Published April 23, 2021
By EMMA BROWN
“Fearless (Taylor’s Version),” released April 9, contains all of the songs from the original 2008 deluxe album, as well as six new tracks “from the vault,” marking her evolution as an artist as she revisits previous works, putting a new spin on old songs.
After being unable to purchase the masters to her first five albums, Taylor Swift announced her plan to re-record her previous works, and much to the surprise of fans, Swift began the process of re-recording with what was originally her second album, “Fearless,” now titled “Fearless (Taylor’s Version).” The titles of all of the tracks on the album now also include the stamp of Swift’s approval via “Taylor’s Version.”
As intended, the re-recorded tracks are remarkably similar to the masters, with minor changes, the most discernible being the musical growth that Swift has taken on since the album’s original release. The mature tones, greater enunciation and deeper range are a hallmark of Swift’s 15 years in the music industry. While some may prefer the youthful innocence of her previous sound, the re-recordings offer a reflective perspective from an older Taylor.
The most impressive of the re-recordings is “Fifteen.” A previous fan-favorite, the re-recording of this track truly feels like a conversation between the current Swift and her younger self. The maturity of the re-recorded track adds new depth to an already relatable song, as it cautions teenagers through storytelling.
For many fans, the primary concern surrounding the “Fearless” re-recording was the question, “Can Taylor Swift retain the emotion that was present in the original songs?” At the time of the original release, the triumphs and tragedies of Swift’s personal life were raw, and despite the test of time, she was able to recapture the essence of her old tracks.
This is best seen in the re-recordings of “Hey Stephen” and “You’re Not Sorry.” The near antithesis of each other, these two songs represent polar opposite emotions. “Hey Stephen” includes giggles, replicated in the re-recording, making the track sound like liquid happiness and describing the golden stage of a teenage crush. “You’re Not Sorry” provides a completely different perspective into teen romance, depicting a young girl’s very first break up, and 13 years later, Swift has been able to conjure up that same heart-wrenching sadness heard in the original recording.
Along with re-recorded songs from the master, Swift released six new songs that were cut from the original album. The latest tracks do not disappoint.
“Mr. Perfectly Fine” is the stand-out of the songs from the vault. Heartbreaking lyrics and an upbeat tempo are cohesive under Swift’s hand. The lyrics, “It takes everything in me just to get up each day/But it’s wonderful to see that you’re okay/Hello, Mr. “Perfectly fine”/How’s your heart after breakin’ mine?” are perfect to scream, cry or smile to, marking the track as Swift’s most well-rounded song on “Fearless (Taylor’s Version).”
Of the songs from the vault, two contain featured artists: “That’s When (feat. Keith Urban)” and “You All Over Me (feat. Maren Morris).” Despite the lyrical impressiveness of both tracks, the two are not made equal: Keith Urban and Taylor Swift make a show-stopping country pair. “That’s When ” is melancholy in the best possible way, as the song lives in the bargaining stage of grief, depicting the hope of an eventual reunion between a recently broken up couple. The folk-esque tones of Swift and the twang of Urban’s voice work together to create a heartbreakingly naive song.
“Fearless” is an impressive feat in its retention of teenage innocence, even as it is sung by an adult. The new album marks a successful beginning to Swift’s journey to re-record five of her previous EPs.
9/10
