Taylor Swift, “1989 (Taylor’s Version),”

Each “Taylor’s Version” release offers a new opportunity to relive a Taylor Swift era through the lens of time. These records have their own personality and cultural signposts. With 1989 comes the most significant album in Swift’s repertoire. If Red bridged country with pop, 1989 was the full embrace of the genre and a generational shift in Swift’s music.

To recapture such a seminal moment in her career would be a task tougher than prior albums. There were fewer traditional instrumentals and more loops, samples and a crisp vocal production that all added extra hurdles in remaking this collection.

Again, the project wasn’t about giving the material a massive makeover. The character, personality and structure of the songs is in line with the original. But the sonic differences are a little more pronounced than the other re-releases. But there was more mystery. AI-created tracks purporting to be leaked versions created misdirection about how some of the songs might sound.

On tracks like “Welcome to New York” and “Blank Space,” the instrumental parts have a bit more room to breathe. The tones are a little warmer than before. Think of it as 1989 by way of Midnights.

The vocal production also has some differences also more pronounced on the pop-centric tracks. On “Bad Blood” and “Out of the Woods” the singing comes to the forefront and it’s a bit easier to hear the individual vocal parts in the mix.

Swift, more mature, delivers the sarcastic “this sick beat” rap with a different cadence, naturally with just a little less youthful exuberance. As with all of the Taylor’s Version releases, it doesn’t help to debate over which is better. Taylor Swift and producer Max Martin teamed to deliver about as perfect a pop record as you’ll find. It serves a different purpose but doesn’t outdo the original.

Other songs are more faithful recreations. The folkier “All You Had to Do Was Stay,” “I Wish You Would” and “How You Get the Girl” sound very in-line with the 2014 versions.

The re-recorded deluxe edition tracks are the heroes of this collection. “Wonderland” and “New Romantics” absolutely soar. Swift’s vocals are terrific and the production makes them even livelier. And the five “From the Vault” new-old songs that close out the album are an interesting mix, taking the character of 1989 but recorded in a way that again would make them fit onto a record like Midnights or folklore. The ironically titled “Slut!” is a particularly well-written love song with a subtle sarcasm.

“But if I’m all dressed up/ They might as well be lookin’ at us/ And if they call me a slut/ You know it might be worth it for once,” Swift sings in the chorus.

Co-written with Diane Warren, “Say Don’t Go” is upbeat and rhythmic, with an emphasis on big-time harmonies. Producer Jack Antonoff’s touch is definitely evident here.

The upbeat and slickly produced “Now That We Don’t Talk” has an ’80s tinge to it. “Suburban Legends” swings further in the other direction, with a more defined Midnights bounce to it. The record closes on its finest moment. Moody mid-tempo pop song “Is It Over Now?” perfectly captures the 1989 aesthetic.

Follow writer Mike DeWald at Twitter.com/mike_dewald.