "a wrecking ball, changing the course not just of the song but also of Ms. Swift's career".[20]

"All Too Well" is widely regarded by critics as the album's emotional centerpiece.[2][26][36] Featuring a slow-burning production blending country, folk and soft rock, the song chronicles the heartache that Swift goes through.[19] It contains vivid details on the timeline of a lost relationship, from the peak of romance to the lingering memories after it has ended.[19][37] The imagery of Swift's scarf left in a drawer in the lyrics became a symbol associated with the song; critic Rob Sheffield of Rolling Stone remarked: "No other song does such a stellar job of showing off her ability to blow up a trivial little detail into a legendary heartache."[38][39] It is followed by "22", a straight-up pop song featuring pulsing synthesizers that recalls a 1980s sound.[20][40] The lyrics of "22" celebrate the joys of being young and confident regardless of the fear of aging, while acknowledging the heartache that Swift and her friends endured in the past.[16][23]

"I Almost Do" is a country pop and soft rock ballad featuring gentle guitar strums, with lyrics about the internal struggle to whether get back with an ex-lover or move on.[19][36] Swift explained that the song is about "the conflict that you feel when you want to take someone back, and you want to give it another try, but you know you can't".[41] It is followed by "We Are Never Ever Getting Back Together", which finds Swift promising to her ex-lover that they will never reconcile over their broken relationship.[19] The song is a gleeful dance-pop tune with pulsing synthesizers, processed guitar sounds, and hip hop-influenced bass drums.[18][42]

"Stay Stay Stay" is a fast-tempo song instrumented by a toy piano, a ukulele, a mandolin, and hand claps with lyrics about Swift and her lover trying to make up after a fight.[20][37] It is proceeded by "The Last Time", a duet with Gary Lightbody.[42] "The Last Time" features a melancholic production backed by string instruments, which Perone drew comparisons to the music of late-1970s and early-1980s rock bands, but with a muted texture.[43] Both Swift and Lightbody provide lead vocals; Lightbody sings about his perspectives on a failing but enduring relationship in the first verse, and Swift presents her view in the second verse.[43] The refrain is backed by strings and brass, intensifying the emotional tension between the two characters.[44]

On "Holy Ground", Swift reminisces about a lover who has gone and describes the ground on which they stood together as "holy ground", over an uptempo drum beat and chugging guitars.[43] Perone characterized the song as country rock that expands on Swift's country pop sound,[43] while Slant Magazine described it as heartland rock.[37] The next track, "Sad Beautiful Tragic", is a melancholic slow-tempo folk-oriented waltz about a doomed love affair.[19][22] The soft rock track "The Lucky One" is a cautionary tale about the perils of celebrity.[16][45] Narrated from third-person perspective, it references the story of a successful singer who "chose the rose garden over Madison Square".[19][37]

"Everything Has Changed" is a stripped-back guitar ballad, on which Swift and Ed Sheeran sing about wanting to get acquainted with a new romance.[19][46] "Starlight" is an uptempo dance-pop song with lyrics describing the romance of Robert F. Kennedy and Ethel Kennedy.[17][19][37] The album's final track, "Begin Again", is a gentle country song.[19] According to Swift, the song is about "when you've gotten through a really bad relationship and you finally dust yourself off and go on that first date after a horrible breakup, and the vulnerability that goes along with all that."[36] Perone noted that Red concludes with a straight-up country song after exploring other genres, which confirmed the importance of Swift's country roots.[47]

The deluxe edition of Red includes three extra original songs—"The Moment I Knew", "Come Back... Be Here", and" Girl at Home"; and three alternate versions of three songs on the standard edition—"Treacherous", "Red", and "State of Grace".[48][49] "The Moment I Knew" narrates a story of a character's 21st birthday when, despite a Christmas theme and good friends, her boyfriend does not show up, signaling a failing relationship. "Come Back... Be Here" was produced by Dan Wilson, who produced "Treacherous". The lyrics describe a long-distance relationship with no signs of whether or not it could continue past a two-day time frame. The final, "Girl at Home", is about a girl's feelings when her boyfriend is out and flirting with other women.[48]

Release and promotion

Marketing
Swift on a promotional appearance for Red on Good Morning America, October 22, 2012

To bolster album sales, Swift and Big Machine implemented an extensive marketing plan.[50] On August 13, 2012, Swift gave a live webchat via Google Hangouts, through which she announced the details of Red, including the release date and cover, and answered fan questions.[24][51] She concurrently released the lead single from Red, "We Are Never Ever Getting Back Together",[24] which topped the US Billboard Hot 100 for three weeks.[52] An alternate version was released to US country radio.[53] "We Are Never Ever Getting Back Together" peaked at number one on the Billboard Hot Country Songs for nine weeks.[54]

On September 22, 2012, Swift announced that she would preview one song from Red each week on Good Morning America, as part of a four-week release countdown from September 24 until the album's release week.[55] The four songs—"Begin Again",[56] "Red",[57] "I Knew You Were Trouble",[58] and "State of Grace"[59]—were also released for digital download ahead of the album's release. "Begin Again" was later released to US country radio as an official single on October 1, 2012.[60][61] The single peaked at number seven on the US Billboard Hot 100.[62]

Both the standard and deluxe versions of Red were released on October 22, 2012.[50] In the US, the standard edition was available on digital and physical formats, and the deluxe edition containing six extra tracks was available exclusively for physical purchase at Target.[50] Swift also had tie-ins with corporations including Keds, Wal-Mart and Papa John's.[50] A day after the release, Swift began a cycle of television appearances, starting with a live performance on Good Morning America; pre-recorded television appearances on shows including The Ellen DeGeneres Show and 20/20 subsequently followed.[50] She made many appearances on radio, giving interviews to as many as 72 stations, mostly in the US, and a few international outlets from South Africa, New Zealand, Spain, Germany, and Mexico.[50] She also performed at awards shows including the MTV Video Music Awards,[63] the Country Music Association Awards,[64] and the American Music Awards.[65]

Red was further promoted by a string of singles. "I Knew You Were Trouble" was released to pop radio as an official single on November 27, 2012.[66] It was a big hit on pop radio, peaking atop the Billboard Mainstream Top 40/Pop Songs for seven weeks.[35] The single peaked at number two on the Billboard Hot 100[67] and was a top ten chart hit in Oceania and Europe.[68] "22" was released to pop radio in March 2013,[69] and "Red" was released to country radio in June 2013.[70] The singles peaked at number 20 and number six on the Billboard Hot 100, respectively.[71] Other singles were "Everything Has Changed"[72] and "The Last Time"; the latter had a limited release to UK radio.[73]

While Swift and Big Machine promoted Red as a country album, the album's diverse musical styles sparked a media debate over Swift's status as a country singer-songwriter.[53][74] Music magazine Spin argued that it was hard to categorize Red, given that the genre country itself is "the most dynamically vibrant pop genre of the last decade or so".[75] Others noted that Swift had always been more pop-oriented and country, and described Red as her inevitable move to mainstream pop.[76] Swift responded in an interview with the Wall Street Journal that country music "feels like home", and dismissed the debate regarding her country status: "I leave the genre labeling to other people."[76]

Touring
Main article: The Red Tour
Swift on the Red Tour, the highest-grossing country tour of all time

Swift announced the album's accompanying world tour, the Red Tour, shortly after the album's release.[77] On October 26, 2012, she announced the first 58 dates for the North American leg, kicking off in Omaha, Nebraska, and visiting Canada and the US throughout the spring and summer of 2013 before concluding in Nashville, Tennessee in September.[78] To support a high demand, Swift held the concerts mostly in sports arenas and stadiums.[77] After the 58-date North American leg, the Red Tour visited Australasia,[79] the UK,[80] and Asia.[81]

The Red Tour was a box office success. The four shows at Staples Center in Los Angeles extended Swift's total number of sold-out shows to 11, making her the solo artist with the most number of sold-out shows at Staples Center.[82] She was the first female artist to sell out Sydney's Allianz Stadium since its opening in 1988.[83] The tickets for the Shanghai show sold out within 60 seconds, setting the record for the fastest sellout in China.[81] When it ended in June 2014, the tour grossed $150.2 million and became the highest-grossing country tour of all time.[84]

Sales performance

Red was a commercial success.[85] In the US, Red debuted at number one on the Billboard 200 with first-week sales of 1.21 million copies.[86] It was Swift's third consecutive Billboard 200 number one.[86] It claimed the biggest single-week sales of 2012, and surpassed Garth Brooks's 1998 album Double Life as the fastest-selling country album.[87] With this achievement, Swift was recognized in the Guinness World Records as the "First Solo Female with Two Million-Selling Weeks on the U.S. Albums Chart"; her previous studio album Speak Now (2010) also sold one million copies in its debut week.[88]

Red spent seven non-consecutive weeks at number one on the Billboard 200.[89] This made Swift the first female artist, and the first artist since the Beatles, to have three consecutive studio albums each spend six or more weeks atop the chart (her previous studio albums Fearless and Speak Now respectively spent 11 weeks in 2008–09 and six weeks in 2010–11).[90] Red also marked the third time that Swift peaked at number one in the last week before Christmas, which is traditionally the most competitive week of the year (she also achieved the feat with Fearless and Speak Now).[91]

The album was a chart success in the English-speaking world, peaking at number one on charts in Australia,[92] Canada,[93] New Zealand,[94] Ireland,[95] and Scotland.[96] It was Swift's first number one on the UK Albums Chart.[97] In other regions, Red peaked within the top five on charts of countries including Austria,[98] Germany,[99] Italy,[100] Mexico,[101] Norway,[102] Japan,[103] South Africa,[104] and Spain.[105] Less than a month after its release, Red sold 2.8 million copies worldwide.[85] In the US, Red was the second-highest-selling album of 2012 after two months of sales, selling 3.11 million copies.[106] Globally, Red the second-best-selling album of 2012, with sales of 5.2 million copies.[107]

By August 2014, the album had sold over eight million copies.[108] As of October 2020, Red's US sales stood at 4.49 million.[109] The album was certified seven times platinum by the Recording Industry Association of America (RIAA) for exceeding seven million album-equivalent units.[110] It also received multi-platinum certifications in Australia and Canada (4× platinum),[111][112] New Zealand and the UK (2× platinum).[113][114]

Critical reception
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?6.6/10[115]
Metacritic77/100[116]
Review scores
SourceRating
AllMusic[18]
The A.V. ClubB+[29]
The Daily Telegraph[117]
Entertainment WeeklyB+[40]
The Guardian[118]
Los Angeles Times[45]
MSN Music (Expert Witness)A−[119]
Pitchfork9.0/10[26]
Rolling Stone[17]
Spin8/10[75]

Red received generally positive reviews from contemporary critics, most of whom commended Swift's songwriting.[50][120] Jon Dolan from Rolling Stone lauded Swift's autobiographical lyrics resulting in songs that linger on like "tattoos".[17] In a retrospective review published 2019, Pitchfork's Brad Nelson described the album as Swift's fully-realized effort as a versatile songwriter, who explored her deeper observations and perspectives.[26]

The album's genre-spanning production polarized critics. On a positive side, Billboard praised Red's radio-friendly tunes that catapulted Swift to even higher fame.[19] Stephen Thomas Erlewine from AllMusic said although Swift's lyrics about romantic relationships and social anxiety sound somewhat clumsy, they add substance to "the pristine pop confections", which makes Red a compelling album.[18] Spin's Michael Robbins characterized the album as a record "full of adult pleasures",[75] and The Guardian's Kate Mossman described it as "one of the finest fantasies pop music has ever constructed".[118] Writing for the Los Angeles Times, Randall Roberts was impressed by the different musical styles as she "strives for something much more grand and accomplished".[45] Jon Caramanica from The New York Times agreed, calling the production a striking feature of Red which proves that Swift is more of a pop star than a country singer.[20]

Some reviewers were more reserved in their praise. Jonathan Keefe from Slant Magazine wrote that Red is not consistent enough to be considered "truly great", but some of the album's are "career-best work for Swift, who now sounds like the pop star she was destined to be all along".[37] Michael Gallucci from The A.V. Club found the music far more ambitious than Swift's previous records, but overall a "complicated and sometimes unfocused" album.[29] Writing for MSN Music, Robert Christgau viewed Red as an inferior version of the Magnetic Fields' 1999 album 69 Love Songs, but appreciated Swift's efforts to expand her sonic territory.[119] The Daily Telegraph's James Lachno found the genre-spanning production bloated, and commented that the album would be better had Swift fully embraced mainstream pop and abandoned her old country sound.[117]

Accolades

Red received accolades in terms of both critical and popular recognition. Mainstream publications featuring Red on their lists of the best albums of 2012 included Billboard,[121] The Daily Beast,[122] The Guardian,[123] Idolator,[124] MTV News,[125] Newsday,[126] PopMatters,[127] Rolling Stone,[128] Spin,[129] and Stereogum.[130] Critic Jon Caramanica ranked the album second on his list of 2012's best albums for The New York Times.[131] Red placed at number 17 on the 2012 Pazz & Jop, an annual mass critics' poll conducted by The Village Voice.[132] The album was proclaimed as one of 2012's best country albums by Spin.[133]

At the 55th Grammy Awards in 2014, Red was nominated for Album of the Year and Best Country Album.[134] The album received nominations at US country music awards, including two nominations for Album of the Year at the 2013 Country Music Association Awards[135] and the 2013 Academy of Country Music Awards.[136] It won Favorite Country Album at the 2013 American Music Awards,[137] Top Album and Top Country Album at the 2013 Billboard Music Awards,[138] Top Selling Album at the 2013 Canadian Country Music Association Awards,[139] and Top Selling International Album of the Year at the 2014 Country Music Awards of Australia.[140]

Legacy

Red appeared on many publications' lists of the best albums of the 2010s decade.[141] It featured on Atwood Magazine's unranked list,[142] and was included on The Independent[143] and Pitchfork.[144] It was ranked within the top 10 by Uproxx (three),[145] Billboard (four),[146] Rolling Stone (four),[147] the Tampa Bay Times (nine),[148] and Stereogum (10).[149] Taste of Country ranked Red as one of the best country albums of the decade.[150] In 2020, Rolling Stone ranked Red at number 99 on their revised list of the 500 Greatest Albums of All Time.[151]

The genre-spanning production blending country and pop inspired Swift to figure her new sound—mainstream pop.[152] The successful pop radio singles, specifically "I Knew You Were Trouble", served as a "signal flare" for Swift to collaborate again with pop producers Max Martin and Shellback, known for radio-friendly chart hits.[153][154] Upon reading reviews calling Red an inconsistent album, Swift fully embraced the electropop sound, transcending her marketed country image.[155] Its pop production laid the groundwork to the upbeat pop sound of her next albums: its follow-up—1989 (2014)—which Swift described as her "first documented, official pop album", Reputation (2017), and Lover (2019).[156]

Track listing
Red — Standard edition[157]
No.TitleWriter(s)Producer(s)Length
1."State of Grace"Taylor Swift
4:55
2."Red"Swift
3:43
3."Treacherous"
Wilson4:02
4."I Knew You Were Trouble"
  • Martin
  • Shellback
3:39
5."All Too Well"
  • Swift
  • Chapman
5:29
6."22"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:52
7."I Almost Do"Swift
  • Swift
  • Chapman
4:04
8."We Are Never Ever Getting Back Together"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:13
9."Stay Stay Stay"Swift
  • Swift
  • Chapman
3:25
10."The Last Time" (featuring Gary Lightbody)
Lee4:59
11."Holy Ground"SwiftJeff Bhasker3:22
12."Sad Beautiful Tragic"Swift
  • Swift
  • Chapman
4:44
13."The Lucky One"SwiftBhasker4:00
14."Everything Has Changed" (featuring Ed Sheeran)
  • Swift
  • Sheeran
Butch Walker4:05
15."Starlight"Swift
  • Swift
  • Chapman
  • Huff
3:40
16."Begin Again"Swift
  • Swift
  • Chapman
  • Huff
3:57
Total length:65:09
Red — Deluxe edition bonus tracks[49]
No.TitleWriter(s)Producer(s)Length
17."The Moment I Knew"Swift
  • Swift
  • Chapman
4:46
18."Come Back... Be Here"
  • Swift
  • Wilson
Wilson3:43
19."Girl at Home"Swift
  • Swift
  • Chapman
3:40
20."Treacherous" (original demo recording)
  • Swift
  • Wilson
Wilson4:00
21."Red" (original demo recording)Swift
  • Swift
  • Chapman
3:47
22."State of Grace" (acoustic version)Swift
  • Swift
  • Chapman
5:23
Total length:90:28
Red — French limited edition (DVD) – Live on the Seine
No.TitleWriter(s)Length
1."Red"Swift 
2."You Belong with Me"
  • Swift
  • Rose
 
3."22"
  • Swift
  • Martin
  • Shellback
 
4."I Knew You Were Trouble"
  • Swift
  • Martin
  • Shellback
 
5."Love Story"Swift 
6."We Are Never Ever Getting Back Together"
  • Swift
  • Martin
  • Shellback
 

Notes

  • "I Knew You Were Trouble" is stylized as "I Knew You Were Trouble.".

Personnel

Credits are adapted from AllMusic.[13]

Musicians

  • Taylor Swift – acoustic guitar, lead vocals, background vocals
  • Nathan Chapman – bass guitar, drums, acoustic guitar, electric guitar, keyboards, mandolin, percussion, piano, soloist, synthesizer, background vocals
  • Peggy Baldwin – cello
  • Brett Banducci – viola
  • Jeff Bhasker – bass guitar, keyboards, piano, background vocals
  • J. Bonilla – drums, percussion
  • Nick Buda – drums
  • Tom Bukovac – electric guitar
  • David Campbell – string arrangements, conducting
  • Daphne Chen – violin
  • Lauren Chipman – viola
  • Eric Darken – percussion
  • Marcia Dickstein – harp
  • Richard Dodd – cello
  • Paul Franklin – steel guitar
  • Eric Gorfain – violin
  • Dann Huff – bouzouki, electric guitar, high strung guitar, mandolin
  • Charlie Judge – accordion, Hammond B3, piano, upright piano, strings, synthaxe, synthesizer
  • Gina Kronstadt – violin
  • John Krovoza – cello
  • Marisa Kuney – violin
  • Jacknife Lee – bass guitar, guitar, keyboards
  • Max Martin – keyboards
  • Grant Mickelson – guitar
  • Anders Mouridsen – guitar
  • Jamie Muhoberac – cello
  • Neli Nikolaeva – violin
  • Owen Pallett – conductor, orchestration
  • Radu Pieptea – violin
  • Simeon Pillich – contrabass
  • Wes Precourt – violin
  • Bill Rieflin – drums
  • Shellback – bass guitar, guitar, acoustic guitar, electric guitar, keyboards
  • Jake Sinclair – bass guitar, background vocals
  • Jimmie Lee Sloas – bass guitar
  • Aaron Sterling – drums
  • Jeff Takiguchi – contrabass
  • Andy Thompson – guitar, electric piano
  • Ilya Toshinsky – mandolin
  • Butch Walker – drums, guitar, keyboards, percussion, background vocals
  • Patrick Warren – string arrangements
  • Amy Wickman – violin
  • Dan Wilson – bass guitar, electric guitar, piano, background vocals
  • Rodney Wirtz – violin
  • Jonathan Yudkin – fiddle, violin
  • Caitlin Evanson – background vocals
  • Elizabeth Huett – background vocals ("The Moment I Knew")
  • Tyler Sam Johnson – background vocals
  • Gary Lightbody – featured artist, background vocals
  • Ciara O'Leary – background vocals
  • Ed Sheeran – featured artist

Production

  • Taylor Swift – songwriting, producer
  • Nathan Chapman – producer, engineer
  • Joe Baldridge – engineer
  • Sam Bell – engineer
  • Matt Bishop – engineer
  • Delbert Bowers – assistant
  • Chad Carlson – engineer
  • Tom Coyne – mastering
  • Leland Elliott – assistant
  • Jeff Bhasker – producer
  • Eric Eylands – assistant
  • Greg Fuess – assistant
  • Chris Galland – assistant
  • Serban Ghenea – mixing
  • Matty Green – assistant
  • John Hanes – mixing engineer
  • Sam Holland – engineer
  • Dann Huff – producer
  • David Huff – digital editing
  • Michael Ilbert – engineer
  • Tyler Sam Johnson – guitar engineer
  • Jacknife Lee – engineer, producer, songwriting, programming
  • Gary Lightbody – songwriting
  • Steve Marcantonio – engineer
  • Manny Marroquin – mixing
  • Max Martin – producer, songwriting
  • Seth Morton – assistant
  • Justin Niebank – mixing
  • Chris Owens – assistant
  • John Rausch – engineer
  • Matt Rausch – engineer
  • Tim Roberts – assistant
  • Eric Robinson – engineer
  • Liz Rose – songwriting
  • Pawel Sek – engineer
  • Shellback – producer, songwriting, programming
  • Ed Sheeran – songwriting
  • Jake Sinclair – engineer
  • Mark "Spike" Stent – mixing
  • Andy Thompson – engineer
  • Butch Walker – producer
  • Hank Williams – mastering
  • Brian David Willis – engineer
  • Dan Wilson – producer, songwriting

Charts

Weekly charts
Chart (2012) Peak
position
Australian Albums (ARIA)[92] 1
Australian Country Albums (ARIA)[158] 1
Austrian Albums (Ö3 Austria)[98] 3
Belgian Albums (Ultratop Flanders)[159] 2
Belgian Albums (Ultratop Wallonia)[160] 25
Canadian Albums (Billboard)[93] 1
Croatian Albums (HDU)[161] 27
Danish Albums (Hitlisten)[162] 3
Dutch Albums (Album Top 100)[163] 7
Finnish Albums (Suomen virallinen lista)[164] 49
French Albums (SNEP)[165] 30
German Albums (Offizielle Top 100)[99] 5
Irish Albums (IRMA)[95] 1
Italian Albums (FIMI)[100] 3
Japanese Albums (Oricon)[103] 3
Mexican Albums (Top 100 Mexico)[101] 4
New Zealand Albums (RMNZ)[94] 1
Norwegian Albums (VG-lista)[102] 2
Portuguese Albums (AFP)[166] 8
Scottish Albums (OCC)[96] 1
South African Albums (RISA)[104] 4
South Korean Albums (Gaon)[167] 12
South Korean International Albums (Gaon)[168] 1
Spanish Albums (PROMUSICAE)[105] 4
Swedish Albums (Sverigetopplistan)[169] 8
Swiss Albums (Schweizer Hitparade)[170] 9
UK Albums (OCC)[171] 1
US Billboard 200[172] 1
US Top Country Albums (Billboard)[173] 1

Certifications
Region CertificationCertified units/sales
Australia (ARIA)[111] 4× Platinum 280,000^
Brazil (Pro-Música Brasil)[209] Gold 20,000*
Canada (Music Canada)[112] 4× Platinum 320,000^
Denmark (IFPI Denmark)[210] Gold 10,000
France (SNEP)[211] Gold 50,000
Germany (BVMI)[212] Gold 100,000^
Ireland (IRMA)[213] Platinum 15,000^
Japan (RIAJ)[214] Platinum 256,442[note 3]
Japan (RIAJ)[217]
Digital download 		Gold 100,000*
Mexico (AMPROFON)[218] Gold 30,000^
New Zealand (RMNZ)[113] 2× Platinum 30,000^
Poland (ZPAV)[219] Gold 10,000*
Singapore (RIAS)[220] Platinum 10,000*
United Kingdom (BPI)[114] 2× Platinum 600,081[note 4]
United States (RIAA)[110] 7× Platinum 4,490,000[note 5]

*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone

Release history
Country Date Edition(s) Label
Canada[222][223] October 22, 2012
  • Standard
  • deluxe
 Universal Music
India[224] Standard
New Zealand[225]
  • Standard
  • deluxe
United Kingdom[226][227] Mercury Records
United States[228][229][230][231]
  • Standard
  • deluxe
 Big Machine Records
December 4, 2012 Vinyl LP
February 5, 2013 Karaoke CD+G/DVD
Italy[232][233] October 23, 2012
  • Standard
  • deluxe
 Universal Music
Australia[234]
Spain[235][236]
Japan[237][238] October 24, 2012
Netherlands[239][240] October 25, 2012
Germany[241][242] October 26, 2012
Thailand[243][244] October 27, 2012 Deluxe
October 31, 2012 Standard
France[245][246][247] November 5, 2012
  • Standard
  • deluxe
 Mercury Records
April 22, 2013 Limited CD/DVD
Philippines[248] November 5, 2012
  • Standard
  • deluxe
 MCA Music Inc.
Indonesia[249][250] Standard Universal Music
February 28, 2013 Deluxe
China[251][252] December 31, 2012 Standard Universal Music
May 25, 2013 Deluxe

See also

References

Notes
  1. Released to UK radio only
  2. The media had described Swift as "America's Sweetheart" for her wholesome girl next door image. As she became a household name in popular music, her dating history with a series of well-known male celebrities became a subject of tabloid scrutiny and began to diminish that image.[20]
  3. Japanese sales figures for Red as of December 2013[215][216]
  4. UK sales figures for Red as of November 2017[221]
  5. US sales figures for Red as of October 2020[109]

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