In 2021, Taylor Swift started re-recording her first of six studio albums as a way to reclaim ownership of a large portion of her catalog. These “Taylor’s Version” albums set the world on fire, and while most people are familiar with Swift’s re-recordings, fans may not be aware of all of the artists who followed in her wake, particularly in the hard rock genre.
Artists re-record for a variety of reasons, including some using this also as a method to create new masters for their songs. If that’s the goal, then sure, record a version just like the original, but from a fan perspective, many of Swift’s copycats didn’t learn the nuances of what made Taylor’s Version (mostly) work, even if they have similar good intentions.
One of the common denominators in the re-recording process is cleaner production and generally less edge. You can hear it in the later Taylor’s Version albums, where some of the most bombastic moments have mellowed out. If more “modernizations” severely hindered my enjoyment of “1989” and “Speak Now”, it’s even worse with Swift’s copycats.
Five Finger Death Punch shows where this can succeed and fail. On one hand, their new version of “Wash it all Away (2025 Version)”, FFDP’s addition of cleaner lead lines gives the song a mellower tone, consistent throughout the track, which is more distinct than the original’s just ripping off Slipknot. Unfortunately, this is one of the only songs where the softening actually helps.
Instead of morphing into softer songs which fit the vibe, like “Wash It All Away,” most of these songs are the same tracks, minus the mix of groove and nu metal that made the band popular. Songs like “Bad Company (2025 Version)” and “Wash It All Away (2025 Version)” sound like a band called FFDP got their teeth knocked out.
On “Dear Maria, Count Me In (ATL’s Version)”, All Time Low deviates from the patterns of these re-recordings by punching up the drums and guitars. Despite the increase in volume, the production is much cleaner, and for pop-punk, that’s not always a good thing.
The original has a janky edge, fitting better amidst its peers. While ATL’s version is cleaner, the 2005 leans into the dirtiness of the time, which, while not “aging” as well, makes the track feel like a Hot Topic time capsule.
Speaking of Hot Topic, while “Dear Maria, Count Me In” at least stayed on track, Set It Off’s “A Wolf In Sheep’s Clothing REBORN” is completely overwhelming. This otherwise light song adds a 7-string guitar into the mix. It’s an odd decision considering the low end of this song is already well covered, and the song’s most memorable part is how the higher guitar riff cuts through the mix.
The replacement of the cheesy horns with a full orchestra should be an upgrade, but it takes the tongue out of the cheek of a song which aged better with irony. As a “sweeping epic” that’s “more metal”, Set It Off’s remake feels too serious and is another example of a band that chooses to lean into the wrong aspect of their hits.
There are a few artists who have swung for the fences, and while I appreciate artists who overhaul their old music, this also leads to mixed results. Demi Lovato’s rock version of her classics, recorded on “REVAMPED”, served its purpose. It allowed Lovato to reimagine her iconic pop hits in a rock form to fit the sound of her HOLY FVCK Tour. On their own, Lovato’s remakes are exactly what they say on the tin, rock versions of her classics. While features help songs like “Give Your Heart A Break ft. Bret McKraken” (of The Used) excel, most of them are just standard translations of pop songs to rock.
Since Swift reclaimed her masters earlier this year and is likely putting a hold on finishing Taylor’s Version albums, I hope this quells the influx of her subpar imitators.
For now, re-recordings live in the same world as covers. For both, the majority are too similar, and therefore useless, with a few making drastic swings that are polarizing. It’s very rare to find one that feels worthwhile and most often, it’s not worth the effort.
Nicholas is a senior studying journalism at Ohio University. Please note the opinions expressed in this column do not represent those of The Post. Want to talk to Nicholas about his column? Email him at nk696121@ohio.edu.
