On October 27, Taylor Swift released her fourth re-recording titled 1989 (Taylor’s Version). Nine years to the day after the original 1989 record was released, Swift added five songs from the “vault” to the album, aka songs that were written during that time but never made it on. They are titled “Slut!,” “Say Don’t Go,” “Now That We Don’t Talk,” “Suburban Legends” and “Is It Over Now?” Upon first listening, I thought they all sounded like defunct tracks from Swift’s 10th album, Midnights. That isn’t necessarily bad (Midnights is one of my favorites), but it makes it hard to see them as a product of 1989-era Taylor. The content and style of the lyrics fit with the other songs, but the production throws me! Nevertheless, I love the whole album and have been listening to it on repeat.
The first song of the vault tracks and my 1989 (Taylor’s Version) listen, is “Slut!” I had very strong preconceptions that it was going to be a “Bad Blood” style song with hard drums and screaming lyrics. So, when I instead heard the electronic twinkles and soft vocals of the intro, I didn’t vibe with it. However, now I can appreciate it for what it is, and I enjoy it! The melody of the chorus flows so well that I find myself humming it occasionally. I especially love how she intersperses screams of “Slut!” and “Drunk!” in the closing part of the song. I cannot be remiss in mentioning how by naming the song Slut!, Swift takes control over what you will see when you search “Taylor Swift Slut.” Instead of possibly seeing articles calling out her dating life and “promiscuous” behavior, you just get song lyrics that tell the story she wants; she leans into this negative media portrayal, like in “Blank Space.” Moments like these remind me how savvy Taylor is at controlling her public persona.
The next song, “Say Don’t Go,” was my initial favorite and has stayed as #1 multiple weeks later. The rhythm of how she includes the title into the song was unexpected but I enjoy how it toes the line between the refrain and pre-chorus. Detailing the stress of wanting someone to not leave a relationship and the ultimate sadness when they do, the song culminates in a gut-wrenching bridge that ends with “I said ‘I love you’/You say nothing back.” This line kills me every time I hear it, made worse by the fact that for the next second of the song, the instrumentals stop to let you wallow further in the pain of the line. The chorus’ cheerleader-style chants mixed with its sad message make this song feel like a mix of Swift’s “Miss Americana and the Heartbreak Prince” and “You’re Losing Me.”
Now let’s talk about “Now That We Don’t Talk.” Taking the crown of the shortest Taylor Swift song ever, the lyrics just come right at you as they build in intensity. They navigate the feelings one has surrounding an important relationship that has ended. With references to long hair and acid rock, many people believe this song is about Harry Styles, whom Swift dated in late 2012-2013 (this is not the only vault song about him – more on that later). However, the outro is what sells this song to me. Like, yes! I don’t have to pretend I like acid rock! Or that I’d like to be on a mega yacht! With important men! Who thinks important thoughts! It’s so catchy and I have already seen a TikTok trend being created to these lyrics.
“Suburban Legends” is the second-to-last vault track on 1989 (Taylor’s Version). I have to admit, this song doesn’t rank too high for me in terms of the other tracks, but I still enjoy it. With a moving chorus of “We were born to be suburban legends,” the song details how a magnetic relationship would become the talk of a hometown. The drum throughout reminds me of a fast-beating heart. Ultimately, the relationship breaks down through the outro. That part begins with the lyric “Tik tok on the clock,” which legitimately can’t be separated from the Kesha song (any Just Dance 2 fans out there?) While this may not be my favorite, the song title is still one of the best.
Ironically, the last vault song on the record is “Is It Over Now?” This is really where Swift begins to call out Harry Styles, referencing their infamous snowmobile accident from “Out Of The Woods” in the line “Red blood, white snow.” Other lyrics allude to the idea that they both cheated on each other and how Swift navigates her mixed emotions of betrayal. I am in love with how the lyrics of the bridge flow into each other, and it has been stuck in a loop in my head. This is probably my favorite after “Say Don’t Go,” and every time I listen to it, I’m sad it’s over now.
Overall, 1989 (Taylor’s Version)’s vault tracks did not disappoint. While I don’t think it’s my favorite vault Swift has released (that spot is reserved for the loml, Speak Now), the songs are all incredible on their own and transport the listener back to the original drama and sounds of 1989.