TAYLOR SWIFT - 1989 (TAYLOR'S VERSION)
In 2014, Tumblr was at its peak. Doc Martens and Polaroids were in high fashion, and Taylor Swift was seemingly shifting away from her country roots to a transformative pop realm which would grant her superstar status for the rest of her career.
Fast forward nine years and the same statement stands. Taylor Swift is a pop icon. With the release of her 1989 (Taylor’s Version) record, anticipation is high - she now rightly owns one of the most critically acclaimed pop albums.
All but one track is produced and written by long-time collaborator, Jack Antonoff, this being ‘Say Don’t Go’ written alongside Dianne Warren. Taylor remains faithful to the original vibe of 1989 - eighties-inspired pop, flawless falsettos, and living in a big city and experiencing life.
Each original track on the record sounds identical - somewhat crisper and smoother in vocal production compared to the original. Compared to the other re-recordings, Taylor’s mature vocals suit the overall vibe of the record, it packs a punch. Noticeable differences present themselves on ‘I Wish You Would’ and ‘I Know Places’ as they hit harder than the stolen versions; it feels like Swift challenges something different during these specific re-recordings as both songs are grittier - the production is effortless and more developed.
If you are involved in the whole Taylor Swift re-recording of her first six albums agenda, you are aware of the vault tracks - songs which did not make the first album originally but Taylor believes deserve to be out in the world now. There are five on 1989, all solo, unlike the rest of the re-recordings that overpour with collaborations from Phoebe Bridgers, Hayley Williams, and Ed Sheeran. The first of which is ‘Slut!’ - a synth-pop love song which puts listeners in a haze, not the angsty rebellion song audiences were expecting, but still dreamy. It is laced with a Midnights production vibe as she sings “Got lovesick all over my bed.” Swift was faced with scrutiny by the tabloids back in 2014 and was called a slut for her relationships, yet it is powerful to see her taking back the word for herself here.
‘Say Don’t Go’ with the iconic Dianne Warren, again adds to the dreamy vibes of the record. Swift’s isolated vocals provide imagery and visualisations that Taylor is perfect at embodying. ‘Suburban Legends’ also extends the synth-pop Midnights vibe felt within these vaults.
The best vault subjectively is ‘Now That We Don’t Talk’. The pulsing beat and pop elements this track radiates resonate with the original vibe and message executed in 1989. Swift is reflecting on a past relationship and how she is grateful for all the things she no longer has to pretend to like to impress someone. Her signature angelic falsetto also presents itself. “I don’t have to pretend that I like acid rock / Or that I’d like to be on a mega-yacht,” is a catchy tongue-in-cheek piece of lyricism from Swift, which effortlessly gets stuck in your head.
‘Is It Over Now’ embodies a similar story-telling narrative, similar to ‘Out Of The Woods’. It appears to be a fan favourite, especially for those who fall in love with Taylor’s ability to paint a picture with words and take listeners on a cinematic journey in a few minutes.
Dropped hours after the release of 1989 (Taylor’s Version) is the deluxe version, featuring the re-recorded version of ‘Bad Blood’ featuring American rapper Kendrick Lamar, whom gracefully hops back on the song and delivers the same fire verse he did nine years ago.
While some vaults felt like rejects from Midnights, the overall theme of 1989 is kept faithful by Swift. It is a kaleidoscopic album which takes listeners through heartbreak, friendships, and living your best life in your twenties. 1989 (Taylor’s Version) is Taylor Swift in her pop form reborn and established.
Amber Nielsen
★★★★