Shaking Up the Decade: A Review of 1989 (Taylor’s Version)

By Anya Patri

Witherly Heights reviews Taylor Swift’s re-release of 1989 (Taylor’s Version), from the revamped tracks to the new From The Vault songs, detailing both the hits and the misses. 

We are all well aware of Taylor Swift’s mission to re-record her past discography stolen by the music executive Scooter Braun, with each album re-release entailing a rollout with new singles and never-before heard songs from years prior. With the newest release, 1989 (Taylor’s Version), come five new hits from the vault. We’ll also be looking at the changes of our favorite songs from the album- both the hits and the misses. 

It’s evident that Taylor Swift put a great deal of thought into the production, and this meticulous attention to detail shines through in the reimagined tracks. Notably, songs like “Out of the Woods,” “I Know Places,” and “New Romantics” benefit from better production that elevates their sonic richness. The layers of vocals and synths on these tracks harken back to the atmospheric and textured sound reminiscent of her “Midnights” era, adding depth and dimension to the listening experience.

While many of the tracks in Taylor’s Version may not sound drastically different from the original, there’s a notable evolution in her vocals. Her growth as an artist is very clear, and her seasoned voice brings a new level of emotional resonance to the songs, enriching the overall listening journey. Additionally, the reimagined production includes subtle intricacies that keen listeners will appreciate, like added harmonies and musical elements that might not have been immediately recognizable in the original. 

A really exciting aspect is Kendrick Lamar’s return for the Bad Blood remix. His collaboration with Swift on this track was a highlight of the original album, and its inclusion in the re-release was definitely the biggest surprise from the album.

The From the Vault tracks offer a different musical experience compared to the original album. Some of these tracks are slower, embracing a dreamy atmosphere with heavy echoing synths that remind me of”Wildest Dreams” or “This Love.” This shift in musical style might come as a surprise to fans of the original album, but it’s not necessarily a negative aspect of the album (although it took me a couple of listens to adjust to them). 

These slower, dreamy tracks may require a few listens to fully appreciate, as they offer a departure from the high-energy pop anthems that characterized the original 1989. However, if you were a big Midnights fan, you’ll really enjoy them. 

A couple of personal standouts are “Now That We Don’t Talk” and “Is It Over Now?” have fun lyrics and production, with Taylor Swift’s amazing bridges hitting different. They also contain some of my favorite lyrics on the album, like”I call my mom, she said that it was for the best/Remind myself, the more I give, you’d want me less.” These songs manage to capture both emotional depth and musical enjoyment, but I’d bookmark Stay Don’t Go as a song to cry to.

Of course, there were a couple of aspects of the re-recording that weren’t as iconic this time around– specifically the electric guitar riff at the beginning of “Style” lost a bit of its luster compared to the original. Ultimately, my biggest issue with this album is that the From The Vault tracks weren’t longer. The album was exactly what I hoped for and I’m excited for what happens with the remainder of Taylor’s re-recordings as she gets closer to gaining full ownership of her discography. 

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