Album Title
Artist IconTaylor Swift
Artist Icon Red
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First Released

Calendar Icon 2012

Genre

Genre Icon Country

Mood

Mood Icon Needy

Style

Style Icon Rock/Pop

Theme

Theme Icon ---

Tempo

Speed Icon Slow

Release Format

Release Format Icon Album

Record Label Release

Speed Icon Republic Records

World Sales Figure

Sales Icon 4,000,000 copies

Album Description
Available in: Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon Country Icon
Red est le quatrième album studio par l‘artiste américaine country Taylor Swift. Il est sorti le 22 octobre 2012 sous Big Machine Records. À sa sortie, Red a été la plupart du temps acclamé par la critique musicale, qui a salué sa polyvalence en tant que musicienne et apprécié ses expériences avec de nouveaux genres musicaux.

L'album a fait ses débuts en tant que numéro 1 au Billboard 200, vendant environ 1 208 000 unités en sa première semaine, le second meilleur démarrage de la musique pour une artiste féminine, un records depuis 1991. Elle devient alors la première artiste féminine et la quatrième artiste dans toute l'histoire de la musique à réaliser plus d'un million de ventes la première semaine pour deux albums. L'autre album de Taylor Swift à avoir réussi cet exploit est Speak Now. L'album établie de nouveaux records notamment sur iTunes, en se classant numéro 1 en 30 minutes et dans 42 pays. L'album s'est déjà écoulé à plus de 6 000 000 d'exemplaires (septembre 2013).
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User Album Review
Like Kanye West, Taylor Swift is a turbine of artistic ambition and superstar drama. So it’s no surprise she manages to make her fourth album both her Joni Mitchell-influenced maturity binge and her Max Martin-abetted pop move – and have it seem not just inevitable but natural.

Red is a 16-song geyser of willful eclecticism that’s only tangentially related to Nashville (much like Swift herself at this point). The album pinballs from the U2-tinged liftoff of “State of Grace” to the dubstep-y teen pop of “I Knew You Were Trouble” to “The Last Time,” a sad piano duet with Gary Lightbody of Snow Patrol. Swift’s bedrock is driving, diaristic post-country rock – see the breakup flashback “All Too Well,” where she drops the great image of “dancing around the kitchen in the refrigerator light” with her ex.

Part of the fun is watching Swift find her pony-footing on Great Songwriter Mountain. She often succeeds in joining the Joni/Carole King tradition of stark-relief emotional mapping: “Loving him is like trying to change your mind once you’re already flying through the free fall,” she sings on the simile-monsoon title track, where banjos and vocoders make out like third cousins. But whether she’s real-talking Jake Gyllenhaal (“We Are Never Ever Getting Back Together”) or fantasizing about crashing “a yacht-club party” that sounds uncannily like the Kennedy bash she attended with her current future-ex-boyfriend Conor (“Starlight”), her self-discovery project is one of the best stories in pop. When she’s really on, her songs are like tattoos.

SOURCE: https://www.rollingstone.com/music/music-country/red-187797/


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