Swift’s revamp of her 2014 smash is her most faithful re-recording yet: a time capsule enhanced by pertinent cutting room floor tracks that show she never goes out of style
Still shaking it off … Taylor Swift performing on the Eras tour.any more. You can’t argue with her fanbase, immaculately devout and mind-bogglingly populous. You can’t argue with her songcraft: masterfully generic in a sonic sense; startlingly distinctive in a lyrical one. You can’t argue with her positive impact on the lives of her devotees. Or on everyone else: it’s estimated thatcould contribute around $5bn to the US economy. You can’t argue with the statistics in any arena, in fact.
The nuts and bolts of this re-recording will be of interest only to the hardcore contingent – a game of spot the difference that even Swift, who loves to set puzzles for her fans, hasn’t been promoting particularly hard. Like her version of Red, it does not see the return of Swedish superproducer Martin, who helmed the album’s central run of big hitters: Blank Space, Style, Shake It Off, Bad Blood, Wildest Dreams.
At least where pop is concerned, we currently live in more thoughtful times – and Swift has managed to retroactively keep up with this shift. Her album re-recordings have all been accompanied by bonus “From the Vaults” tracks – previously unreleased songs from the time of each album’s creation. 1989 has five: Say Don’t Go is a decent if unremarkable collaboration with the veteran songwriter, turn out to be some of Swift’s best work.
These subtle, interesting songs lost out to brasher, more basic tracks – Welcome to New York, Style – on the original 1989 tracklist, but who’s to say whether their inclusion would have affected Swift’s trajectory? Clearly she made a pretty good call on that front. This carbon copy of her blockbuster album doesn’t rewrite history but adds some instantly treasurable footnotes.
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