One of the most anticipated parts of Taylor’s Version re-records, in addition to listening to Taylor’s mature voice in these re-records, has to be the vault songs. As a fan, it provides further insight into Taylor’s songwriting and mindset during that era, unlocking new facets of her discography. An interesting thing about the vault for 1989 is its unique sound in comparison to the original album tracklist. The vault tracks all sound incredibly dreamy, courtesy of Taylor’s musical partner in crime and producer Jack Antonoff, who of course produced the 70’s-inspired synth-pop album Midnights. Taylor herself mentions in voice memos that 1989 felt like a “New York album” while many of her vault songs including “Slut!” felt “very California.” Come along with us (Abby and Vinisha!) as we break down and provide some of our opinions on these literary and musical masterpieces!
“Slut!”
First on our vault track timeline, September 19, 2023: the 1989 vault word puzzles dropped. After some stellar sleuthing work by the Swifties, most of the track titles were unscrambled without much protest. However, there was a fierce debate on whether the first vault track was called “Slut” or “Lust.” Many thought it seemed doubtful that 2014 Taylor Swift would’ve been bold enough to pitch a song called “Slut,” but thankfully Taylor proved everyone wrong when she dropped the official vault titles, with “Slut!” at the top of the list. Of course, this only prompted further debate–would this be a sharp, baddie-worthy anthem about Swift powerfully reclaiming her narrative, as she did with “Blank Space?” Or would she pull a classic Taylor Swift bait-and-switch?
Well, when 1989 (Taylor’s Version) came out, Swifties’ questions were put to rest. “Slut!” was dreamy, beachy, and absolutely lovesick. The song helped to contextualize the album’s reimagined photoshoot concept, set on a gorgeous sandy beach with a brilliant 1989-esque blue sky. In a way, it was still a method for Swift to ironically address the media’s criticism of her and her relationships, but less of an angry, satirical critique and more of a hazy, love-crazed admission that Swift’s relationship outweighed the public perception of her romance. Swift revealed in a voice memo available on the 1989 TV vinyl that she chose “Blank Space” over “Slut!” on the original tracklist because she felt the former fit better with the New York theme, while “Slut!” was decidedly Californian. The lyrics definitely reinforce this coastal, tranquil, and hypnotic quality.
Abby’s favorite lyric from the song: “Half asleep, takin’ your time / In the tangerine, neon light, this is luxury.”
Vinisha’s favorite lyric from the song: “And if I’m gonna be drunk, I might as well be drunk in love.”
“Say Don’t Go”
“Say Don’t Go” is the ultimate situationship anthem! The whole song reminds us of the push and pull of a relationship in which both individuals are never on the same page. The timer on the relationship is running out, but neither is willing to give in just yet. Taylor describes this anxiety of knowing that a relationship is doomed from the very beginning through GUTTING lyrics like “Halfway out the door, holding out hope for you to, say don’t go.” The themes present in “Say Don’t Go” heavily correlate with the same relationship anxiety that Taylor cites in “Out of the Woods” where she says she has experienced relationships that she feels were doomed from the start.
We have to give an honorable mention to the TikTok compilations of doomed love stories from movies and TV shows that have been set to this song. Once again, Ms. Taylor has us SOBBING on the floor. While this song represents many people’s worst anxieties about relationships, Taylor excels at putting it into words, like she always does, that would make someone feel less alone.
Abby’s favorite lyric from the song: “Why’d you whisper in the dark / Just to leave me in the night?”
Vinisha’s favorite lyric from the song: “I’m tryna see the cards that you won’t show / I’m about to fold unless you / say don’t go.”
“Now that we don’t talk”
“Now That We Don’t Talk” is a bitter recount of the aftermath of a breakup, where clearly Taylor and her ex have adopted a “no-contact” strategy post-relationship. If you can relate to this situation, this is the perfect song to remind you of all the reasons why you shouldn’t text your ex. Seriously. Don’t do it.
Though this song is the shortest in Swift’s entire discography, it certainly makes the most of its entire 2:26 length. Swift explores her impressive range, starting with a low, biting tone at the end of the first verse, before displaying her higher notes during the chorus. The beat is sharp and steady, feeling almost taunting as Swift details her grievances against her ex.
Now, with recent developments in celebrity news, this song has truly taken on a new meaning…specifically, when Swift says at the beginning, “You grew your hair long, you got new icons.” Okay. Okay, I get it, Taylor. You’re dissing Harry Styles a little bit, and you know what, that’s okay! I understand. It’s acceptable. But why, oh WHY did you have to comment on his hair? Do you have any idea what that comment has cost us?! Yet another hot man falling victim to the supposed appeal of a buzzcut. All I have to say is rest in peace, Harry’s perfect hair.
Abby’s favorite lyric from the song: “And the only way back to my dignity / was to turn into a shrouded mystery.”
Vinisha’s favorite lyric from the song: “Or that I’d like to be on a mega yacht, with important men who think important thoughts.”
“Suburban Legends”
This song has got to be the largest invisible string of this album. See what we did there? Let’s break it down. The whole song represents an ode to a childhood or high school relationship that one thinks is going to last but ends up being a story of the past. She highlights this by saying “You’d be more than a chapter in my whole diary.” Is this reminding anyone else of “Next Chapter!” in “The Story of Us” or “Now I’m begging for footnotes in the story of your life,” from “Tolerate It?” She often utilizes the reference of a book chapter to symbolize the place that a significant other has in her life.
Or, when she refers to “standin’ in a 1950s gymnasium,” we can’t help but draw parallels to “the far side of the gym” in Betty or “that 1950s shit they want from me” in “Lavender Haze.” This reference to the 1950s suburban life in her music is a powerful one. In the context of that time period, she references the woman being almost silenced – something that she fights every day in the music industry as people try to make jabs at her reputation.
“Suburban Legends” has a strong synth-pop energy to it – courtesy of Jack Antonoff again. Like “Mastermind” on Midnights, the dreamy production on this song matches the reminiscent feel that Taylor highlights throughout, similar to the reflective tone in which she looks back on her childhood in “Mastermind.”
Abby’s favorite lyric from the song: “And you kiss me in a way that’s gonna screw me up forever.”
Vinisha’s favorite lyric from the song: “You were so magnetic it was almost obnoxious / flush with a currency of cool.”
“Is it over now?”
In our humble opinion, “Is It Over Now?” is the crown jewel of the 1989 TV Vault. It’s a combination of incredible production, callbacks to past songs, and a satirical jab at a relationship that was clearly full of turmoil and uncertainty. On top of those features, Taylor revealed in another voice memo that she knew she wanted to end the vault with this song due to the ironic title – further evidence of her musical genius.
The song begins with a pop-synth beat that’s extremely reminiscent of “Labyrinth.” As the song continues, the chord progression echoes “Out of the Woods,” which Taylor has stated to be a sister song to “Is It Over Now?” While “Out of the Woods” is from the insider perspective of an uncertain and unstable relationship, “Is It Over Now?” explores how that sense of questioning blurs the lines even after such a relationship has run its course. Swift even recently mashed up the two songs at The Eras Tour in Argentina (shoutout to the girl on TikTok who did it first…wonder how she’s doing?).
After listening to the cutting lyrics, it’s clear why Swift didn’t release this masterpiece in 2014. The original 1989 tracklist was meant to reflect a period in Swift’s life dedicated to her career and her friendships, proving to the media that she was more than a jilted ex-girlfriend. Her vulnerable recount of a relationship that clearly had some toxic and unloyal elements from both parties and perhaps refers to a certain other A-list celebrity (Hi again, Harry) definitely would’ve provided a harmful narrative for the media to grasp in 2014. It’s wonderful that Swift feels secure enough to release it now, though, because it’s truly an incredible song filled with some of her most amazing lines.
Abby’s favorite lyric of the song: “At least I had the decency to keep my nights out of sight / Only rumors ‘bout my hips and thighs, and my whispered sighs, oh Lord.”
Vinisha’s favorite lyric of the song: “You dream of my mouth before it called you a lying traitor.”
(But in reality, we can’t choose a favorite. I mean, come on.)
In conclusion
Overall, if you were to ask us, we think that the 1989 TV Vault rivals the Red TV Vault (which is probably our favorite so far). Nevertheless, these songs are absolute bops that round out an already perfect pop album. Moreover, they offer incredible insight into Taylor Swift’s life when her romances were much more private. Thanks to Travis Kelce, those days seem to be long in the past, and with the re-recordings, we’re receiving much of Swift’s narrative that has remained hidden for years. Taylor, thank you for sharing this part of your life with us, and for giving us some breakup anthems even while you’re clearly very happy and in love. We can’t wait for the next one…we’re ready for it.