On October 27th 2023, 9 years to the day after the albums initial release, Taylor Swift released her re-recording of one of the best albums of her early career: 1989. 1989’s popularity soared upon its initial 2014 release as Swifts work of pop perfection as it showcased a completely new sound from her pre-established pop-country roots. Mimicking the 80’s trends of synthetic pop music 1989 was fun, refreshing and unique and Taylors version is no different.
1989 has been of the most anticipated re-records from Swifties everywhere as the album stands as a cult-classic among the fanbase. With hits like Style, New Romantics, and Out of the Woods fans have been waiting for Taylor restlessly. Some people (aka non-Swifities) may argue that the re-recordings sound exactly the same as the original and there’s no reason for excitement or critique. But those of us who are seasoned are able to hear out every difference major and minor that exists between stolen and Taylors version and in 1989 TV there were A LOT of them. From the lack of fade in the guitar intro to Style to a noticeable change in the emotion of the vocals of Out of the Woods, the production of 1989 TV has seemed to take a complete turn. In my opinion, this is one for the better. Don’t get me wrong, I love the original 1989 and it’s served as one of my favorite albums of all times since I heard it for the first time at 12… but Taylors Version truly takes things up a notch.
1989 TV is produced in a way that is much clearer, much poppier, and much stronger overall. The sound of the album (specifically looking back at Style TV) mimics the sound of Taylor’s performance on her iconic Eras tour. Although slight there is an obvious power in the production of the hit tracks that were not seen before in the original album. This can be heard in the introduction of Style TV as I mentioned before, but I also noticed it heavily in the albums opening track Welcome to New York. The song sounds more bold and vibrant while still replicating the same feeling it instilled in listeners when they heard it back in 2014. Not only is the production and instrumental aspect much clearer this time around but it is also quieted a bit allowing Swifts new vocals to shine through.
If there is one thing all Swifites can agree on it’s that Taylors vocals have improved drastically over the course of her career. Before you come at me she was NEVER a bad or untalented musician, but as she started her career so young her vocals were bound to improve progressively. This new strength is represented beautifully in 1989 TV. I’ve seen many people argue that her vocals sound emotionless or unenthusiastic in the re-record but I couldn’t disagree more. The emotion for any re-recording shouldn’t be expected to be the same as the Taylor that wrote and experienced the influence of those songs, in her own words, “is dead”. Her new vocals are just as powerful (if not more) while providing more of a pop experience to Swifties around the globe as the strength in her voice is apparent due to her technique, not blasting instruments to cover where they may lack.
Also– can we talk about the vault? Although the vault of Red TV will always be the closest to my heart, it goes almost neck-and-neck with this new re-record. From Slut! to Bad Blood (ft. Kendrick Lamar) Taylor gave fans everything they could possibly want and more. There is Say Don’t Go for the sad girls, Now That We Don’t Talk for the bitter, Suburban Legends for the romantics, and my person favorite Is It Over Now? which could benefit anyone with ears. Swift’s killer lyricism shines through yet again in these tracks with lyrics like “Lovelorn and nobody knows/ Love thorns all over this rose/ I’ll pay the price, you won’t” in Slut!, these tracks allow Swift’s talent shine through yet again. Not only are the songs themselves beautiful but they mimic the pop themes of the album that allowed 1989 to become the cultural masterpiece that it was in 2014 and is again now.
Taylor Swift, you’ve done it again.