I Need 1989 Vault Tracks To Give Them The Push To Finally DO SOMETHING

i need 1989 vault tracks to give them the push to finally DO SOMETHING

IIRC didn't some tarot readings say that Haylor would get back in September? It's the middle of September already and they seem to have no contact at all and they are hanging out with other people. Is there a new Tarot prediction for when they will reconnect?

Also, the iamnearlyhome and eroda lighthouse accounts have stopped tweeting for some time now. Do you think this is because HS and TR are serious now and HS has taken a break from daydreaming about reuniting with TS?

They said Virgo season which is aug 23-sept 22. Right before this is when HS disappeared for 12 days. We don’t know if they’re in contact or not. I choose to believe they are. I don’t think things are serious with TR.

Lyrics

[Verse 1] See you in the dark All eyes on you, my magician All eyes on us You make everyone disappear, and Cut me into pieces Gold cage, hostage to my feelings Back against the wall Trippin', trip-trippin' when you're gone

The first verse sets the scene, similar to the articles Harry and Taylor are the focus of many, drawn to each other and wanting to keep their connection secret.

In Hoax, Taylor has a similar lyric to magician "Your sleight of hand"

'Gold cage, hostage to my feelings' refers to being trapped by love. Similar to Stockholm Syndrome, which was released only 2 weeks before the VS party, Taylor is trapped in a gold/gilded cage (a luxurious prison) by love.

[Pre-Chorus] 'Cause we break down a little But when you get me alone, it's so simple 'Cause, baby, I know what you know We can feel it [Chorus] And all the pieces fall right into place Getting caught up in a moment Lipstick on your face So it goes I'm yours to keep And I'm yours to lose You know I'm not a bad girl, but I Do bad things with you So it goes

So it goes is a lyric in Style. In the chorus Taylor lets us know that when they are away from others they have great chemistry. She also refers to lipstick, referred to in many 1989 songs. Taylor is described as a 'bad/good girl often, she talks about it in Miss Americana and also in:

Style: And I got that good girl faith and a tight little skirt

Question...?; Good girl, sad boy

Only Angel: That she's gonna be an angel, just you wait and see, When it turns out she's a devil in between the sheets

[Verse 2] Met you in a bar All eyes on me, your illusionist All eyes on us I make all your gray days clear And wear you like a necklace I'm so chill, but you make me jealous But I got your heart Skippin', skip-skippin' when I'm gone

The afterparty was in Basement bar. The illusionist/magician references are enjoying knowing that she and her muse will leave together without others knowing. 'Make all grey days clear' tells us the muse is British.

[Bridge] You did a number on me But, honestly, baby, who's counting? I did a number on you But, honestly, baby, who's counting? You did a number on me But, honestly, baby, who's counting? Who's counting? (One, two, three)

The bridge tells us more about her relationship with her muse, they have a history, have hurt each other before and are wanting to move on. Though she says she is letting it go she is also keeping score. At this point the events of Red, 1989 and most of the one direction songs about TS had transpired between them.

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swiftrrys

1 year ago

She’s also pointing out that the girls he’s publicly sleeping with all look very much like her — she’s not shaming him for sleeping with people, she’s getting irritated because it feels like he’s trying to replace her when he could just come back to her and save himself the trouble. The point isn’t “you’re a bad person because you sleep with a lot of people,” it’s “you are sleeping with everybody remotely resembling me and rubbing my face in it and I’m frustrated”

YEAH!!!! and with the added layer of “and as you do all this, i am the one who is getting heat for it.” why shouldn’t she be allowed to say that? it’s her own experience! it’s her own relationship with intimacy and sexuality and love and coming of eye in the public age!

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swiftrrys

2 years ago

the red album is so great because you can lay on your bed and listen to the whole thing and you stay captivated the entire time and when you’re done it feels like you just experienced this burning love and excruciating heartbreak and it hurts a little but it’s also a relief to know that you can survive pain like that. it’s almost like red is haunted.

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swiftrrys

2 years ago

when do you assume two ghosts was written and when they fell apart? i just have a hard time believing it was harry the ultimate factor to them breaking up and i think maybe yes, he wasn’t sure he could do a committed long term serious relationship because he knew their careers and their situations didn’t allow them that. so he couldn’t make promises he might not be able to live up to and didn’t fight “harder” to make it work instead of accepting their circumstances

well i have settled on a full story of haylor’s end. like not a “here’s a couple ideas but we’ll never know the full story.” question gave me the whole story

in january after the party, she asked him to try again. for real. because she was in a better place and she wanted to try, she didn’t want to live her life the way she had resigned herself to only having casual hookups.. she wanted to try something real again. And he basically said that he couldn’t. that he was willing to be her “good time guy” (stealing phrasing from private practice). And she was like “I want more than that” and he was like “I can’t,” which is where we get Perfect. He might never be the guy who is there for something real, but he can be the guy who can deal with the camera flashes and the songs for some troubled fun confined to the liminal spaces of hotels. And then she was like “okay well no” and then he didn’t think she would move on………… but she did. and fast, even. and that’s why calvin was so devastating for him. Because he genuinely thought he was calling her bluff. and then there’s this song where she’s like “you know what you little twerp. you healed something in me for half a second and I saw colors I’d never seen before and not seen since. I thought we had something. but when it was too much for me, you let me walk out, and then you never fought even when I wanted to try again so where do you get off getting upset that there was no bluff to call? I hope it feels nice to settle, because you chose this.”

Writing of Red Timeline! (+Vault Songs)

Edit: now that the Vault has been unlocked, I'll edit this post to add the missing titles and delete the predictions. I'm pretty proud of myself, I guessed every song except for The Very First Night.

Please, credit me if you take info from this timeline, thanks!

Watch the video version of this timeline on my YouTube channel!

June 16, 2010: The Story Of Us is the last song Taylor writes before having a writer's block that ended 6 months later.

"There’s a kind of bad that gets so overpowering you can’t even write about it. When you feel pain that is so far past dysfunctional, that leaves you with so many emotions that you can’t filter them down to simple emotions to write about. That’s when you know you really need to get out."

Late December 2010: All Too Well is born during a Speak Now Tour rehearsal.

[Interview with Pop Dust] The lyric I’m most proud of on the album is from ‘All Too Well’: ‘And you call me up again just to break me like a promise / so casually cruel in the name of being honest.’ That was something I came up with while ranting during a soundcheck. I was just playing these chords over and over onstage and my band joined in and I went on a rant. Those were some of the lines I thought of. I was going through a really hard time then, and my band joined in playing, and one of the first things that I came up with, just, like, spat out, was ‘And you call me up again just to break me like a promise, so casually cruel in the name of being honest.’

[Taylor to Rolling Stone] "The first song that was written was All Too Well, and it was a day when I was just like a broken human walking into rehearsal just feeling terrible about what was going on in my personal life. And I walked in and I remember we had just hired David Cook… I think it was his first day meeting me, and I think I ended up just playing four chords over and over again and the band started kicking in, like Amos Heller on bass, and people started playing along with me. I think they could tell I was really going through it. And I just started singing and riffing and sort of ad-libbing this song that basically was All Too Well. And it started with ‘I walked through the door with you, the air was cold’ – like it literally just was that song, but it had probably seven extra verses. And it included the f-word, and I remember my sound guy was like ‘Hey, I burned a CD of that thing you were doing, in case you want it.’ And I was like ‘Sure!’

February 2011: All Too Well is reworked. This is probably the Ten Minute Version.

First week of March 2011: Taylor edits All Too Well with Liz Rose's help.

[Liz Rose to Rolling Stone] When we wrote the song, I hadn’t heard from her in awhile. She hadn’t really been writing. I was in Nashville one day, slowly moving the last bits of junk out of my garage so I could move to Dallas. […] I was in my driveway and my phone rings, and it’s Taylor saying, ‘Man, I’ve got this thing and I really need you to help me with it. Can you write today? What are you doing today?’ [I later] drove over to Taylor’s. It was the first song she wrote for that record, I think. She had a story and she wanted to say something specific. She had a lot of information. I just let her go. She already had a melody and she started singing some words, and I started writing things down, saying, ‘Ok, let’s use this, let’s use that.’ She mentioned a plaid shirt, and I wrote that down in a corner, and when we got to the end, I said, ‘Let’s put the plaid shirt in there.’ That turned into one of the best lines. […] It was the most emotional, in-depth song we’ve ever written.

March 27, 2011: While in her hotel room in Dublin, Taylor writes Better Man.

[Taylor talking about it] Transcript: The song Better Man is one that I originally wrote for the Red album. I remember I was on tour, and I wrote it alone in a hotel room. And I remember standing in front of a mirror—I think the first thing I thought of was, ‘I wish it wasn’t 4am, standing in a mirror, saying to myself, 'you know you had to do it.“ That was an actual visual from my life that ended up being the first thing I wrote, and then I expanded outward from there. And it was a song that I really thought belonged on the album and there were just too many songs I loved that I had written in that period of time, so some of them had to be left off. I think I chose All Too Well over Better Man. I think that was what happened. I was either going to put on All Too Well or Better Man, and then I left off Better Man.

[Taylor in May 2011] "I was in Madrid, and I was in my hotel room all day. And I was going through this crazy, emotional thing and I wrote a song about it and it'll probably be on the next record. I'm telling you that. I'll tell you the title afterwards."

Speculation: on March 27th, Taylor posted a picture of her guitar, saying “Writing a song all afternoon in my hotel room. Dublin, Ireland”.

This matches the Better Man origin story, but Taylor said that she wrote it in Madrid, so on March 19th. But in Madrid she was hanging out with Liz Huett, her backup singer and close friend. Liz tweeted about their Madrid afternoon during the 1989 era, so I guess that it was a memorable day for them and I don't think that Taylor holed up in her room to write a song.

May 22, 2011: During a brief interview at the Billboard Music Awards, Taylor says she’s “been constantly writing lately.”

June 11, 2011: Taylor says, during a show in Detroit, that she had written 10 songs, all of them sad.

[New Yorker Interview] "In Detroit, Swift seemed somewhat melancholy. Once in a while, I had the feeling that she was on the verge of bursting into tears. She said that she had recently decided that life is “about achieving contentment... You’re not always going to be ridiculously happy.” She had written about ten songs so far for her next album. Asked to characterize them, she said, “They’re sad? If I’m being honest.” The most recent one, she said, “is about moving on.”

I think that the songs written were: All Too Well, I Almost Do, The Moment I Knew, and Better Man.

“I Almost Do' is a song I wrote 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. And you can’t because you know it’s hurt you so deeply that you know that you couldn’t bear to go through that again. So you’re sitting there and wondering where they are and hope that they think about you and that you’re almost picking up the phone call, but you just can’t. I think I needed to write this song in order to not call that person actually. I think that writing the song was what I did instead of picking up the phone.”

June 17, 2011: [From a Lover Journal] Taylor mentions "feeling blissfully happy" especially since she wrote "those 2 songs", which she will record after flying back to Nashville after the show in Pittsburgh, PA. One of them may be State Of Grace.

[On Good Morning America] "I wrote this song about when you first fall in love with someone — the possibilities, kind of thinking about the different ways that it could go. It’s a really big sound. To me, this sounds like the feeling of falling in love in an epic way."

June 24, 2011: Taylor meets up with Lori McKenna at her house in Boston. They write I Bet You Think About Me.

[Taylor on Amazon Music] "‘I Bet You Think About Me’ is a song I wrote with Lori McKenna, who is one of my favorite singer-songwriters ever. I’d always wanted to work with her. And I wrote this with her at her house when I was playing Foxboro Stadium on the Speak Now Tour. We wanted this song to be like a comedic, tongue in cheek, funny, not caring what anyone thinks about you sort of break up song, because there are a lot of different types of heartbreak songs on Red. Some of them are very sincere, some of them are very stoic and heartbreaking and sad. We wanted this to be the moment where I was like, ‘I don’t care about anything.’ And we wanted to make people laugh with it, and we wanted it to be sort of a drinking song, and I think that that’s what it ended up being."

[Lori Mckenna Interview] “That song was about 11 years old,” she pauses before adding, “We think.” Swift happened to be in the Boston area playing two sold-out shows at Gillette Stadium not too far from McKenna’s house. On the day of the second show, she visited Mckenna, they ate lunch and then planned to write together. “She had this little nugget of a song which was ‘I Bet You Think About Me,’ she knew that was the hook.” Swift had asked her if she should lean in the folk direction (which they did) and after that, the rest flowed blissfully as McKenna recalls, “I don’t remember anything other than sitting here watching how incredible she is. She knows what she wants to say and when she says the right thing, she remembers it. She didn’t write anything down. There was no recording of the song.” McKenna was writing the lyrics on her computer but Swift never looked at her screen. “If the line is right, she knows it’s right, and she remembers what it is,” she says. Later that night, McKenna attended Swift’s show with her kids and when she was backstage, Swift played the song they had written together. “I’m like, how is this woman gonna get out there, do a completely choreographed show for 60 thousand people, and she’s singing the song that she just wrote two hours ago,” McKenna exclaims as she revisits the memory. For her to bring back something that was 10 or 11 years old and be true to a song that she had in her heart that long ago is pretty cool. It’s something that a lot of artists don’t get to do.”

[From Lori McKenna Twitter] @taylorswift13 came to my house to write 1 day before 2 sold out shows @Gillette. (My neighbors famously called police bc of the security) Still she was as sweet, human, unassuming & TALENTED as any writer who has ever been here.

June 30, 2011: [From MySpace] Lately, I've been writing a LOT. Like, all of a sudden, everything I've wanted to say, express, or just let out for the past several months has just recently become a song. I'm really excited about that. It's a freeing feeling when all of a sudden one day, you're able to verbalize exactly how you feel in a verse, chorus, verse, bridge, chorus pattern.

July 2011: Taylor writes Starlight. Originally, the demo was more country.

This is mostly based on this Rolling Stone article where Taylor says she has read a 900-page book about the Kennedys, called The Kennedy Women. She also visited JFK's grave on August 3th, and had a Robert Kennedy quote on her arm during the August 3th show.

[Washington Post] I get a lot of style inspiration from the 1960s, so I’ll go and look at black and white pictures, and look at photos from the ‘50s and '60s, and I came across this picture of these two kids dancing at a dance. It immediately made me think of like how much fun they must have had that night. It was back in the late '40s. I ended up reading underneath that it was Ethel Kennedy and Robert F. Kennedy. And they were, like, 17. So I just kind of wrote that song from that place, not really knowing how they met or anything like that.

Description of the Starlight Studio Demo: "3:37 minutes long. This demo is much rougher sounding than the released version. The verses are acoustic guitar-driven, there are less spacey sounds, and there are much louder background vocals as the song builds."

August 26, 2011: Kuk Harrell tweets that Taylor and Justin Bieber wrote a song together, called Cannon Balls.

August 31, 2011: Cannon Balls is reworked. Tom Strahle, one of Justin Bieber's collaborators talked extensively about the song in these lives. Three demos of the songs exist.

September 8, 2011: [From Lover Journal 1] Taylor writes Red on a plane on her way to Nashville. Taylor and Nathan Chapman record the demo in the evening, at the Pain in the Art Studio. A second demo exists. These demos are NOT produced with Dann Huff, unlike the album version.

[From a Lover Journal] "I was suppose to fly to LA after the show in Tacoma WA last night, but after talking to my brother on the phone and missing my mom and my town where I know my way around -- I got homesick and flew back to Nashville instead. It was a long flight but I'm so happy I chose to come home. Mostly because I wrote a song on the plane on the way home called 'Red'. I got in at 6am this morning slept til 10. [...] In the evening, I went to Nathan's studio to record. When I played Red for him, he lost it. He absolutely freaked over the lyrics. I was so happy. As we started recording it, it got more and more awesome with banjo, and this affected vocal part that runs under the chorus going "re - e - ee- e- d". I'd love to have my next album Red. Scott came over because I called him and he was still working at the office. He said the song takes it to the next level. He lost it over this song. My mom loves it too. It's so different than anything we've done. I can't even tell you how alive and worthwhile i feel when I'm writing a new song and I finish it and people like it. It's the most fulfilling feeling, like getting an A+ on your report card. Recording again tomorrow."

[VH1’s Storytellers] "This relationship that I had that was, like, the worst thing ever and the best thing ever at the same time. I was writing this song and I was thinking about correlating the colors to the different feelings I went through. You have the great part of red, like the red emotions that are daring and bold and passion and love and affection. And then you have on the other side of the spectrum, jealousy and anger and frustration and ‘you didn’t call me back’ and ‘I need space."

September 9, 2011: [From Lover Journal 1] She's in the studio to record again.

[Billboard Interview] I turned in 20 songs and I had this immediate sinking feeling, this can’t be done, this can’t be it. I think the reason I said that was because I made the record exactly the same way I made the last three. I knew I hadn’t jumped out of my comfort zone, which at the time was writing alone and working with Nathan. “Red” the song was a real turning point for “Red” the album. When I wrote that song my mind started wandering to all the places we could go. If I were to think outside the box enough, go in with different people, I could learn from and have what they do rub off on me as well as have what I do rub off on them.

[Scott Borchetta Interview] “The song [Red] was brilliant–great melody. But I told them that the way it was recorded, guys, the production just doesn’t match the song. It needs a pop sound.” So Chapman and Swift asked Borchetta if they could take another crack at it. They did and it was worse than the first pass. “And Taylor basically said, ‘All right, would you call Max [Martin]?'”

October 4, 2011: Taylor writes Sad Beautiful Tragic on her ukulele, while on her tour bus, while reminiscing about a relationship that had ended months ago.

[From Twitter] "Leaving Little Rock, headed to New Orleans. Writing a song on a moving bus."

[Billboard Interview] "‘Sad Beautiful Tragic’ is really close to my heart. I remember it was after a show and I was on the bus thinking about this relationship that ended months and months before. The feeling wasn’t sadness and anger or those things anymore. It was wistful loss. And so I just got my guitar and I hit on the fact that I was thinking in terms of rhyming; I rhymed magic with tragic, changed a few things and ended it with what a sad beautiful tragic love affair. I wanted to tell the story in terms of a cloudy recollection of what went wrong. It’s kind of the murky gray, looking back on something you can’t change or get back."

Sad Beautiful Tragic is a demo and it was recorded once.

Speculation:

The secrete message is “While you were on a train” and it might be a reference to Jake Gyllenhaal joining Mumford & Sons in late April on their Railroad Revival Tour… on a train.

October 19, 2011: "I have written 25 songs so far."

Some of these 25 songs might include: State Of Grace, Red, All Too Well, I Almost Do, Stay Stay Stay, Sad Beautiful Tragic, The Moment I Knew, Girl At Home, Better Man. All of them are solo written and produced only by Chapman, which resembles the process of Speak Now.

"The song ‘Stay Stay Stay’ is a song that I wrote based on what I’ve seen of real relationships, where it’s not perfect, there are moments where you’re just so sick of that person, you get into a stupid fight. It’s still worth it to stay in it. There’s something about it that you can’t live without. In the bridge it says, ‘I’d like to hang out with you for my whole life’ and I think that’s what probably the key to finding the one, you just want to hang out with them forever."

According to its US Copyright file, Stay Stay Stay was written in 2010.

According to a Reputation Secret Sessioner, Girl At Home is a demo.

October 21, 2011: Maya Thompson, Ronan's mother, is invited by Taylor to her concert in Glendale. She tells Maya that she has just written a song about her son Ronan.

[From Maya's blog, Rockstar Ronan] "My calmness soon turned to complete and utter frozen shock when these words came out of her mouth. 'I wrote a song for Ronan.'" Thompson added, addressing her late son, "'The tears started pouring down my cheeks as soon as I heard her say those words. But her words didn't stop there. Not only did she write a song for you, but she wanted to know if it would be alright to perform it on the nationally televised show."

November 19, 2011: Taylor writes Safe & Sound with The Civil Wars (Joy Williams & John Paul White) and T Bone Burnett at Burnett's house in LA. The Civil Wars post these two photos on Instagram:

December 2011: Taylor writes Begin Again.

‘Begin Again is a song that I wrote about getting through a breakup, and still being sad about it, and feeling a little insecure about all the things that relationship made you feel are wrong with yourself. And after months, and months, and months, having the courage to stand back up, dust yourself off, and go on that first date. And it’s about, kind of, the vulnerability involved with that, and the idea that you realize that, 'wow, this could be great.’

The song is supposedly for Will Anderson from Parachute. On November 27th, they were photographed together eight months after Taylor had broken up with Jake for good. Additionally, the white dress she wears on the single cover is the same one she wore at his birthday party on May 5, 2012.

December 13, 2011: Taylor turns 22. She's at the Blackbird Studios to record, wearing a pair of bright red shoes. She's probably recording Red and Begin Again which have the same credits.

Late December 2011: Taylor reworks Starlight. While Red and Begin Again have the same credits, Starlight has others mixers, musicians and so on. My guess is that Dann Huff was called to work on Red because Borchetta didn't like the two demos, then he worked on Begin Again, likely on the same session as Red, and shortly after on Starlight. I bet that the guitar in the Starlight Demo was played by Chapman because in the Starlight credits you see "Electric Guitar Solo - Conceived by Nathan Chapman, Played by Dann Huff", which I think confirms Huff's involvement at a later date. I think after this recording session Borchetta was satisfied and wanted to wrap up the album.

January 2012: “With Red, [Scott Borchetta] came to me in January and said, 'I think the album's finished.' This time, I said, 'No, it's not -- I need to keep writing.' At that point, she went to Chapman and told him she wanted to work with other producers, too.”

January 2012: Shortly after hiring Max Martin and Shellback, Taylor starts writing a sad piano ballad called 'Trouble', that will become I Knew You Were Trouble. She emails Max Martin about it, but they have to put the song on hold for 6 months.

January 19, 2012: Taylor meets Rory Kennedy (Conor's aunt), at the Sundance Film Festival, where a documentary about Ethel Kennedy premiered.

January 21, 2012: Taylor meets Ethel Kennedy.

“When asked how the odd-couple friendship came to be, Swift said her acquaintance with the daughter led to an introduction to the mother. “I had read up on Robert F. Kennedy and his wife, and I asked Rory if it would ever be possible for me to meet her mother. She said, ‘Here’s her number.’ Ethel was kind enough to have lunch and spend a few hours talking with me, and ever since then I’ve been so inspired by how full of life she is and the way she tells her story.’’

February 2012: [From a Lover Journal] Taylor writes Holy Ground.

“The song ‘Holy Ground’ was a song that I wrote about the feeling I got after years had gone by and I finally appreciated a past relationship for what it was, rather than being bitter about what it didn’t end up being. And I was sitting there thinking about it after I’d just seen him and I just, I was just like, “You know what, that was good.” It was, it was good, having that in my life, and I wrote the song and I immediately heard Jeff Bhasker’s production. I hadn’t ever worked with Jeff, but he has done some amazing work. I love what he’s done on Fun’s record, and I love his diversity. He’s just so talented, and so I called him and I said “I wrote this song. I really want you to work on it with me.” And I played it for him and he was like, “Let’s go! This is great!” And, and he did such an amazing job on it.”

February 2012: While Taylor is in LA promoting the Lorax, she and Pat Mohanan from the band Train team up to write Babe. This is speculation, but it's mostly based on Train's timeline for their album California 37.

[Pat Monahan interview] “”When [Pat] told Taylor that he wanted to collaborate with her on a song for Train's next album, she asked him to write a song with her for her album, Red. "It's a song called 'Babe,'" continues Pat. "So it's her song; I was just lucky enough to be a part of it with her, and I'm gonna ask the same of her in the future. She's very talented, she's a no-nonsense young kid. I'm not going through different relationships and breakups and all the stuff that young people do, so her perspective is very fresh," he says. "And I think that that's what I admire the most [about her].”

February 2012: This is rampant speculation but Espionage, who co-wrote The Very First Night, know Pat Monahan very well, since they wrote a few songs for Train, including their then-latest single Drive By. So I think that it's possible that The Very First Night was also written in February.

[Taylor on Amazon Music] “'The Very First Night' is a song that I made with a production group called Espionage, and they're so cool, so talented. This is actually the first time anybody gets to hear the work we did together because this didn't end up on the album, even though I loved it so much and told myself that someday it would come out. It's a song about a common theme on the RED album, which is reminiscing. Reminiscing about something that's over now, and reminiscing about the good times, and how powerful memories can be.”

February 15, 2012: During an interview with ExtraTV, Taylor says that she has written around 30 songs.

March 2, 2012: [From a Lover Journal] Taylor writes Nothing New. While still in Australia, she also writes The Lucky One. They have similar themes and were allegedly inspired by Joni Mitchell and Kim Wilde.

“The song 'Nothing New' is a song that I wrote when I was 22 and tour. I was on the New Zealand/Australia leg of a tour, I wrote a little bit in each of those places. It was during a phase of my career when I was on my fourth album, and even though I was only 22 I just felt like old news, I really did. I think that new artists don't realize that when they put out their first or second album that they're in this shiny, new phase where everything you do is interesting and exciting to people. And it's only when you get to the moment after your breakthrough where you realize that you're gonna have to figure out some other shade of yourself to show people. Because people are not responding the same way they did when you were brand new. And I think I was writing from that place, even though I was a very young person in terms of years. Being on my fourth album I felt like, 'Is anybody still interested? Are they even excited by what I do anymore? What happens to me after they're not anymore? What do I do then?' Because you get so attached to the idea of novelty.”

“The ‘Lucky One’ is a song I wrote while I was in Australia. It kind of talks about some of my fears through telling the story of other people that I was inspired by. More than their stories being told, I’m pretty much singing about what I’m scared of in that song, ending up kind of caught up in this whole thing and lonely and feeling misunderstood and feeling like when people think you’re lucky that you’re really not. It kind of expresses my greatest fear of having this not end up being fun anymore, having it end up being a scary place. Some people get there, some people end up there. It’s a story song and it’s something I’m really proud of because it kind of goes to a place that I’m terrified of. [...] There’s the microscope that’s always on you. The camera flashes, the fear that something you say will be taken the wrong way and you’ll let your fans down. You’re scared of a lot of things for a lot of the time, but the trade-off of being able to get on a big stage and sing your songs — it’s worth it.”

April 12, 2012: Taylor has a writing session in LA with Dan Wilson. The first song they write is Treacherous. Taylor posts a picture on Instagram with the caption "Recording for the next album. So happy."

They are at Dan Wilson's house, recording the demo for Treacherous, the only song where Taylor has a guitar credit.

[From Taste Of Country] “I wrote ‘Treacherous’ with Dan Wilson, and we came up with a way to say, you know, ‘This is dangerous and I realize that I might get hurt if I go through with this, if I move forward with you. But… but I want to.’ You know? It’s like that kind of conflicted feeling of it being a risk every time you fall in love — especially with certain types of people. [Laughs] That was a song that I’m really proud of, because it’s got this bridge that sounds like a second chorus. It’s got all these big vocals, and it’s kind of the intensity of that moment when you’re deciding to let yourself fall in love with someone.”

[From a Dan Wilson Interview] “With Taylor, we had been kind of circling around, very much aware of each other’s work for a while. We figured out these two days to work together and she came to my studio super excited and said, “I had an idea in the car.” And she sang me the first three or four lines of it and said, “I want to call it ‘Treacherous’ and maybe the chorus can go like this.” And we were writing the song in 10 minutes and she was just so full of excitement.”

The drums are credited to Wilson in the Treacherous Demo, not to Aaron Sterling like in the final version.

April 13, 2012: Taylor and Dan Wilson write and Come Back... Be Here.

[Red Release Party] “It’s a song I wrote about this guy that I met. You know, you meet someone and then they just kinda happen to go away and it’s, like, long distance all of a sudden. And you’re, like, ‘b-b-but, but, come back, be here!’ So it’s a song that I wrote about having distance separate you, which is something I face constantly.”

A description of Come Back... Be Here Studio Demo (not in circulation): "3:55 minutes long. A gorgeous bare-bones studio demo with drums, acoustic guitar, and Taylor's rough vocals with a few pretty harmonies added." I bet this demo was recorded like the Treacherous one, just Taylor and Dan.

April 23, 2012: Taylor meets Max Martin and Shellback. The first song they write is Message In A Bottle. Before starting the session, a friend of an ex walks in the studio asking if Taylor and his friend were getting back together. Taylor goes on a rant about how she'll never get back together with her ex.

Taylor also tweets: "Sitting in my kitchen. Listening to music. Don't want to go to bed. Was in the studio tonight. Writing tomorrow. Should go to bed. Ok I will."

“'Message In A Bottle' is such a fun song! It is so catchy and the melody is really contagious. Max Martin, Shellback and I...that was the first song we ever wrote together. We went on to write songs like 'We Are Never Ever Getting Back Together,' 'I Knew You Were Trouble.' and '22' and we felt like those songs really represented what we were doing on RED. We kept saying that somewhere down the line we'd put out 'Message In A Bottle' because we loved it so much and this is the first opportunity that we have to show it to the world. We're all really excited about it!”

Speculation:

"It is not confirmed but the friend of the ex seems to be Adam Levine from Maroon 5, a very old friend of Jake. Maroon 5 were in the same studio in LA (Conway Studios) to wrap up their album Overexposed.

April 24, 2012: Taylor, Max Martin and Shellback write We Are Never Ever Getting Back Together.

“I came in and they played a track that they had made in preparation for this. And I wrote something over the track. And then I think after that, I was telling them a story about what I was going through. And then I started just kind of singing, ‘We are never ever ever’…and Max was like, ‘That's great! We're writing that. Like we've got to write that!’ And then Johan was like, ‘And we-eee could be like little kids on a playground!’ And that was the first time that I realized these people think in a way that is so mystical and magical, and the way that you could hear a hook that's not really musical notes. It's a sound, or these kind of pop wizards. I remember being so challenged by writing with them.”

“It’s a definitive portrait of how I felt when I finally stopped caring what my ex thought of me. He made me feel like I wasn’t as good or as relevant as these hipster bands he listened to… So I made a song that I knew would absolutely drive him crazy when he heard it on the radio. Not only would it hopefully be played a lot, so that he’d have to hear it, but it’s the opposite of the kind of music that he was trying to make me feel inferior to.”

[Max Martin Interview] “Me and Johan [Shellback] had our first date with her at Conway Studios. I was a little nervous, you know, the good kind of nervous. Maroon 5 was recording in the studio next door. This guy shows up, a friend of theirs. We literally haven't started the session yet. The guy says, "I heard the Taylor Swift's here. I gotta say hello". I was like, "Really?" and the guy says, "I totally know her, it's fine, we're friends". He walks in and it turns out that he didn't know her. And I started sweating cause I was vouching for that guy. He started talking about some ex-boyfriend of hers. It was really messy. He leaves and I apologize, but she was super cool, no problem at all. Then I asked what that was all about and she told me the story about this guy that she was dating. I can't remember exactly what she said, but she said, "One thing's for sure, we are never ever getting back together", and I said, "That's pretty harsh". She said, "No no, we are never ever ever getting back together". And we're laughing about it, saying, "That sounds like a song title". Then we started on something else [Message In A Bottle]. The next day, she said, "I thought about what you said", and she played us this idea that became 'We Are Never Ever Getting Back Together'. I was so mad at that guy who ruined our session, but it turned into love, cause it never would've happened if he hadn't walked in.”

May 15, 2012: Taylor meets Ed Sheeran for the first time, after his concert in Phoenix, Arizona, at the Ritz Hotel: they write Run, their first song ever.

"I met up with him at one of his shows and we wrote some songs that day."

[Taylor to Amazon Music] “The song ‘Run’ is really special to me because it marks the first song that I ever wrote with Ed Sheeran and it kind of also marks the first day of our friendship. He’s been someone who has been so important in my life, like just one of my closest friends, he’s always been there for me. It’s a song about the escapism of falling in love and how you don’t really care what anyone else says when you feel this way – you just wanna run away with someone. And all the little secrets that you establish with this person, this secret world you create together.”

[Ed Sheeran Interview] “We wrote 'Run' and then we wrote 'Everything Has Changed' maybe like a week later. And I remember always thinking, 'Well, 'Run' is the one that’s gonna make the album.' It was always my favorite. But 'Everything Has Changed' just ended up sounding better because we produced them differently or whatever. So 'Run' has just been there for years and years. I’ve never really wanted to nudge Taylor about it – because it’s her song. But I’ve always been secretly hoping that one day she’d be like, 'Hey, this song was cool!' And so we recorded that and it’s really great! I’m so happy it’s seeing the light of day.”

They both tweet about Run:

May 17, 2012: Taylor has lunch with Mark Foster from Foster The People in Beverly Hills, CA. They write Forever Winter.

[Mark Foster Interview] “We wrote a song that day. It’s a really cool song. We kind of just went into it casually and something really cool came out of it. We’ll see what happens with it. She’s been writing a lot for her next record.”

“The song 'Forever Winter' is about being in a moment in your life where you love someone, or someone is such a good friend of yours, or you feel really close to someone, and you realize all at once that they've been struggling for a very long time. And you feel so guilty that you didn't see it sooner, and you wish you would've checked in on them more. That person means so much to you, but you didn't necessarily pick up on the signs that maybe they weren't okay. So, that's 'Forever Winter'.”

May 18, 2012: Aaron Sterling tweets that he had just finished playing drums in Treacherous and Come Back... Be Here.

In November 2012, Dan Wilson confirms that the songs were recorded a few weeks after being written.

May 27, 2012: Taylor and Ed write Everything Has Changed.

Original lyrics: "All I feel in my stomach is butterflies for a Gemini / who’d never tell a lie / The beautiful kind saying “This feels right" / Making me feel like falling for a Gemini / This feels right / Making me feel like I just want to know you better, grow old together, hold you forever / When you caught my eye / The look said you’d missed me all this time / Meet me there tonight / So I can know that it’s not all in my mind."

[MTV News] "We, for real, were sitting on my trampoline in my backyard 'cause we had been writing a song and I was like, ‘Hey, I just got a trampoline. You want to see it?’ And so, he brought the guitar for some reason. We ended up writing an entire song out there. For portions of the song, we were bouncing around, ‘cause it’s a trampoline and it’s fun, and the combined maturity level of both of us is 8 years."

[Ed Sheeran Interview] "She pretty much had the verse, bridge and chorus done but we argued about that one chord. She didn’t like that but I forced it upon her!"

May 28, 2012: Taylor and Ed arrive in Santa Monica, CA. They start recording Everything Has Changed and Run at Ruby Red Productions with Butch Walker and Jake Sinclair.

May 29, 2012: Gary Lightbody joins Taylor in the studio thanks to Ed. The two of them plus Jacknife Lee write and record The Last Time in less than 9 hours, produced by Lee in his studio in Topanga, CA. The album version is the very first attempt. Gary will also provide background vocals for Everything Has Changed.

[Taylor to NPR] The idea was based on this experience I had with someone who was kind of this unreliable guy. You never know when he’s going to leave, you never know when he’s going to come back, but he always does come back. My visual for this song is, there’s a guy on his knees sitting on the ground outside of a door. And on the other side of the door is his girlfriend, who he keeps on leaving — and he keeps coming back to her, but then he leaves again. He’s saying, ‘This is the last time I’m going to do this to you.’ And she’s saying, ‘This is the last time I’m asking you this: Don’t do this again.’ And she’s wondering whether to let him in, and he just wants her to give him another chance, but she doesn’t know if he’s going to break her heart again. It’s a really fragile emotion you’re dealing with when you want to love someone, but you don’t know if it’s smart to.

[Gary Lightbody to Rolling Stone] It was so fast. She works really fast. She’s extraordinary. We actually did that song, wrote it and recorded it in a day. And that was the version of it on the record, which is very rare. Normally you write and record something with somebody and then down the line they’ll record it, if you’re lucky. With her, the whole thing was done in nine hours. I hope we can do it again sometime!

[Jacknife Lee Interview] “We met through Gary’s [Lightbody] friendship with Ed Sheeran. Taylor was a fan of Ed’s. They were on tour I think. Taylor came to Topanga. Body guards, big black car. We wrote a song in a couple of hours and sang it sitting on the sofa. She had a handheld microphone. Then we had pasta for dinner and hung around with my kids. She left and I finished the song off. Owen Pallett [Arcade Fire/Final Fantasy] did some strings very quickly. It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about.”

May 30, 2012: While working on The Last Time, Taylor called Harry Styles to ask him to write a few bombastic songs with her, as requested by the label, as Jacknife Lee revealed.

[Jacknife Lee Interview] “She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

The date is not confirmed but it's the only week in which Harry was free (1D were on tour).

June 1, 2012: [From a Lover Journal] After the Walmart Shareholders Concert held in Arkansas, Taylor returns to LA and while on the plane she writes 22, which she brings to a writing session with Max Martin and Shellback.

[Interview with Ryan Seacrest] I wrote that about my friends, like finally I’ve got this amazing group of girlfriends and we tell each other everything, we’re together all the time. And I think that was kind of the marker of me being 22, like having all these friends and there’s all these question marks in your life, but the one thing that you have is that you have each other.

«For me, being 22 has been my favorite year of my life. I like all the possibilities of how you're still learning, but you know enough. You still know nothing, but you know that you know nothing. You're old enough to start planning your life, but you're young enough to know there are so many unanswered questions. That brings about a carefree feeling that is sort of based on indecision and fear and a the same time letting lose. Being 22 has taught me so much.»

"'22' is a song I wrote about exactly how I was feeling when I was 22 years old; I felt happy, free, confused, and lonely at the same time, which I think is the way a lot of 22-year-olds feel, you know? We all feel that way all the time. So I brought this song to Max Martin and Shellback, and I had written in on a plane ride and they loved the idea. And it just happened really fast! They were like, 'Oh my God, we get exactly where you wanna go with this.' I just wanted the most infectuous chorus and I feel it really does that."

The song originally had a different bridge that can be seen in the handwritten lyrics:

Sometimes it hits me / We’re moving quickly / Toward something hazy / A future I can’t see / Let’s break the old rules / While we’re still 22 / You look like bad news / I gotta have you

June 2, 2012: [From a Lover Journal] Taylor brings the chorus of I Knew You Were Trouble to Max Martin e Shellback. Both 22 and I Knew You Were Trouble are recorded during this week.

[MTV Interview] «It’s about knowing the second you see someone like, ‘Oh, this is going to be interesting. It’s going to be dangerous, but look at me going in there anyway.' I think that for me, it was the first time I ever kind of noticed that in myself, like when you are curious about something you know might be bad for you, but you know that you are going to go for it anyway because if you don’t, you’ll have greater regrets about not seeing where that would go.»

[Taylor to Amazon Music] «'I Knew You Were Trouble.' is a song that I think really made me expand my horizon of what kind of music I wanted to make, and what kind of music I was allowed to make. At this point in my career I was a completely straight forward country artist that sort of toyed around with pop melodies every once in a while. But when I had gotten this idea, I brought it to Shellback and Max Martin. It was a piano ballad and I thought it was just gonna be a really sad, down tempo song. And I remember Shellback going, 'What if we do like a dubstep bass drop?' And I was like, 'Um, yeah! Let's do that.' It was one of the most shocking moments that we had in the studio, making RED. I think the whole time we were making the song we were all like, 'Can we really do this?' And I love moments like that! Because that means you're pushing boundaries, you're going for it. I've learned that since. I felt that when I was making folklore like, 'Am I allowed to make an alternative album?' You just gotta listen to that feeling sometimes.»

[Taylor to Rolling Stone] «I remember bringing in this slow, sad thing that I had written, called ‘I Knew You Were Trouble.’ I had originally called it ‘Trouble’. I was like, ‘I don't know if we could have some kind of intense bass drop or something, like dubstep is really awesome…’ And they were just like, ‘Yes, absolutely!’ And then Shellback was like, ‘In the verse, let's do this really frantic drum beat.’ And it just was something I would never have thought of; to make the beat of the verse really up-tempo, and then make the intensity drop off the chorus, and then have it build back up, and then have a production explosion at the end of the chorus. It was so thrilling! I couldn't believe the song started where it started and then their added ideas with production. They ended up seeping into my brain and I started thinking the way that I would hope they would think. I would write a verse and Max would be like, ‘This is this many syllables, can you shorten it and make it more succinct, but convey the same message?’ And I would just go off into a corner and I felt like I had like this amazing assignment. So the challenge of it was so thrilling for me.

Somewhere around July 2012: Taylor records State Of Grace Acoustic.

[Taylor to Yahoo!] This one wasn't a demo, but a careful afterthought. When I wanted to do an alternate version of it for the Target bonus tracks, Nathan (Chapman) and I went back into the studio and we did just a completely acoustic version of it. It's really sweet and slowed down and it completely changes the song.

Somewhere during the writing process: Unknown Song with Ryan Adams, Unknown Song with T-Pain (I can't find the source), Unknown Song written in New Zealand (mid-March 2012, mentioned by herself on Amazon Music).

Other Songs: Both Of Us, Safe & Sound, Eyes Open, they were all written and recorded in 2011. None of them were meant for Red.

End of the writing process: "The singer also revealed that she wrote "30 to 35?" songs for the album and but whittled it down to 16 tracks."

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