It's the stuff of shared languages, not unlike our own pensive journal entries when we had nowhere else to turn but the page. Released in 2014 and named after the year she was born, "1989" was inspired by the pop music of the mid-1980s. Let's be clear: There are no bad Taylor Swift albums. Swifts most recent release is a glittering return to pure-pop music. When you pose the question of why Taylor Swift is among the most distinguished artists in popular music, the strength of her narrative songwriting is among the best answers. Welcome to the Taylor Swift song sorter. But past skeptics be damned, the album has stood the test of time, with many now backpedaling their initial criticisms to revel in her unabashed outbursts of rage and ecstasy and its thematic anchor of tender love and care. 1 as it best represents the evolution of Swift and her music. From Taylor Swift to Midnights, we've ranked all of the singer's studio albums from best to worst. "Swift's usual approach to dabbling in new genres or sounds is to go balls-to-the-wall, but on 'evermore,' she's just as good at curating these more detailed production flourishes, all with the same contouring and meticulousness as she does with her best lyrics," she wrote. I'll admit it took me a second to warm up to "Folklore" and realize how sophisticated and masterful it was so much so that it jumped from second-to-last to second place since this ranking was last updated. that have almost childish lyrics to soft, heart-wrenching ballads about love and loss like "Soon You'll Get Better.". Two things before we get into the list: 1. And, of course, "Marjorie" is a masterful and beautiful tribute to Swift's grandmother that's packed with soulful and illustrative lyrics. True, this album successfully acted as a reminder that Swift is a powerhouse musician who shouldnt be messed with. Even so, there are simply too many placeholders on Lover's 18-track roster for it to fare well against her discography's worthier, meatier contenders. That early nuance and the fact that she wrote this entire album completely on her own is no small feat. Song for song, the album finds Swift at a new peak in her command of language. But Evermore finds Swift digging further into her explorations of narrative voice and shifting points of view, taking bigger risks in trying to discover how the newfound breadth of her songwriting could possibly reconcile with the arc of her career. Although "Folklore" may not have the mainstream appeal of her previous albums, it's an album longtime fans will appreciate as it highlights her stellar songwriting and pays homage to her acoustic roots. There are whispers of reputation as well on opener "Lavender Haze," "Midnight Rain," and b-side "Vigilante Sh-t," which are menacing in their side-eyed electro hip hop shades but with a more relaxed delivery, swapping her sixth album's shock value for more earnest meditations on conflict born out of your own misgivings. today i'm ranking all of taylor swift's songs and music from every album + more! Her narrators often seem to lack insight because Swift writes with the point of view that hers is the only story to be told, which makes songs like Dear John and Better Than Revenge come across as shallow and shortsighted. Its an effortless fusion that, like much of 1989, displays Swifts willingness to venture outside her comfort zone without much of a safety net, and test out an array of sonic experiments that feel both retro and of the moment. Taylor Swift currently has 10 albums, with 2022's "Midnights" being her most recent release. 175. Standouts tracks on this album also include "Fearless," an easy listen that captures the sweet feelings surrounding new romances; "Fifteen," a young love story that unfolds over several verses; "White Horse," a slow tune featuring lyrics about heartbreak that cut deep; "Love Story," a romantic tale with a fairytale edge; and "The Best Day," an emotional song that is filled with sweet childhood memories. The music of folklore takes its time to unfurl, ivory keys yawning at dusk, acoustic strings waking at daybreak. But the true gems of this wildly successful 2021 re-recording (which topped every chart in sight across the globe) are undoubtedly "Love Story," which resurfaces here with heightened sensibilities and deeper convictions, along with several songs "From The Vault," most notably "Mr. Welcome to the Quantum Realm. And then theres the title track, a gorgeous slow-dance, that acts as a reminder to why the world fell in love with Swift in the first place. "Marjorie," track 13 on "Evermore," is about Swift's grandmother. Entertainment Weekly is a registered trademark of Meredith Corporation All Rights Reserved. Songs like Love Story, You Belong with Me and Fifteen, filled with heart-on-sleeve lyrics and earworm hooks, remain among her best. This time, she trades her upbeat synth-pop for overt trap tremors and heavy-handed hip-hop, like harsh emergency strobes disrupting a blacked-out cityscape. And we'd be remiss not to highlight the otherwise overlooked single "Today was a Fairytale" that is just as fantastical and hooky as Fearless' trademark tracks, but was unjustly tacked onto the soundtrack for the unfortunate 2010 film Valentine's Day (wherein Taylor made her acting debut as a kissing partner for then-boyfriend Taylor Lautner). It's no exaggeration, then, to say almost every emotion has been articulated by Taylor Swift at some point, whether in broad-stroke breakup anthems or close-to-the-chest confessionals. This time, "All Too Well" retires a full band backing for hazy synths, but it's anything but smoke and mirrors. This winning combination warrants countless replays and, even now, listening to this song more than 10 years later reminds many of us so strongly of a crush we had when we were younger. Report RESET RANKING RESET TEMPLATE SAVE/DOWNLOAD TIER LIST Template by lucy But her mounting success undoubtedly stands on the shoulders of Speak Now's case studies of condensing complex inner dilemmas seeing your parents' failed marriage as a prophecy, wishing you'd never grown up into an album still adorned with hope. What once felt (or possibly still feels) like the end of the world is, on "Taylor's Version," also a testament to resilience we'll make it to the other side, and we'll do it again and again. Red is filled with top notch tunes: the brilliantly snarky We Are Never Ever Getting Back Together (Swifts first ever Billboard 100 Number One) and fizzing 22 are stone-cold smashers. But once the title track's idyllic and endearing comedown is over, and the atmospheric funeral march for past woes of "The Archer" makes way for new beginnings, Lover has very few high points after its fifth track. Overall, the beauty of revisiting Red is that many of us, at points high and low, have related to its caustic, dizzying array of emotion, tracing the nonlinear trajectory of falling in love, breaking your heart, and putting it back together again. Swifts seventh ignores the bombastic electro-pop of its predecessor, and instead embraces the sleek stylings of 1989. Its a dazzling, surprising album, brimming with career-best moments, and heralded a brave new direction for the pop star. But her self-titled debut is stagnant in retrospect, its feet firmly planted into an arbitrary industry mogul's limited vision of the "next best country artist." This is based on A. Though the album is gorgeously hooky as a whole, and overall perfect for belting in the car for a pick-me-up, it's not hard to imagine Katy Perry or even Demi Lavato as a stand-in singer for the LP's lowest moments. But what's never changed is Taylor's enchanting ability to translate a memory whether charmed or trying into a moment that feels like yours. Swifts cottage-core diptych felt innovative in how they rebuilt Swifts sound from the ground up, but despite its own idiosyncratic delights, Midnights ultimately feels too indebted to her past efforts to truly push her forward. The bridge to Fifteen includes a great, revealing line about a friends lost innocence (And Abigail gave everything/She had to a boy/Who changed his mind/And we both cried), while the playful melody of Hey Stephen captures the essence of what makes for indelible teen-pop. He also noted that this album began to show just how developed Swift's "potential for fury" was and he's right "Picture To Burn" is sassy and confidently filled with anger: "So watch me strike a match on all my wasted time / As far as I'm concerned you're just another picture to burn.". The title track, whose lilting rhythm and reverb-soaked drums and vocals are reminiscent of Mazzy Stars 90s gem Fade Into You, and the acoustic Soon Youll Get Better, a tribute to Swifts mother, hark back to the singers pre-pop days, while I Think He Knows and False God evoke Carly Rae Jepsens brand of 80s R&B-inflected electro-pop. And of course, "Long Live," the last song of the album, is a masterpiece that features the story and emotions of Swift looking at her journey and successes up to that point in time. Periodically, Midnights does run into issues of redundancy, which has more to do with Jack Antonoffs deficiencies as a producer than with Swifts skills as a writer and performer. Taylor Swift's "Folklore" album cover was photographed by Beth Garrabrant. It made sense then for this, her second studio album, which won her four Grammys including Album of the Year, to be the first altar in the "Taylor's Version" re-recording saga. and Bleachers fame), who employs an undercurrent of drums that boom like palms on metal doors and vocals that echo as if off skyscrapers. That she employs her long-established songwriting tropes in novel ways is truly the most significant development here. Justin Vernon of Bon Iver's defeated drawl) borrows similarly spacious minor keys with ten times the heartbreak. The spectacular The Last Great American Dynasty describes the life of American artist Rebekah Harkness (whose Rhode Island house Swift bought in 2013) with vivid descriptive lyrics. Released in 2012, "Red" is a clear departure from Swift's country days, though she holds onto her signatures, like tragic tales told with beautiful lyrics and upbeat, catchy hits, pivoting easily between the two. The album's opening, "Ready For It?," is an aptly-titled shockwave to the system compared to her previous work, abandoning instrumental lead-ins for a feel-it-in-your-bones bass machine accelerating into a rap? And as critic Chris Willman wrote for The Hollywood Reporter in 2010, "Speak Now" saw Swift's music style mature while still keeping elements of her youth that her fans so adored in her previous two albums. Written when she was a high school freshman, it saw Swift dissect her relationship with a senior who she knew would break up with her when he went off to college. At just 20-years-old before she had even fully blossomed out of country's genre barriers Taylor had mastered the delicate balance of detailing the life moments blurred between adolescence and adulthood. Offers may be subject to change without notice. And a follow-up to 1989 would always have big shoes to fill but Reputation lacked the stone-cold smashers Swift has proven time and time again shes capable of. So reads Taylor Swift's social media announcement that, just two months after gracing fans with her re-recording of Fearless, she was giving the same treatment to 2012's Red with all 30 songs originally intended for the record. Fearless, however, just as strongly made the case that Swift had the goods for a long, rich career. Keefe, Swifts third album, Speak Now, is problematic in precisely the same ways that its predecessors are, but there isnt a song here that isnt an absolute wonder of technical construction. Listening to folklore then is like wiping the cuff of a cable knit on fogged glass to peer in on private moments. Swift shines brightest on these songs, building and developing her story out of economic but evocative turns of phrase.". ), and is occasionally clumsy in its comebacks. Related: Ranking Taylor Swift's 10 Most Viewed Music Videos. She draws from her accumulated life experience and musical insight to connect with her younger self, refining her past homages to youth with matured, knowing vocals (dropping her country inflection for a more rounded singsong). Only time will tell if "Midnights" will climb up my ranking, but as a new album amidst an outstanding discography, more time is needed to test how well it stands out from the rest. The best Taylor Swift's Albums rankings are on the top of the list and the worst rankings are on the bottom. Painting the picture of an unravelling relationship, it gradually crescendos, climaxing in the gut-punch couplet of And you call me up again just to break me like a promise / So casually cruel in the name of being honest. "Fearless" might just be the best opening guitar riff of her applicable albums (Taylor Swift, Speak Now, and Evermore's are less so) fringed with a summer's day twang and immediately infecting the listener with a blissful dose of euphoria, like a spoonful of syrup taken between smiling lips. All of Swift's signature elements are present on Swift's third studio album that was released in 2010 beautifully honest lyrics about heartbreak ("Dear John," "Last Kiss"), biting diss tracks ("Mean," "Better Than Revenge"), and a story that unfolds ("Mine"). Unlike previous albums, no singles were released before the official album drop, and at 3 a.m. What makes Taylor's first foray into pop so often irresistible is her ability to rise above the genre's preoccupation with recycled hooks and surface level lyrics. It's humbling to hear a decades-defining artist at the absolute top of her career sing confessionals about self-loathing ("I'll stare directly at the sun but never in the mirror") and toxic longing ("I hosted parties and starved my body / Like I'd be saved with a perfect kiss") with less inhibition than ever before. Love for a song about the worst parts of yourself grows on your heart like a burn on the skin. The rest of the record sees relationships rise and fall like once-great empires reduced to dust, each an individual tragedy set to incessantly hooky choruses. In fact, most every song is stripped to a softer core than we've ever heard from Taylor before, with the exception of some past anomalies (re: Reputation's "New Years Day"). 1989 signifies a rebirth of sorts for Taylor, not just because it's named after her actual birth year, but more due to its status as her first seismic genre shift. And on Midnights, Taylor turns to us, yet again. Though she only first arrived onto (and soon conquered) the popular music scene 16 years ago, the breadth and depth of her work seems more the stuff of a lifelong evolution, spanning multiple genres and breaking industry records almost every time around. First contact is a shock, a singe that lingers and radiates energy, next a scab, hardening as it heals, before calming into a scar you carry, listening to, forevermore. Overall, it's charming and mostly tame, but then again, she's happy. She's endlessly accessible, easy to understand even in her later, more cryptic works, yet her songwriting is also a blank space (*cue pen-click*) ripe for filling in your personal memories and private associations. In the 16 years since the single Tim McGraw launched Swift to country stardom, shes jettisoned the genres ill-fitting signifiers and overcome the limitations of her early recordingsimprovements captured in her Taylors Version re-recordings as a powerful statement of artistic agency. And though "All Too Well" is of course her opus in this arena, Speak Now precedes it with an impressive display of her one-off storytelling powers. Where Reputation before it was a risky, abrasive side-step shrouded in a smoky eye, Lover's follow up is a blushing cheek beaming with rosy retrospection and hopes for the future. The worlds defining voice in music and pop culture: breaking whats new and whats next since 1952. But none before were so intricate and immersive as a whole fictional timeline pieced together from multiple angles in an album just over an hour long. Thus, Taylor Swift is reduced to the last spot on our ranking, partially by default, though also with respect and not without a good fight. Songs like "Blank Space" and "Wildest Dreams" are more than deserving of their far-reaching recognizability, but not so much their long time (and only recently dethroned) standing at the top of Taylor's Spotify play stats. Midnights is simultaneously a rare treat and a return to normalcy. We, the listeners, need a few more of our own sleepless nights, staying up drinking with Taylor and looking backward to definitively weigh our affection. Almost 15 years ago, before the Grammy awards and international tours, a fresh-faced, 17-year-old Taylor Swift released her self-titled debut album. But Midnights and its seven "3am" bonus tracks are still steeped in singularity, mostly due to its ultra-honest subject matter and intriguing concept parsed out with Taylor's expert execution. All necessary praise aside, one of the great joys of tracing Taylor Swift's arc is seeing her sound bleed across genres, from country and pop to (half-baked) hip-hop and folk and back. And theres what Swift has called The Teenage Love Triangle, a trio of songs (Betty, Cardigan and August) that explore a knotty romance from three peoples perspectives. The albums lyrics only serve to bolster that perception: Swift comes off like a frazzled stay-at-home mom scolding her disobedient children on Look What You Made Me Do and This Is Why We Cant Have Nice Things. But its her willingness to portray herself not as a victim, but the villain of her own story that makes Reputation such a fascinatingly thorny glimpse inside the mind of pops reigning princess. There are many more parallels to past albums, as revisiting life moments already explored in her previous songs creates yet another treasure map of topics for knowledgeable fans. Lover is a backtrack in a way. And I'm telling you, it's going to be a journey. Keefe, Folklore is neither a culmination of Swifts career to date nor a pivot in a new direction. To celebrate the release of Swifts tenth album Midnights, here we take a look back on Taylor Swifts entire career and rank her ten albums in order of greatness. It marks a shift from the retro-minded pop-rock of 1989 toward a harder, more urban aesthetic, and Swift wears the stiff, clattering beats of songs like Ready for It? like body armor. What condemns 1989's position at the lower third of this list then is the sad truth that some of the choruses rotating here sound like they could have been parsed out to much-lesser 2010s pop stars. The catalyst was lead single "Tim McGraw," but this ticket to the country radio airwaves turned out to be a red herring with the advent of other ironclad, infinitely repeatable songs that remain fan favorites, even in lieu of our now excess of options. the album's opening track, and in the closing track, "New Year's Day," when we hear a stripped-down, piano-heavy ballad in which Swift sings emotion-filled lyrics. Rather, it recalls the key moments of a love gone awry in arresting detail "I'll get older, but your lovers stay my age" wasting not a single word in confronting a past partner many years her senior (unanimously believed to be Jake Gyllenhaal) nearly 10 years after the fact. That said, this album ranked below the others as it plays it a bit safer than some of the music released later in her career. I'm using weekly Spotify Charts because I hate Billboard 2. But, as is tradition, the haters hardly scratched the surface of this sixth record, overlooking its genuine feats of all-encompassing production and high-energy, in-your-face vocals. Lover. this is everything before Red (Taylor's Version) it took so l. The contrast of that relationship with the one detailed in "Champagne Problems" makes the latter seem even more heart-wrenching. Plus her later albums feature songs that are more interesting and creative lyrically and stylistically. Here Taylor sacked off her country roots and embraced full-blown pop. It also boasts some of Swifts best ever lyricism for example its title track, where Swift vividly describes the wedding of an ex-lover: I sneak in and see your friends / And her snotty little family, all dressed in pastel / And she is yelling at a bridesmaid / Somewhere back inside a room / Wearing a gown shaped like a pastry. She may be on the outs, but she sure isn't alone. So, the savant of promotional whimsy announced an upcoming album in August, cloaked her website in a cryptic countdown reading "Meet me at midnight," posted the premise of "the stories of 13 sleepless nights scattered throughout my life," and ceremoniously revealed the track titles from an antique bingo machine in a TikTok series. On Red (Taylors Version), we got the spellbinding 10-minute version of the song, an epic rendition that cements the tunes place as a songwriting triumph. Happy, free, confused, lonely, devastated, euphoric, wild, and tortured by memories past." The gist: In each "battle," two Taylor Swift songs (from the same album or not) are pitted against each other for your judgment. "Epiphany," track 13 on "Folklore," is written with Swift's grandfather in mind. It's synth-pop with depth energetic beats with lyrics that linger in your mind and soul-baring moments softened with catchy choruses ("It's me, hi / I'm the problem, it's me"). by Slant Staff October 25, 2022 1 Photo: Republic Records Taylor Swift started off as a country artist at a time when the genre was both less respectful and accommodating of the voices of women than at any other point in its storied history. These were the de facto anthems for young listeners especially, clutching MP3 players to the chest like rosaries as we projected onto Taylor's portraits of then-mythical teen love. But on Red, it's "worthwhile fight" and "a ruthless game," never easy but always intoxicating, almost to the point of nausea. some of the music released later in her career. All of Taylor Swift's Albums in order + Some unreleased, bonus, and soundtrack songs (only ones that are in a mostly complete state) in table form A mean/mode score calculator under each album Page 2 A macro-enabled automatic ranking table of each album's mean score, with colours that re-orders automatically as you score the songs on Page 1 Page 3 Taylor herself referred to it as her "only true breakup album," and like her today, whatever heartache made us once cling to Red for the solace is (hopefully) behind us now. Its predecessor, and heralded a ranking taylor swift albums tier list new direction for the pop star like emergency! Of phrase. ``, '' is about Swift 's grandmother of a cable on! Later in her command of language musician who shouldnt be messed with plus her albums. 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