Few artists could find a seamless way to connect items like polaroids, seagulls and pen clicks. In 2014, music industry topliner Taylor Swift did just that while transforming her career into an eclectic, synth-infused pop masterclass with the release of 1989. Before the release of the Grammy-award-winning record, Swift flirted with unique, distinct genres as she began to progress into a fully-fledged pop star (songs like We Are Never Ever Getting Back Together and 22 from her previous album tested the pop waters with her loyal country audience). Nine years to the day of the original release of 1989, Swift has taken back her iconic record with 1989 (Taylors Version).
When Swift first announced that her first six albums would be re-recorded in 2019 to gain ownership of her master recordings, doubt and disbelief shrouded the minds of music critics, fans and other artists in the field. After receiving encouragement to re-record her material from fellow pop music professional Kelly Clarkson, Swift turned the Taylors Version project into a musical marvel that had never been seen before. Beginning with the release of Fearless (Taylors Version) in 2021, Swifts re-recording project blasted her into super-stardom similar to what she had achieved in 2014, when 1989 took her name to the top of the charts three separate times with Shake it Off, Blank Space and Bad Blood. It was no doubt that Swift had massive shoes to fill with 1989 (Taylors Version). After a highly anticipated four-year wait, Swifts second attempt at 1989 is unfortunately a bit underwhelming in some areas but excels in others.
Without a doubt, its difficult to recreate the magic of the original 1989 album due to all its iconic riffs, details and sing-along moments, but Swift has proven that she can make magic happen twice with her previous, highly acclaimed re-records like Red (Taylors Version) and Speak Now (Taylors Version). Swifts second iteration of 1989 can fall a bit flat in areas where it needs to succeed but soars the record to new heights in unexpected areas as well. In terms of the hits, Swift struggles to copycat iconic songs like Blank Space and Style.
Style (Taylors Version) adopts some new changes to the song that makes for a less lively and entertaining listen in comparison to the original, such as replacing the iconic guitar-riff intro with a tinny, cover band-esque iteration that doesnt evoke the same feeling as the original. Similar situations exist in Blank Space (Taylors Version), especially with the demotion of the iconic pen click sound effect that exists with the original, as the new iteration is significantly less crisp and noticeable.
Not all is lost with the recreations of the original tracks, however; tracks like Shake It Off (Taylors Version) and Out of the Woods (Taylors Version) mainly stay on par with their 2014 counterparts, while lesser-known songs like Welcome to New York (Taylors Version) and Clean (Taylors Version) benefit from Swifts mature, contemporary vocals alongside refined production details. Vocally, all of Swifts re-recorded music sounds great, but the absence of original producers Max Martin and Shellback is glaringly obvious when listening to the finer details of the track production.
The 1989 (Taylors Version) vault tracks are where the record really begins to shine. Five scrapped tracks from the original albums release bring a lustrous energy to the album that didnt exist within the original 16 tracks. All five additions to the record through the vault enhance the pop experience that is 1989. Swifts synth-y, dream-pop concoctions create a new vibe for the album that emphasizes its bright, enticing themes of new beginnings and healing from troublesome relationships. In particular, Now That We Dont Talk (Taylors Version) (From The Vault) and Is It Over Now? (Taylors Version) (From The Vault) highlight anger and wondering what could have been with a luscious, pop-perfect synth backdrop combined with sharp, clever lyrics. Swifts vocals and delivery on the pre-chorus of Now That We Dont Talk especially stand out, with Swift tapping into her higher register to deliver a breezy, ethereal performance with deep-cutting lyricism.
Slut! (Taylors Version) (From The Vault) is an interesting divergence from Swifts usual songwriting, with an intense, unapologetic discussion on how slut-shaming is no longer at the forefront of the pop stars mind if she has someone who matters more than words can describe. Swift also touches on themes of longing and passionate adoration with Suburban Legends (Taylors Version) (From The Vault) and Say Dont Go (Taylors Version) (From The Vault), both worthy additions to the pop bible as 1989 has been dubbed.
Ultimately, 1989 (Taylors Version) is a bit of a mixed bag in terms of quality and staying true to the original project. Its not perfect in the recreation of its original roster, but Swift does add new tracks that pack a pop punch and enhance the quality of such a well-established record.
While its not Swifts finest re-recorded album, 1989 (Taylors Version) will undoubtedly re-introduce the iconic 2014 record to Swifts ever-growing fandom as she skyrockets to new heights of fame, fortune and universal acclaim. And who knows? Maybe Swifts re-recorded projects are a preview of whats to come for new records in the future or maybe weve all become far too accustomed to Swifts typical Easter egg hints.
PHOTO COURTESY OF ROLLING STONE