Taylor Swift’s re-recorded albums have become major cultural events, each release seemingly generating more anticipation than the last. Among these, “1989 (Taylor’s Version),” launched on October 27th, held particular significance for many fans, especially those who, like myself, have a long-standing connection to the original “1989.” Receiving the initial album as a gift in my younger years, I’ve always cherished its vibrant, polished pop sound and the sleek aesthetic it embodies. Naturally, the prospect of revisiting these cherished memories through “Taylor’s Version” was exciting.
Album cover for Taylor Swift 1989 Taylor's Version songs
However, upon listening to “1989 (Taylor’s Version),” a distinct sonic shift becomes apparent. The re-recording presents a noticeably airier soundscape compared to its predecessor. There’s a greater emphasis on vocal effects, manipulating Swift’s voice to potentially amplify emotional impact. While these additions are stylistically interesting, their effectiveness in enhancing the album’s overall quality is debatable.
Despite initial reservations, the album isn’t without its highlights. Certain tracks stand out, showcasing improvements over the original versions. “Blank Space (Taylor’s Version),” for instance, injects more personality into the song. Swift’s vocal delivery is bouncier and sassier, and the enunciation of “long list of ex-lovers” is clearer, resolving a long-held mishearing of the lyrics. “Out of the Woods (Taylor’s Version)” boasts a newly three-dimensional instrumental arrangement, creating an immersive and captivating listening experience. “Clean (Taylor’s Version)” subtly alters Swift’s vocals to create an almost underwater effect, a fitting atmospheric touch to the song’s themes. Notably, “This Love (Taylor’s Version)” emerges as a standout masterpiece within the re-recorded collection. Its rendition is smooth, wistful, and dreamily paced, arguably making it the strongest re-recorded track on the entire album.
Adding further intrigue to “1989 (Taylor’s Version)” are the vault tracks – songs that didn’t make the final cut of the original album. These previously unreleased songs prove to be a significant highlight. Tracks like “Say Don’t Go” and “Now That We Don’t Talk” are particularly compelling, demonstrating a quality that arguably surpasses many of the re-recorded songs. The strength of these vault tracks leaves one wishing for even more additions, perhaps to compensate for the somewhat underwhelming re-recordings of the original album’s core songs.
A recurring issue throughout “1989 (Taylor’s Version)” is the inconsistent quality of the instrumentals. Tracks such as “Welcome to New York (Taylor’s Version)” and “I Wish You Would (Taylor’s Version)” suffer from a harsh, almost screechy sound, an unexpected flaw from an artist of Swift’s stature. “Style (Taylor’s Version),” originally celebrated for its immersive and dreamy atmosphere, unfortunately falls flat in its re-recorded form, losing some of its original magic. Even “Shake it Off (Taylor’s Version),” while undeniably catchy, sounds noticeably underproduced, which feels like a missed opportunity to elevate one of Swift’s biggest, albeit most divisive, hits. Furthermore, several choruses across the album, including those in “All You Had to Do Was Stay (Taylor’s Version),” “Bad Blood (Taylor’s Version),” and “How You Get the Girl (Taylor’s Version),” sound somewhat stilted and abruptly cut-off, disrupting the flow of the songs.
In conclusion, “1989 (Taylor’s Version)” presents a mixed bag. Out of the original sixteen tracks, only a handful demonstrably improve upon their originals, while a larger number unfortunately regress in quality. When factoring in the excellent vault tracks, only about half of the album provides a superior listening experience compared to the initial “1989.” While the vault tracks offer fresh and exciting content, the uneven quality of the re-recorded songs themselves prevents “1989 (Taylor’s Version)” from fully surpassing the legacy of the original album.
