Less than a year after Taylor Swift released her “1989” album on October 27, 2014, artist Ryan Adams released a cover of it. The contrast is staggering. Swift’s “1989” album is her party album; Adams’ cover tells the story of the hangover that follows. Adams’ album of reflection and regret shows “1989” in a whole new light.

Adams starts with “Welcome to New York” uniquely adding an ‘80s vibe to the song with his dry vocal style. Adams’ version isn’t as optimistic as Swift’s, but it is still hopeful, and the notes in the bridge are no less inspiring.

“Blank Space” is a beautiful parallel. Where Swift embraces the psychotic ex-girlfriend role that the media so often gives her, Adams takes the lyrics, cuts out biting lines like “darling I’m a nightmare dressed like a daydream,” and incorporates soft guitar strumming to make the iconic hit into a song with a message almost like Swift’s “Wildest Dreams.” His subtle changes to lyrics act as if describing a painful love for a girl. The song seems reminiscent of Vance Joy’s “Riptide.”

But despite the initial hope I was given from these two first songs, the vocal range throughout the album was rather disappointing. Adams’ overwhelmingly dreary voice kills any spark of genius he displays in his album concept. “Out of the Woods” sounds like Adams stuck in a carseat on a long drive ending in burning flames, not paradise. “Bad Blood” has a good vibe for car-rides within the chorus, but the note changes in the bridge are questionable, and at points it seems Adams’ vocals hurt him. “Style” feels as if Adams is an old preacher yelling at you. Adams’ lack of vocal range in “Wildest Dreams” make the song the dream you forget when you awaken; it’s simply not memorable.

It’s actually rather frustrating because Adams has a lot going for him. There are so many interesting elements in Adams’ songs. “I Wish You Would” has an amazing turnaround from the acoustic intro and is overall beautiful. “How You Get the Girl” has stunning bass and sounds as if Train was giving girl advice later on to the child whose life he saved. Don’t even get me started on the orchestral voices towards the end; they’re gorgeous. “This Love” has the most delicate piano lines and beautiful chorus and bridge, but outside of them, Adams’ vocals distract once again.

The whole album comes full circle with “Clean” where Adams fades out with the same seagull sounds he introduces the album with “Welcome to New York.” It’s a stroke of genius that anyone who has seen Swift’s iconic sweater will appreciate.

Along with his unique elements, Adams’ raw interpretations of Swift’s songs could’ve been highlighted even more if an artist with a gentler voice had sung them. “I Know Places” is given almost a wild-west twist and is paired with an addictive bass line, but Adams lets notes die out. “Shake it Off” displays itself as if Swift had truly revealed her hurt from the hate she’s received; the song’s irony is sad, beautiful and tragic.

That’s what Adams has accomplished best. He has a unique way of recognizing lyrics for what they are, not what they sound like. Although Adams may have not been the singer for this album, he was definitely the best choice for seeing the album for all that it could be. Better than Swift’s original? Maybe not. But it’s definitely worth a listen.

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