Taylor Swift may be born in 1989 but she's dominating 2023 as we speak. Originally celebrated as a “pop perfection” back in 2014, 1989 (Taylor's Version) still has a strong claim to that title. This fourth (Taylor's Version) album serves as a vivid flashback to the synthpop era of the 2010s, where Swift led the way.
For Swifties, the differences in this re-recording might be a fun spot-the-difference game. But for Swift, it's a faithful recreation in collaboration with Jack Antonoff, Ryan Tedder, Christopher Rowe, and more at the helm—even though Max Martin is notably absent.
1989 (Taylor's Version) album review
One striking aspect of 1989 (Taylor's Version) is its departure from the classic Nashville sound that defined the original. Taylor Swift has fully embraced a sleeker, more resounding pop style, delivering a sound that's louder and smoother. While Max Martin didn't helm a few tracks, Swift's hooks still exude a fresh new-wave vibe. This time, synths and drum machines take center stage, relegating acoustic guitars and mandolins to the background.
When it comes to the songs originally released as singles in 2014, the re-recorded version of ‘Shake It Off' reigns supreme. The drums pack more punch with impeccably-balanced snares and Swift's vocals are as crisp as ever. If you're in the mood for a musical journey that makes you feel like you're right in the middle of the woods, “Out of the Woods” is the track to go for. It's got upgraded instrumentals, and Taylor Swift's storytelling vocals take it to a whole new level, leaving the original version far behind.
‘Wildest Dreams” secures third place with its captivating, conformist power-fantasy sound that whisks you away to dreamland with a movie star. “Blank Space” and “Bad Blood” both undergo some minor changes. The raw intensity of the re-recorded “Blank Space” has mellowed. While “Bad Blood” carries less anger and hurt in this new rendition.
Now, the most debated re-recording on the album is definitely “Style.” The original was already seen as pop perfection, so hats off to Taylor Swift for taking on the challenge. But truth be told, it's a pretty tough act to follow. The re-recorded version is undeniably good, but it does have a few issues. There are some over-layered vocals during the bridge, and a couple of added instrumentals can make it a bit hard to focus on that iconic guitar strumming.
But here's the silver lining – Christopher Rowe's synth work adds a bit more pep to the track compared to the original. Give it a few listens, and you might just find yourself appreciating it even more than the original.
The good thing is it's not just the 2014 hits that got a makeover.
“Welcome To New York” now feels like a sunny, care free welcome to the Big Apple. It's the kind of uncomplicated greeting you'd find in the opening of a classic show. ‘Wonderland' is pure magic with Swift's silky smooth voice. It's like she's narrating how she went down the rabbit hole with Alice. And then there's “Clean.” It lives up to its name with cleaner production, crisper vocals, and emotions that come through crystal clear.
“From the Vault” songs
1989 (Taylor's Version)'s five vault tracks take us on a journey through synth-y, twinkly tunes. And it all revolves around the theme of lost love. However, not all five share the same grade.
“Say Don't Go” hits you right in the feels as soon as you listen. It's an instant classic breakup anthem, co-written by the legendary Diane Warren. The song explores the pain of a romance's end, bringing back memories of original 1989 hits like “All You Had to Do Was Stay.”
Another gem that grabs your attention from the get-go is “Now That We Don't Talk.” It might be Swift's shortest song to date, but it comes with her signature snarky, funny, and hopelessly romantic character. While the instrumentals take a bit of time to build up, the bridge is a total showstopper.
Now, “Slut!” might not be the upbeat song you were expecting. It's a bold response to the early slut-shaming Taylor Swift faced in her career. Unlike its satirical counterpart, “Blank Space,” Swift dreamily brushes off the scrutiny. She, instead, immerses herself in a secret romance, making it an effervescent tune.
If you're in the mood to dance, then “Is It Over Now?” is your go-to. With its synths and drum-machine beats, it gives you a mix of “Out of the Woods” with a touch of “Labyrinth” from Midnights. In this track, Swift is picking up the pieces after her relationship ends, and the lyrics explore the idea of finding closure.
“Suburban Legends” effortlessly slides into this lineup of vault tracks. It has a sound that fits perfectly alongside the original 1989 highlights. The driving production, with a touch of wind chimes here and there, sets the stage for Swift to reflect on a lover. Unlike “Mastermind” from Midnights, this one talks about a “mismatched star sign.”
Should you listen to 1989 (Taylor's Version)?
Ultimately, 1989 (Taylor's Version) is a bit of a mixed bag depending on how you approach it. Taylor Swift's voice has evolved. Plus, she had to redo those near-perfect instrumentals and production from the original album. Max Martin or no Max Martin, it's a tall order to replicate.
But there are also some definite upgrades. For one, Swift's vocals have matured. Even though the instruments are cranked up to eleven, you can still savor her crisp voice. And let's not forget those vault tracks – they didn't disappoint. Some expectations may have been shattered, like hoping for an upbeat “Slut!” production. But that's the beauty of surprises.
In the grand scheme of things, 1989 (Taylor's Version) is still a pop bible, perhaps even a better one.
The silver lining here is that Swift now owns 8 out of her 10 albums, which was the original intent behind the re-recordings. It's like a special treat for the fans, with exciting album rollouts, vault tracks, and other creative twists. But remember, this is (Taylor's Version), and it's bound to grow on you over time.
Grade: A-
1989 (Taylor's Version) is out now.
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