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On the Hot 100 itself, Billboard shows the chart-topping title only as “All Too Well (Taylor’s Version).” But the thrust of the song’s success is that of “All Too Well (10 Minute Version) (Taylor’s Version) (From the Vault)”-and yes, that is the full name.
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As it routinely does with remixes and radio edits, Billboard combines sales, streams and airplay of both the five-minute and 10-minute editions of “All Too Well (Taylor’s Version)”-as well as the clean version that eliminates Swift’s newly revealed F-bomb, and the “ Sad Girl Autumn Version.” (In case you’re wondering, Billboard chart tabulator MRC Data tracks the 2012 original version separately the new Hot 100 berth is for all flavors of the Taylor’s Version rerecordings only, which I’m sure Swift feels is just.) Among all of the versions, Billboard reports that the longer mixes of “All Too Well” handily outsold and outstreamed the short versions-to be exact, 62% of streams and 78% of the download sales were for the 10-minute editions. Similar to “American Pie,” we can’t attribute all of the Taylor song’s chart points to its fullest-length version. So Taylor’s new smash, running 10:13, should settle the debate, right? More or less, although there’s yet another asterisk. But a new No. 1 song, one so long most Top 40 radio stations won’t play it? Yeah, I wouldn’t have bet on that. Of course, it was widely expected that Red (Taylor’s Version), the re-recording of Swift’s 2012 blockbuster, packed with bonus tracks “from the vault,” would sell like crazy, and predictably it did. And when she revealed that it was originally several minutes longer-with many more verses that she ultimately pared back, as if it was her take on Leonard Cohen’s originally 80-verse “Hallelujah”-the yearning to hear the full-length version took on its own momentum.
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In a way, it was no surprise Swift would give it special treatment when she selected Red as the next in her series of early-album re-recordings. By the late ’10s, it was routinely topping rankings of Swift’s best songs. “All Too Well” then became that rare thing-what “Vienna” is to Billy Joel, or “Landslide” to Fleetwood Mac: the deep cut anointed by fans, a stealth hit everyone assumes was a real hit all along. Further, there’s a semi-secret version of this song that has never before been revealed, one that’s twice as long-and that extra five minutes of song contains deep-cut lyrics implying new revelations about the decade-old breakup with the celebrity dude (who, BTW, is still a pretty major star 10 years later-that doesn’t hurt).
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That song also happens to be a juicy roman à clef about a dramatic breakup with a movie star, spiked with a young-woman-wronged storyline that has taken on new, post–#MeToo resonance. It so happens that one of these rerecorded, culturally ubiquitous albums contains a fan-favorite song that had never lived up to its commercial potential (and was initially not even perceived as commercial) but had quietly grown in estimation over the course of a decade. Said star not only has the resources to do this but also happens to be a marketing genius, able to present this prosaic copyright gambit as a sales-juicing cultural event. This star was pissed off enough about her storied song catalog being sold out from under her to reassert control of it by rerecording her early albums. First, it’s by one of music’s über-stars. For that one week early in the pandemic, Bob the Bard sold about 9,800 copies of his quirky, JFK-conspiracist epic at iTunes, enough to give Dylan his first No. 1 on any Billboard song chart, ever-a chart that didn’t even exist when he was flipping signs in an alleyway next to Allen Ginsberg.Ī very bespoke combination of factors aligned to make “All Too Well” (I’ll get to its full title shortly) our new No. 1 song. And it’s only downloads, not streams given how deeply the dollar-download has declined since the mid-’10s, a few thousand copies are enough to top this chart. That chart, which is not even published in the magazine, is a niche of a niche: It ranks, among that week’s best-selling downloads, just the songs Billboard says qualify as “rock,” which can mean anything from REO Speedwagon to Coldplay.
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1 song! The chart that Dylan’s “ Murder Most Foul” topped in April 2020 was not Billboard’s flagship Hot 100, but rather Rock Digital Song Sales. Zimmerman, despite all the headlines trumpeting Dylan’s first! ever! No.
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I had to patiently explain to Dad that, no, I would not be writing about Mr. 1 song?” my rather giddy father asked me on the phone one day, a little over a year and a half ago. “So, are you gonna be writing about Bob Dylan’s No.