Given that this is her tenth studio album and she has become more than just an artist but an enigma and brand, almost separate to the name Taylor. In the pandemic, Swift released her two phenomenal albums folklore and evermore that saw her dive into different sounds and new genres, arm in arm with The National and Bon Iver. Given her ability to pivot and reinvent, there is a huge amount of mystery and intrigue around every release – no more so than for Midnights. This record, released blind in its entirety is a concept record – on the 13 songs, Swift creates “a collection of music written in the middle of the night, a journey through terrors and sweet dreams.” The thoughts are no huge departure from what has kept the songwriter up at night for her previous nine albums, but there is an increasing degree of vulnerability into Swift’s own psyche, rather than just drawing upon the emotions caused by her break-ups, in isolation.

On the record, Swift – for the first time – recorded the entire project with her long-time collaborator, Jack Antonoff and his production is evident throughout, as the duo explore moodier tones and sounds for her musings at this late hour, exploring interesting and sounds and atmospheres – from the moody ‘Midnight Rain’ to the celestial ‘Labyrinth’ and a return to her pop sensibilities on ‘Anti-Hero.’ More than anything, the record is immense fun with many references to her earlier tracks – ‘Vigilante Shit’ could have fallen off the pages of Reputation, ‘Sweet Nothings’ from Lover and ‘Snow on the Beach’ from evermore. Midnights is a sonic indulgence from start to finish, a record to live with and a love letter to fans – none more so than on Mastermind, where the line, “I swear/I’m only cryptic and Machiavellian ’cause I care,” could be the leading line for Swift and her brand itself. It will be interesting to see in which direction Swift will now pivot, and whether this is the culmination of her work with Antonoff or just the stepping point to further entire collaborations.

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Taylor Swift has taken to Instagram to share the news that she has written a new song for the forthcoming movie adaptation of ‘Where the Crawdads Sing.’ Of the track she shares, ‘Where The Crawdads Sing is a book I got absolutely lost in when I read it years ago. As soon as I heard there was a film in the works starring the incredible @daisyedgarjones and produced by the brilliant @reesewitherspoon, I knew I wanted to be a part of it from the musical side. I wrote the song “Carolina” alone and asked my friend @aarondessner to produce it. I wanted to create something haunting and ethereal to match this mesmerizing story.’

Adapted from the best-selling novel written by Delia Owens, ‘Where the Crawdads Sing’ is a captivating mystery. The book tells the story of Kya, an abandoned girl who raised herself to adulthood in the dangerous marshlands of North Carolina. For years, rumors of the “Marsh Girl” haunted Barkley Cove, isolating the sharp and resilient Kya from her community. Drawn to two young men from town, Kya opens herself to a new and startling world; but when one of them is found dead, she is immediately cast by the community as the main suspect. As the case unfolds, the verdict as to what actually happened becomes increasingly unclear, threatening to reveal the many secrets that lay within the marsh. Where the Crawdads Sing stars Daisy Edgar-Jones (Normal People) as “Kya Clark,” Taylor John Smith (Sharp Objects) as “Tate Walker,” Harris Dickinson (The King’s Man) as “Chase Andrews,” Michael Hyatt (Snowfall) as “Mabel,” Sterling Macer, Jr. (Double Down) as “Jumpin’,” and David Strathairn (Nomadland) as “Tom Milton.” Olivia Newman (First Match) directs the screenplay by Lucy Alibar (Beasts of the Southern Wild) based upon the novel by Delia Owens. The 3000 Pictures film is being produced by Reese Witherspoon and Lauren Neustadter.

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When Taylor Swift announced that the second instalment of her re-recording project would be Red (Taylor’s Version) – first released in 2012 – she wrote ‘I’ve always said that the world is a different place for the heartbroken. It moves on a different axis, at a different speed. Time skips backwards and forwards fleetingly… Musically and lyrically, Red resembled a heartbroken person. It was all over the place, a fractured mosaic of feeling that somehow all fit together in the end.’ Over the course of 30 songs on Red (Taylor’s Version), Swift paints a picture of heartbreak like no other. It’s an honest and devastating portrayal of first love lost and was the first time that Swift showed her true intention to move across into pop, infusing elements of rock and pop into Red. Taylor’s Version lays testament to that crossover path with collaborations with major country artist Chris Stapleton but also with longtime friend and pop icon Ed Sheeran, alongside Phoebe Bridges. 

Taylor’s Version of Red, much like her version of Fearless does not change up much of the original record, but then the re-recording project was never intended to. Instead, Red (Taylor’s Version) is more polished, her vocal is stronger and richer (most notably on ‘We Are Never Getting Back Together’ and ’22’) and crisper and the entirety of the project – all 30 songs, including that 10 minute version of All Too Well – feels utterly compelling, a full portrayal of heartache and heartbreak.

It is the ‘From the Vault’ songs though that hold the most excitement for Swift fans today – 10 brand new tracks to add to Red, to round out the full picture. Of course, a few have already seen the light of day – ‘Ronan’ was released as a charity single, Little Big Town recorded a version of ‘Better Man’ and Sugarland a version of ‘Babe,’ the former winning a Grammy – and it is small wonder that they weren’t included in the original version, giving so much more gravitas and emotion when sung by the original songwriter. Beginning the unheard string of tracks is ‘Nothing New,’ a stunningly vulnerable collaboration with Phoebe Bridgers, co-produced with Aaron Dessner. ‘I’ve had too much to drink tonight / And I know it’s sad but this is what I think about / And I wake up in the middle of the night / It’s like I can feel time moving / How can a person know everything at eighteen / But nothing at twenty-two? / And will you still want me when I’m nothing new?’ It’s a plucking, dazzlingly lyrical moment, as is later track ‘Forever Winter’ – a beautifully relatable track about the highs and lows of youth, accompanied by a wondrous brass section rounding out the instrumentation. ‘Too young to know it gets better / I’ll be summer sun for you forever / Forever winter if you go.’

The From the Vault tracks more than anything round out the picture of heartbreak but also of Swift’s crossover to pop, so ‘Message In a Bottle’ is a slick pop track, more in the line of ’22,’ as Swift sends a love song out into the universe. ‘‘Cause you could be the one that I love / I could be the one that you dream of / Message in a bottle is all I can do / Standin’ here, hopin’ it gets to you.’ It’s a memorable, well-done pop anthem, complete with a heavier instrumentation – as is later track ‘The Very First Night.’ In the theme of Red, Swift follows this poppier track with a turn back to her country roots on a country-infused duet with the legendary vocalist, Chris Stapleton – ‘I Bet You Think About Me.’ It’s a lingering, revenge-tinged track about being hard to move on from, ‘But now that we’re done and it’s over / I bet you couldn’t believe / When you realised I’m harder to forget than I was to leave / And I bet you think about me.’ Sheeran also returns to the fold on the beautiful track ‘Run,’ about getting away from the noise with a lover – the two have been friends for years and their voices fuse effortlessly together – and feels more country than pop in feel, a touching acoustic moment.

Of course, the most anticipated moment of the record comes at the end with the 10 minute version of ‘All Too Well’ that has been a perennial fan favourite. The track does not disappoint, diving layers deeper than its originally released shorter version, and shows even more clearly why it is arguably her most beloved track. It’s a masterpiece that showcases her lyricism and is without a doubt her signature track. Red (Taylor’s Version) is without a doubt worth the wait, it is an artist truly owing the title ‘superstar’ that can infuse new life into these tracks and pull out even more hits ‘From the Vault.’

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Global Icon Award

Winner: Taylor Swift

International Female Solo Artist

Ariana Grande

Winner: Billie Eilish

Cardi B

Miley Cyrus

Taylor Swift

Female Solo Artist

Arlo Parks

Celeste

Winner: Dua Lipa

Jessie Ware

Lianne La Havas

International Male Solo Artist

Bruce Springsteen

Burna Boy

Childish Gambino

Tame Impala

Winner: The Weeknd

Mastercard Album

Arlo Parks – Collapsed in Sunbeams

Celeste – Not Your Muse

Winner: Dua Lipa – Future Nostalgia

J Hus – Big Conspiracy

Jessie Ware – What’s Your Pleasure?

Male Solo Artist

AJ Tracey

Headie One

Winner: J Hus

Joel Corry

Yungblud

Breakthrough Artist

Winner: Arlo Parks

Bicep

Celeste

Joel Corry

Young T & Bugsey

British Single

220 Kid & GRACEY – Don’t Need Love

Aitch & AJ Tracey feat. Tay Keith – Rain

Dua Lipa – Physical

Winner: Harry Styles – Watermelon Sugar

Headie One feat. AJ Tracey and Stormzy – Ain’t It Different

Joel Corry feat. MNEK – Head & Heart

Nathan Dawe feat. KSI – Lighter

Regard & RAYE – Secrets

S1MBA feat. DTG – Rover

Young T & Bugsey feat. Headie One – Don’t Rush

British Group

Bicep

Biffy Clyro

Winner: Little Mix

The 1975

Young T & Bugsey

International Group

BTS

Fontaines D.C.

Foo Fighters

Winner: HAIM

Run The Jewels

BRITs Rising Star

Winner: Griff

Pa Salieu

Rina Sawayama

For more information on the BRIT Winners 2021, follow along on Instagram | Twitter | Facebook 

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After her old masters were sold to a sworn enemy, Taylor Swift began her process of re-recording her old masters. Yesterday, she released Fearless – Taylor’s Version today, including six new ‘From the Vault’ tracks. It’s a slap in the face to anyone who thought that they would

What the re-recording has made clear is just how timeless Taylor Swift’s songwriting is and what the re-recording has done is elevate the record. It has been 13 years since Fearless was released, but the songs have the ability to continue to speak directly to the teen audience, delving into the nuances of heartbreak and emotional growth. Songs like ‘Fifteen’ feel even more tender when sung by her 31 year old vocal – ‘When somebody tells you they love you, you’re going to believe them’ and the album in its entirety is a gloriously nostalgic and poignant trip down memory lane, replete with first kisses, first loves and first heartbreaks, just as, doubtless the majority of listeners will be experiencing their own overwhelming nostalgia, remembering the first time that they heard the record in their teen years. In its initial release, Fearless crafted the soundtrack for many people’s teen years, as Swift narrated their lives in a way that felt both incredibly universal and specific, pouring her heart into these tracks that overwhelmingly resonated with her audience, albeit this time around with a sharper, more polished vocal.

The six ‘From the Vault’ tracks on Fearless fit seamlessly with the entirety of the project and hammer home just how mature a songwriter she was, even at the age of fifteen. Though none will have the stellar success of ‘Love Story,’ it is interesting to ponder how big ‘Mr Perfectly Fine’ may have become if it was released as a single back in the original Fearless era. This track is easily the best ‘From the Vault’ song, questioning how a former lover is able to act like their relationship did not occur. ‘Hello Mr Perfectly Fine, how’s your heart after breaking mine?’ ‘He goes about his day, forgets he ever even heard my name.’ There’s a certain transcendence about the song, in the knowledge that she is better off without this callous lover, but that one day – she knows – he’ll regret his decision. Elsewhere on the ‘From the Vault’ tracks, Swift teams up with Maren Morris and Keith Urban with aplomb – two tracks that bring her back to her country heyday, while sonically retaining the journey that she has undergone to get to evermore and folklore. 

The release of Fearless (Taylor’s Version) demonstrates above all else the timelessness of these phenomenal tracks and the tremendous ability of Swift, even from a much younger age, to pen tracks that are simultaneously universal and personal – speaking to the teen experience in a way that few songwriters have ever done before.

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The vault door is about to be as unhinged as you’ll think I am after you watch this video.

Level: Expert

Happy decoding! pic.twitter.com/xBXBXGVcdb

— Taylor Swift (@taylorswift13) April 2, 2021

If you’re scratching your head as much as we were, we’re here to solve the brain teaser for you all. If you unscramble the letters in the video, you’ll find that it reveals the following:

You All Over Me featuring Maren Morris

Bye Bye Baby

Mr Perfectly Fine

That’s When

We Were Happy

You Don’t

One of these featuring Keith Urban

The words have sent the internet into a frenzy, unscrambling the letters to reveal their true meaning. One things for certain, these From the Vault tracks will bring Taylor Swift back to her country roots again, as we see not one but two collaborations with heavyweight country singer-songwriters – Maren Morris and Keith Urban, and once again showing Swift’s unique ability to engage and tease her fans in a way that no artist has done before her.

The post Everything We Know So Far About Taylor Swift’s Vault Tracks on Fearless appeared first on off the record.

1. Thomas Rhett plans ‘One Night Only’ livestream celebration to support new album

To celebrate the release of his forthcoming record, Country Again (Side A), Thomas Rhett has announced that he plans to hold a ‘One Night Only’ livestream celebration to celebrate the release of the record.

2. Emma & Jolie release stunning new collaboration with Josh Kerr

UK duo Emma & Jolie have released their third single – a stunning collaboration, co-written and produced by Josh Kerr, featuring his vocals, delving into the break-down of a relationship. Stream the single here.

3. Taylor Swift releases first ‘From the Vault’ track with backing vocals from Maren Morris 

Ahead of the release of Fearless – Taylor’s Version on April 9th, Taylor Swift has released the first of her tracks ‘From the Vault,’ ‘You All Over Me’ a stunning track, featuring Maren Morris on background vocals.

4. Carrie Underwood to perform with David Bisbal at Latin AMAs

5. Brett Young and wife Taylor reveal that they are having another baby girl

Young announced the news on the Kelly Clarkson show

6. Maren Morris and Ryan Hurd celebrate Hayes’ first birthday

7. Maddie & Tae release new track

The track ‘Woman You Got’ is the first of their tracks to be released since their holiday record last year.

8. Texas country artist Taylor Dee dies in a fatal car crash

9. Mickey Guyton says her debut album is coming in the summer

The post Your Country Music News Round-Up: Emma & Jolie, Mickey Guyton and Carrie Underwood appeared first on off the record.

Taylor Swift today released the first of her ‘From the Vault’ tracks from Fearless – Taylor’s Version – set for release on April 9th. The track is a stunningly produced and nostalgic trip back down memory lane. Maren Morris’ joins the track with her unique tone on background vocals. Of the track, Taylor shares, ‘One thing I’ve been loving about these From the Vault songs is that they’ve never been heard, so I can experiment, play, and even include some of my favourite artists.’ 

Produced by Evermore and Folklore collaborator Aaron Dessner, ‘You All Over Me’ was written by Swift with Scooter Carusoe (Kenny Chesney, Darius Rucker). The track is a melancholic track that explores the struggle to move on from a relationship. It imbibes the artful, yearning side of Swift’s lyricism upon which Fearless was founded – a beautiful and poignant melody.

‘I lived, and I learned, had you, got burned

Held out, and held on

God knows, too long, and wasted time

Lost tears, swore that I’d get out of here

But no amount of freedom gets you clean

I’ve still got you all over me.’

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1. Lauren Alaina delays show after testing positive for coronavirus

Lauren Alaina has delayed her show in Lexington, Kentucky after testing positive for coronavirus.

@975WAMZ @981THEBULL pic.twitter.com/XRvdwjQiqs

— Lauren Alaina (@Lauren_Alaina) March 20, 2021

2. Dustin Lynch teams up with Mackenzie Porter on ‘Thinking ‘Bout You’

Dustin Lynch has put new life into a track from his Tullahoma record – ‘Thinking ‘Bout You’ – teaming up with Mackenzie Porter for the passionate power duet that features heart-pounding hooks and memory-soaked vocals stir up nostalgic romance, as exes begin to reconnect: “Don’t be sorry for calling me up right outta the blue / I was just thinking ’bout you.”

3. Ashley McBryde to be celebrated by Song Suffragettes

Ashley McBryde will become the third woman to receive the Yellow Rose of Inspiration from Song Suffragette – the Nashville’s weekly, all-female singer-songwriter round. McBryde will also play a few songs during a special anniversary performance on the 29th March at the Listening Room. There will be two, one-hour Song Suffragettes rounds on this night, with Tenille Arts a part of the first, alongside Kalie Shorr and Britnee Spencer

4. Taylor Swift becomes the only woman to win the GRAMMY Album of the Year Award Three Times

Taylor Swift joins Frank Sinatra, Paul Simon and Stevie Wonder as the only artists to win the GRAMMY for Album of the Year three times – making her the only woman to achieve this feat.

The post Your Country Music News Round-Up: Taylor Swift, Dustin Lynch and more appeared first on off the record.

9. Reputation

It was the ultimate revenge record, marking Swift’s comeback after her ‘cancellation’ and it’s a phenomenal stand alone record, accompanied by a mammoth stadium tour. However, we’re placing this as our least favourite record for the simple reason that it stands out from the rest, full of rage, with EDM sounds that marked a big departure from her previous records.

8. Taylor Swift

It seems unfathomable that Swift was just 16 when she released her eponymous debut album. This was the only record of Swift’s that is not a ‘concept’ record and it is clear that other people had an impact on the record, containing songs that don’t feel quite ‘Taylor Swift.’ Still, it’s a phenomenal  debut, with the stand-out hits including ‘Picture to Burn’ and ‘Tim McGraw.’

7. Lover

Let’s be honest, we’re still mourning Lover Fest. Swift’s follow up record after Reputation was a love letter to love itself. The singles themselves appeared the weakest on the record, and there are some gems that make this record – ‘I Forgot That You Existed’  and ‘Cornelia Street’ to name two…

6. Fearless

Fearless was where Swift’s star really became prominent, picking up a CMA Award for the record. It’s full of hits that have stood the test of time and will be Swift’s first re-recorded record, with Taylor’s version of ‘Love Story’ now available to stream everywhere. Pre-save Taylor’s version of the album here.

5. 1989

1989 was where Swift made her move into pop and it’s a flawless pop-record from start to finish, with stand out hits including ‘Blank Space’ and ‘Style.’

4. folklore

Last night, Swift picked up the GRAMMY Award for Album of the Year for folklore, a stunning departure in her music into thoughtful, poised indie-folk songwriting. It is one of the most powerful showcases of her songwriting in existence.

3. Speak Now

Years later, Speak Now stands the test as a delicious pop-country record, filled with emotive songwriting – ‘Enchanted’ may still be our favourite track of Swift’s years later.

2. Red

For Red, Swift won GRAMMY Album of the Year – deservedly so, in the record Swift managed to straddle the pop-country divide with aplomb, experimenting with her production but grounding the record in thoughtful storytelling songwriting. 

1.evermore

The sister record to folklore, evermore was the delightfully delicate follow-up that took up where folklore left off. It’s an incredibly powerful record full of life lessons, yearning, love and acceptance. 

The post Our Definitive Ranking of Every Taylor Swift Album appeared first on off the record.