After Taylor Swift’s masters were sold without her consent, she discovered a loophole that would allow her to own her music once again: if she re-recorded it, she could re-release it.
With the re-records, Swift has decided to include “From The Vault” tracks – songs she wrote for the album but didn’t include with the original release. On 1989 (Taylor’s Version), there are five.
The re-recorded songs were mostly the same, except with more mature vocals. I only noticed significant differences on four songs.
The harmonies in the bridge of “Blank Space” were much more present, which I love.
The electric guitar intro in “Style” is different, but it works well with her mature vocals and demonstrates her new maturity.
The new production of “Shake It Off” has made it much more enjoyable. I would often skip it on the original album, but I won’t be skipping anymore. Her tone on the bridge is fabulous.
One of my favorite songs from the original album is “I Know Places,” and the re-record made an already fantastic song even better, something I didn’t think was possible.
All of these songs, due to minor differences, will take some getting used to, but I will be listening to 1989 (Taylor’s Version) exclusively from now on.
It would be extremely difficult to pick a favorite from the vault tracks, so I won’t.
It was obvious to me that Jack Antinoff produced said songs, since their style was reminiscent of Midnights, an album he also produced. Many older Swifties recall thinking Midnights was a grown-up version of 1989 when it first came out, so this made sense. However, I still felt like the musical style belonged on Midnights, not 1989.
Don’t get me wrong, I love all of the vault tracks and all of the originals. There is not a single skip on this album.
The vault tracks on this album, along with those on Speak Now (Taylor’s Version), are extremely relatable and detailed. Swift has always had relatable songs, but the vault tracks from her past two re-recordings are the most relatable by far.
Additionally, they dive deeper into her past relationships and explore musical choices Swift was unsure of during her original switch to the pop genre. Her lower register is prominent and beautiful throughout all of these tracks.
“S——!”
This song is like a mix between “False God” and “The Archer”. It carries a similar theme to that of “Blank Space,” which acknowledges and pokes fun at what the media thinks of her. It is not the upbeat, “Dress” style song many were expecting, but I still love it.
Favorite lyric: “In a world of boys, he’s a gentleman,” and “I’ll pay the price, you won’t.”
Say Don’t Go
I can be a little slow to understand, so the first time I heard this, I thought she was begging her partner to say something and not just leave her. On the second listen, pacing my room at midnight, I realized she just wanted this person to tell her not to go. The lack of punctuation in the title got me.
Knowing that meaning, I was stunned. This song is made for anyone who has been in a situationship, and it will surely cause the emotions from that to resurface.
Favorite lyric: “And I’m yours, but you’re not mine.”
Now That We Don’t Talk
In voice memos published to the music page of Tumblr, Swift says this is her shortest of songs, but it packs a punch. I would have to agree; the cutoff ending leaves one pondering and works so well.
I think this song has my favorite chorus ever. It’s so cathartic to sing if you’ve ever been in any similar relationship.
Favorite lyric: “You part the crowd like the Red Sea.”
Suburban Legends
There’s so much to unpack in this song, I could write an essay analyzing it. The gist is that “suburban” alludes to a smaller version of an urban legend, something that is known but untrue. This entire song discusses how the relationship was just a side plot in the story of their lives.
Favorite lyrics: “You were so magnetic, it was almost obnoxious,” and “I broke my own heart ‘cause you were too polite to do it.”
Is It Over Now?
With its title and message, this song is a fantastic album closer. This song feels like a continuation of “Question…?” from Midnights.
It has callbacks to “Clean” in the first verse and “Out Of The Woods” in the second and the bridge. Following the reference to “Out Of The Woods,” she sings, “Blue dress on a boat,” which references an infamous picture of her leaving a party she and Harry Styles attended together during their on-and-off again relationship. The pre-chorus is made for anyone questioning their feelings and those of their partner.
Favorite lyrics: “Your new girl is my clone,” “I think about jumping/Off of very tall something’s/ Just to see you come running/And say the one thing I’ve been wanting, but no,” and “If she’s got blue eyes, I will surmise that you’ll probably date her.”
