Taylor Swift: 1989 (Taylor’s Version) review – subtle bonus tracks add new depths to a classic

It's undeniable: Taylor Swift has proven herself to her critics. You can't dispute the loyalty and enormity of her fanbase. Her songwriting is both common in sound and exceptional in lyrical content. Her influence on the well-being of her supporters is undeniable, as well as the impact on the wider economy - rumored to be $5 billion from her ongoing Eras tour. The statistics speak volumes; Eras, the concert film version, is now the most successful of its kind ever, surpassing any previous records mere weeks after its release.

If you're feeling overwhelmed by all the success and the focus on selling merchandise, it's understandable. Some might even question why Taylor Swift is continuously promoting special edition vinyls and other products. However, it's hard to dispute her recent decision to re-record her old albums in response to her ex-label Big Machine selling her masters to her alleged bully, music manager Scooter Braun. While this move will undoubtedly be profitable, it's also a commendable display of moral integrity in the business world.

Taylor Swift has released a new version of her album from 1989. This is the fourth time she has re-recorded one of her albums and it was released out of order with her other re-recorded albums. Fans are speculating on why she chose this order, but there may have been legal issues holding up the release of the album's lead single, Shake It Off. Despite controversy, Swift is excited to revisit her first official pop album. Although some argue that her album Red showcased her pop skills just as well. Regardless, 1989 was a huge turning point in Swift's career and is widely recognized as the moment she solidified her place in pop music.

The technical details of this new recording may only appeal to the most dedicated fans - it's a bit like playing a game of spot the difference. Even though Taylor Swift enjoys creating puzzles for her followers, she hasn't been advertising this too much. This version of the album Red doesn't include the Swedish superproducer who worked on the hit songs Blank Space, Style, Shake It Off, Bad Blood, and Wildest Dreams. Instead, Christopher Rowe has joined Swift in creating the album, and the end result is very similar to the original in terms of sound. Sometimes the bass is stronger, and Swift's voice sounds a bit richer and more mature, but it's not so different that listeners will be too distracted.

For those who aren't overly fanatical, the launch gives a great opportunity to take another look at those impressively successful songs. Reflecting on the era-defining 1989 also clarifies the pop culture of that decade. When the album was first released, many thought it contained references to 80s music - which Swift later confirmed - but now it sounds like it perfectly encapsulates the 2010s. This was a time of unpolished, sometimes unpleasant electronic pop music that was fiercely efficient in its delivery.

Times have changed, especially in the world of pop music where people are now more reflective. Swift has managed to adapt to this change with her album re-recordings. She has included bonus tracks called "From the Vaults," which were never released before but were created during the time of each album. Taylor's Version of 1989 has five such tracks. Although Say Don't Go, which features veteran songwriter Dianne Warren, is alright but not remarkable, the other four songs are some of Swift's best work. They were co-written with Jack Antonoff, who also contributed two songs to the original album. Antonoff went on to produce a lot of high-quality pop music by artists such as Lana Del Rey, Lorde, and St. Vincent, and these songs follow the same standard. They are engaging, intelligent, and a lot more catchy than Antonoff's usual songs, but still not quite as famous as his biggest hits. That's probably why they were overlooked at the time.

The blog talks about Taylor Swift's latest songs. One of them is named "Slut!", which tells the story of a sexual adventure that was inappropriate. Swift sings in a style that is reminiscent of Lana Del Rey's moonlit ingenue. The other three songs are Swift's specialty, which are about unhealthy relationships that have left lingering emotions. "Now That We Don't Talk" uses a cool falsetto chorus and a steady beat to depict the emotions of lost connections. The song ends with a hook where Swift calls her mom. "Suburban Legends" takes on the story of a doomed romance that began during schooldays. The lyrics are perfect, and one of the lines says "I broke my own heart since you were too polite to do it". "Is It Over Now?" depicts Swift's anger towards an unfaithful ex-partner. The song is full of sparse electropop, echoing drums, and unique vocals that are unique to that era.

The nuanced and captivating tunes from the 1989 album were overshadowed by the louder, simpler tracks like "Welcome to New York" and "Style." It's impossible to know if adding those subtler songs would have changed Taylor Swift's career path, but in hindsight, it seems like she made the right decision. While the new album doesn't change the past, it does offer some delightful extras to cherish.