2023 could easily be called “the year of Taylor Swift,” with Speak Now (Taylor’s Version) released in July, the Eras Tour on its way to become the highest grossing tour of all time, the Eras Tour film becoming the highest grossing concert film of all time, and various outings by the singer grabbing national attention.
Her latest headline came on October 27 with the release of the long-awaited 1989 (Taylor’s Version). The original album, released in 2014, took over the radio and won many awards, including the Grammy for Album of the Year. 1989 (Taylor’s Version) is her latest release in her quest to own all of her music.
Whether or not you’re a casual fan, diehard “Swiftie,” or only know her name, you’ve probably heard about the re-recordings by now, released in Swift’s attempt to take back and own her own music. With Fearless (Taylor’s Version) coming out in April of 2021, followed by the re-releases of Red and Speak Now, it’s been in the news for a long time. All three previous re-recordings have received critical acclaim, and 1989 looks to be no different.
The album itself, for the most part, lives up to the expectations and then goes further. It’s heavily nostalgic, and full of clear vocals, instrumentals, and extraordinary production by Swift and long-time producer Jack Antonoff. Exemplary tracks include “Blank Space,” “Out of the Woods,” and “I Know Places.”
The songs that really deserve praise, however, are the ones that were often previously overlooked on the original 1989 – “All You Had To Do Was Stay,” “I Wish You Would,” and “Wonderland.” They shine sonically and vocally. Swift shows off skills she’s developed over the nine years between releases, and paired with the excellence that are the songs, the growth she’s had and the talent she possesses are visible.
It would be remiss not to mention that a few songs from the original album, such as “Style” and “New Romantics,” sound slightly different from their originals, and for better or worse is up to the listener. If you fall in the latter camp, it’s slightly disappointing, but in no way does it distract from the triumph that is the rest of the album.
And finally, off of the first sixteen tracks, two more stand-outs are “Wildest Dreams” and “This Love.” Both songs were released prior to the album’s release, the former in 2021 after it started to trend on Tiktok, and the latter in 2022 with The Summer I Turned Pretty. They’re pretty and soft, and provided fans with tidbits to hold onto until the release of the re-recording.
Like every one of Swift’s re-released albums, 1989 (Taylor’s Version) contains five vault tracks – additional songs that were previously cut due to Swift’s preferences, label decisions, or time constraints. Now they serve as gifts to her audience and a reason to buy the new albums.
All five tracks have production similar to that of Swift’s latest new release, Midnights. They’re slower in pace, but still have 1989’s pop signature. “Say Don’t Go” stands out with heart-breaking lyrics about longing, and the final song “Is It Over Now?” contains a great bridge, great sound, and a few snide lines that are unexpected, yet incredible.
Overall, 1989 (Taylor’s Version) is more than its lowest lows and highest highs – it is a product of growth, expertise, and nostalgia; it is a love letter to the fans. The sum of its parts equals a pop masterpiece as Swift once again proves herself, as titled by the American Music Awards, the artist of the decade.