Taylor Swift’s latest and highly anticipated album “1989 (Taylor’s Version)” was released on Oct. 27 and as a Swift fan, I’m disappointed by this, frankly basic and unimproved, album. 

I think she is one of the best songwriters of the last 20 years and maybe even the best performer ever. However, I can call it how I see it and I think “1989” is just meh.

Out of all the Taylor Versions so far this was the one that could, and should, be the best. In 2014, Swift made her full pop debut with the original “1989”. The original “1989” had class and grace, which I don’t think Swift had ever made as she made a full genre switch. 

Songs like “Welcome To New York,” “Out Of The Woods” and “New Romantics” (a deluxe version of the original “1989″) proved that this switch was the right choice and, more so, could be successful. 

Songs like “All You Had To Was Stay” and “How You Get The Girl” are pop but still keep that same Swift kind of style that fans had loved eight years up to that point. 

This album also pushed Swift to the point where she is now. We wouldn’t have an Eras Tour without “1989” nor would we think of Swift the way we do, in my opinion. I’d argue that this album is the most important to nail, even more than the original “1989.”

While “1989 (Taylor’s Version)” has all these same songs, ultimately, it just doesn’t sound the same as the original in terms of Swift being genuine or the quality of the songs themselves.

 I think this album is the first major misstep of the Taylor Version albums thus far.

The first, and biggest, gripe I have with this album is that the original album was produced by Max Martin, a Swedish pop legend, and is now nowhere to be seen on this album. Martin made a fantastic album with Swift and I think the newest version of it suffers because he’s not on it. 

Now Chris Rowe, most known for his work in country music, is producing this and I think Swift made the wrong decision.

Rowe is a fantastic producer in his own right and has done some things in country I love, including projects with Swift, like her debut in 2006, “Fearless (Taylor’s Version),” and my favorite Swift album “Red (Taylor’s Version).” Having a country sound on these projects makes absolute sense and if a pop producer touched them, they would not be as good. But for that same reason, “1989 (Taylor’s Version)” should not be touched by someone like Rowe.

I’ll admit something sounded off but I thought that it was because I hadn’t listened to “1989” in a while. On first listen or even casual listening you won’t hear a difference but after doing research and stitching it together I think this is the biggest issue and one I think should have been avoided.

I think another issue is this album is a little more aggressive on replay. For example, on the song “Style” it was hard for me to hear the chorus over the sound of bass and synth.

The album isn’t all bad. I think songs like “Wildest Dream” and “All You Had To Do Was Stay” are highlights that sound even better than the original and I’m glad because I love these tracks.

The vault songs also grow on me the more I listen to them. “Say Don’t Go” is probably the best one on the album that fits the sound of “1989.” I think the vault songs really offer something that makes the listening experience more enjoyable. 

On the deluxe version, Swift includes a rerecord of the original version of “Bad Blood” with Kendrick Lamar.

Lamar adds to the song in every way. I think his feature feels more like the song than any Swift part; Lamar is one of the few artists that can outshine and outperform on a track. I think Swift was smart to include this version of the song.

I am hopeful for future Taylor’s Versions as both albums still left, “Reputation” and “Lover” are some of Swift’s worse albums both lyrically and sound-wise; both of them are annoying and overly cringe-filled with commercial pop hits. I think Swift’s new sound has been slower as of late and her more mature voice will greatly improve both of these albums.

“1989 (Taylor’s Version)” has plenty of good but the bad, for me, cannot be overlooked and it feels more like a cash-grab by Swift rather than a genuine attempt to remaster one of her best albums and one of the best pop albums of the 2010s. 

It’s good for diehard fans and casual listeners but anyone who is looking for an improvement to the original and hoping for something like “Red (Taylor’s Version)” or even “Speak Now (Taylor’s Version)” and “Fearless (Taylor’s Version)” where the genuineness and vulnerability shines through while adding something new. 

I don’t think this album is it.