When the iconic, pop-synth chords of “Blank Space” played on the radio in 2014, I immediately knew I was going to have an unhealthy obsession with 1989. Everything about it was pop perfection. From the catchiness of “Shake It Off”, to the whimsical nature of “Wonderland”, and the intensity of “Out of the Woods”, 1989 had so much to offer. I simply couldn’t get enough of it. 9-year old me shuffled it on repeat, annoyingly sang along, and watched every music video I could find. I enjoyed Taylor Swift’s music before 1989 was released; however, the album marked a significant shift from me being a casual listener to becoming a full on Swiftie. The adoration I developed for her and 1989 shaped my childhood and taught me what it was like to be truly excited about something.
Naturally, my expectations for 1989 (Taylor’s Version) were high, and I’m happy to say Miss Swift did not disappoint. Listening to the album felt like falling in love with it all over again. Every single song is just as good, if not better than, its original version. It’s clear that Taylor Swift has grown stronger vocally and can masterfully play around with production without straying too far from the album’s vibe. She put her honest heart into this version and it’s definitely paid off. I, like many other fans, am proud to see how far Taylor Swift has come and am impressed by her talent; it’s not easy to re-record such classic songs with the pressure of fan expectations. Swift took on the challenge with ease and gifted us with six vault tracks: songs that weren’t on the original album. She undeniably continues to live up to the pop legend title 1989 gave her and cements it with Taylor’s Version.
For those who don’t know what Taylor’s Version means, Swift’s first six albums aren’t owned by her, but were sold by her former label Big Machine Records to Scooter Braun. To be able to own her music, Swift is re-recording her past albums and naming them Taylor’s Version. By listening to her version, it genuinely supports her as an artist. Not only do these rerecordings serve as a way for her to make money back, but it’s also a way for her to reclaim her power and identity. The new re-records are fully owned by her and she can confidently announce that to the world and stand on her own as a musician. It’s an admirable passion project that’s good to get behind.
1989 (Taylor’s Version) is her fourth re-record and in my opinion, her best one yet; I haven’t stopped listening to it since it came out. The songs are addicting and nostalgic, allowing me to jam out and temporarily forget life’s everyday worries. “I Know Places” is 100% my favorite vocal performance on the album. Her growl on “and we run” and her riff on “I know places we can hide” make my jaw drop. I didn’t think it was possible to make that song even better than it already was but thankfully, Swift proved me wrong.
“Wonderland” is my favorite song, not just from 1989 but from Swift’s entire discography. I can’t really explain why; it simply holds a special place in my heart. Younger me would listen to “Wonderland” and stare out the window – imagining an elaborate, fantasy sequence in my head. I’m glad Taylor’s Version of the song sparks just as much joy and wonder. I couldn’t help but smile when I first heard the amount of emotion she put into singing “and talking turned to screams”. Her heart was poured into every aspect, from vocals to technical tunes, and that’s what makes this version so amazing. She’s authentically displaying herself and sharing stories of her life from this era.
It took a few listens for “Style”, “New Romantics”, and “Black Space” to grow on me. The production in the rerecordings is very different and the original versions were too good for me to let go of; I was almost unwilling to give the new sound of these three songs a chance. Once I did, I found myself really liking them. By avoiding comparisons to the original, I was able to appreciate the music more. The new versions are their own entities, and it’s unfair to dislike them because it doesn’t sound exactly the same. Music is bound to be different with new production and matured vocals. I dance around to “Style” without a care now. It’s bittersweet because in a sense, I’m letting go of my childhood but in doing so, I’m accepting room for change and growth.
The vault tracks are unique and lovely. “Slut!” threw me the most off guard. I expected it to sound like typical 2000s pop, like a Nicki Minaj or Britney Spears song; I was completely off. It’s a love song, hinting at romantic experiences between Taylor Swift and Harry Styles, who were dating at the time. I love the ethereal melody of the song as she describes how head over heels she was. The song’s tune totally matches the lyrics and it satisfies my brain. I think it’s interesting and strategic that Swift kept these tracks in the vault until now. In 2014, if she released a song called “Slut!”, she would’ve received much more backlash with all the hate and rumors overtaking her career that year. She made the right choice by putting it out now, when her fanbase is at its most supportive and her career is soaring above its peak.
1989 (Taylor’s Version) is pop excellence at its finest. Swift’s personal journey shines through this album and each song is fun to listen to. I’m intrigued by the subtle yet noticeable shift from the album’s vibes as a city album to a beach album. Either way, the album encapsulates the feeling of running down boulevards, recklessly letting hair blow in the wind, going out with friends, bathing in sunlight, and admiring the skyline. It’s incredible to play in order or on shuffle, no matter what the occasion is. Swift has outdone herself and I’m eagerly looking forward to her next re-record!