Review of ‘1989’ vault tracks (Crier’s Version)
On October 27, Taylor Swift released the highly anticipated “1989 (Taylor’s Version).” Along with the beloved original 16 tracks, she released 5 “vault” tracks: unreleased songs written around the “1989″ era that didn’t make the album. “1989″ is our favorite album… will these surprise songs meet our expectations, or do we have bad blood?
Sl*t!
Anum: I honestly thought it was going to be an angsty song similar to Olivia Rodrigo’s music. Very much the opposite! It’s actually a really cute love song and Swift saying how people call her a sl*t, but it’s worth it for the guy she’s with. My favorite lyric is “In a world of boys he’s a gentleman” AWWWW. It sounds like the younger sister of “You are in Love”, another song on “1989.” The synth and soft instrumentals sound whimsical and “1989″ and “Midnights” combined.
Zehra: Honestly, it was almost shocking seeing the title of this song, especially since it’s an addition to “1989,” a clean, PG-language album Swift released when she was just 24 years old. I also anticipated something more energetic and bold like Anum did, but the song is about Swift’s appreciation for the guy she’s with, and how she doesn’t mind what people say about her because she loves him so much. The song is cute, but definitely less dynamic and melodious compared to the other vault songs. The lyrics are quite basic, drawing inspiration from other albums (“In a world of boys, he’s a gentleman” took me right back to Lover, for example), and the instrumentals sound like they’ve been recycled from “Midnights,” arguably one of Swift’s… less captivating albums.
Say Don’t Go
Anum: This song is basically about someone unexpectedly leaving you and not being able to move on. Swift sings, “Why’d you have to lead me on; Why’d you have to twist the knife?” and HONESTLY THIS IS SO RELATABLE. Especially when you’ve dealt with fake friendships. Overall, the song is really ironic since the lyrics are so sad and the instrumentals are so upbeat. You could dance and cry to this song at the same time. This was a full 180 from “‘Sl*t!’”
Zehra: I’m captivated by the contrast between the lively instrumentals and the heart-wrenching, betrayed lyrics in “Say Don’t Go.” I can easily picture Anum and me singing these lyrics at the top of our lungs during a late-night drive. The slow, calm introduction setting the stage, the repetition and build-up in the bridge, followed by a second’s silence before Swift once again unleashes the chorus with her demanding vocals all make this song so fun to listen to. Definitely a full turn from the previous track and arguably much better.
Now That We Don’t Talk
Anum: This whole song is a story; Drifting from someone close, noticing the changes they’ve made, trying to get over them, wondering how they’re feeling, then, realizing all of the positive outcomes of cutting contact with this person. Swift sings, “Now I don’t have to pretend to like acid rock; or I’d like to be on a mega-yacht.” She’s realizing that now she doesn’t have to be bored or disinterested! Yay! In my opinion, this song sounds the most like “1989,” because of all of the overthinking and realization that comes with youth. Overall, another bop.
Zehra: This song revisits a theme very common in Swift’s music – the aftermath of parting ways with a previous lover. I can’t help but think of “Midnights” again with the whimsical instrumentals and hazy vocals in this song, which is why I have to disagree with Anum and say that this song does not sound like “1989″ at all. “1989″ is loud, energetic, bold, a coming-of-age, discovering yourself, getting-over-stuff kind of album, but in “Now That We Don’t Talk,” I only hear acceptance and resignation, nothing very angsty.
“And the only way back to my dignity
Was to turn into a shrouded mystery
Just like I had been when you were chasing me
Guess this is how it has to be”
Like, come on. Swift simply accepts how things are now and moves on? Lyrics like, “Back to my dignity” and, “Guess this is how it has to be” don’t necessarily remind me of 1989, which is slightly disappointing. Overall, “Now That We Don’t Talk” is a decent addition to one of my favorite Taylor Swift albums, falling in line with her signature style, though it doesn’t leave a particularly striking impression.
Suburban Legends
Anum: Honestly, this wasn’t my favorite. Basically, she thought she and this guy were going to last forever, but spoiler alert: they don’t. Why? Swift put her all into this relationship, but this person didn’t reciprocate it. The instrumentals were pretty basic and the bridge was disappointing. I kept checking the time left on the song because I was getting bored. She sings “Tick-tock on the clock,” which reminded me of Ke$ha’s song “Tik Tok.” This sounds like “Midnights,” no “1989″ in sight. The song also ends abruptly with no chorus to end the song.
Zehra: I agree with Anum on this one. I’m going to be honest, I forgot I was even listening to music halfway through the song. It’s just…not catchy. At all. The chorus sounds like the verse, and the verse sounds like the chorus. It really doesn’t feel like Swift put much effort into this song, and it lacks dimension. With a unique title like “Suburban Legends,” I was at least expecting a little more storytelling, a little more creativity or the lyrical artistry that we usually get from Swift. Still, the lyrics proved to be disappointing as well. It’s just like Anum said. “Tick-tock on the clock, I pace down your block,” is not typical for an excellent writer like Taylor Swift, and it really does sound like Kesha, distracting the listener completely from “1989.” I was really hopeful for “Suburban Legends,” but unfortunately it’s going at the end of my list.
Is It Over Now?
Anum: I thought this was going to be a slow emotional ballad to end the album. Although this fits right in with “All Too Well” and “Dear John,” the most devastating track on the album, it is actually very upbeat. Taylor is ANGRY. She is calling this guy out for cheating on her, and saying this relationship was over when he did. But similar to “Say Don’t Go,” it’s like you’re dancing and yelling at someone at the same time. I love how you can hear her almost yell “NO” which shows how emotional this song is. The melody? Catchy. The bridge? Perfection. The lyrics? Brutal (“Your new girl is my clone,” “If she’s got blue I’ll surmise that you’ll probably date her”). The bridge? PERFECTION. What a way to end the album!! A 13/10 for me.
Zehra: I LOVE this one! The melody, the lyrics, the infectious energy… this song fits right in with the vibrant and youthful essence of the original “1989″ album. Swift’s words are filled with pure anger, and you’d expect a tinge of insecurity or sorrow from Swift when singing about a guy cheating on her, but her vocals are full of nothing but unwavering confidence, and the instrumentals are so upbeat and lively; they force you to get up and dance. Anum summed it up perfectly: “It’s like you’re dancing and yelling at someone at the same time.” The way Swift delivers the line “Is it over now?” right before the bridge with such jubilance and self-assuredness is perfection. Right after that, the bridge transitions perfectly into the outro, and ultimately this song puts a satisfying end to the album. It’s undeniably my favorite among the vault tracks.
Anum and Zehra’s final rankings of the vault tracks:
Anum
- “Is it Over Now?”
- “‘Sl*t!’”
- “Say Don’t Go”
- “Now That We Don’t Talk”
- “Suburban Legends”
Zehra
- “Is It Over Now?”
- “Say Don’t Go”
- “‘Sl*t!’”
- “Now That We Don’t Talk”
- “Suburban Legends”
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