"Mine" proves this point at the LP's onset, condensing years into seconds, tracing the shadow childhood trauma casts over a guarded, grown-up love ("You made a rebel of a careless man's careful daughter / You are the best thing that's ever been mine"). Her eighth LP disregards the crutch of compelling production and relies more so on solemn, thoughtful writing and is her first full-length departure from autobiography into fiction. Cruel Summer, co-written with St. Vincent, a euphoric three minutes of exhilarating 80s synth-pop, should have been a single. 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. Expectations were sky high, raising the stakes with them; just how close can Taylor fly to the sun? Between those extremes is a reliable lineup of ultra-catchy mega-hits that infected the cultural consciousness through Top 40 countdowns and, later, TikTok videos. In short: 1989 is Taylor Swifts masterpiece. Still, what some may see as folklore's central weakness is in actuality its greatest strength. Though she was praised for her songwriting right out of the gate, what Swifts self-titled debut truly shows in hindsight is how diligently shes worked to hone her craft over the years. 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. Casting aside the usual lengthy album campaigns or meticulously planned drip-feeding of singles, T-Swiz uncharacteristically announced Folklore the day before it was released. Following on from the release of Swift's 10th album 'Midnights', let's take a trip down memory lane and take stock of the superstar's career so far. It was the first taste the world got of Swifts deeply confessional songwriting, and from that moment, we were hooked. "I have this Forrest Gump-ian way of touching something and it becomes a hit!" In this critical-darling album, Swift has done away with over-the-top production, catchy lyrics, and any sort of hit-making formulas and instead presents a stripped-back collection of songs with captivating stories and, in true Swift form, incredible lyrics. "Champagne Problems" serves as a painful tale of a failed relationship. Taylor is again musically faithful to the source material she spawned, honoring her then 22-year-old self by jeering and tearing up right on que, though this time with an inherent air of maturity. "Speak Now" comes in at no. to ultimate effect (and influence to mega-fan Olivia Rodrigo's raucous debut). However, evermore is still occasionally upbeat with an ethereal glow, with cooing strings that glint on "willow" and synthesizers that gleam on "gold rush." Read on for a ranking of all of Swift's albums, from least to most iconic in descending order. 2023 Oscars predictions: See who will win at the 95th Academy Awards. taylor swift albums Tier List Maker - TierLists.com taylor swift albums Press the labels to change the label text. But while her grasp of song structure at this point in her career suggested an innate talent for how to develop a melody, Fearless also highlights Swifts then-limited repertoire and lack of creativity in constructing her narratives of doe-eyed infatuations and first loves gone wrong. Theres a Bon Iver collaboration, too: melancholy duet Exile, a slow-burning number which eventually erupts into chattering layered vocals and euphoric strings at the climax. 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. 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. folklore in comparison merely flirts along the edges of pop mantras on songs like "the last great american dynasty" and the deeply affecting "mirrorball," while veering straight into indie-folk influence on "illicit affairs" and the finger-plucked "invisible string," among others. 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. 'All You Had To Do Was Stay' - '1989' Article Continues Below Don't get me wrong, "All You Had To Do Was Stay" is an amazing song that fits perfectly into. "Red" and "Lover" remain in the middle of the pack. Despite the pandemic, 2020 was a big year for the artist, who released two surprise albums and secured her first Album of the Year nomination since her 2015 record, 1989. Some stories are symphonic semi-pop anthems ("Enchanted," "Haunted"), while others are country ballads dressed with electric guitars, as seen in "Dear John"'s interrogation of a 32-year-old lover's sway on a still-teen girl ("Don't you think 19's too young to be played by your dark, twisted games?"). She later builds upon this skill with an added emphasis on production and atmosphere, landing victorious (almost) every time. Jonathan Keefe. But before expanding on her honeymoon phase, we're treated to the tour-de-force track "Cruel Summer" (not a Bananarama cover), a buzzer-beating, angst-wielding anthem that's among the greatest pop songs her auteur has ever crafted. Haim collaboration No Body, No Crime is a full-blown country revenge song, while Long Story Short and Gold Rush fuse Swifts new sound with some 1984-era gloss. 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? The contrast of that relationship with the one detailed in "Champagne Problems" makes the latter seem even more heart-wrenching. From the first track, you know this album isn't like what you've been hearing on the radio it opens with the synthetic beats and sounds of "Welcome to New York.". He's right "Folklore" further cements the fact that Swift is in a league all her own and cannot be placed in a stylistic box when it comes to her music. 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. What follows is a collection of stone-cold glimpses into the ripple effect discontentment has on relationships: the sadness of a seasonal lover, affection and effort met with indifference, infidelity ending in death. Released in 2008, "Fearless" steps away from country and edges into pop in an impressive balance of the two as Swift continues to develop a style that is uniquely hers. "Her music mixes an almost impersonal professionalism it's so rigorously crafted it sounds like it has been scientifically engineered in a hit factory with confessions that are squirmingly intimate and true," wrote critic Jody Rosen for Rolling Stone in 2008. 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. Swifts seventh ignores the bombastic electro-pop of its predecessor, and instead embraces the sleek stylings of 1989. This is based on A. 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. Its a brilliantly honest moment, taken from Swifts most mature album yet. 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. These tales spin out like spools of fine gold, delicate in their delivery, eschewing catchy hooks to instead relish in simplicity. "Should've Said No" carries the same torch with a steadier hand, being one of the three songs she penned completely on her own. And, thus, here's where she lost some audiences at the onset, who understandably furrowed their brows at first listen. 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. How do you follow-up Reputation, a revenge album filled with vengeance? And, of course, "Marjorie" is a masterful and beautiful tribute to Swift's grandmother that's packed with soulful and illustrative lyrics. Yet between its plot-point breadcrumbs is an inherent relatability embedded in Taylor's never-better introspection. It's the album that immortalized her in the cultural ethos (for the first time around), delivering instant classics in "Love Story" and "You Belong with Me" that are forever fan favorites no matter how far her style and sensibilities have evolved. 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 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. Justin Vernon of Bon Iver's defeated drawl) borrows similarly spacious minor keys with ten times the heartbreak. 'I. To make it easy for you, we haven't included Taylor Swift singles, EPs, or compilations - everything you see here should only be studio albums. 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. But just because Taylor took a sharp left turn doesn't mean she was unsuccessful. Then there are the hopeful messages embedded in the minor-keys of "marjorie," an homage to her opera-singing grandmother, and "happiness," the chorus of which captures the album's essence best of all: "There'll be happiness after me / But there was happiness because of me.". It's Taylor's first autobiographical album in three years, after an incredible pivot to fiction in folklore and evermore followed by re-recording Fearless and Red (with the latter three all dropping in 11 months' time). 175. 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. "Drew looks at me / I fake a smile so he won't see / that I want and I'm needin' / Everything that we should be" was as good as poetry, and a north star to the forlorning that looms in girlhood. Midnight's answer: she's still soaring. Miss Americana & the Heartbreak Prince, however, is her stock in trade, a richly painted narrative punctuated by cool synth washes and pep-rally chants, while The Archer is quintessential Swift: wistful, minimalist dream pop that displays her willingness to acknowledge and dismantle her own flaws, triggers, and neuroses. But over a decade later, Taylor makes the incredible move of re-recording her teenaged relics almost note-for-note, now at 31 years old. She's an artist defined by eras (as is the name of her heavily anticipated upcoming tour) a Reputation era for self-defense, a Lover era for romantic solace which her adoring fans latch onto and assign to their own life stages with fervor. this is everything before Red (Taylor's Version) it took so l. The album plays as a survey course in contemporary pop, and Swift is game to try just about anything, from the uninhibited dance-pop of standout Starlight to the thundering heartland rock of Holy Ground. The tracks that work best are those on which the production is creative and modern in ways that are in service to Swifts songwriting. With a record thats a love letter to love itself. 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. Drag and drop items from the bottom and put them on your desired tier. The imagery for the album was filled with snakes, and lyrics subtly (and at times, not so subtly) addressed their falling out. Shes mined this type of melancholy tone before, but never for the full length of an album and certainly never with such a range of perspectives. "Evermore" takes us deeper into the mystical music-writing forest established by "Folklore," but like many sequels, it doesn't resonate as powerfully as the original. But on Red, it's "worthwhile fight" and "a ruthless game," never easy but always intoxicating, almost to the point of nausea. It saw Swift push back at a narrative that saw her portrayed as vengeful and bitter, an image that had been thrust upon her by the media and exacerbated by her very public, very long-running beef with Kanye West (first started when he infamously interrupted Taylor Swifts acceptance speech at the VMAs, and regularly reignited by the Kardashian-West clan). "Red" is a sophisticated album that demonstrates that Swift cannot be put into a box of one category or another: her sound is not all emotional songs about past lovers or radio-ready pop tracks it's so much more. 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. Swift's other albums have hits that I can imagine hearing in a grocery store or on a radio station years from now and immediately recognizing just from the opening chords alone. Sal Cinquemani, Midnights is far removed from the folk instrumentation of Folklore and Evermore, coming closest to mirroring 1989s more uptempo electro-pop palette. "Red" and "Lover" remain in the middle of the pack. Note: hitting 'no opinion' or 'I like both' frequently will negatively affect your results. Swifts surprise eighth album arrived with very little fanfare. It's the product of a prolific mind being forced to slow down, reflect, and create something completely new; A memoirist moved to experiment with a stream-of-consciousness novel. Songs like I Know Places ride a reggae swagger and trap-influenced snare beats before launching into a soaring, Pat Benatar-esque chorus. Swift has proven herself capable of laughing at herself, thereby defusing the criticisms often levied at her, but with Reputation she created a larger-than-life caricature of the petty, vindictive snake shes been made out to be. Whilst it has less T-Swiz classics than other releases, across the board its one of Swifts strongest albums, bursting with catchy morsels. And on this album, in particular, the stories she tells are about how her narrators choices impact others, often in ways that cause irreparable harm. In a statement when her tenth studio album was first revealed Swift explained this project is the stories of 13 sleepless nights scattered throughout my life, meaning its filled with the sorts of realisations that only hit you in the wee hours. Brittany Spanos of Rolling Stone writes that the album "most notably picks up where the pure pop triptych of '1989,' 'Reputation,' and 'Lover' left off, a dazzling bath of synths complementing lyrics caught between a love story and a revenge plot.". The tracks combined her typical impressive storytelling abilities while tying together strong emotions of frustration that feel at home in "Reputation" (seen in the track "The Man") as well as stories of falling in love and almost losing it that feel at home in "Speak Now" or "Red" (as seen in "Cornelia Street"). The album's comedown is a moment of quiet reflection carried by a piano's lone lullaby, when the festivities are over, the partygoers are gone, and all that's left is a lover for the long haul ("I want your midnights / But I'll be cleaning up bottles with you on New Year's Day"). And on Midnights, Taylor turns to us, yet again. Its fantasias are more melancholic, its themes of longing more resentful. Other notable tracks include "Illicit Affairs," "Invisible String," and "Betty.". And though Taylor's never been a stranger to love songs, here, she's more sultry than sweet. But herein lies the merit of Speak Now. Its nostalgic sound has paved the way for other artists to make pure pop albums without feeling the need to embrace whatever genres popular at the time (just look at Dua Lipas Future Nostalgia or Lordes Melodrama). Although the first glimpses we heard from it (the musical theatre-style Me! and the stomping You Need to Calm Down) didnt do the record justice, listen to Lover in full and youll find moments of pure joy. Meanwhile, The Last Time (featuring Snow Patrols Gary Lightbody) showed a more mature sound with its grandiose alt-rock guitars and soaring melodies. Reputation is, without a doubt, Taylor's most polarizing work to date. Any album judgment requires not just multiple listens, but the passage of time to sit with the music. 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.". Stuffed with 80s influence, it also saw a step up in Swifts song writing, with her sharp, pithy lyrics feeling refined and sleek, hook-laden melodies dominating the entire record. It's 1989's sonic spirit with more lyrical depth, dipping a brush in her newfound solipsism and painting musical murals of Taylor's "13 sleepless nights," scenes of "self-loathing, fantasizing about revenge, wondering what might have been, falling in love, and falling apart" construed in vivid detail. Like folklore, much of evermore is made up of somber soliloquies that materialize like a fine mist over a field in the dead of winter. "We Were Happy," Fearless (Taylor's Version) (2021) There's a thin line between timeless and basic, and this "from the vault" track stays on the wrong side. Its a dazzling, surprising album, brimming with career-best moments, and heralded a brave new direction for the pop star. Here Taylor sacked off her country roots and embraced full-blown pop. Two things before we get into the list: 1. Taylor Swift's Track 5s, Ranked 9. Tier ranking every single Taylor Swift song was the hardest thing I've ever done lol, so ENJOY! "'Fearless' may have established her as a capable teenage singer-songwriter, but 'Red' is the album that solidified her confidence, sexuality, and identity as a bonafide force to be reckoned with," English wrote. If the black-and-white cover art didn't let you know this one would be different, the first song she released off the album, "Look What You Made Me Do," says it all. Shes described it as a sister record to the aforementioned Folklore; where that record allowed Swift to completely reinvent her sound, coupling her trademark hooks and vibrant storytelling with indie-folk instrumentals, Evermore exudes a new sense of confidence. Taylor Swift currently has 10 albums, with 2022's "Midnights" being her most recent release. I also factored in critic reviews of the albums when deciding on the final ranking. In recent years, shes also become a music business game-changer: most notably for re-recording her first six albums in order to regain control of her masters, which has seen Swift release the Taylors Version of both Red and Fearless. "Picture To Burn" is a scorned teen's "Before He Cheats" swapping shooting whiskey for rumor mills with a grown woman's wit and a veteran songwriter's aptitude. Theres a free-wheeling, carefree attitude to the collection. Here are the 40 biggest Taylor Swift songs, based on actual performance on the weekly Billboard Hot 100 (through the chart dated December 17, 2022). Teaming up with The Nationals Aaron Dessner (who worked on 11 of the 16 songs) and long-time collaborator Jack Antonoff, its a stunning collection of modern folk songs. As ever, Swift deftly pivots from upbeat tracks to sad ballads with devastating bridges that make you want to cry your eyes out. But reputation's best serenade is also its most understated (and underrated): "New Years Day." Perhaps even more impressive is Swifts mastery of song structure. But this time, we're also met with a subtle lightness, like the calm and clarity that comes after a good cry. 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 Grammy-winning Mean is amongst Swifts most underrated songs, Sparks Fly is a toe-tapping head-banging anthem and break-up slow-burner Back to December is a karaoke classic. But in the meantime, Midnights remains on repeat with high regard. But back to the music. 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. 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. Back in 2006, a little-known country singer called Taylor Swift released her debut single Tim McGraw. By albums end, Swift assesses her crumbling empire and tattered reputation, discovering redemption in loveonly Reputation isnt so much a rebirth as it is a retreat inward. Swifts most recent release is a glittering return to pure-pop music. Having no taste when it comes to state of Grace?) It's a melancholy that allows you to wallow on the condition of looking forward after the fact, holding nothing back as you let everything go. Swift shines brightest on these songs, building and developing her story out of economic but evocative turns of phrase.". 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. 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. 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. Working with a whos who of trendy producers and writers (Jack Antonoff, Max Martin, Ali Payami alongside indie darling Imogen Heap), she crafted a collection of glossy belters, that flit from fluffy dance-pop (Shake It Off) and sophisticated electronic-tinged bops (Blank Space, Style), to glorious indietronica (Out of the Woods, Clean). 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. A single listens, but the passage of time to sit with music. Re-Recording her teenaged relics almost note-for-note, Now at 31 years old ; &. It becomes a hit! theres a free-wheeling, carefree attitude to the sun for pop. Midnights remains on repeat with high regard 's central weakness is in actuality its greatest strength its... Planned drip-feeding of singles, T-Swiz uncharacteristically announced folklore the day before was. 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