Switched on Pop - Rerecording Taylor Swift's 1989, Dark Side of the Moon, and Demi Lovato

Episode Date: October 28, 2023

Three big artists have rerecorded their most hallowed musical material. Taylor Swift, Roger Water and Demi Lovato each have different intentions in painstakingly putting their old songs onto new proverbial tape. On 1989 (Taylor's Version), Taylor Swift seeks control of her master recordings. On Dark Side of the Moon Redux Roger Waters explores his most vaunted work from his youth now with from perspective of an octogenarian. And Demi Lovato Revamped pivots their old pop hits into a hard rock aesthetic. Switched On Pop listens back to all three albums to see how they hold up to the original and to uncover new musical discoveries. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Nate, do you know why I've called you to the Swiftuation room? Dun, dun, don't. No, I didn't even know we were in the situation room. No, no, the Swiftuation room. Oh, the Swiftuation. That's hard to say. Swift.

Yeah, Swiftuation room. Oh, now I see why there's all these, like, flashing lights and, like, CCTV and armored guards. Okay. Yeah, every time Taylor Swift drops a new album, we have to gather the Joint Chief of Musical Breakdowns. and talk about it. Welcome to Switchdown Pop. I'm songwriter Charlie Harding. And I'm musicologist Nate Sloan.

As we've reported extensively on the show, Taylor Swift is re-recording her entire catalog in order to regain the rights to her music. And others have actually taken on similar projects of re-recording their music. Demi Lovato has a re-recorded album. Roger Waters of Pink Floyd has tried to update Dark Side of the Moon recently. And I thought today we could take a listen to all three. Okay, I'm intrigued. I mean, some might say, Nate,

Charlie, you've talked enough about Taylor's versions. And yet we can't stop, okay? So that's just a given. Sure. But this is a more interesting topic to me because thinking about Pink Floyd, thinking about Demi Lovato, maybe we'll see some other reasons why artists might want to re-record their past work. And I imagine we'll also hear like a wide spectrum of how artists approach that, whether they

like recreated exactly or whether they update it. this this intrigues me okay so let's let's definitely do the swift breakdown and then let's let's take it a little further as well okay so let's kick it off with 1989 this is the seminal album from 2014 where taylor swift makes a hard turn into pop music she has re-recorded it release it just today as of this recording and it's her second re-recording this year, which is just unbelievable. And let's just start Nate with Can you spot the difference?

Oh, fun. I love this game. Here's the original blank space. And let's fade it right into Taylor's version. And I'll write your name. First of all, Nate, what does it mean when she goes And I'll write your name? It is the sound of

a antique camera being flash photographed. Did I get that right? No, it's the sound of an altoid can opening. I feel like we're getting warmer. Charlie, I don't know if I hear any difference between these recordings. I'm going to be completely honest.

I was trying. I was like listening like a hawk. Maybe there's a little less reverb on her voice. If you told me either one of these is the original, I would be like, yep, sure. I largely agree. I listened to this new album with my mastering grade headphones. reveal every little detail and compared almost every second of Taylor's version to the original. And I've come away realizing that this is like a recreation of a Renaissance master painting,

where in some cases the colors are a little brighter. Overall, there's more clarity. Maybe some of the wear and tear of history isn't there. But I was surprised because I actually thought this would be her most difficult project to recreate. You know, the earlier albums that she's released so far have leaned more into organic instrumentation. If you're going to recreate the sound of a telecaster country guitar, you say, you can just go pick up a telecaster guitar. But in pop music, the sound of synths and samples are often so specific. that even getting them slightly wrong

just sounds like a bad karaoke version. It's like all those knobs and faders are turned and pushed to just the right settings and if they're like one grade different, you'd be like, what is that? Yeah, it doesn't work. And yet this is clearly a masterclass in how to remake something,

I mean, within an inch of being the same thing. But again, like, I actually think it sounds 10, 15% better. It kind of is like listening to almost like a remaster of an album. It's just, it's a little bit bigger, a little wider. And I'm honestly stunned that it sounds so close. I really expected there to be more differences. I thought maybe this would be a bit of a reinterpretation of her biggest album. And yet there are some subtle differences. Maybe we could highlight the things that do bring it to life a little bit more. Please. Good. Because I, like I said, have studied to back to back and I feel like I have to share some of what I've witnessed.

I want your Talmudic knowledge here, Charlie. All right. If we go to the beginning of the album, the song, Welcome to New York. And when we originally heard that, we're welcoming into this whole new pop era of sense, programmed drum machines. When we get the song anew today in Taylor's version, this is what it sounds like. Your dumbfounded face doesn't suggest that you are wow. but rather like, huh?

Damn, way to call me out on an audio podcast. But yeah, the synth bass is maybe mixed a little louder. The drums are a little crisper. I don't know. I'm really, I'm struggling here. I don't mean to mix my metaphors here, but I think on our last re-record conversation, we talked about the sort of move from a regular theater into IMAX.

Everything is just mixed a little wider, clearer. everything feels just a bit stronger. But you know how there's this feeling of like a song is never done until you hit send? Like there's always more you can do. I think in having re-recorded this work, they studied these songs and found the smallest details that updating them could make a stronger song. Take, for example, shake it off. Here's the original. And now Taylor's version.

And they are. different. I know, I do, I do hear. The drums sound a little more live, maybe, or something. Yeah, the drums do sound different. That's what I picked up on. The floor tom that they are hitting at the beginning. Okay.

Oh, here we go. Here we go. The floor time. Talk to me. Is tuned. Yes. A minor third different. What?

Oh, my God. From the original G sharp. and now to B. Now, you're like, why does this matter? Let me play that for you one more time. Yeah. Here's the original floor tom tuned to G sharp. And here is the re-recording for the floor tom tuned to B.

I do hear it. This is earth-shattering stuff, Charlie. This is going to break the internet. But it actually, I think, matters. Even though we begin the song on this drumbeat, there is a tiny bit of tonal information that we get from that tom and it's giving us a g sharp the first chord of the song which is in the key of c the first chord is an a minor and an a minor with a g sharp ain't pretty you get this dissonant quality at the very beginning so instead when we get that tom tuned to b an a minor with a B in it is just a little bit

more harmonious. Less jarring. Yeah. Tiny detail. I can't wait to read the Us Weekly story about this scoop that you've just uncovered,

Charlie. This is, I mean, this is just seismic stuff here. And you get some of it in the voice as well. I actually think for the most part, it's a very accurate recreation.

there are a handful of subtle differences but every time she even makes a little laugh or ad lib they're more or less the same sometimes I think they're stronger like in the bridge of Shake It Off Here's the original My ex-man brought his new girlfriend She's like oh and shaking to the over baby

We can shake, shake, shake Shake Shake Shake My ex-man brought his new girlfriend She's like oh my God But I'm just gonna shake Now, again, I can see that you're like, I think I heard the same thing, but what I hear at the end is instead of shake, shake, shake.

We get this shake, shake, shaking, leaning in to the vocal fry. The smallest. Are you hearing yourself right now? I've got nothing. My takeaway thus far is that it is uncanny how exactly. these re-recordings are. And I understand why, right? Because she's not trying to update her, you know, artistic expression from a decade ago. She's trying to get people to listen to these recordings instead of the ones that she doesn't own. And so they're meant to sound as identical as possible. Yeah. And she's worked with many of the same people, right? The producer and songwriter Ryan Hedder is back, Imogen Heep is back,

Shellback is back for a song, Jack Antonoff, of course, who she begins working with on this record, is back. Kendrick Lamar is back on his verse on Bad Blood. Importantly, Max Martin is not back, who she worked with on many of her big hits from this album. But

the musicians are her touring band, and why would I have doubted that they could recreate this sound? Because the musicians literally do it every night while they're on stage. And so, she has the perfect team all produced by Christopher Rowe, who is to Taylor Swift's catalog, what I think Giles Martin is to the Beatles catalog. He has become this chronicler and knows every sound and what needs to be recreated.

Okay, I don't think I totally realize this. So you're saying Kendrick Lamar went back into the studio and re-recorded his guest verse on Bad Blood? Yeah. I can't take you back. Look where I'm at. We was OG like D.O.C. Remember that. My T-O-C was pride O-D-D my facts. Now P-O-V or you and me similar. That's crazy. That's crazy. That's kind of a big ask. And what happens if he says no? Like, what do you do?

That's so interesting. I think she could have gotten away with it because the Kendrick Lamarverse on Bad Blood was a remix. And so it was actually not originally on 1989 when it first came out at midnight. Yeah, right. It was, you know, just wee minutes later that they're like, oh, actually, we also have the Kendrick version as well. But yeah, that's nice of him to do that. He doesn't need to. I would be interested in like even more than the Aeros Concert Tour movie in some ways.

I'd be interested in a movie about like the painstaking process of recreating these sounds. I know. 10, 20 years later. I want to know what it's like to go to Max Barn and be like, hey, can you come back? And he's like, no. And then you've got like, okay. But can you give us that synth sound? And what does he say?

And if he says no, then you're like, okay, now we have to recreate this in the lab and how do you do that? I don't know. I mean, I imagine we hear and we're like, oh, I'm like, oh, Wow, that's really exact. But I can't imagine the amount of minute decisions and tunings and programmings that went into doing this. It's a real feat, even though the end result is something that sounds almost indistinguishable from the original. Yeah, I do realize that they probably have access to the original sessions, right? So you have the mixdown of every single track.

You might even have all the plugins and mixing decisions that had previously made. Okay, interesting hypothesis, yeah. So maybe things are largely the same here, but there is also new material. We know that Taylor Swift has been releasing alongside Taylor's versions, these songs from the Vault, as well as bonus songs that were originally released in a deluxe edition that was sold exclusively at Target for a minute in the United States, which is, whatever. I had never engaged with those songs, because I just generally am not. a bonus track person. And I found some new

surprising musical insights, both on the old bonus songs and the Volt track. So I wanted to share those with you, if you don't mind. We have the song, Wonderland. You ever heard Wonderland?

I don't think so. Let's just listen to Taylor's version. Cool. So this is one of those songs that Taylor wrote alongside Max Martin and Shelback. Uh-huh. How do you feel about Wonderland?

I love it. It kicks ass. I think there's a reason why it was a bonus track. Okay, conspiratorial tone of voice here. The chorus is exactly the same as the verse of bad blood. I wonder if they reused it. Did you? I was thinking that you could be trusted.

Did it? What was shining now with so. I got lost in it and we could last forever. You're saying the chorus of Wonderland sounds a lot like the melody of the verse to Bad Blood. Yeah. Yeah. I hear it.

Absolutely. Bad Blood was, of course, written with Max Martin and Shelbach as well. And whether this was a deliberate, hey, let's take that chorus, it was kind of working and put it in a verse, or maybe it was unintentional. I think something that is verse material, it's just not as strong in a chorus. So for me, okay, bonus track. Interesting. I actually did find some bonus tracks I really enjoyed. Have you ever spent time with the song, you are in love?

I have not. Have you ever been in love? I have, but I don't kiss and tell. Another track I'm so happy to know about. I love this. It's quite beautiful. I really enjoyed listening to this because it reminded me of an all-time favorite song. You and I have gotten to speak with Jack Antonoff on the show, and we know that he is both

personal friends with and a great admirer of the great Bruce Springsteen. We know that he quotes his songwriting style of blues in the verse. gospel in the chorus all the time. This song to me, and I don't think I'm the only person who ever heard this, but it sounds like Bruce Springsteen's Secret Garden. Same chord progressions, one, four, six, same

classic Bruce Springsteen, Juno synthesizer, same sort of drum brush feel. Even the string dulcimery kind of sound is present in both of them. I think in one case maybe strumming piano strings on the other, maybe a 12-string guitar. I kind of like this as a source of

inspiration. So your theory, again, is that maybe these songs tread on the melodic harmonic material of other songs just a little too much that they went into the bonus track file rather than the core album discography. It feels like good reasoning. I don't know if that was the choice. It sounds convincing to me. Regardless, I'm happy to rediscover these tracks. So this is fun stuff. Okay. And maybe just one more because 1989 Taylor's version also includes from the Volt tracks that were never released. And there's a bunch of mostly ballads written with Antonoff and one with the great Diane Warren. She's released the lead single with a song boldly titled Slice. Wow.

I have to admit, when I saw the title of the song, I had expected maybe something like, shake it off, where it's like, let's reclaim this word that you really ought not to use and do something like fun and wild and over the top and retake the word. And instead, this is a very melancholy, very thoughtful, very aware of her self-image and the way that she's treated by the press. It's a compelling insight into sort of like other facets of her songwriting. And I think I can see why maybe it wasn't included in the original release, but I'm glad to have the opportunity to hear it now. Yeah. So, Charlie, you've really squeezed the juice out of the onion here because in a note-for-note facsimile recreation, you've somehow found all these really interesting perspectives for us to uncover. Man, maybe episode 337.

We've just gone too far. We've reached the end. How about this? It's coming up two more artists, re-record their iconic work. Let's after the break. Maria, you have a podcast now and you need to start acting like it. What's the first step as a podcaster? Well, you have to ask lots of questions.

I'm Maria Sharpova, and I'm hosting a new podcast called Pretty Tough. Every week, I'm sitting down with trailblazing women at the top of their game to discuss ambition, work ethic, and the ups and downs that come on the path to achieving greatness. I have a few pretty tough questions for you. Okay. Ready? Ready. Do not sugarcoat something for me. No, no. No. We'll dive into their stories and get valuable insights from top executives, actors, entrepreneurs, and other individuals who have inspired me so much in my own journey.

Pretty tough is your front row seat to the women who have demonstrated the power in being unapologetic in their pursuits. I hope you'll join us. New episodes drop Wednesdays on YouTube or in your favorite podcast app. Immigration may be Donald Trump's signature issue. President Trump is now targeting predominantly Democratic cities for ice raids and deportations. Dozens of protesters clashing with immigration and customs enforcement agents in Minneapolis Tuesday. We will begin the process of returning millions and millions of criminal aliens back to the places from which they came. But what we want to do in this space is talk about America and politics beyond the current president. So what do most Americans think about deportation and border security, period?

I think that Americans are definitely against the kind of violent displays that we've seen in the street from ICE. When it comes to the question of deportation, the answer is more complicated. My sense is that people want border at the border. They don't like the idea of having no idea who's coming into the United States at any given time. The view on immigration from the bottom up instead of the top down. That's this week on America Actually. Every Saturday in your audio and video feeds. Nate, you want more than just Tom Drum slightly retuned.

I mean, I've got it for you. It'd be nice. Let's take a listen to Demi Lovato's revamped. Demi, of course, came onto the scene as a post-Disney star. And actually began her musical career with a harder-sounding pop-punk kind of vibe. Her song, La La Land from 2008 hits hard. And it has a snarky take on the LA music and celebrity machine. But Demo Votto really blew up with a more pop sound, like on her song, Heart Attack.

But in 2023, Demi's coming out with what they call rock versions of these pop hits, like Heart Attack. This is what I've been craving, taking these original songs and reworking them. Hearing the sound of her voices, it's changed and matured over the years, hearing these, like, intense drums and even more distorted guitars that have been layered over the track. So what's behind this rock redux of these early Levato tracks? Well, Demi had put out this rock-oriented album called Holy FVCK recently, and we've covered on the show. And then there was this follow-up single called Swine, the Reproductive Rights Anthem. It's very heavy, very powerful.

Let's take a listen to that. Whoa, Demi goes rage. It's heavy stuff. And in preparation for touring this heavier sound, Demi decided that they needed to update some of the old material because blending that hard rock vibe with some of the earlier pop and EDM kind of thing, they just weren't going to, match up. And so Demi went about re-recording 10 of their songs, realizing that more than just practicing these for a live tour, they could make a fun album. They've released the album Demi Lovato revamped. And like Taylor Swift, who from time to time has made small lyrical updates in her Taylor's versions, Demi Lovato does the same thing here as well. You can hear some

lyrical updates, for example, in how they sing cool for the summer. Here's the original. She revamps to, Go tell your mother. Well, that rocks. And we have a small lyric change from don't tell your mother to the more permissive. Go tell your mother. Go have fun.

Whatever. Be yourself. No shame. Okay, that's nice. But the thing that really stands out to me here is like her vocal command. and the kind of attention that she gives each lyrics, how much control she has over her voice to, like, shape these sounds and emote through them in a way that either,

you know, it's hard to say, did she not have the same skill set when she originally recorded it? Was she sort of hemmed in by a label and creative team that were maybe pressure her to make certain artistic choices? I don't know, but I just love how much character she puts, into her voice in this re-record. I think she's a really solid rock singer. I love this belting that we get.

One of my favorites is her update to Sorry Not Sorry, one of my truly favorite great pop songs. Here's the original. Here's Sorry Not Sorry Revamped. Wow, that's like the biggest transformation so far. Isn't that awesome? I do it. I'm really amazed by producer Oakfelder,

who is a friend of the pod. We've talked with him in his studio before. for. And he really updates this sort of R&B snap feel to a completely new sonic territory, which is real flex as a producer to say, hey, you want heavy, hard rock? Sure, I can do that. You want a funk thing? I can do the R&B. I can do all of it. And he's one of those producers that has that flexibility. This is the version I would go to. And I think the vocal performance, as you pointed out, really shines here. Okay. So Taylor, Demi, re-recording their past works in radically different ways.

You dropped an intriguing tidbit here. Roger Waters of Pink Floyd. Yeah. Re-recording the classic album, Dark Side of the Moon. I know. The album that, you know, shattered my 13-year-old brain into a million pieces when I first heard it. The album that me and my friends put on when we watch The Wizard of Oz to see if they

indeed matched up perfectly. Yeah. Not really. But it's still fun. Yeah. What's going on here? I guess the story of this re-recording begins in the pandemic lockdown. Roger Waters, who split with Pink Floyd

in 1985 over unbelievable number of differences. Yeah. Started re-recording some of his singles and Pink Floyd singles in what he called his lockdown sessions. Sort of acoustic re-rendering's slowing things down, often dropping his voice an octave.

He's now 80, and so his pipes are a little bit different. His vocal styling has changed. And he decided, well, why not give a stab at one of the most classic albums of all time, Dark Side of the Moon, a concept album that takes you through all stages of life from your first heartbeat through death with running in between and flying and making money and passing time and mental illness. and war, it's kind of all in that album. And so he tries his hand at it. And I think he believes that the original material even perhaps invites reinterpretation. So the original says you could hear

the band playing different tunes and see on the dark side of the moon. And it's kind of like he re-recorded that album in his youth. And now he's on the other side of youth and doing this re-recording with a great degree of self-awareness. If you didn't catch that, he says, why don't we re-record Dark Side of the Moon? Great Decree of Laughter. He's gone mad. This is like the audiobook version of Dark Side of the Moon. Yeah, actually really is.

The new version gets rid of most of the instrumental sections of the album, including all the guitar solos, and adds a lot of spoken recitations. Yeah. And he's not hiding it. He begins the album. with a poem on death, telling you right from the beginning, this is going to be a different kind of experience than the original.

The memories of a man in his old age are the deeds of a man in his prime. For life is a short, warm, his alone. Well, that's nice and cheery. This is, I mean, this is, this is very striking to me. The tone, like, his,

his gravelly, raspy voice, like, super close. smiked like this, it's very arresting. It takes some of the, maybe the latent themes in Dark Side of the Moon. It makes them a little more explicit while also putting his own spin on maybe his interpretation and his memory of this iconic record. It feels appropriate because the original album deals with so many themes of mortality and hearing it in the voice of an older Roger Waters puts it definitely in a different context. He throws his voice away there on that last line, one day closer to death.

This is not a young man reflecting on a life to come. Yeah. You pointed out, though, that this has a sometimes audio book quality. I think he had to figure out how to fill some time, and I'm uncertain about how I feel on some of these longer poems that are added to the. original lyrical material. One of my favorite songs on Dark Side of the Moon is the famous great gig in the sky. Yeah.

Which is a almost entirely instrumental song with an improvised, just gorgeous ad-libbed vocal. Yeah, I always love this track with its soaring improvised vocal by the singer Claire, Tori, which she was only paid 30 pounds for and never got any royalties. Oh my gosh. So 2005. But yeah, love this track. That's wild for an album that has spent over 700 weeks on the charts. Dang. Yeah. We've got to at least give her her cultural due.

Anyway, that song gets totally reworked into, I guess, like a letter about the former poet laureate Donald Hall. Dear Mr. Waters, Don asked me to let you know that he is in hospital now and has been diagnosed with a cancer in his sinus. He also asked me to tell everyone that he is not answering any letters. Actually, don't know they're friends. He goes on and on for nearly six minutes and finally makes a farewell to Donald Hall. RIP Donald Hall. So you wanted updates. This is a bold choice for an update to take a pivotal recording.

Maybe the only thing you can do with it is put it in an entirely new context. And I think it's a bold choice. Yeah, but it's also very intimate and very revealing. I mean, I'm very moved by this, actually. More than I thought I would be because I think I can find Roger Waters kind of insufferable sometimes. Yeah, understandably. I mean, even in this piece, he says that, you know, he can, from time. time to time wax poetic and get overly political. And Roger Waters is a difficult figure to

follow because he has very unsavory political opinions from time to time. He has dabbled in anti-Semitic rhetoric. He has recently warmed up to Vladimir Putin as a leader after listening to a podcast from Cyprus. He told this to German newspapers. And the BBC reported that he went to the UN Security Council to say that the invasion of Ukraine, though, legal was provoked by the West. So he's very, you know, if he's trying to update an album, as he says,

with 80 years of wisdom and try to imbue this recording with these perspectives, this is also all, the recording also carries the baggage of his overtly political identity. And then there's the baggage

of this not involving Pink Floyd guitarist David Gilmore at all, which I'm sure is its own source of controversy within whatever fractured relationship these two have. I mean, I think actually a Taylor Swift lyric is apropos here. They are never, ever getting back together. Yeah. So.

Him, David. And of course, Nick Mason, the drummer. Yes. Yes. Yeah. They are at loggerheads. And I think there's also the issue of their biggest single. What do you do with Pink Floyd's?

Money begins with the famous cash register loop in 7-4. I don't know if there's any other hit that's ever been in 7-4. A song originally sung by David Gilmore, Roger Waters, Updates. Seems in keeping with everything we've heard so far. Maybe in some ways the most direct version of the original. I mean, I'm not going to be listening to this instead of the original anytime soon, but I guess it's kind of interesting. I'm actually finding myself, the more radical departures from the originals to me are more interesting than something like this where he actually just like does a version of the song.

So yeah, I guess I'm like realizing that I'm more interested in the stark departures from the original in this particular case, maybe because I know this album so well and it's like an opportunity to think of it in a new light. I also found that the redo of money was hard for me to listen. to, I think not just because it's slowed down, vocal is an octave lower or more, it sounds like. It's rarely even song, it's almost spoken. But it feels like almost too close of a nod to one of my favorite recordings of all time. Leonard Cohen's, you want it darker, which was part of some of the last recordings that he released before he died.

If you are the dealer, I'm out of the game. If you are the healer means I'm broken and lame. If thine is the glory, then mine must be the shame. You want it darker. Now, I understand that time isn't always generous to the vocal chords, and that there's reasons why Waters might be singing down there. But I've seen multiple commentators make the joke that Roger Waters' reinterpretation sounds like you want it darker side of the moon.

And that so many have made that joke. It just, I think he's stepping on some really beautiful material that doesn't really match with money. Like, I don't think it's the re-recording that I wanted. Okay, so let's zoom out. We've talked about three very different re-recording projects. Yeah. Taylor Swift, I'm Levato, Roger Waters, Dark Side of the Moon. What have we learned, Chuck?

I think it is equally challenging and a totally different task to re-record your original faithfully as it is to make a departure, you're always fighting the expectations of millions of fans who have a extremely strong sensory, emotional, somatic relationship to your music. And I don't know if you can win. Yeah. Which makes me think that even though I really enjoy a lot of these rock versions of Demo Vado, which I don't know, I actually find the framing of that project to be underwhelming, like revamped, redone,

here's the rock version. I actually think the songs just sound good. I don't think it needs to be framed as here's the new identity. It kind of cheapens it for me. But I think that Taylor's project makes the most sense because there's a very clear purpose behind it. Let me own the music again. And she seemed to have gotten the entire public on her side for that purpose. Otherwise, man, you're going to have a tough go at it trying to do this kind of thing. The persistence of memory is strong and pop. It really is. Yeah. People want to hear the hits. Are there any re-records that you're looking forward to or that you wish would happen? I know that the Canadian band, the new pornographers, were really unhappy with the audio quality of their second album, Electric Version.

Huh. That could be cool if they went back in the studio, re-recorded that with like the fidelity that they wanted, originally intended. I'd like Paul McCartney to take a note from Demlovado and release the song, While My Guitar Gently Weeps. The metal genre, D-J-E-N-T, gently. Okay, I mean, obviously, that's a George Harrison composition, so the fact that you had to stretch so far for that horrible joke and in the process, mess up the authorship. I'm not messing it up, he's just the only one around.

Do it. I don't want the Ringo version. I want the Paul version. Oh, my God, you did so well the whole episode. And then that's how you want to end? You're full of surprises. We should go back and re-record this podcast and change that outro. Note for note, exactly the same with that one edit.

Yes. This piece was produced by my friend Charlie Harding. It was edited by the great Jolie Myers, engineered by Brandon McFarland, Abby Barr, does community management. Iris Gottlieb makes our incredible illustrations. Our executive producer is Nashat Kerwa and were a member of the Vox Media Podcast Network and produced by Vulture. I would love to know what other changes other than retunings of Tom Drums

that you heard in Taylor's version of 1989. Does it take you back a decade? How is it making you feel? How is it doing it? Let us know on social media at Switched On Pop, or you can send us notes directly on our website, switchedonpop.com, where you can find our entire back catalog,

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