Taylor Swift is bringing back songs from the dead. In the Taylor’s Version re-recordings of her first six albums, she’s been releasing songs that were written during the albums’ original recording sessions, but that didn’t make the final cuts.
Now she’s bringing them back to life as “From The Vault” tracks with the help of longtime collaborator Jack Antonoff, Folklore and Evermore co-producer Aaron Dessner, and some surprise duet partners.
For her first re-recorded album, Fearless (Taylor’s Version), Swift brought on fellow country artists Keith Urban and Maren Morris to back her up on three of the album’s six Vault tracks. The singer expanded Red to include nine Vault songs, three of which feature Phoebe Bridgers, Chris Stapleton, or close friend Ed Sheeran.
On Speak Now (Taylor’s Version), she included six new Vault tracks, two of which feature punk-pop icons Fall Out Boy and Hayley Williams of Paramore. And for her latest re-recording, 1989 (Taylor’s Version), Swift brought out five Vault tracks that exemplify the album’s ’80s influence.
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Each unreleased track gives some additional insight into Swift’s mindset as she wrote the records. For fans who still need a handle on these new-yet-vintage songs, here’s a completely subjective ranking of Swift’s “From the Vault” tracks so far, based on each song’s lyrics, production, and whether it was worthy of a spot on its original non-Taylor’s Version album.
NOTE: This list will be updated as Swift unveils more of her re-recordings, from her self-titled debut album to 2017’s critically acclaimed Reputation.
No. 26 — “Bye Bye Baby”
Album: Fearless (Taylor’s Version)
“Bye Bye Baby” may have been a fitting closing track on Fearless based on its title, but it’s not hard to see why Swift left it off the album. As pleasant of a breakup song as it is, it pales in comparison to the uplifting spirit of the album’s closer, “Change,” or the ferocity of “Forever & Always.”
No. 25 — “That’s When” (feat. Keith Urban)
Album: Fearless (Taylor’s Version)
If you told Swift when she was 18 that she’d be duetting with country legend Urban on “That’s When,” she’d probably be ecstatic to leave it behind for the next 13 years. It’s an immediate country ditty that proves Swift can come up with pop hooks in seconds.
No. 24 — “Electric Touch” (feat. Fall Out Boy)
Album: Speak Now (Taylor’s Version)
It’s easy to see why Swift decided to leave “Electric Touch” off Speak Now in 2010, given how its 2000s pop-rock vibes don’t quite gel with the country-pop album. But 13 years later, Swift finally gets to live out her pop-punk fantasy with Fall Out Boy by her side.
No. 23 — “I Bet You Think About Me” (feat. Chris Stapleton)
Album: Red (Taylor’s Version)
Swift experimented with genres more than ever on Red, but “I Bet You Think About Me” is as country as country gets. It’s biting, sarcastic, vengeful, and brutally honest. But given how much Swift expanded her horizons, resulting in masterpieces like “State of Grace” and “Red,” it’s understandable why this was left in the vault until now.
No. 22 — “We Were Happy”
Album: Fearless (Taylor’s Version)
Swift displays the start of her wise-beyond-her-years country songwriting in “We Were Happy,” which traces the end of a loving relationship without discarding the good memories. It doesn’t quite fit with the unapologetically youthful energy of the 2008 Fearless album, but with Dessner’s soft touch and Urban’s backing harmonies, it becomes a lovely flashback in 2021.
No. 21 — “Foolish One”
Album: Speak Now (Taylor’s Version)
Speak Now contains some of Swift’s most whimsical and fantastical love songs, like “Sparks Fly” and “Enchanted.” “Foolish One” plays as those songs’ level-headed big sister, warning those girls not to expect love letters or grand declarations of romance from the people they dream about.
No. 20 — “Babe”
Album: Red (Taylor’s Version)
In 2018, Swift gave “Babe” to country duo Sugarland, who turned it into a theatrical portrait of infidelity with Swift on background vocals. For Red (Taylor’s Version), Antonoff gave “Babe” a lighter touch, with summery guitar, lush trumpets, and processed harmonies soundtracking Swift’s woes of betrayal. It’s still cutting, but not quite as much as the original tracks that made Red.
No. 19 — “When Emma Falls In Love”
Album: Speak Now (Taylor’s Version)
In Folklore and 1989, Swift showed how adept she was at writing stories about others. But “When Emma Falls In Love” proves she had it in her all along. Rumored to be about her good friend Emma Stone, the song is an ode to female friendship at its core, a message that would’ve been a nice addition to the wide variety of subjects on Speak Now.
No. 18 — “You All Over Me” (feat. Maren Morris)
Album: Fearless (Taylor’s Version)
“You All Over Me” is essentially the unheard prequel to “Clean,” the standout closer of 1989, where Swift examines the scars and bruises from her last relationship that she just can’t wash off. It almost feels too mature for the 2008 Fearless album, which is remarkable considering Swift wrote it before she turned 19, but her singing it with the wisdom of an adult more than 13 years later is a stroke of genius.
No. 17 — “Now That We Don’t Talk”
Album: 1989 (Taylor’s Version)
“Now That We Don’t Talk” is the definition of a bop, with Swift effortlessly dragging an ex — from his long hair to his taste in music — over a slick electro-disco groove. The only reason it’s not ranked higher is that it’s too short, clocking in at under two and a half minutes. She leaves us wanting more.
No. 16 — “Run” (feat. Ed Sheeran)
Album: Red (Taylor’s Version)
Swift and Sheeran have collaborated multiple times (with a remix rumored next), but their best team-up wouldn’t be released until nearly a decade after they wrote it. “Run” is pretty quaint and stripped back compared to “Everything Has Changed,” the hit duet that would end up on Red. But what that one missed was the duo’s soaring harmonies, which “Run” provides in spades. Frankly, they’ve never sounded better together.
No. 15 — “Castles Crumbling” (feat. Hayley Williams)
Album: Speak Now (Taylor’s Version)
Swift explored the dark side of fame in Red (Taylor’s Version), but “Castles Crumbling” proves it’s been on her mind for quite some time. Teaming up with longtime friend Williams, the two explore a future in which their legacies come crashing down due to their own words. It plays as the flipside to the celebratory nature of “Long Live” and would’ve made for an intriguing contrast on Speak Now.
No. 14 — “Suburban Legends”
Album: 1989 (Taylor’s Version)
If “Mastermind” from Midnights and “‘tis the damn season” from evermore had a baby, it would be “Suburban Legends.” It’s a magical combo. Over Antonoff’s cinematic swirling synths, Swift tells the story of two lovers who find success outside of their hometown, but their small-town roots just aren’t enough to keep them together.
No. 13 — “slu*t!”
Album: 1989 (Taylor’s Version)
When Swift first announced the song title “slu*t!,” fans expected a fierce, biting takedown of the critics who slu*t-shamed her during the 1989 era. Instead, they got a luxurious synthy slow jam where she gets both flirty and vulnerable. Yes, she casually calls out slu*t-shaming, but treats it with a wistful sigh instead of anger.
No. 12 — “The Very First Night”
Album: Red (Taylor’s Version)
Much like “Starlight,” the penultimate track on Red, “The Very First Night” perfectly straddles the line between Swift’s country roots and catchy pop melodies as she breathlessly recalls one glorious night with the wonder of a five-year-old girl at Disneyland. “Starlight” was the correct choice for Red, with “Taylor’s Version” only amplifying its whimsical magic, but “The Very First Night” would’ve been a welcome bonus track.
No. 11 — “Forever Winter”
Album: Red (Taylor’s Version)
Swift wears her emotions on her sleeve, happy or sad, and “Forever Winter” proves she’s excellent at wrapping sadness in sunshine. Co-written with Foster the People’s Marc Foster, the sympathetic yet vague lyrics could be interpreted as the story of an abusive parent, a gay kid’s coming out, or a severe bout of depression. Regardless, Swift is there with a smile.
No. 10 — “Is It Over Now?”
Album: 1989 (Taylor’s Version)
Swift called “Is It Over Now?” the sister of “Out of the Woods” and “I Wish You Would,” which tracks considering they were all created with Antonoff. It might be the most epic sibling of the trio, as Swift recalls a very messy split (rumored to be from Harry Styles) in rapid-fire, eyebrow-raising detail, from “300 takeout coffees” to that viral boat photo.
No. 9 — “Timeless”
Album: Speak Now (Taylor’s Version)
True to its title, this gem of a track is timeless. Swift reflects on her late grandparents as an example of timelessness and yearns for that same magic against the backdrop of nostalgic country guitars and melancholy horns. If Swift hadn’t already written “Long Live,” one of her most meaningful songs and the perfect choice to close Speak Now, this would’ve slotted nicely in its place.
No. 8 — “Don’t You”
Album: Fearless (Taylor’s Version)
Saving “Don’t You” for Fearless (Taylor’s Version) was one of the smartest decisions 18-year-old Swift ever made — even if she didn’t know it at the time.
The song’s premise of longing and uncertainty may have been a natural fit on Fearless, but Antonoff’s ’80s prom-inspired synths and instrumentals send “Don’t You” to the high heavens, cementing it as a standout in Swift’s catalog.
No. 7 — “Say Don’t Go”
Album: 1989 (Taylor’s Version)
You may have expected a collab between Swift and Diane Warren to play like one of Warren’s 14 Oscar-nominated power ballads. But with Swift in the drivers’ seat, the duo elevates a cinematic tearjerker into an outright stomper.
“Say Don’t Go” has everything: melodrama, heartbreak, sweeping strings, and an anthemic chrorus to tie it all together. It may not have been written for a movie, but in a just world, it would finally nab Warren that Oscar.
No. 6 — “Message In A Bottle”
Album: Red (Taylor’s Version)
“Message In A Bottle” was reportedly the first song Swift wrote with Max Martin during the Red sessions, proving she was ready to cross over into pop years before 1989.
It’s got the endless hooks, pristine ’80s synths, and sheer exuberance that would end up defining her first pop album. It could even replace “22” on Red and nothing of value would be lost (sorry, fans who just turned 22).
No. 5 —“I Can See You”
Album: Speak Now (Taylor’s Version)
Who knew that Speak Now-era Swift had a song this seductive in her? Granted, “I Can See You” wouldn’t have sounded this way in 2010, as Antonoff’s hypnotic guitar riff is the perfect match for her suggestive pick-up lines, which may not have worked as well with a country spin.
While the song has nothing to do with heists, it somehow soundtracks Joey King and Taylor Lautner’s rescue mission perfectly in Swift’s self-written and directed video 13 years later, making her choice to hold the song back look brilliant.
No. 4 — “Nothing New” (feat. Phoebe Bridgers)
Album: Red (Taylor’s Version)
“Nothing New” would’ve been regarded as one of the finest songs in Swift’s repertoire if it had been on Red. Swift’s worry about losing her relevance as an artist is a perspective few musicians dare to express openly, but she managed to voice those fears so eloquently at such a young age.
Hearing her sing these words at 22 may have left a larger impact, but adding Bridgers to the Vault version, a younger indie artist who can vouch for those emotions, sends its message home.
No. 3 — “Mr. Perfectly Fine”
Album: Fearless (Taylor’s Version)
Swifties should sue Swift for keeping this song in the vault for more than a decade. Not only was “Mr. Perfectly Fine” worthy of a spot on Fearless, but it would’ve been pop radio catnip following the crossover successes of “Love Story” and “You Belong With Me.”
It’s among the most clever, witty, and catchy songs Swift has ever written, with each new moniker that she coins being even more clever than the one before it. Plus, Swift singing this to Joe Jonas while the wounds were still fresh could have made pop culture history.
No. 2 — “Better Man”
Album: Red (Taylor’s Version)
On one hand, hearing Swift sing “Better Man” with the maturity of a 31-year-old woman is satisfying after she gave the song to Little Big Town in 2016. But also, “Better Man” should have made the Red tracklist.
Swift passionately wails about how much she misses her ex as only she could, before perfectly summing up why she ended things: “I might still be in love if you were a better man.”
Dessner only elevates the song, adding dramatic strings that amplify the classic country storytelling. It’s one of the best breakup songs she’s ever written, and it would have made the perfect counterpart to the No. 1 song on this list.
No. 1 — “All Too Well (10 Minute Version)”
Album: Red (Taylor’s Version)
Fans have been clamoring for the 10-minute version of “All Too Well” ever since Swift let it slip that she wrote 10 minutes of material for the song before chopping it in half for Red. Rolling Stone placed the shortened “All Too Well” at No. 69 on its list of 500 Greatest Songs of All Time.
The lengthened version had the potential to weaken the impact of Swift’s intricately detailed storytelling that fans love. But in “All Too Well (10 Minute Version),” Swift proves how foolish it is to bet against her.
She gives fans surprising melodic switch-ups and vivid variations of that anthemic chorus. The new verses provide more context for Swift’s emotions, as if she’s wringing out every last point of resentment before letting go.
Swift managed to expand a well-written breakup story into an all-out tale of betrayal and reckoning (plus an excellent self-directed short film). Rather than ruin its legacy, “All Too Well (10 Minute Version)” has become the definitive version of what many argue is Swift’s best song.
This post will be updated as more “Taylor’s Version” albums are released.
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