Ranking Taylor Swift's '1989 (Taylor's Version)' Vault Tracks: From Synth-Pop To High-School Reunions

Back in 2014, "1989" was Taylor Swift's official transition into the world of pop music. The album brought forth a mesmerizing blend of gleaming synth textures and razor-sharp hooks, with Swift collaborating with renowned producers like Max Martin, Shellback, and Jack Antonoff.

The album's singles, including "Shake It Off," "Blank Space," and "Bad Blood," dominated the Billboard Hot 100, while the album itself secured the Grammy Award for Album of the Year. Swift's world tour in support of "1989" became a cultural phenomenon, featuring surprise appearances from an array of celebrities.

Each of Swift's re-recorded albums has seen progressively higher sales and streaming numbers, raising the question of whether "1989 (Taylor's Version)" will make the most significant impact yet. This release coincides with the anticipation of Grammy nominations, where Swift's latest songs from "Midnights" are expected to be prominent.

As with the previous re-recorded albums, "1989 (Taylor's Version)" includes freshly recorded tracks from Swift's vault. Here, we rank the five vault tracks from "1989 (Taylor's Version)" from worst to best:

This month, Beyoncé, another big name in live music for 2023, joined forces with Taylor Swift to promote the "Eras Tour" movie. Their royal photo opportunity at the Grove's premiere made waves. Although Taylor and Beyoncé haven't officially collaborated on a song, Swift's synth-pop track about a daring romance hints at her long-standing admiration for Beyoncé. She sings, "If I'm going to get drunk, might as well be drunk in love," quoting Beyoncé's 2013 hit. The concept is strong, but the execution is somewhat lacking.

In this poignant portrayal of a doomed relationship, Swift sings, "I think of jumping off of very tall somethings," acknowledging her role in the failure without quite capturing the self-deprecating humor that characterized her hit song "Anti-Hero" from "Midnights." Notable among the lyrics is the line, "Your new girl is my clone."

Haim, a sister trio from Los Angeles who have been a part of Swift's touring and album collaborations, make their influence felt in this throbbing pop-rock track. With its resounding '80s-style drums and emphatic backing vocals, the song, co-written by Swift and the renowned Diane Warren, resembles an outtake from Haim's 2013 debut, "Days Are Gone."

Swift's star-studded dating life has long been a topic of widespread speculation, particularly since her 2010 album "Speak Now," which includes the exceptional breakup song "Dear John," a scathing portrayal of her relationship with John Mayer.

In "Now That We Don't Talk," Swift humorously takes down a past romantic interest, expressing her relief at parting ways with him. She comically dismisses the need to feign an interest in "acid rock" or to socialize on a "mega-yacht" with self-important men who believe their thoughts are profound.

Taylor Swift, arguably only rivaled by Drake, excels at nursing past grievances in the realm of pop music. In "Suburban Legends," she delves into a tense high school reunion over a surging arena-disco beat that accumulates emotional weight as it progresses. Swift paints a series of unforgettable images, from the guy "flush with the currency of cool" to the kiss "that's gonna screw me up forever."