Red (Taylor’s Version) has dropped, and I might be okay, but I’m not fine at all. This album is the second installment of Taylor Swift’s Taylor’s Version project, in which she’s re-recording her first six albums in an attempt to own her entire discography. 

The album, released Nov. 12, has already made its mark as having the biggest sales week for any album in 2021 (Billboard), in addition to scoring a No. 1 on the Billboard 200 albums chart, making her the second woman with at least 10 No. 1s, after Barbra Streisand. 

The original album debuted nine years ago, and over the past near-decade it has solidified itself as the quintessential fall album, full of miserable and magical moments that highlight Swift’s songwriting genius. Now, nine years later, she’s managed to do something we never thought possible: making Red even more momentous, richer, and casually crueler. 

Speaking of casually crueler, let’s get it out of the way and talk about the highly anticipated track five — well, track 30. “All Too Well” is known as one of the greatest breakup songs of all time, being brutally honest and throwing every listener into their feels. This track has been a fan favorite for a while, but through the years it’s spun from heartbreak to something of great joy to Swifties. Honoring that love and commitment, Swift decided to include a track 30 on Taylor’s Version, the original 10-minute version of “All Too Well,” in addition to the regular re-record of the 2012 version.

This version of “All Too Well” has five minutes more of gut-wrenching lyrics than the original, all of which give insight to the relationship that left Swift a crumpled up piece of paper lying there. Double the length, double the anger, double masterpiece. In this new version, we hear Swift drop the f-bomb, describe the ex meeting her dad, and give another version of the ex skipping her birthday party.

This 10 minute version of the beloved song is the perfect ending to the album, an encore upon itself that represents so much more than heartbreak. It shows how far Swift has come, being able to express herself so freely and inviting people to see a more in depth look at a chapter of her own life. Likewise, we hear eight other From The Vault tracks, or tracks Swift believes should’ve been included on the original album, but weren’t for various reasons. 

Two of these vault tracks we’ve technically already heard: “Better Man” and “Babe.” “Better Man” was a track Taylor gave to the country band Little Big Town, and it was released in 2016 on their album “The Breaker.” On Red, “Better Man” seamlessly fits in with the likes of “All Too Well” and “Come Back… Be Here,” with twangy vocals singing about regret that are hallmarks of Swift’s country roots. 

“Babe” was given to the country trio band Sugarland, and was released in 2018 featuring Swift on background vocals. The version on Red has a hint of country but has bright vocals that contrast with the dark and stormy lyrics, in a way only Swift can pull off. 

The vault song that was the most anticipated by fans is “Nothing New,” a duet between Swift and Phoebe Bridgers, that perfectly portrays the fears of getting older, wondering “How can a person know everything at 18, but nothing at 22?” It’s a story that every female artist in the entertainment industry knows, wondering and waiting for the moment that they become replaced by some bright and shiny new artist. But this fear has yet to come true for Swift, who’s seeing one of the most successful years ever for any artist with the achievements of “evermore,” “Fearless (Taylor’s Version),” and now “Red (Taylor’s Version).”

Swift’s adult voice really shines through on the beloved 16 original tracks of the album, making it feel like everything — but nothing — has changed. “We Are Never Getting Back Together” has more spice to it (including the “weeeeheeee” that makes one feel like they’re on a roller coaster), and on “22,” it almost feels wrong to hear her matured voice singing that dance bop in a punchier way. “Holy Ground” still has the same special oomph to it, and “The Last Time” (which again features Gary Lightbody) still has the same sadness and slow build that solidifies itself as one of Swift’s best duets, ever.

A fan favorite of the re-records has been the vault song “Forever Winter,” yet another example of Swift’s stellar songwriting and expression. The bright trumpets and guitar strumming don’t necessarily match the heavy lyrics about mental health, but as Swift sings “Forever winter if you go,” amidst the bargaining and begging throughout the song, you can’t help but feel deeply moved in ways only she can cause. 

Two tracks on Red (Taylor’s Version) feature her songwriting bestie Ed Sheeran, “Run” and “Everything Has Changed.” The latter of the two is the one on the original album, but both were written on the first day they hung out together, in Swift’s backyard on her trampoline. Both tracks hold the same bright-eyed innocence that occurs at the beginning of a relationship, which are two islands of happiness on the album full of overwhelming heartbreak or the pitfalls of starting a relationship you know might be bad.

This heartbreak might no longer be applicable to Swift’s life a decade later, but the emotion in her voice is still present on tracks like “Sad Beautiful Tragic” and “Come Back… Be Here.” Only this time around, those tracks feel less sad and more like a lullaby, courtesy of her richer voice.

Tracks like “State of Grace” and “Treacherous” shine through on this re-record, both having subtle vocal differences from the originals that remind everyone that while she might have grown up, she’s still the same girl who created the album that has comforted and guided us through happy, free, confused, and lonely moments in our lives during the past few years. 

Red (Taylor’s Version) is a testament to how far Swift has come and how she’s still just getting started with us. After all, as stated so perfectly in “State of Grace,” this is the golden age of something good and right and real.