|Studio album by Taylor Swift|
|Released||October 22, 2012|
|Recorded||2010–12; Nashville (Blackbird Studios, Pain in the Art Studios); Los Angeles (Ballroom West, Conway Studios, Enormous Studios, The Village); North Hollywood (Marlay Studio); Topanga Canyon (The Garage); Santa Monica (Ruby Red Productions); Stockholm (MXM Studios)|
|Genre||Country, pop, adult pop, pop rock|
|Producer||Jeff Bhasker, Scott Borchetta (exec.), Nathan Chapman, Dann Huff, Jacknife Lee, Max Martin, Shellback, Taylor Swift, Butch Walker, Dan Wilson|
|Taylor Swift chronology|
|Singles from Red|
- "We Are Never Ever Getting Back Together"
Released: August 13, 2012
- "Begin Again"
Released: October 1, 2012
- "I Knew You Were Trouble"
Released: November 27, 2012
Released: April 1, 2013
Red is the fourth studio album by American singer Taylor Swift. It was released on October 22, 2012 through Big Machine Records, as the follow-up to her commercially successful 2010 album Speak Now. It was announced through Swift's live webchat on August 13, 2012, in which she revealed the album title and album cover, and answered fan questions. Four promotional singles were released in the month leading up to the album release, three of which debuted inside the top ten of the U.S. Billboard Hot 100. The album features collaborations with new producers and guest artists such as Gary Lightbody and Ed Sheeran, and sees Swift experimenting with new musical genres.
The album's lead single, "We Are Never Ever Getting Back Together", was a worldwide commercial success, topping the iTunes charts all over the world and selling 623,000 copies in the first week, becoming Swift's first ever Billboard Hot 100 chart-topper after vaulting from 72 to number one and staying atop for three weeks. The second single, "Begin Again", was released on October 1. "I Knew You Were Trouble" was released as the third official single (promoted, like "Begin Again", from promotional single status) on November 27, 2012, becoming one of Swift's highest charting singles in both the UK and the US. "22" will be released as the fourth single from the album in April 2013.
Red has also spawned three other promotional singles, all of which reached top 15 on the Billboard Hot 100 chart. Red has been critically acclaimed by music critics, who praised Swift's versatility as a musician and enjoyed her experiments with new music genres. Red sold 1,208,000 copies in its first week in the U.S., debuting at number one on the Billboard 200 chart, the second-highest debut for a female artist, behind Oops!... I Did It Again by Britney Spears. Red is also Swift's first chart-topper in the U.K., and also topped the album charts in Australia, Canada, Ireland and New Zealand. The album sold 1.89 million copies in its first three weeks, surpassing One Direction's Up All Night as the second biggest-selling album of the year in the U.S. As of January, 2013 the album has sold over 4 million copies in the USA and nearly 5.4 million copies worldwide.  The disc also spent 13 consecutive weeks at #1 on Billboard's Country Albums chart.
During the webchat, Swift revealed the meaning behind her album's title:
"All the different emotions that are written about on this album are all pretty much about the kind of tumultuous, crazy, insane, intense, semi-toxic relationships that I’ve experienced in the last two years. All those emotions — spanning from intense love, intense frustration, jealousy, confusion, all of that — in my mind, all those emotions are red. You know, there’s nothing in between. There’s nothing beige about any of those feelings."
Swift, who had spent over two years writing and exploring this album, also revealed to MTV news "that the album brings fans on a lyrical journey that explores falling in love, heartache and new beginnings". She also explained how she transformed her emotions into hit songs and is ever conscious not to repeat herself in her songs.
The album's lead single, "We Are Never Ever Getting Back Together" was released on August 13 and has since became Swift's first number one single on the US Billboard Hot 100. The song's jump from its debut position number 72 to number one was the result of a massive digital demand on the song. With 623,000 downloads, the song placed second among all-time best week sales singles, behind Flo Rida's 2009 hit "Right Round." It stayed at number one for 7 weeks. It peaked at number 4 on the UK Singles Charts, giving her her first top 10 since "Love Story". As of December 2012, it has sold more than 3 million downloads in USA.
"Begin Again" was released to iTunes on September 25, 2012 as part of a countdown to the album release. It was later announced the track, initially a promotional single, would be serviced to country radio on October 1, 2012 as the second single from the album. The song sold 299,000 digital copies in its first week of release and debuted at number 7 on the US Billboard Hot 100 chart dated October 4, 2012. A few hours later, “Begin Again” got an early release on iTunes, where it’s already shot to No. 1, thereby becoming the first single to dethrone “Gangnam Style” in a week.
"I Knew You Were Trouble" was released as the third single from Red on November 27, 2012 and impacted radio stations in the United States. and the second single for the album in the United Kingdom on December 10, 2012. The song debuted at number three on Billboard Hot 100 with 416,000 copies sold in its first week, Swift's second largest first week singles sales. It became Swift's 14th top 10 hit and her 11th song to debut inside the top 10. With sales of 416,000 from "I Knew You Were Trouble", Taylor Swift became the first artist in digital history to have two songs that debuted with sales of 400,000 or more copies. In it's 11th week, it sold a massive sum of 582,000 in the US, making it the fourth biggest digital sales week of all time. It caused the song to re-peak at number 2 on the Billboard Hot 100. As of January 2013, it has sold more than 2 million downloads in the US.
"22" is set for release as the fourth single from Red. It was sent to Australian radio on February 4, 2013 and in the United Kingdom where it will be released as the third single from the album on April 1, 2013. Later it was confirmed to be the fourth US single.
During the four weeks preceding the release of Red, one track was released each week digitally on iTunes after a preview of it had been heard on Good Morning America. The first of the four promotional singles is "Begin Again", which was released digitally on iTunes on September 25, 2012. "Red" is the second promotional single off the album, and became available for download on October 2, 2012. "Red" debuted at number 6 on the Hot 100 with sales of 312,000. "I Knew You Were Trouble" is the third promotional single off the album, and became available for download on October 9, 2012. The fourth and final promotional single is "State of Grace", which became available for download on October 16, 2012. Each of them reached No. 1 on iTunes and the top 15 on the Billboard Hot 100, with "I Knew You Were Trouble" having the highest peak at No. 3 as Swift's 14th top 10 song. With sales of 416,000 from "I Knew You Were Trouble" Taylor Swift became the first artist in digital history to have two songs that debuted with sales of 400,000 or more copies.
Swift has announced details of the first leg of her Red Tour. From March to September 2013, she is set to play 58 dates across North America. Ed Sheeran is scheduled to appear as the opening act for all dates.
Red received critical acclaim from music critics. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 77 based on 22 reviews, indicating "generally favorable reviews." Melissa Maerz of Entertainment Weekly gave the album a (B+) and wrote: "(Red) finds her singing about walking directly into traffic, wading into quicksand, and flirting with the kinds of jerks Kanye West might toast to." and closed her review with: "Red might be about flirting with danger." Lewis Corner of Digital Spy gave a positive review on the album and rated it as four-stars-out-of-five and said: "she sounds anything but a broken record – especially when she's on the cusp of global domination." The Guardian reviewer was also very positive on the album, gave it four-stars-out-of-five and wrote: "Red was allegedly inspired by her experience of love and its fast-paced, crazy adventures, how she's had time to open her door to such a parade of lovers good and bad, God only knows." Rolling Stone reviewer Jon Dolan found some influences on the album such as Joni Mitchell and U2, rated it three-and-half-stars out of five and said: "her self-discovery project is one of the best stories in pop. When she's really on, her songs are like tattoos." Billboard gave a very positive review to the album in its track-by-track review, called it "her most interesting full-length to date" and said:"Red puts Swift the artist front and center with big, beefy hooks that transcend her country roots for a genre-spanning record that reaches heights unseen since Shania Twain's Up!."
Robert Christgau praised the album by saying "I like the feisty ones, as I generally do. But "Begin Again" and especially "Stay Stay Stay" stay happy and hit just as hard. That's hard." Ryan Gardner of AbsolutePunk lauded Red as her "most ambitious, dynamic record yet", that "It's sexy, daring, and complete." and "there are times when Swift doesn't just flirt with pop, she marries it." Michael Gallucci of A.V. Club said "Lyrically, it's the same path Swift has walked since her 2006 debut, just deeper and a little darker. But musically, it's bigger and bolder than anything she's ever done in the pop world." however saying "It's magnificent at times, but it's also complicated and sometimes unfocused." He dismissed the duets as boring, however, praising "State of Grace" and "All Too Well" as "occsionally fascinating work". American Songwriter 's writer, Jewly Hight, commended Swift for getting "phenomenally good at capturing those moments in tangible detail, as she does during the gradually swelling "Treacherous," the rock guitar-propelled "All Too Well" and the whimsical "Stay Stay Stay." The title track—which splits the difference between big country-pop and propulsive, anthemic dance music, an experiment that largely pays off—is made of more sensory, synesthesia-style poetry." However she also noted that she still "expresses herself tends toward one-sidedness. Whether she's cutting a callous heartbreaker down to size, or savoring how sweet, goofy and gentlemanly a guy is acting, there's not much mutuality to the storytelling. And maybe that will come with time. There are plenty of songwriters twice her age who have yet to get there, but her gifts have always grown well ahead of the curve." Stephen Thomas Erlewine of Allmusic stated that "Although she can still seem a little gangly in her lyrical details -- her relationship songs are too on the nose and she has an odd obsession about her perceived persecution by the cool kids -- these details hardly undermine the pristine pop confections surrounding them. If anything, these ungainly, awkward phrasings humanizes this mammoth pop monolith: she's constructed something so precise its success seems preordained, but underneath it all, Taylor is still twitchy, which makes Red not just catchy but compelling."
Spin positively said "Whatever it is, this music is full of adult pleasures, even if the most explicit image Swift offers is of an ex-boyfriend sniffing her scarf because it smells like her. On Red — the color of blood and lipstick and fire and Southern dirt and hearts and conservatism and tractors and communism and sin, this last a word whose charged valence here might discomfit know-it-alls who would never use it without scare quotes — Swift's too smart and tuneful to condescend to her contradictions. Or to yours." The Guardian praised the album, saying "Each Taylor Swift album to date has taken her a step further away from the traditional country with which she first made her name as a teenage songwriting prodigy, but even so, the sound of a dubstep drop, magnificently executed, on 'I Knew You Were Trouble' is a shock. In truth, Swift's big international pop move for country-shy markets comprises a mere sprinkling of perky Max Martin productions, with the emphasis elsewhere being firmly on the songcraft. 'All Too Well' and 'The Lucky One' possess twists to make you gasp; as ever, Swift seems to know just the right phrase to pull you inside her break-up narratives." The Los Angeles Times praised the album by saying the "versatility is the album's most striking characteristic" and "In this context, to call Swift's sonic expansion a brave move is to credit her with accomplishing something more artistically significant than simply shifting toward the center of her demographic. By setting rural music alongside more "urban" sounds of the moment, Swift is arguably just responding to a pop world in which country singles might please her base, but certainly doesn't expand it. But that's the cynic's view, and Swift on Red has little time for cynicism. Rather, she's striving for something much more grand and accomplished."
Drowned In Sound gave a hopeful review, saying "For all its manufactured essence, Red remains firmly grounded at the crossroads between innocence and experience. Taylor Swift has stayed true to her southern roots but what kind of belle is she? Blanche DuBois from A Streetcar Named Desire who clings onto civility while falling afoul of the modern world? Or Scarlett O'Hara from Gone With The Wind, who emerges from loss with a hardened heart? Whatever the answer, it's going to make for a fascinating follow-up album." Same with Country Weekly, giving it a moderate review, saying "But Red's beat does skip in spots. "The Last Time," a collaboration with Snow Patrol's Gary Lightbody, is plodding drudgery, and Tay's affected hipster accent in "22" distracts from what would otherwise be another pop gem. Still, it's better than listening to some of today's wannabes adopt a faux country twang—which is something you certainly won't hear on Red." and also that "Red may not be a bona fide country album, but it could very well be a pop masterpiece." The Boston Globe said "The difference, at least on Red, is that we get to witness Swift blossom as both a pop star and a young woman. Just as Adele named her two albums after the ages when she made them (19 and 21), Swift makes records that double as diaries."
The Daily Telegraph was more critical, rating it as three-stars-out-of-five and wrote: "It's frustrating, then, when Swift reverts back to type. Too many of the songs on this bloated 16-track album revisit the gently strummed verses and characterless choruses of her previous work." PopMatters said "At 16 songs long, Red could use more editing and streamlining with a less-is-more mindset as a guiding principle, particularly since the quieter numbers—which also happen to be some of the album’s strongest moments—get lost in the sound and fury of Swift’s grand gestures." Slant Magazine was critical, but said "While songs like "All Too Well" and "Treacherous" prove how adept Swift is at expressing genuine insights into complex relationship dynamics, there are also a handful of songs that lack her usual spark. Still, if Red is ultimately too uneven to be a truly great pop album, its highlights are career-best work for Swift, who now sounds like the pop star she was destined to be all along." SputnikMusic was negative, saying "Red tries to be everywhere all at once." and "If she continues to spread her ideas too thin, then all the recognizable aspects of her music – that she’s worked so hard to establish – will fade away. This also means letting go of the past and not peppering her future albums with dull ballads that drone on and on without a catchy verse or concise purpose. It also means writing lyrics about (gasp) something other than a boyfriend or ex-boyfriend. Swift is a grown woman now and it is time for her to embrace a wider variety of adult topics. As it stands for now though, Red is a mixed bag, and it's up to you to sort through the majority-holding bad in order to find the good. Swift is undoubtedly capable of better, and all we can hope for is that she'll regain her footing in time for album number five."
spending its sixth week atop Billboard
200, Swift became the first artist in 43 years since The Beatles
to log six weeks atop Billboard
200 with three consecutive studio albums, she also became the first artist since Garth Brooks
to top Billboard
200 on the week before Christmas thrice.
Red was a commercial success. In the United States, Red became the fastest-selling album in over a decade after selling 1,208,000 copies in its first week, and earned Swift her third number one album on the Billboard 200 and fifth top ten album. Red has the second highest first week sum by a female artist, only behind Britney Spears' Oops!... I Did It Again which opened with 1.3 million units. "Red" has the biggest sales week in 2012 which outsold the top 52 albums in the Billboard 200 during its debut week. Red has also the biggest one week sales for a country album beating Garth Brooks' Double Live which sold 1,085,000 copies in 1998. She is also the first female artist, first country artist, and fourth artist to achieve two or more albums with first week sales of more than a million. She is also the second artist, after the Backstreet Boys to see the sales increase from its first million-selling first-week to its second. Red sold 465,000 digital copies in its first week in the US, which is the second biggest after Lady Gaga's Born This Way, which sold more including around 400,000 which were sold at 99 cents by Amazon. She is also the third female country artist to notch three number one albums. It sold around 1.459 million copies worldwide in its first week of sales. In its second week on the Billboard 200, the album remained at number one and sold 344,000 copies (down 72%). In its third week the album remained at number one and sold 196,000 (down 43%) which brought its sales to 1.749 million copies during its first three weeks of release and was easily ranked third biggest selling album of 2012 behind Adele's 21 and One Direction's Up All Night. The album was dethroned by One Direction's Take Me Home on its fourth week and fell to number two spot selling 145,000. On its fifth week of release, the album stayed at number two (having been blocked by Rihanna's Unapologetic which sold 238,000 copies that time) selling 185,000 (up 25%) in its fifth week The album was steady at number two until its sixth week selling 136,000 copies., all the while maintaining the number two spot. On its seventh week, Red climbs back to number one on the Billboard 200 selling 167,000 and with that, Swift is now tied with Jay-Z and Whitney Houston for fourth most-weeks at number one on the Billboard 200 since Nielsen SoundScan began tracking in 1991. Swift held the Billboard 200 for its fifth non-consecutive weeks on its eighth week of release selling 208,000 copies and garnered the greatest gainer in that week. On it's ninth week the album reigned on top of the Billboard 200 for a sixth non-consecutive week at number one moving an additional 276,000 (up 32%), thus making Swift as the first artist since The Beatles way back in 1969 to log six or more weeks at number one with three consecutive studio albums. She achieves the feat with Red, which tops The Billboard 200 for the sixth week. It follows Fearless (eleven weeks) and Speak Now (six weeks), thus making Swift as the female and solo artist to do so. Also, this is the third time that Swift has had the number one album in the last week before Christmas, which is traditionally the most competitive week of the year. She also achieved the feat with Fearless in 2008 and Speak Now in 2010. Since 1991, only one other artist has had the number one album in the last week before Christmas three times. Garth Brooks scored with The Hits in 1994, Sevens in 1997 and Double Live in 1998. Red spent its seventh non-consecutive week at number one in the sales week ending Dec. 30 2012, selling 241,000 (down 12%). This gave Swift a total of 24 weeks atop the Billboard 200 throughout her career, tying her with Adele as the woman with most weeks at No. 1 since SoundScan began powering the Billboard 200 in May, 1991. Red finished 2012 as the second biggest album despite being out for only two months, selling 3.11 million. It makes the fourth time she has an album ranked in the year's top three sellers.
Red also received commercial success outside the United States. In the United Kingdom, Swift garnered her first number one album with Red with sales of 61,000 copies on its opening week. In Canada, Red ranks Swift's third number one album as well selling 93,000 copies on its debut week and has easily crossed the Platinum certification in that country. With that sales, Red became the biggest one week sales in Canada since Michael Bublé's Christmas moved 107,000 copies last Christmas season of 2011 and the biggest first week sales since 2008. To date, Red has been certified triple platinum by Music Canada with shipments exceeding 240,000 copies. In Australia, the album debuted at number one and spent a total of three consecutive weeks at the top, becoming Swift's longest running number one album in Australia; Red has already been certified double platinum by the ARIA with shipments of 140,000 copies. In New Zealand, the album also became Swift's third number one album, and has been certified platinum by the RIANZ. Worldwide, Swift set a new worldwide iTunes record for highest ever first-week album sales with 566,000 copies sold digitally around the globe. The album has sold over 5.4 million copies worldwide.
Red was included on many year-end best-of lists. The album appeared at the runner-up spot on Associated Press, Rolling Stone and Idolator, with the latter saying that "Red showcased [Swift] abilities marvelously, in finely hewn details, the most varied production styles of her career and storytelling that remains as emotionally ass-whooping as any artist with her reach." Jon Caramanica of The New York Times also ranked Red number two on his top ten albums list, stating that "[Swift] goes Day-Glo on the most unexpected moments of this album, her fourth and the first that stops pretending she’s anything but a pop megastar." MTV ranked Red number three, stating that "Swift takes tremendous strides towards becoming a genuine artist, the kind equally adept at penning heartbreakers." The album was appeared at number five on Billboard's top ten best albums of 2012, saying that "Red will likely be remembered for its sonic risks, with the pop of "We Are Never Ever Getting Back Together" and the dubstep wobbles of "I Knew You Were Trouble" pushing the country star out of her comfort zone." The Daily Beast writer Marlow Stern ranked the album at number seven, calling it "an uneven LP that nonetheless contains a diverse array of infectious tunes." while Glenn Gamboa of Newsday ranked the album number six, stating that Taylor "comes out as a full-fledged pop superstar." Red also ranked at number ten on both The Salt Lake Tribune and HitFix.
|1.||"State of Grace" ||Taylor Swift||Nathan Chapman, Swift||4:47|
|2.||"Red" ||Swift||Dann Huff, Chapman, Swift||3:43|
|3.||"Treacherous" ||Swift, Dan Wilson||Wilson||4:02|
|4.||"I Knew You Were Trouble" ||Swift, Max Martin, Shellback||Martin, Shellback||3:39|
|5.||"All Too Well" ||Swift, Liz Rose||Chapman||5:29|
|6.||"22" ||Swift, Martin, Shellback||Martin, Shellback||3:52|
|7.||"I Almost Do" ||Swift||Chapman, Swift||4:04|
|8.||"We Are Never Ever Getting Back Together" ||Swift, Martin, Shellback||Martin, Shellback||3:13|
|9.||"Stay Stay Stay" ||Swift||Chapman, Swift||3:25|
|10.||"The Last Time" (featuring Gary Lightbody of Snow Patrol)||Swift, Lightbody, Jacknife Lee||Lee||4:59|
|11.||"Holy Ground" ||Swift||Jeff Bhasker||3:22|
|12.||"Sad Beautiful Tragic" ||Swift||Chapman, Swift||4:44|
|13.||"The Lucky One" ||Swift||Bhasker||4:00|
|14.||"Everything Has Changed" (featuring Ed Sheeran)||Swift, Sheeran||Butch Walker||4:05|
|15.||"Starlight" ||Swift||Huff, Chapman, Swift||3:40|
|16.||"Begin Again" ||Swift||Huff, Chapman, Swift||3:57|
|1.||"The Moment I Knew" ||Swift||Chapman, Swift||4:46|
|2.||"Come Back... Be Here" ||Swift, Wilson||Wilson||3:43|
|3.||"Girl at Home" ||Swift||Chapman, Swift||3:40|
|4.||"Treacherous" (original demo recording)||Swift, Wilson||Wilson||4:00|
|5.||"Red" (original demo recording)||Swift||Chapman, Swift||3:47|
|6.||"State of Grace" (acoustic version)||Swift||Chapman, Swift||5:23|
Credits adopted from Allmusic:
- Technical and production
- Sam Bell – engineering
- Delbert Bowers – assistant
- Chad Carlson – engineering
- Nathan Chapman – producer, engineering
- Tom Coyne – mastering
- Leland Elliott – assistant
- Eric Eylands – assistant
- Greg Fuess – assistant
- Chris Galland – assistant
- Serban Ghenea – mixing
- Matty Green – assistant
- John Hanes – mixing engineer
- Sam Holland – engineering
- Dann Huff – producer
- David Huff – digital editing
- Michael Ilbert – engineering
- Tyler Johnson – guitar engineer
- Jacknife Lee – engineering, producer, programming
- Steve Marcantonio – engineering
- Manny Marroquin – mixing
- Max Martin – producer
- Seth Morton – assistant
- Justin Niebank – mixing
- Chris Owens – assistant
- John Rausch – engineering
- Matt Rausch – engineering
- Tim Roberts – assistant
- Eric Robinson – engineering
- Pawel Sek – engineering
- Shellback – producer, programming
- Jake Sinclair – engineering
- Mark "Spike" Stent – mixing
- Taylor Swift – producer
- Andy Thompson – engineering
- Butch Walker – producer
- Hank Williams – mastering
- Brian David Willis – engineering
- Dan Wilson – producer
- On instruments
- Peggy Baldwin – cello
- Brett Banducci – viola
- Jeff Bhasker – bass guitar, keyboards, piano
- J. Bonilla – drums, percussion
- Nick Buda – drums
- Tom Bukovac – electric guitar
- David Campbell – string arranging, conducting
- Nathan Chapman – bass guitar, drums, acoustic guitar, electric guitar, keyboards, mandolin, percussion, piano, soloist, synthesizer
- 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, hi string guitar
- 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
- 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 – guitar bass
- Jimmie Sloas – guitar bass
- Aaron Sterling – drums
- Taylor Swift – acoustic guitar
- Jeff Takiguchi – contrabass
- Andy Thompson – guitar, electric piano
- Ilya Toshinskiy – mandolin
- Butch Walker – drums, guitar, keyboards, percussion
- Patrick Warren – string arrangements
- Amy Wickman – violin
- Dan Wilson – bass guitar, electric guitar, piano
- Rodney Wirtz – violin
- Jonathan Yudkin – fiddle, violin
- Visuals and imagery
- Sarah Barlow – photography
- Austin Hale – designing
- Jemma Muradian – hair stylist
- Bethany Newman – art direction
- Josh Newman – art direction
- Taylor Swift – creative director
- Lorrie Turk – make-up artist
- Taylor Swift – vocal
- Jeff Bhasker – background vocal
- Nathan Chapman – background vocal
- Caitlin Evanson – background vocal
- Elizabeth Huett - background vocal (The Moment I Knew)
- Ciara O'Leary - background vocal
- Tyler Johnson – background vocal
- Gary Lightbody – featured artist, background vocal
- Ed Sheeran – featured artist
- Jake Sinclair – background vocal
- Butch Walker – background vocal
- Dan Wilson – background vocal
- Leann Bennett – production coordination
- Jason Campbell – production coordination
- Mike "Frog" Griffith – production coordination
- JoAnn Tominaga – production coordination
Charts and certifications
|Canadian Albums Chart||2|
|Mexican Albums Chart||56|
|New Zealand Albums Chart||7|
|US Billboard 200||4|
|US Billboard Top Country Albums||1|
|US Billboard Digital Albums||1|
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- ^ Hudak, Joseph (2012-10-24). "Red by Taylor Swift". Country Weekly. http://www.countryweekly.com/reviews/red-taylor-swift. Retrieved 2012-10-25.
- ^ a b c Melissa Maerz (18 October 2012). "Red – review – Taylor Swift Review". Entertainment Weekly. http://www.ew.com/ew/article/0,,20639830,00.html. Retrieved 2012-10-18.
- ^ a b "Slant review". http://www.slantmagazine.com/music/review/taylor-swift-red/2900.
- ^ a b c Dolan, Jon (October 18, 2012). "Review: Taylor Swift – Red". Rolling Stone. http://www.rollingstone.com/music/albumreviews/red-20121018. Retrieved 18 October 2012.
- ^ Stewart, Allison (22 October 2012). "Taylor Swift’s ‘Red’ is another winner, but she needs to start acting her age". The Washington Post. http://www.washingtonpost.com/entertainment/music/taylor-swifts-red-is-another-winner-but-she-needs-to-start-acting-her-age/2012/10/22/af79a2fe-1a1e-11e2-ad4a-e5a958b60a1e_story.html. Retrieved 26 October 2012.
- ^ a b Andrew Hampp and Jason Lipshutz (20 October 2012). "Taylor Swift, 'Red': Track-By-Track Review". Billboard. http://www.billboard.com/new-releases/taylor-swift-red-track-by-track-review-1007986122.story#/new-releases/taylor-swift-red-track-by-track-review-1007986122.story. Retrieved 2012-10-20.
- ^ a b "Taylor Swift, ‘Red’ – Album Review". The Daily Telegraph. 19 October 2012. http://www.telegraph.co.uk/culture/music/cdreviews/9618220/Taylor-Swift-Red-album-review.html. Retrieved 2012-10-18.
- ^ Chuck Dauphin (2012-08-13). "Taylor Swift Announces 'Red' Album, New Single". Billboard. Prometheus Global Media. http://www.billboard.com/news/taylor-swift-announces-red-album-new-single-1007820952.story#/news/taylor-swift-announces-red-album-new-single-1007820952.story. Retrieved 2012-08-14.
- ^ Up for Discussion (2009-09-14). "Taylor Swift's 'Red' Sells 1.21 Million; Biggest Sales Week for an Album Since 2002". Billboard. http://www.billboard.com/news/taylor-swift-s-red-sells-1-21-million-biggest-1007994382.story#/news/taylor-swift-s-red-sells-1-21-million-biggest-1007994382.story. Retrieved 2012-11-12.
- ^ Up for Discussion (2009-09-14). "Taylor Swift Still Rules Billboard 200, Meek Mill Starts at No. 2". Billboard. http://www.billboard.com/news/taylor-swift-still-rules-billboard-200-meek-1008003752.story#/news/taylor-swift-still-rules-billboard-200-meek-1008003752.story. Retrieved 2012-11-12.
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