1989 (Taylor's Version) (Deluxe)

Taylor Swift

発売日 : 2023/10/27 レーベル: テイラー・スウィフト
メインアーティスト : テイラー・スウィフト
ジャンル：ポップス

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1989 is the album that fully, forever made Taylor Swift a pop artist, leaving the last crossover vestiges of her country career in the Nashville dirt as she embraced her new life in New York—retro synths and all. Remade nearly nine years later,—the fourth in Swift's extraordinary reclamation of her music after bitterly losing her masters in a business deal gone very wrong—1989 (Taylor's Version) continues the fascinating trend of hearing an older, presumably wiser star reimagine her own history. But while the other records have had noticeable tweaks, sharpening production quality and instrumentation and, most notably, adding several minutes to a version of the song "All Too Well" from Red, this time around the changes are practically untraceable. Sure, Swift's voice sounds a bit more mature, but it doesn't change things much. And unlike on the other remakes, there are no new guest duets or harmonies. So what it really comes down to here are five added "from the vault songs"—and the specter of Swift's onetime boyfriend, Harry Styles. Though the very public relationship didn't last long, it ended in a way that fueled her creative juices. "Style" and "Out of the Woods," from the original album, are both said to be about the former One Direction pop star. New track "Is It Over Now" feels like a coda to "Out of the Woods," once again referencing the ex-couple's famous snowmobile accident ("When you lost control/ Red blood, white snow"); the line "Blue dress on a boat" nods to a famous 2013 paparazzi photo of Swift all alone on a boat after supposedly breaking up with Styles while on vacation in the British Virgin Islands. Both songs are co-written with and produced by Jack Antonoff, and his tell-tale '80s New Romantic and New Wave flourishes are unmistakable. It's hard to imagine the Swift of 1989, however, able to summon up the "Oh lord" growl she lets loose on "Is It Over Now," before singing "I think about jumping off of very tall somethings/ Just to see you come running." "Now That We Don't Talk" is a bundle of nervous energy that also seems to be about Styles, as Swift tries to convince herself she's better off without him: "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 think important thoughts." Antonoff was behind the boards for that one, as well as the excellent "Slut!" and twinkling "Suburban Legends." Despite the former's exclamation point, it is Lana Del Rey-dreamy and completely self-aware ("Flamingo pink, Sunrise Boulevard/ Clink, clink, being this young is art"). One of these things is not like the others, though, and that's "Say Don't Go"—a co-write with Diane Warren that casts Swift in a deeper, huskier, more darkly-shadowed place. It's a whole different take on the '80s than the rest of the keen, bright album, like something you can imagine Warren acolyte Brandi Carlile crooning. © Shelly Ridenour/Qobuz

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1989 (Taylor's Version) (Deluxe)

テイラー・スウィフト

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