Taylor Swift - 1989 (Taylor's Version)
by Emmery Clements
An era of sad boat photos, Starbucks lovers, and dramatic haircuts, Taylor Swift's latest re-release takes listeners back to 2014. Yes, 1989 (Taylor’s Version) has finally arrived.
As someone who grew up wishing that Taylor Swift was my older sister (apologies to my actual older sister), every re-recorded album is a nostalgia trap. The intro to “Welcome to New York” instantly brings me back to the summer of 2015, dancing in the crowd of the 1989 World Tour at Soldier Field. While I no longer have the light-up bracelet I hoarded for three years too many, the album makes me feel like a kid again. I vividly remember the countless afternoons my sister and I spent making music videos to “Style,” “Blank Space,” and “Shake it Off,” complete with random outfit changes.
The two singles from the album, “Wildest Dreams” and “This Love,” are some of the best-performed songs on the record. Neither feel forced. Both fit perfectly into 1989 - and each other. The pre-chorus of “This Love” mentions “in silent screams / in wildest dreams”. This lyric shows an element of interconnection in Swift’s storytelling that creates satisfying cohesiveness within the album. It is easy to get lost in the ethereal delicacy of “This Love” as it builds into a full-on ballad. While the number of people who play “Wildest Dreams” at weddings is mildly concerning, these two songs are beautifully performed, with production to match.
Many incredible songs bleed from open wounds, with performances that mirror the pain. In the case of the original 1989 release, detailed storytelling was combined with an impeccable performance that took Swifties along for the ride. Yet, with every re-release, the years of healing and moving on - while beneficial for Taylor - remove the raw emotion for listeners. Just as “Better Than Revenge” on Speak Now (Taylor’s Version) lacks the rage of the original, “Bad Blood” is missing the same level of anger represented in the iconic 2014 music video. On the original release of “Out of the Woods”, a listener could hear the agitation and near-begging in Swift’s voice as she asked “are we out of the woods yet?” Now, years after Swift’s split with Harry Styles, the hardships of their relationship are not so fresh. The song lacks the same kind of emotional resonance; the words may be the same, but the story feels completely different.
Performance aside, Taylor’s voice has evolved into a much richer sound. For indie folk albums like folklore and evermore, this is perfect. For re-recorded pop albums that are meant to be near copies of those originals, it hinders the intended sound. The production attempts to compensate, instead of embracing the changes in her voice. On “How You Get the Girl,” the balance is off. Her producers increased the reverb on the vocals in an attempt to mimic the breathiness of her younger voice, but instead hollowed out the sound. As the backing track begins to overwhelm the vocals, I find myself listening more to hidden harmonies and vocal motifs on “All You Had to Do Was Stay” and “Wonderland,” in part due to the simple fact that they feel much more prominent than they did on the original album.
When you read a book you first read in your childhood as an adult, you uncover hidden elements that went completely over your head. The same goes for music – songs from 1989 that I innocently enjoyed as a kid feel completely different now. See, my childhood self was under the impression that “rain came pouring down” is what Taylor meant by being “Clean”. Now, “ten months sober / I must admit / just because you’re clean don’t mean you don’t miss it” is the standout line. A somewhat simple melody that just grows, the song stood out this time around. Nine years is a long time - for Swift and for her listeners. “New Romantics” now feels like pop burnout, an anthem for those who are young, dumb and barely getting through. “I Wish You Would” and “You are in Love” include elements of Swift’s storytelling that are more meaningful over time.
Following the Speak Now (Taylor’s Version) re-release, I must admit that I was skeptical prior to listening to the “From the Vault” tracks. My skepticism was valid, as all five of the “From the Vault” tracks this time around were a repetitive extension from the original release.
Perhaps the most unique element of the vault tracks is the somewhat inexplicable inclusion of an exclamation point in the title of “Slut!” It is a bit of a power move, as Swift calls out the patriarchy. She sings “and if they call me a slut / you know it might be worth it for once”, simultaneously responding to the haters and taking ownership of labels to do what she wishes. On “Now That We Don’t Talk,” Swift says every cathartic thing she would say to her ex and again calls out the patriarchy when she sings she no longer has to pretend “that I’d like to be on a mega-yacht / with important men who think important thoughts.” It feels like an epilogue to “Say Don’t Go,” in which Swift asks “why’d you have to lead me on / why’d you have to twist the knife”. She has no hesitation being quite literal on “Is it Over Now,” singing “when you lost control / red blood, white snow / blue dress on a boat.” Swift almost retells “Out of the Woods”, the main difference being her direct address to the media attention her breakup with Harry Styles received.
The Vault tracks are all connected, with the only potential exception being “Suburban Legends.” While it stands out in terms of storyline, it is one of the most relatable songs on the album – both to my childhood self and now. Swift sings “I had this fantasy that our mismatched star signs / would surprise the whole school / when I ended up back at our class reunion / walking in with you.” The song feels like a transcript of rants from my friends. Ultimately, the Vault tracks attempt to give the listeners what they want, but instead sink into an over-structured comfort zone.
1989 (Taylor’s Version) is another nostalgia trap that lacks the performance and production quality of the original release but contains all of the memories Swifties connect to her music, which may be the most important part.