While October has been filled with exciting Taylor Swift news (the Eras Tour Film, the one year anniversary of Midnights, just general excitement that comes with living in the same time as Taylor Swift, etc.), I would say the height of anticipation comes greatly from the release of 1989 (Taylor’s Version).
Halloween weekend is already filled with swirling eagerness for the best holiday of all time, so to add on the release of the re-recording of the best Taylor Swift album of all time? I combust. Well, okay, maybe 1989 isn’t the best Taylor Swift album, but seeing as it was already high on my ranking and this re-recording was everything and more, it only makes sense for it to be my only obsession for the foreseeable future.
It was easy to start listening to the album worried about what this meant for the quality of the album that got me into Taylor Swift in the first place, reminding me of the “We Are Never Ever Getting Back Together (Taylor’s Version)” incident of 2021. While her past albums are tied with nostalgia and childhood memories, something that can be difficult to let go of in today's society, her music still carries the same message it did all those years ago. Also, it is important to remember how with every new re-recording comes a much needed resurgence of empowering female artists and allowing musicians to own their work. The re-recordings are not about rewriting history, just reclaiming – something everyone has a right to do, even if it means the end of an era for seven-year-old me.
Taylor Swift announcing the release of 1989 Taylor's Version during her The Era's Tour concert
Now, onto the excitement: 1989 (Taylor’s Version) is the pop album of the decade.
The songs provide exciting range lyrically and tempo-wise while still flowing together, and Swift’s voice carries the same passion it always does, only more developed in comparison to the original versions of the songs.
There are some prominent changes in the mixing of the songs, like “Style” or “Clean.” I will admit, the first listen of “Style” was a bit of a jumpscare with changes in background music – the newer version did not have the same hard beat in the back, mellowing it out a bit as opposed to “Clean” which was now less breathy. However, I feel these do not necessarily take away from the album, but rather introduce a new way of listening to it.
Delving more into the making of the album, I have heard from Jon Dong (‘25) that “Jack Antonoff needs to go.” He believes that the re-production of songs like “I Know Places” or “Blank Space” dilutes the album and makes it start to sound more and more like Midnights or her other songs rather than taking on their own distinct sound like 1989 used to have. However, while he only had bad things to say about the album at first, he has recently reached out. “It’s growing on me,” he said.
Conversely, Kyle O’Hara a student at University of Michigan Law School said, “Jack Antonoff was dialed up to 11 and he did his job really well.” She sees the GarageBand oriented background as contributory to the upbeat, pop feel of the album, enhancing the listening experience with an innovative sound.
While many think the re-recordings would be better off if nothing changed between the newer and older albums, I find the development part of the experience. From developing the sound of the background vocals or hitting different notes to maybe even switching up a lyric or two, part of the re-recorded albums are Taylor Swift finding her voice after it was taken from her. By taking these kinds of creative liberties, she is able to establish a new type of music that keeps her listeners interested in what’s coming next.
And the vault tracks! A lot of the hype surrounding the re-releases comes from the excitement generated by the idea of a new sound and new music with the Taylor’s Version albums. A sort of incentive to keep us listening, if you will.
The vault tracks are songs written originally when the album was still in the making, but because of production issues or just general distaste for the song, they weren’t released with the rest of the album. Swift is using her re-recordings as an opportunity to release the tracks she was not able to the first time around.
My favorite of these newer songs would have to be “Now That We Don’t Talk.” The shortest track in Taylor Swift’s discography, this song is a fun, upbeat hit with lyrics that make you question your entire existence. While providing more insight into this time of her life, the more important aspect of this song is that it is really good. It was a head-bopper upon the first listen, and the best part about music is the fact that you can apply it to your life in any way you want, regardless of the literal meaning to the singer.
So, basically, 1989 (Taylor’s Version) is a top-tier album with its range throughout the 22 tracks. It is fun and upbeat and intense if you read into it and incredibly deserving of the countless records it has broken within the first week of its release, despite the criticisms that always come with new music from successful artists so 🥱🥱.
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