1989 Reimagined: A review of the vault tracks from “1989 (Taylor’s Version)”

Exactly nine years after Taylor Swift’s transformative shift from country singer to popstar with the release of her “1989” album, she released the re-recorded version — “1989 (Taylor’s Version)” — at midnight EST on Oct. 27. 

“1989 (Taylor’s Version)” is the fourth re-recording that Swift has made in order to own all of her music again, after her first six albums were sold without her consent. Since the original album had three number one singles, “Shake it Off,” “Blank Space” and “Bad Blood,” and made over $1 million in one week, it’s no surprise that “1989 (Taylor’s Version)” is a hit — breaking Swift’s own record of most Spotify streams in one day.

Sure, it’s nice to listen to Swift’s more mature vocals on the re-recorded albums. However, the real draw for this album is in the previously unreleased “from the vault” tracks. Here’s my ranking of these new songs.

This song doesn’t stand out. In fact, it sounds extremely similar to several other songs that Swift has written. 

The overdone themes of high school — discussing class reunions and writing in diaries about a crush — are things Swifties have already seen in tracks like “You Belong with Me” and “Miss Americana and the Heartbreak Prince.” The synth-like background instruments sound too similar to “Mastermind” from the “Midnights” album. Boring.

The song just seemed too corny for me. Lines like “I had the fantasy that maybe our mismatched star signs would surprise the whole school” made me question what Swift was trying to accomplish with this song. I will say the chorus is catchy, but that’s about all that this song has to offer.

This track makes me want to side with the non-Swifties who claim that all of her music sounds the same.

We’ve all been there: a relationship ends and both sides agree to keep things civil, but maintaining a casual connection in the aftermath of a failed relationship is easier said than done. This is the premise of “Now That We Don’t Talk.”

Don’t let this topic mislead you. This track is yet another lively, roll the windows down pop hit. In fact, it’s arguably the vault tracks’ most obvious Jack Antonoff — fellow songwriter that Swift has collaborated with on several albums — produced song, as it sounds similar to other tracks they’ve co-written together.

The instrumentals and overall vibe of the song sound similar to “Bejeweled” from “Midnights.” Lyrics in this song like “Now I don’t have to pretend I like acid rock” make me wonder which ex she’s referring to. However, this song doesn’t stand out compared to other pop tracks from this album. It’s pretty bland, I can see why it got cut from the original album.

There’s nothing particularly bad about this song, it just isn’t one of my favorites.

This song encapsulates Swift’s signature style, featuring a powerful chorus with well-pairing background acoustics.

The smooth introduction sounds similar to “Clean,” one of the original tracks from “1989.” However, the lyrics’ heartfelt plea for a lover asking her to stay align more closely with “All You Had to Do was Stay,” also from “1989.” Could this thematic similarity be why “Say Don’t Go” didn’t make the original cut?

Still, the vocals and beat of this song are extremely catchy, and it’s definitely the first vault track I listened to that I’ll be playing again.

By far the boldest song title out of all of Swift’s vault tracks, this song delves into Swift’s struggle against critics using derogatory terms to discuss her love life. However, this song is shockingly mellow, with slow instrumentals and soft vocals.

I was expecting this song to be a fast-tempo, angry pop ballad. But the song’s alluring, late-night ambiance aligns more with the enchanting essence of “Midnights,” although I did appreciate a slower track to balance out the mainly upbeat pop songs found on this album.

Swift completely redefines and diminishes the derogatory term, acknowledging how genuine romance — or at least a passionate affair — outweighs the gossip from onlookers.

The last — and best — track out of the entire vault, this song delivered the pop fury that I was expecting from “Slut!,” and I’m not mad about it. 

This track dives into the shadows of past loves and the influence over current relationships, interweaving sentiments of sadness, vulnerability and anger throughout. Reviving the wreckage of a failed relationship is quintessential Swift, anchored with a standout bridge and catchy lyrics.

Lines like “At least I had the decency to keep my nights out of sight” and “Only rumors ‘bout my hips and thighs, and my whispered sighs” made my jaw drop. We didn’t see too much of this rage in the original album, so I loved hearing it on this newly released track.

This song is a standout gem on an album already overflowing with hits.