Taylor Swift's 1989 (TV) - Better Than My Wildest Dreams
DescriptionA review of 1989 (Taylor’s Version) and why this rerecording is not only better than the original, but her best record ever.
MessageWe recommend listening to 1989 (TV) to form your own opinions about the album.
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Taylor SwiftIntroductionOver one year ago, I revealed a terrifying secret: I'm a Taylor Swift fan. I know, the horror. And on the 27th, the artist released her FOURTEENTH studio album, this time being a rerecording of her 2014 classic 1989, named after the year Swift was born. I grew up with 1989; songs like Blank Space, Style, Wildest Dreams, Bad Blood, and, of course, Shake It Off, were leading factors in both why I fell in love with her and pop music so much. This is so true, I even have a slogan for this album: "The Quintessential Pop Album Of The 2010s." Every track, every lyric, every sound that can be experienced on this record, whether the original or this newest version, fills you with a mixture of emotions and feelings that cannot be replicated for me. Plus, given the success of it over the past decade, it seems to have done the same for millions. Why exactly is that, though? How about we take a look, venturing deep not only into the beauty of 1989, but also into what exactly a "Taylor's Version" is, to find out why it should be held as her best record.
What Is A Rerecording?I'm sure there are some questions. What is a rerecording? Why exactly is 1989 being released in 2023 if it already came out in 2014? Who decided to put that many numbers in one sentence? Here's the layman's way of putting it: Taylor Swift, one of the biggest stars in the world, does not own the masters of her music. This means she does not have full control of all HER albums and HER songs that SHE wrote. So, after a couple of troubles and finding a few legal loopholes, Swift just straight up decided to remake EVERY SINGLE ALBUM she had ever made prior to 2019. It's insane, but since the copyright of the songs belongs to her, just not the recordings, it means she can do whatever she wants with the lyrics and reproduce the production of the originals. It's as simple as that. And now, in 2023, Taylor has reclaimed four of her six "stolen" works, those being Fearless, Red, Speak Now, and most importantly, 1989. It's a lot, I know, and it took me a while to get it. Essentially, the artist wants to own her art, and she's got fans who are willing to listen and change their music habits to stream a practically identical piece of music just so Taylor can own it. So, when enjoying her music, just make sure it has (Taylor's Version) next to it (unless it's from Lover, Folklore, Evermore, Midnights, or any other new record she releases).
What Has Changed?After that jargon, how about we get to the real important thing here: Does it sound different? I mean, there have been nine years in between when Shake It Off ruled the charts and now, so something must have changed, right? Well, kind of.
Some songs are exactly the same. Seriously. Play them side to side, and you'll hear the slightest shifts, but nothing noticeable to a casual listener. Just give Out Of The Woods, All You Had To Do Is Stay, Shake It Off, Wildest Dreams, or Clean a listen and tell me they don't sound close to identical. Sure, Swift's voice has matured. Sure, Christopher Rowe, Jack Antonoff, and other producers try to closely replicate the genius of pop music mastermind Max Martin. But they sound mostly the same.
Others stray a bit from this. Vocally, they're the same (for the most part). Again, almost a decade would change anyone's voice. But it is clear that some changes were made on the production end of this, and remarkably, they are all improvements. This is most obvious in Style (Taylor's Version), where the song has a new sound in its background, one I can only describe as sparkly. It stuck out to me so plainly, and I've heard a few others bring it up. There is an added atmosphere to it that makes this pop hit even more catchy and enjoyable, a rare thing indeed. But it works.
The last category is songs that sound fairly different, with the vocals and production having massive upgrades. Songs like Welcome To New York, I Know Places, and Wonderland had fixed one of the largest issues I had with them. They sounded... whiny? Like, in the original version, her higher pitch just sounded... off. It was never bad, and I'm not a singer, but they always sounded strange to me, and this new record makes me TRULY love them. The production sounds fuller, her voice is clearer, and overall, the songs are even more worth listening to. Especially Welcome To New York, which was the worst victim (and biggest victor) here.
Overall, 1989 sounds like 1989. Crazy, I know. Though there is still something that comes from these massive projects of redoing past work, a fun little extra that makes these rerecordings more like standard album releases: [From The Vault] tracks.
The Vault TracksYet again, I'm going to make this story easy. With each rerecorded album, Taylor Swift releases five to ten unreleased songs that supposedly were written back in the day when the original album was being made. She did this for the Taylor's Version's of Fearless, Red, and Speak Now, so unsurprisingly, 1989 got the same treatment. However, instead of just naming them, below are all five in order of my "least" to most favorite. Each is amazing, and this is purely my opinion. I just want to pique your interest enough to get you to give them a listen. Let's get started.
Now That We Don't Talk is the lowest on my list, but don't think it's because it's bad. If you like pop, if you like Swift, then you'll like it. When it comes down to things, NTWDT impressed me the least. It has this cool siren-y sound to it, but its comically short length forces it to miss a point, with simple, relatable lyrics being its only saving grace. It's good, great even. But in this vault, never mind in comparison to the power of the standard tracklist, there is no competition.
Suburban Legends is where things start to enter the "amazing" territory. The lyrics: gripplingly specific. The beat: annoyingly catchy. The synths: EVERYWHERE. The part I really enjoy is the bridge, where the line "I broke my own heart, 'cause you were too polite to do it" first entered my ears, which has held itself in my mind for days now. There is a sense of trying to tell a tale of the complex nature of love, with the ending pacing through time to tell you that not all relationships will work, but they will always stick with you. And that seems to be the ultimate lesson of this track, with nostalgia and understanding running deep. Say Don't Go has already become a fan favorite for most, and I get why. There is a heartbreaking story within it, one shrouded by poetic lyricism from Swift that acts like a magnet for emotion. The character of this narrative feels torn, longing for comfort in a time of vulnerability where they wish certain words were said and that they weren't left behind. They want their lover back, the person that hurt them, but they hate them at the same time. And one question dominates: What to do next? The only thing truly understood: they are never coming back.
Is It Over Now? is the queen of strange sonics with a killer chorus and breathtaking bridge. There are sounds I can't even put into words, with rather explicit images being painted throughout and the looming wonder of whether or not the relationship is over following, naming all of the signs that it was long ago. Even with its enchanting upbeat production backing it, IION? is a sad song, especially when you take a deeper listen: "Let's fast forward to three hundred takeout coffees later I see your profile and your smile on unsuspecting waiters... Oh, Lord, I think about jumpin' Off of very tall somethings Just to see you come runnin' (Runnin')." There is a balance of closeness and betrayal that creates a somber atmosphere, yet there is still a sense of levity along the way, making it truly one of the best on the album.
But "Slut!" is the best. And yes, that is the title of the song, quotation marks and all. The reason I love it so much is because it was so unexpected in how the topic was approached. There is a clear influence of the many names and shaming words thrown at Swift and her dating history over the years, yet the song interestingly takes that and makes it into a happy tale of being in love and not caring about what people say. It's like Shake If Off but you're madly enamored. The piece is beautiful, it's surprising, and I'm honestly impressed that she went to the extent of fully reclaiming that word while reclaiming one of her most successful albums. Though I really shouldn't: this is Taylor Swift we're talking about. If anyone can do that, it's her. Between its clear meaning, the subversion, and the fact that it is genuinely fun to listen to, "Slut! is my favorite by a mile (but nothing is beating Out Of The Woods).
Conclusion1989 (TV) is better than I could have ever thought; it's beyond my wildest dreams. Somehow I was brought right back into 2014, reliving my childhood while comprehending this album more than ever. And, even with my (generic) music taste, this version of Swift's birthyear album is my favorite of hers, and maybe, of all time. It encapsulates so many emotions: love and heartbreak, happiness and anxiety, wonder and fear. To me, 1989 used to be her greatest; Midnights replaced it; and now, 1989 has retaken its spot at number one. All that needs to follow is a (Taylor's Verison). If you even in the tiniest way have a similar taste to me, you need to check it out. And even if you don't, still check it out! No Swift record can make you fall in love with pop more than 1989 (TV). That is beyond a guarantee.
What Is A Rerecording?I'm sure there are some questions. What is a rerecording? Why exactly is 1989 being released in 2023 if it already came out in 2014? Who decided to put that many numbers in one sentence? Here's the layman's way of putting it: Taylor Swift, one of the biggest stars in the world, does not own the masters of her music. This means she does not have full control of all HER albums and HER songs that SHE wrote. So, after a couple of troubles and finding a few legal loopholes, Swift just straight up decided to remake EVERY SINGLE ALBUM she had ever made prior to 2019. It's insane, but since the copyright of the songs belongs to her, just not the recordings, it means she can do whatever she wants with the lyrics and reproduce the production of the originals. It's as simple as that. And now, in 2023, Taylor has reclaimed four of her six "stolen" works, those being Fearless, Red, Speak Now, and most importantly, 1989. It's a lot, I know, and it took me a while to get it. Essentially, the artist wants to own her art, and she's got fans who are willing to listen and change their music habits to stream a practically identical piece of music just so Taylor can own it. So, when enjoying her music, just make sure it has (Taylor's Version) next to it (unless it's from Lover, Folklore, Evermore, Midnights, or any other new record she releases).
What Has Changed?After that jargon, how about we get to the real important thing here: Does it sound different? I mean, there have been nine years in between when Shake It Off ruled the charts and now, so something must have changed, right? Well, kind of.
Some songs are exactly the same. Seriously. Play them side to side, and you'll hear the slightest shifts, but nothing noticeable to a casual listener. Just give Out Of The Woods, All You Had To Do Is Stay, Shake It Off, Wildest Dreams, or Clean a listen and tell me they don't sound close to identical. Sure, Swift's voice has matured. Sure, Christopher Rowe, Jack Antonoff, and other producers try to closely replicate the genius of pop music mastermind Max Martin. But they sound mostly the same.
Others stray a bit from this. Vocally, they're the same (for the most part). Again, almost a decade would change anyone's voice. But it is clear that some changes were made on the production end of this, and remarkably, they are all improvements. This is most obvious in Style (Taylor's Version), where the song has a new sound in its background, one I can only describe as sparkly. It stuck out to me so plainly, and I've heard a few others bring it up. There is an added atmosphere to it that makes this pop hit even more catchy and enjoyable, a rare thing indeed. But it works.
The last category is songs that sound fairly different, with the vocals and production having massive upgrades. Songs like Welcome To New York, I Know Places, and Wonderland had fixed one of the largest issues I had with them. They sounded... whiny? Like, in the original version, her higher pitch just sounded... off. It was never bad, and I'm not a singer, but they always sounded strange to me, and this new record makes me TRULY love them. The production sounds fuller, her voice is clearer, and overall, the songs are even more worth listening to. Especially Welcome To New York, which was the worst victim (and biggest victor) here.
Overall, 1989 sounds like 1989. Crazy, I know. Though there is still something that comes from these massive projects of redoing past work, a fun little extra that makes these rerecordings more like standard album releases: [From The Vault] tracks.
The Vault TracksYet again, I'm going to make this story easy. With each rerecorded album, Taylor Swift releases five to ten unreleased songs that supposedly were written back in the day when the original album was being made. She did this for the Taylor's Version's of Fearless, Red, and Speak Now, so unsurprisingly, 1989 got the same treatment. However, instead of just naming them, below are all five in order of my "least" to most favorite. Each is amazing, and this is purely my opinion. I just want to pique your interest enough to get you to give them a listen. Let's get started.
Now That We Don't Talk is the lowest on my list, but don't think it's because it's bad. If you like pop, if you like Swift, then you'll like it. When it comes down to things, NTWDT impressed me the least. It has this cool siren-y sound to it, but its comically short length forces it to miss a point, with simple, relatable lyrics being its only saving grace. It's good, great even. But in this vault, never mind in comparison to the power of the standard tracklist, there is no competition.
Suburban Legends is where things start to enter the "amazing" territory. The lyrics: gripplingly specific. The beat: annoyingly catchy. The synths: EVERYWHERE. The part I really enjoy is the bridge, where the line "I broke my own heart, 'cause you were too polite to do it" first entered my ears, which has held itself in my mind for days now. There is a sense of trying to tell a tale of the complex nature of love, with the ending pacing through time to tell you that not all relationships will work, but they will always stick with you. And that seems to be the ultimate lesson of this track, with nostalgia and understanding running deep. Say Don't Go has already become a fan favorite for most, and I get why. There is a heartbreaking story within it, one shrouded by poetic lyricism from Swift that acts like a magnet for emotion. The character of this narrative feels torn, longing for comfort in a time of vulnerability where they wish certain words were said and that they weren't left behind. They want their lover back, the person that hurt them, but they hate them at the same time. And one question dominates: What to do next? The only thing truly understood: they are never coming back.
Is It Over Now? is the queen of strange sonics with a killer chorus and breathtaking bridge. There are sounds I can't even put into words, with rather explicit images being painted throughout and the looming wonder of whether or not the relationship is over following, naming all of the signs that it was long ago. Even with its enchanting upbeat production backing it, IION? is a sad song, especially when you take a deeper listen: "Let's fast forward to three hundred takeout coffees later I see your profile and your smile on unsuspecting waiters... Oh, Lord, I think about jumpin' Off of very tall somethings Just to see you come runnin' (Runnin')." There is a balance of closeness and betrayal that creates a somber atmosphere, yet there is still a sense of levity along the way, making it truly one of the best on the album.
But "Slut!" is the best. And yes, that is the title of the song, quotation marks and all. The reason I love it so much is because it was so unexpected in how the topic was approached. There is a clear influence of the many names and shaming words thrown at Swift and her dating history over the years, yet the song interestingly takes that and makes it into a happy tale of being in love and not caring about what people say. It's like Shake If Off but you're madly enamored. The piece is beautiful, it's surprising, and I'm honestly impressed that she went to the extent of fully reclaiming that word while reclaiming one of her most successful albums. Though I really shouldn't: this is Taylor Swift we're talking about. If anyone can do that, it's her. Between its clear meaning, the subversion, and the fact that it is genuinely fun to listen to, "Slut! is my favorite by a mile (but nothing is beating Out Of The Woods).
Conclusion1989 (TV) is better than I could have ever thought; it's beyond my wildest dreams. Somehow I was brought right back into 2014, reliving my childhood while comprehending this album more than ever. And, even with my (generic) music taste, this version of Swift's birthyear album is my favorite of hers, and maybe, of all time. It encapsulates so many emotions: love and heartbreak, happiness and anxiety, wonder and fear. To me, 1989 used to be her greatest; Midnights replaced it; and now, 1989 has retaken its spot at number one. All that needs to follow is a (Taylor's Verison). If you even in the tiniest way have a similar taste to me, you need to check it out. And even if you don't, still check it out! No Swift record can make you fall in love with pop more than 1989 (TV). That is beyond a guarantee.
SourcesSwift, Taylor. “1989.” Taylor Swift, https://www.taylorswift.com. Accessed 30 October 2023.
