For Swifties (fans of 12-time Grammy-winner Taylor Swift), the night of an album release is like Christmas Eve. The clock counts down slowly to midnight – an hour that Taylor may be awake, according to her most recent album Midnights, but not one that I frequent anymore – and we all watch Instagram and refresh Spotify for evidence of new releases. For weeks, since the announcement of 1989 (Taylor’s Version) on August 9th at Inglewood Stadium in California, fans have speculated and tried to decode “Easter Eggs,” signs sprinkled throughout Swift’s songs, social media posts and music videos that may point to surprises to come. Trolling X (the artist formerly known as Twitter) yesterday, I saw fans jumping on the theory of a double album drop. Could the dual image in the “Bejeweled” music video indicate a sister album dropping at the same time? At 12:00 am today, we found out that players gonna play play play — but we’d played ourselves this time. The album that came out in the early hours of this morning consisted of 21 songs, 16 originals (two of which, “Wonderland” and “New Romantics” were standouts of the 1989 Deluxe version) and 5 “vault” tracks, never before heard by the public. With names like “Slut!” “Now that We Don’t Talk” and “Is It Over Now,” the songs packed an emotional punch that only whispered in the original album. Read below for my full, real-time thoughts on the album upon first listen.
Welcome to New York: The intro sounds the same but almost slower, less urgent. Her voice sounds very similar to the original at the beginning, like it’s reaching for something. Almost strained, but true to the original. So far, I’m pleased with the similarity to the stolen version, but I must admit I never loved this song to begin with. It’s just a little too grating, electronic. The backing vocals are louder in the second half of the song than I remember, but maybe I never paid such close attention before. I don’t know that I feel the same magic. Maybe it’s that I actually live in New York right now and it’s not that great.
Blank Space: Hell yes. A bop from the very first line. This song is powerful – maybe one of her best. She took back her public image and control of her persona with this. I still remember the thrill of hearing this for the first time. The second “But I’ve got a blank space baby, and I’ll write your name” sounds more mature than the original. This is the only place that I notice a difference from the first version so far. It almost sounds like she’s trying harder to actually sing this time around, whereas the original was more of a loud talk. You can tell that her voice is more powerful now. As a note, I will say that I liked her vocals least on this album out of them all. It verged on angry talk-yelling, and though it feels more controlled now I can hear how she’s trying to emulate the original sound. She enunciates her “r”s more this time around.
Style: Oh Style. Why does this guitar intro feel weak? It’s not the deep heartbeat sound that had me transcending in my room when I first heard it in 2014. It sounds more electronic, computer-generated. It lost some of its heart. Where’s the urgency, desperation, desire? I almost feel like there’s too much production, or it’s too loud – it drowns out her voice. She’s not the main event, but then again was she ever on this album? 1989 was never about the vocals. This album was about the pop of it all. “White t shirt” and “tight little skirt” are enunciated too clearly, in an almost unnatural way. I don’t believe that they’ll come back every time. I do like the “out of style!” yell at the end – that’s a nice touch.
Out of the Woods: She has the calm of afterthought with the introductory “looking at it now.” She’s looking back on it from a distance. This sounds like the original. Maybe it’s slower? The production sounds like it does in my memory. The chaos is so satisfying. I believe her uncertainty when she asks “are we out of the woods?” She still isn’t sure, or still intimately remembers that feeling. “Baby like we stood a chance,”… yes. She said that like she meant it. This has the anger and frustration that I wanted. This does it for me. I don’t love how she pronounces “me” like “maaay” but if that’s my only note I’m happy. This is my favorite so far.
All You Had to Do Was Stay: She sounds breathier. This song was never one of my favorites and I don’t really expect that to change, mostly because it sounds the same. Does anyone remember the yelling goat edits from back in the day? STAY! This album helps me understand why people don’t like her. This song, along with others (ahem, Shake it Off) is at its core desperate and annoying. But she was 23 when she released these, and her whole thing was owning the image the public had created for her of being just that, desperate and annoying. This said, I was actually desperate and annoying at 23! Let us annoying girlies live.
Shake It Off: She sounds shrill. I think I’m now used to the lower range of folklore, evermore, Midnights. In my opinion, she suits the lower range much better. I remember listening to this song on the radio in the car with my dad on the day that it came out. I remember not liking it, and then it grew on me. But it was everywhere. My dad, a fan of “country Taylor,” was horrified by the whole thing, especially the talking bit (“You could’ve been getting down to THIS.SICK.BEAT “). I remember being annoyed by the amount of repetition – were there even any real lyrics? But this was her first foray into pop. How do you make a perfect pop song? I think she’s finally figured it out with Midnights. Here, not so much.
I Wish You Would: I love the intro of this song. It’s speeding towards something. That’s what I like most about this album – it’s speeding towards something. I’m bopping along to this song as it plays, thinking that it might be up there along with “Blank Space” and “Out of the Woods” as my favorite songs from the rerecord so far. It sounds very similar to the original. Nothing is jarring. I’m happy with this one, it gives me the same feeling as before. Running.
Bad Blood: Another ultimate, iconic pop song. She was so angry. We should have seen Reputation coming. She’s almost hoarse on the “you and IIII” lyric, otherwise all sounds the same so far. Is she wobbly on purpose? I have few notes on this one. It’s interesting to relive again so many years later. The belt at the end though! Her power. Okay, Taylor.
Wildest Dreams: Breathy and quiet like the original. The emotion comes across. I believe it. She’s reliving this too, “You’ll see me in hindsight, tangled up in you all night..” I loved this music video, I’d forgotten. I can see see Scott Eastwood on the safari now, and Taylor’s brunette wig blowing in the wind. There’s a weird popping sound in the background that I don’t remember, but otherwise I’m happy with the production.
How You Get the Girl: I go through phases of liking this song. “Open up” sounds different somehow. The vowels are longer. This is more grounded, not as erratic as the original. The lead up to the chorus leaves me disappointed by a flatness that’s hard to describe. The meat of the song is similar enough – a good copy of the original but almost as if by someone who’d never heard the original. The production reminds me of someone reading a new language phonetically with an almost perfect accent but no sense of the meaning of the words. What is that electronic scale in the last 30 seconds? Not a fan. Robotic.
This Love: This does what it needs to do. I could probably cry to this. It’s always been skippable, though. This version doesn’t make me like it more. But it’s consistent.
I Know Places: I was excited for this but why does the “I” sound so weird? This song is criminally underrated. It’s so specific to fame and yet applies to any relationship that needs to be secret, for whatever reason. Oh, the “We run!” Yes! This may be, dare I say it, better than the original. She’s powerful. She knows places. But the “I”s do sound weird, I’ll stand by that. “I know for you it’s always me” gets me every time.
Clean: Sounds deeper. The bass hits harder – she means this more now than ever. The production sounds almost exactly the same, almost. It’s more human, palpable. It sounds like someone is standing in the room tapping a xylophone. Did I just get way better headphones than I had in 2014? The backing vocals definitely sound more prominent. “Now that I’m clean I’m never gonna risk it.” Whew.
Wonderland: I still can’t believe that Wonderland was a bonus track. This is one of the best pop songs she’s ever written. This is a car-screaming song. Again, though, I feel like the production is drowning her out a bit. And she sounds more measured. She sounded clinically insane in the original, which I loved. But this song still hits, and I’ll defend it to the grave. This needs to be on the radio. I think this would convert my non-Swiftie friends.
You Are In Love: I wanted to skip this one so badly. Something about this song makes me cringe. It’s almost too sappy? Which is crazy to say, because Taylor loves sap and so do I. But I like it shrouded in poetry and mystery – this is too obvious. It also sounds like she’s just saying words that kind of rhyme up until the chorus. I wouldn’t describe it as singing. It physically pains me to listen to this, I don’t think I can make it to the second half of the song. Let’s assume it’s the same as the original. If something is drastically different in the latter half, someone let me know. Thanks.
New Romantics: WE’RE ALL BORED, WE’RE ALL SO TIRED OF EVERYTHING. I love this intro. I love this whole song, top to bottom. Another one that I can’t believe wasn’t on the original album, or on the radio. This has chart-topping potential. Some of my best high school memories are screaming this song so loudly with my best friend that I lost my voice. The pace, the lyrics, the drama, the intrigue. I’m glad she left “I’m about to place. my Ace…ah.” Satisfying. I’m not mad about this version at all. It keeps all of the best parts of the original song – I’ll definitely add this to my daily rotation.
“Slut!”: The first truly new song… interesting. More xylophone, perhaps? This is not what I was expecting. I thought this would be more of a “screw you” anthem. It’s quiet and sad. I feel for her. I feel for all of us women. I feel for anyone who falls in love with men. Musically, I’m not sure that I would have paired these lyrics with this production, but it might grow on me. So far, I like the lyrics. I feel like it gives us a better sense of where she was in her life at this time. The title seems slightly forced, though. I think I would’ve called it something different, but I get what she was doing there.
Say Don’t Go: The title of this one confuses me grammatically, but once you get to that part of the song it makes more sense. The lyrics are too basic for me, I think. It seems like a less creative version of other songs she’s released. The production is so Jack Antonoff. The more I listen to it, the more I get what she’s trying to do here, but I do think the lyrics are lazy. Not in my top 10.
Now That We Don’t Talk: The intro sounds like “Mastermind,” no? I’m listening. This is drawing me in. I can’t believe how low she goes on “talk.” I’m bopping. That’s a good sign. Maybe she’s a mastermind. “I called my mom she said to get it off my chest.” Oh, she gets me. This one hits home. Even though she’s a billionaire, she’s just like us. She goes no contact with boys and has to call her mom to get through it. This song felt too short – there could have been a sick bridge, but I’m happy with it.
Suburban Legends: This also sounds like something off of Midnights. “You kissed me in a way that’s gonna screw me up forever.” Okay, yep. This song sounds so familiar. I like what she’s doing here. As a fellow suburbanite, I feel represented (well, not anymore, but born and raised).
Is It Over Now?: The intro has Out of the Woods energy. Once the lyrics start, I’m unimpressed. It sounds like she’s forcing words to fit. But the message of the chorus does hit, I will admit that. It’s the rest of it that isn’t working for me. “Blue dress on a boat.” Sadly, I know exactly the photo she’s referencing, but it doesn’t stop it from sounding awkward.
Ok, now back to Midnights on repeat.