Rating: 4.5/5 stars

I prefer to call myself a “Taylor Swift enjoyer” above a “Swiftie.” I like most of her music, but I will never be the fan who defends her every move. She has written bad songs and released bad albums; she makes mistakes just like any human being to ever walk the earth. She is not perfect and neither is her music.

But I will praise “Speak Now” until the day I die.

“Speak Now” was originally released in 2010, back when I was only nine years old. I had no experience of the album until a family friend invited me to join her at the album tour in New Jersey. The day I saw that tour was the day I decided that I wanted to be a musician.

When Taylor Swift’s (“Midnights”) “Speak Now (Taylor’s Version)” was announced, I had only recently rediscovered my love for performing, and so my relationship with music came full circle. As an adult who had found her place, Swift was reclaiming her voice along with me.

The re-recorded album was exactly what I expected it to be. It was not a life-changing album in terms of its content; it simply re-did the original album, with the addition of six “vault tracks”: songs written at the same time as the album which did not make the cut.

The most avid “Speak Now” fan will notice minimal changes in terms of content. Most evidently, Swift’s voice has matured immensely, which shows when listening to these new versions. There are some extremely minor details that were adjusted, for example, a note may be held out slightly longer, or one may be slightly changed.

The most glaring change for fans of the original “Speak Now” is the lyric change in the tenth track, “Better Than Revenge.” The song is an angry breakup song, accusing a woman of stealing Swift’s boyfriend. It has a pop-punk feel and Swift is not lamenting her loss, but instead focusing on her rage toward this girl. On the original album, one lyric in the chorus puts the woman down by saying “she’s better known for the things that she does on the mattress.”

The lyric, after its release, brought up a debate about whether the lyric was a form of “sl*t-shaming.” As fans awaited the Taylor’s Versions of the track, they debated whether the lyric would be changed. Sure enough, upon its release, we received a replacement insult: “he was a moth to the flame, she was holding the matches.”

 I do not find this lyric to be anywhere near as damaging to the subject of the song. While yes, I agree that while the original lyric may work against feminist goals, a song accusing a woman of stealing a man is not a feminist subject in the first place. After all, a man cannot be stolen unless he wishes to leave. It is clearly a song about inappropriately channeled teenage rage while experiencing a loss. It is meant to sound immature; Swift wrote the song around twenty years of age. She clearly has other songs that advance this feminist attitude. The new lyric is weak, it sounds out of place and it should have been left alone.

The vault tracks released were admittedly not her best. The music video for “I Can See You” was one of the first indicators we got for the feel of the album, including two prominent figures from Swift’s “Speak Now Era,” as fans call it: Joey King and Taylor Lautner. The song itself is unique, and feels a little risuqé for this album. Many fans enjoyed the track, but it was not my speed.

The two tracks featuring alternative artists were some of my favorites. The first vault track, “Electric Touch,” brought on Fall Out Boy (“So Much (For) Stardust”), who complimented the feel of the song well. Swift and the band have collaborated in the past, and it was fun to hear their sounds blend, bringing out Swift’s rock elements. The other, “Castles Crumbling,” featured Hayley Williams of Paramore (“This Is Why”). While this song definitely had more of a Taylor Swift feel than a Paramore feel, it was fun to hear Williams’ voice in a more controlled setting. The lyrics and melodies for these songs were great too.

“Foolish One” fell flat for me. The lyrics and melody were both mediocre and bland. “When Emma Falls in Love,” on the other hand, was one of my favorite Swift songs yet. It beautifully admired a friend and had a lovely piano line. “Timeless,” the closing track, has been added to my future wedding playlist. While I do not find it to be lyrically perfect, it has a sweet and simple message about love.

“Speak Now: Taylor’s Version” will thrill fans of the album, especially with Swift’s older perspective on songs like “Never Grow Up,” which explores her childhood, “Dear John,” which is about a manipulative relationship and “Long Live,” a message to her fans. Many attending the tour after its release were lucky to have this song added to the setlist, which will presumably be included in the Eras Tour concert film coming out in October.

Unfortunately, Swift’s return to the “Speak Now” era was cut far too short with the announcement of “1989 (Taylor’s Version).” While “Speak Now” was re-released on July 7, “1989” received its re-recording announcement on Aug. 9: giving “Speak Now” barely a month in the spotlight.

Those new to Taylor Swift should consider giving the re-recorded “Speak Now” a listen. Hailed by many fans as one of her best, the album is unique because Swift wrote it completely alone. It has a pop and rock feel which peels away from the country that many listeners were not fond of.

Overall, “Speak Now: Taylor’s Version” did what it came to do and did it well: it gave fans more of what they have always loved about the original album.

Image from Faith Summerville