[Last updated October 3, 2025, for The Life of a Showgirl.]

I’m Andrew, and I’m a professor of communication at Texas Christian University. I research interpersonal relationships, enjoy statistics, and am an avid Swiftie. I’ve even brought these interests together to create a peer-reviewed, published analysis of Taylor Swift’s lyrics.

This list also arises from those interests. It currently contains 284 songs. Here were my ground rules for deciding which songs to include:

1. It must be a song with vocals credited to Taylor Swift. This excludes songs where she is a songwriter and/or has uncredited vocals (e.g., “This is What You Came For”).
2. No live versions. Sorry, Speak Now World Tour – Live (but I will say that I do like the “Back to December / Apologize / You’re Not Sorry” medley on that album).
3. No remixes or alternate versions… unless they bring something significantly new to the song, such as new vocalists. I am including alternate song versions if they appear on the albums (e.g., the acoustic version of “State of Grace” on Red).
4. I’m not re-rating the Taylor’s Version tracks separately. For the most part they are similar enough to the originals that my preferences between the versions are slight. (Of course, new songs “From the Vault” on Taylor’s Versions are ranked and rated.)
5. I’m not including tracks you can only get from buying a physical CD. Looking at you, “You’re Losing Me.” This shouldn’t be a thing in the year 2023+.

Rankings only tell part of the story, so the list below also indicates which songs got a score of 10 out of 10, 9 out of 10, etc. This means that, say, within the 8 out of 10 songs, it wouldn’t be hard to make a case for re-arranging the order.

Throughout, ratings of 1-4 = not very good, 5-6 = decent, 7-8 = good, 9-10 = great, with 10s are reserved for true Taylor masterpieces. Definitely keep that in mind. Songs with low rankings are often great songs, because Taylor’s catalog is just that strong. You have to get deep into the list before encountering songs I actively dislike. I also briefly comment on each song with a one-sentence review… well, OK, one song gets more than one sentence, but it deserves it, and if you’re a Swiftie too, you can probably guess which song that is.

If I had to guess one possible point of disagreement with others, it would be this: Sometimes slower, country-ish ballads don’t do it for me, but happy, peppy, and semi-goofy pop songs do. And if you look closely at my ratings, you’ll find that the presence of Jack Antonoff is almost always a plus for me. I own these rankings as reflecting my preferences; feel free to (respectfully) disagree.

In fact, disagreement is built into this list! My teenage daughters are fellow Swifties, and we often agree in our assessment of her songs, but sometimes we don’t! So, below, you’ll see my daughter Kira has offered her take on 13 songs (has to be 13, right?).

The list order may change at any time, as my opinions of songs change over time. I plan to add new songs as Taylor releases them, but it may take me some time to make up my mind about a song, so additions may not be immediate. And I’m not going to be a servant to this; I’ll do it when I feel like it, and stop when I want to stop.

Finally, these are offered not in the spirit of a hater that hates hates hates, or someone just trying to be “Mean.” Instead, it’s offered in sincere appreciation and celebration of Taylor Swift’s artistry. Taken overall, her catalog is an absolute masterpiece, a stunning showcase of musical variety, crisp production, and lyrical genius. Her music has brought me much enjoyment over the years, and it’s been fun to give it a closer look.

1 out of 10:

284. Wood (The Life of a Showgirl): Umm… it’s unremarkable music with innuendo that is icky and not particularly clever.

283. thanK you aIMee (The Tortured Poets Department): Whatever beef exists between two (wealthy, prestigious, powerful) adults, you don’t bring a minor into it, full stop.

282. Actually Romantic (The Life of a Showgirl): As a big Taylor Swift fan and a big Charli xcx fan, I’m not wading into whatever this is, but whoever’s fault this is, and whether it’s real or manufactured, this a dull song; I wish instead they’d taken the work-it-out-on-the-remix approach.



2 out of 10:

282. Safe & Sound (no album): I like Taylor Swift and I like the Hunger Games, but like ice cream and ketchup, I don’t like them together; this whiny track never finds pacing or tone, and it “wins” my award for my least favorite Swift song.

281. Sad Beautiful Tragic (Red): This is one lengthy, anemic, and exhaustingly repetitive song that feels like it lasts much longer than 4:44.

280. Macavity (no album): Taylor does a decent job with the material… but, I don’t like the material… yeah, the less said about her involvement with Cats, the better.



3 out of 10:

278. Fresh Out the Slammer (The Tortured Poets Department): A forgettable song with a memorable title that’s an easy target for a cut if we’re trying to reduce TTPD‘s runtime.

277. Hoax (Folklore): By this point at the end of Folklore, if the album is going to serve up another slow, somber song, I’m sorry, it better be amazing; this one isn’t.

276. Invisible (Taylor Swift): I confess that young Taylor can sound whiny to my ear, at times, and she does here; the song is also so dull that halfway through I found my mind wandering.

275. I Can Fix Him (No Really I Can) (The Tortured Poets Department): This might have become something interesting with more revision, but as it is, it’s an easy skip on TTPD.

274. How Did It End? (The Tortured Poets Department): There’s better from Aaron and Taylor in this same patch of musical terrain.

273. I Look in People’s Windows (The Tortured Poets Department): There’s certainly space for songs to be both short and great, yet in this case, the 2:11 track length suggests it needed more time in the oven.

272. Karma (feat. Ice Spice) (Midnights): This… didn’t work; it might have been better if it had gone further, reimagining the song more completely (e.g., the Kendrick Lamar remix of “Bad Blood,” or like what Ed Sheeran did to “Bad Habits” with Bring Me the Horizon).

271. You’re Not Sorry (Fearless): My low rating here may say more about me than Taylor or the song, as this is the kind of folksy, slow country song that I don’t care for.

270. Epiphany (Folklore): Lyrically, the focus on her grandfather’s experience in World War 2 is sweet, as is the tribute to medical personnel fighting COVID-19; but lyrically, it sounds a bit too close to some of the sappy early pandemic car commercials back in April 2020 (though I think this is one song that gets a significant upgrade in the Long Pond sessions version).



4 out of 10:

269. Santa Baby (The Taylor Swift Holiday Collection): I confess I’m knocking this because it just flat out isn’t my favorite Christmas song; like the rest of this EP, it’s all right as background holiday music, but probably grating if you listened to it too much or too closely.

268. Change (Fearless): When it looks like you’re straining to be epic, you’re not actually being epic; and so although Fearless is an excellent album, it doesn’t stick the landing the way most of the upcoming albums do.

267. Tell Me Why (Fearless): I promise, some Fearless songs will rank much much higher, but there’s some forgettable ones here too, and this track feels to me like a step backward rather than a step forward for Taylor.

266. Last Christmas (The Taylor Swift Holiday Collection): I feel like covering this song is a rite of passage for young female artists, and Taylor’s take is tolerable enough, although I’d pick Hilary Duff’s version if given the choice.

265. White Christmas (The Taylor Swift Holiday Collection): Yeah, this EP is a bit too country for me, almost stereotypically country; this song, like the others, is just OK, not music I’d avoid or music I’d seek out.

264. Christmas Must Be Something More (The Taylor Swift Holiday Collection): The message here, that Jesus should be the focus of Christmas, is one I wholeheartedly agree with myself, but I don’t think Taylor (who wrote the song) would do something like this today.

263. Eyes Open (no album): It’s considerably better than the other Hunger Games track (“Safe & Sound”), but it’s also so distant from Swiftian greatness.

262. Babe [Sugarland version] (no album): This collaboration with Sugarland is a bit too repetitive and a bit too blah; I like the Red (Taylor’s Version) version so much better.

261. The Alchemy (The Tortured Poets Department): Like other tracks on TTPD, this one feels like a rough draft, or in this case, a very rough draft, with cringe lyrics and music that doesn’t quite fit the exuberance of the song’s football theme.

260. Happiness (Evermore): There’s just a sense that tracks on Evermore give me, one of “yeah, I guess this song is OK,” and I feel that here; the song feels ponderous and I wonder if it would benefit from an increase in tempo.

259. Robin (The Tortured Poets Department): Another ‘name’ TTPD track where I’m not sure what’s going on (see “Chloe or Sam or Sophia or Marcus”), it seems to be a sweet reflection on youth; at this late point in TTPD, the listener has already heard too-similar and better tracks.

258. Cowboy Like Me (Evermore): If Folklore’s “Betty” sounds like it belonged on Fearless, this almost sounds like it belongs on Taylor Swift; your mileage may vary on whether you think that’s a good thing or not, but for me this slow country song just doesn’t quite do it.

257. Birch (no album): This is a dash of Taylor Swift in the backing vocals with a lot of instrumentals and a lot of Bon Iver.

256. Glitch (Midnights): So rarely does Taylor’s music grate on me, especially after her early albums, but this one does, and I think it’s one of the very few skips on Midnights.

255. Foolish One (Speak Now): The lyrics are vulnerable, but the music forgettable, and the song doesn’t quite earn its 5+ minute length.

254. “Slut!” (1989): Lyrically I appreciate the statement that Taylor is making about improper critiques of female celebrities, but the music doesn’t draw me in as much as most other tracks on 1989 and its Vault.

253. imgonnagetyouback (The Tortured Poets Department): I’ll admit it’s a little bit catchy, but it’s also tired and rote; we’ve heard far, far better from Taylor and Jack (on this album and elsewhere).

252. Mad Woman (Folklore): I think I appreciate this song more than I enjoy it, and maybe that’s kinda the point, as the sexist double-standard described by this song should produce discomfort.

251. It’s Nice to Have a Friend (Lover): Here, on the 17th of 18 tracks on the album, most listeners are probably wanting the plane to come in for the landing; instead, Swift hits our eardrums with maybe the weirdest song she’s ever sung that side of Evermore’s “Closure,” some strange mash-up of Polynesian (?) instruments with a Gregorian-ish chant in high pitch.

250. False God (Lover): I get what Taylor was going for here with the sultry saxophone, but it just doesn’t quite work for me; as great as Lover is as an album, sometimes it feels like Taylor is throwing things at the wall to see what sticks.

5 out of 10:

249. Lover (Lover): I’m sorry to those who love this song, I’ve tried, I’ve really tried, and I can see you picking up rocks to stone me; I’ve warmed a bit to it over time, but something about the echo-y reverb just puts me off from this much-loved track.

248. Gasoline (no album): Taylor’s collaborations with female artists limit them to backup vocals, and she returns the favor to Haim here, but I find this much less interesting than “No Body No Crime.”

247. Half of My Heart (no album): This song is 96% Mayer and 4% Swift, and although it’s decent enough as a Mayer song I suppose, it could’ve been better if John had leveraged Taylor’s artistic strengths.

246. The Outside (Taylor Swift): A pleasant enough song that’s listenable, but also not particularly memorable.

245. Only the Young (no album): Integrating political messaging with musical artistry is always dangerous business, because the former can so easily overwhelm the latter… Taylor masterfully avoids that on the brilliant “Miss Americana,” but here, not so much.

• KIRA’S TAKE: I think a five out of ten is too low because even though it’s a political song it is incredibly catchy and the kid’s choir is so beautiful. I think it should be a 7.

244. Sweet Nothing (Midnights): Lots of people seem to like this one, with its spare lyrics and celebration of the romantic nature of simplicity, and I do like the sweetness, but I confess I find it somewhat boring.

243. So Long London (The Tortured Poets Department): The lyrics are potent, but I’m not sure the music is doing enough to carry the emotion; like some other songs on TTPD, it seems like poetry that happens to be set to music rather than a *song*.

242. Timeless (Speak Now): The music feels a bit been-there-done-that to me, but I like the so-epic-they’re-a-bit-silly lyrics, which tie back thematically to the beginning track of the album (“You still would’ve been mine”) and to the original album ending song “Long Live” (both use photographs as a key symbol).

241. Last Kiss (Speak Now): The only one that to me is a skip on this outstanding and underrated album, this 6+-minute song might have been decent if it had been about half as long; in other words, Taylor doesn’t quite pull off another “Dear John” with this one.

240. I Almost Do (Red): After starting Red with a solid streak of songs, I feel a sense of disinterest when this one starts; really, it’s one of the most unremarkable and forgettable songs in about two albums, if you’re listening to them straight through.

239. Tied Together With a Smile (Taylor Swift): I never think about this older song but when I listen to it, it’s OK enough.

238. Soon You’ll Get Better (Lover): I feel badly giving such a low rating to such a heartfelt song that’s so personally meaningful to Taylor; although this has a place in the collage of songs that is Lover, the use of the Dixie Chicks seems a bit too restrained.

237. You Are In Love (1989): I hear foreshadowing of the themes of “It’s Nice to Have a Friend”; it’s a sweet song, but it doesn’t knock my proverbial socks off.

236. Don’t You (Fearless): This is the least essential of the Vault songs from Fearless (Taylor’s Version), although it’s still listenable enough.

235. Welcome to New York (1989): It’s strange that such a strong album puts such a weak first track forward; the chorus works OK, but I don’t know what she was thinking with the music for the verses.

• KIRA’S TAKE: I think that a 5 out of 10 is too low because it is such a powerful way to start the album. Also, extra points for the iconic cameo in The Secret Life of Pets movie. It should be an 8.

234. Christmases When You Were Mine (The Taylor Swift Holiday Collection): This heartfelt country tune is an original song, and although it’s far from a classic, Taylor effectively conveys the sense of intimacy that would fuel so much of her future musical identity.

233. Cassandra (The Tortured Poets Department): On a giant 31-song buffet, you’re not going to rush to this one and it would be an easy cut if trimming for length; at the same time, for those who take a closer look at it, the song’s mythological content reminds this communication scholar of muted group theory, which describes how the perspectives of members of marginalized groups (e.g., women) are often minimized, ridiculed, or otherwise discounted.

232. That’s When (Fearless): I like the vocals here with Keith Urban, but I don’t think this song is one I would ever seek out.

231. Closure (Evermore): Maybe the strangest song in her catalog, filled with discordant synthesizer noises in the background, it just doesn’t “work” and it feels to me like it is just trying too hard to be novel and cool. 

230. A Perfectly Good Heart (Taylor Swift): It’s a decently OK early Swift song but not much more than that.

229. Peace (Folklore): There’s artistry in the spare use of instruments, and the lyrical sentiment is sweet, but I also just can’t get too excited about this one.

228. Silent Night (The Taylor Swift Holiday Collection): I give Taylor and her team some credit here for injecting some originality into one of the most familiar songs in the world; it also strikes me that this EP is, far and away, the most staunchly country sound she ever produced.

227. Stay Beautiful (Taylor Swift): The lyrics on this one are uncharacteristically indistinct, particularly in comparison to later Taylor (something about a guy named Cory, and a radio? I dunno…), but overall it’s a forgettable song that’s maybe a bit more fun than the other forgettable songs on the debut album.

226. Afterglow (Lover): This song provokes a “meh” reaction from me; I might skip it, I might leave it on, I wouldn’t ever choose it.

225. Forever Winter (Red): This song manages to be poignant but never maudlin as it addresses substance abuse, mental health, and suicide; its presence on Taylor’s Version brings additional thematic depth to “Red.”

224. Honey (The Life of a Showgirl): The music is bland and beneath what I would expect from this production team, but as a communication professor, the idea of a word shifting meaning based on speaker and context is a memorable and cute lyrical idea, at least.

223. Chloe or Sam or Sophia or Marcus (The Tortured Poets Department): I’m not sure what’s going on this in song (opening line: “Your hologram stumbled into my apartment”; ????), but it has a beauty to it, even if it isn’t a standout on the album.

222. Bad Blood (1989): “Welcome to New York” suffers from a decent chorus with underbaked verses, and “Bad Blood” has the opposite problem.

• KIRA’S TAKE: I think a 5 out of 10 is too high because although it is a catchy song it does not fit the vibe of 1989 in my opinion. The catchiness is going for it. It should be a 3 or maybe a 4 at best.



6 out of 10:

221. We Were Happy (Fearless): There’s some real energy in the chorus and “talkin’ ’bout your daddy’s farm” sure brings the listener back to country-era Taylor, but this song from the vault is far from essential.

220. Guilty as Sin? (The Tortured Poets Department): I don’t particularly love the music or the lyrics, but I appreciate that it is a cautionary tale of how lust for another can erode and destroy a relationship.

219. Hey Stephen (Fearless): A decent change-of-pace song that sits in between some better songs, but the “shine, shine, shine!” in the bridge is a bit cheesy for my taste (and I say that as someone who likes “ME!” …).

218. SuperStar (Fearless): This one is listenable enough but also just a touch too saccharine for its own good.

217. Both of Us (no album): Taylor’s rap collab with B.O.B. is a decent song, foreshadowing her rap stylings on “End Game.”

216. I Heart ? (Beautiful Eyes): A fun “I’m over the breakup” song that fits so thematically in the Taylorverse, even if that’s workin time has forgotten it.

215. I’m Only Me When I’m With You (Taylor Swift): The beat, fast pace, and steel guitar make it a bit more memorable and energetic than much of the debut album’s other songs.

214. Castles Crumbling (feat. Hayley Williams) (Speak Now): I just adore the thematic fit of this song, on what might be the last of Taylor’s “love is a fairy tale” albums; now those fantasy castles are crumbling in a beautiful and epic song where an understated-but-definitely-present Hayley Williams kicks it up a notch.

213. Elizabeth Taylor (The Life of a Showgirl): The parallel between the two “Taylors” feels a bit forced to me; musically, it’s fine, but not a standout or statement.

212. The Manuscript (The Tortured Poets Department): I’m a sucker for the songs at end of Taylor’s albums that reflect on the whole package, yet this one seems a bit forced; the music is minimal here and it is more poetry than song.

211. Run (Red): This duet with Ed Sheeran has grown on my over time; it’s breezy and peaceful, even if it is my least favorite of their collaborations (but… let me say, I’d love to have a whole album full of Taylor/Ed duets).

210. You All Over Me (Fearless): I appreciate the lyrical depth of this one and the support from Maren Morris’s backing vocals, but if you like this type of slow country ballad, you might like it more than I do.

209. High Infidelity (Midnights): It feels a bit unremarkable to me, but it’s a solid and listenable song, with that reference to April 29 fuel for Taylor theories.

208. Father Figure (The Life of a Showgirl): The mafia-coded storytelling is a neat idea, and yet I can’t escape the feeling that songs about Taylor’s marginalization in the music industry are getting to be a tired theme by this point in the discography, and aside from the motif, it doesn’t really add any ideas to that theme.

207. Clara Bow (The Tortured Poets Department): We now have a mini-genre of Taylor Swift songs about the struggle of being famous, and although this isn’t the best of that bunch, it’s sweet and thoughtful and it works well enough as a closer to the first half of TTPD (as a big fan of Fleetwood Mac’s Rumours, I do appreciate the shout out to Steve Nicks!).

206. Cold As You (Taylor Swift): Yes, I know it’s the first of the much-lauded “Track 5” songs, but still, I find this one a bit grating and might skip it if Spotify randomly served it up (or maybe not, depending on my mood).

205. Holy Ground (Red): On an album of classics, it’s a poster child for an OKish song that’s nobody’s favorite song.

204. Fortnight (The Tortured Poets Department): The synths and Post Malone give the track a sense of smooth and cool, but the production might benefit from more variety and perhaps more energy.

203. Ronan (Red): Such a sad song of loss and grief, about a four-year-old boy who lost his life to cancer, that accomplishes just the emotional response it seeks.

202. Dress (Reputation): This and the prior track are, in my opinion, the OKish songs on Reputation; they’re fine enough and fit thematically, but when I put on the album, “Dress” and “Dancing With Our Hands Tied” aren’t at the top of my mind.

201. Tim McGraw (Taylor Swift): Her first single ever is a sweet country ballad, establishing a solid foundation for even better ballads later on.

200. Untouchable (Fearless): This Fearless bonus track is decent enough, but also one I never really think about.

199. Lover (remix) (Lover): Maybe this makes some amends for those who don’t like how low I rank the original; I still don’t like how the song is mixed, but Mendes gives it a solid upgrade, and the song’s vibe works better when performed as a duet. 

198. Beautiful Eyes (Beautiful Eyes): I don’t think I’d ever heard this song before, and that’s too bad, because it’s a sweet, energetic “Country Taylor” tune, even if her loose vocal style makes some of the lyrics a bit indistinct. 

197. Opalite (The Life of a Showgirl): Tracks 3s tends to have fun energy, yet although this is catchy with some vocabulary-expanding fun, I worry it will become grating with time.

196. The Prophecy (The Tortured Poets Department): The guitar does a lot to sell this song’s elegance and intrigue, and in a more subtle and resonant way than “Clara Bow,” the lyrics wrestle with the demands of fame.

195. Bye Bye Baby (Fearless): What impresses me most about this one is how well it fits as an ending song for Fearless–a better ending, I would argue, than “Change” on the OG version.

194. The Way I Loved You (Fearless): I find the lyrics in the stanzas to be a bit labored, but hey, water imagery at 2 AM is vintage Swift.

193. CANCELLED! (The Life of a Showgirl): I agree with those who say it is Reputation-coded, and for that reason it might grow on me, but I guess I’d rather listen to Rep if I want this vibe; I also hear the comparison to Lorde’s “Yellow Flicker Beat,” which is a much better song.

192. The Life of a Showgirl (The Life of a Showgirl): Sabrina and Taylor sound good together, but the Sgt. Pepper-style “hope you enjoyed the show!” bit at the end doesn’t feel earned on an album which has run in lots of different directions other than the purported theme of showgirl life.

191. The Albatross (The Tortured Poets Department): This is one of those tracks whose beauty lies in its ability to also be haunting, and it is a place on TTPD where the fusion of poetry with music works well.

190. Peter (The Tortured Poets Department): Popular opinion and streaming data doesn’t seem to treat the ‘name’ songs on the back half of TTPD kindly, but I think it would be a mistake to skip this one, which tells a clear story of lost love that would be right at home on Evermore.

189. ‘Tis the Damn Season (Evermore): I know this song has big fans, and it’s grown on me over time; it’s still not my jam, but there’s clear artistry at work here.

188. This Is Me Trying (Folklore): “I was so ahead of the curve that the curve became a sphere” is a cool line, but again, the reverb/echoing just doesn’t do it for me (see also “Lover”), especially when combined with the slow pace of the song; the Long Pond Studios session is so much better, though.

187. Christmas Tree Farm (no album): A dozen years after The Taylor Swift Holiday Collection, we get this tune, with part of the charm being Taylor’s youth on a Christmas tree farm; it’s a decent song (maybe a bit of a modern classic?) that bops along with the energy of the Lover era.

186. I Forgot That You Existed (Lover): My feelings about this opening track definitely aren’t hate, not quite love, and a bit more than indifference.

185. Vigilante Shit (Midnights): This dark and brooding tale of vengeance may be polarizing, and although I can see how some would like it and it’s a carefully-crafted song, it doesn’t quite do it for me; it’s one of those tracks that I can appreciate but don’t particularly enjoy.

184. The 1 (Folklore): Taylor doesn’t tend to lead off an album with her strongest songs (see… well… two songs prior on this list), and this is no exception, although it does effectively set the reflective mood of Folklore.

183. Bad Blood (remix) (1989): I rated the original lower mainly because of its underbaked chorus; it’s still lacking, but Kendrick Lamar upgrades this track with a much-needed injection of energy and gravitas.

182. Dancing With Our Hands Tied (Reputation): This song is listenable enough, but never seems to achieve full liftoff; I like the light/fire/water imagery in the bridge, though.

181. Dear Reader (Midnights): I feel the emotion in this one, and particularly like the line “No one sees you lose when you’re playing solitaire,” but the ending feels unfinished to me (although maybe that’s part of the point).

180. Paper Rings (Lover): It’s a fun and energetic song, but I prefer the song that may have inspired it (Hilary Duff’s “Breathe In, Breathe Out”).

• KIRA’S TAKE: I think a 6 out of 10 is way too low because it is such a happy song about finding your person. Yes, it sounds like the Hilary Duff song but that does not bother me. It should be a 9.

179. The Lucky One (Red): A poignant morality tale of the dangers of Hollywood, with themes she would revisit more personally and powerfully three albums later in “The Archer.”



7 out of 10:

178. Ivy (Evermore): One could contemplate what Evermore would’ve been like with a bit more Jack Antonoff, and this song brings a nice burst of his energy, although the focus on marital infidelity limits my enjoyment of the song.

177. Crazier (no album): The song during Taylor’s iconic appearance in Hannah Montana: The Movie is a solid country track, and the reference to it in “Miss Americana” ten years later elevates it to an archetype of Taylor’s early career, and deservedly so.

176. Superman (Speak Now): Yes it’s cheesy, but it sure does have that Speak Now perfect country-pop synthesis that’s such musical catnip to me.

175. Lavender Haze (Midnights): It doesn’t captivate me, but it has a fun beat and effectively establishes the electronic sound of Midnights.

174. Wi$h Li$t (The Life of a Showgirl): I like the idea of the song (finding the epic in the ordinary and everyday) more than the music which, like much of the rest of TLOAS, plays things too safe.

173. Marjorie (Evermore): Throughout its music and lyrics, this song is a beautiful tribute to Taylor’s grandmother, exuding both passion and honesty.

172. If This Was a Movie (Speak Now): There’s some good emotional build-and-release toward the end of the song; maybe this is unfair, but the cinematic focus creates a comparison in my mind to Hannah Montana’s “If We Were a Movie,” and I think the latter is the better song (and A PROFESSOR MOMENT: it should be “if this were a movie,” given subjunctive mood… yeah, I know…).

171. Dorothea (Evermore): The swinging style of the music complements sweet lyrics about friendship; I’d be curious to hear more songs about friendship from Taylor.

170. Electric Touch (feat. Fall Out Boy) (Speak Now): I’m a Fall Out Boy fan, and it would have been so natural for this song to lean even further into the rock vibes that elsewhere appear more fully on Speak Now.

169. Message in a Bottle (Red): This upbeat “From the Vault” track is solid and fun, even if it isn’t quite as catchy as some other catchy Taylor Swift songs.

168. Ruin the Friendship (The Life of a Showgirl): This trip back to high school (and the Fearless era) takes a dark turn at the end; the bouncy music conceals a tale of regret, words unsaid, and the brevity of life.

167. Stay Stay Stay (Red): Taylor goes all in for playful and cute with this one, and it generally works.

166. Girl at Home (Red): I know the OG version was much criticized, and although I actually will admit I liked it, this is one case where Taylor’s Version is a significant change and a big upgrade; in either version, I like the touch of comedy in the line “it would be a fine proposition–if I was a stupid girl.”  

165. Suburban Legends (1989): I could be wrong, but I feel like I might give this track a higher grade than some other people do; “I broke my own heart because you were polite to do it” is a great line, and I’m hit by the Midnightsy twist on the 1989 production style.

164. Down Bad (The Tortured Poets Department): Crying at the gym is evocative imagery, and that earthbound scene is a sharp contrast to the song’s otherworldly UFO theme.

163. The Smallest Man Who Ever Lived (The Tortured Poets Department): This one gets off to a slow start, but when it detonates, the payoff is worth it.

162. Wildest Dreams (1989): This is another track that has grown on me over time (a trend with several Taylor songs), and although I’m not as much of a fan of it as some, it’s a solid and valuable member of the 1989 song team.

161. So High School (The Tortured Poets Department): “Bouncy,” “sugary,” and “fun” aren’t words I’d use to describe TTPD, and so this bouncy, sugary, fun track adds diversity to the album.

160. Fifteen (Fearless): A bittersweet reminiscence of youth and its transience–a theme Taylor picks up again, and sometimes better than she does here.

159. Begin Again (Red): In contrast to the sweepingly epic songs that conclude Fearless and Speak Now, Taylor goes for reflectively thoughtful in the conclusion to Red; it mostly works, although it’s a track I might admire a bit more than I enjoy.

158. Teardrops on My Guitar (Pop Version) (Taylor Swift): Oh look, it’s a slightly different version of a song I’ve already heard on this album; but what “pop version” of a song still has steel guitar in the background?

157. Snow on the Beach (Midnights): There’s a beauty to it, but this one commits a couple of grave errors: A gratuitous profanity in the chorus that seems like it’s only there to look edgy, and (again) burying a strong female collaborator in the background (and underneath vocal distortion effects, too).

• KIRA’S TAKE: I think a 7 out of 10 is low because it is such a slow beautiful song. I take a point off for the unnecessary swear and the little bit of Lana when I thought we were going to get more of her. It should be a 9.

156. Look What You Made Me Do (Reputation): Musically there’s about four different songs going on here, and they work well enough together in this vengeful tune, although it was probably a mistake to release this as the album’s lead single; that crazy music video, though, is easily a 10/10.

155. Come in With the Rain (Fearless): The hook at the beginning and echoed at the end elevates this vintage Taylor country song. 

154. Bigger Than the Whole Sky (Midnights):  I totally get why this beautiful song of grief resonates with those who have experienced miscarriage and other kinds of loss.

153. Shake it Off (1989): It’s quite deservedly her most iconic song after “Love Story” and therefore one destined for airplay in American culture for the next 40 years, but for me personally, it was so overplayed at its height that it’s the one Taylor track that gives me a “yeah, been there, done that” feeling.

152. Eldest Daughter (The Life of a Showgirl): With good build and heart-tugging lyrics, this is a twist on the Track 5 formula–emotionally powerful, but focused on joy and contentment rather than pain and heartbreak.

151. Maroon (Midnights): I used to find it a bit labored, but it has grown on me; the slower pacing of the song fits with the hazy nighttime vibe of the album.

150. Champagne Problems (Evermore): This one has grown on me over time, although I don’t think it quite reaches the status of the emotional powerhouse it aspires to be; I will say, it was fun to see Taylor perform it on the piano during the Eras tour.

149. All of the Girls You Loved Before (no album): Well, technically no album, although the Spotify picture is Lover, and to my ear, the smooth audio and affectionate lyrics of this track provide more evidence that the Lover era is underrated.

• KIRA’S TAKE: I think a 7 out of 10 is too low because the bridge is so powerful, it just captures what it’s like to not be one of his exes and to be the one he picks out of all the girls. I have had it on repeat for weeks. It’s a 10 out of 10 song for me.

148. The Best Day (Fearless): As a father of daughters, this sweet song hits me in the gut; your mileage may vary.

• KIRA’S TAKE: I also might be a bit biased, but as a thirteen year old girl, this song is so personal and I relate to it in so many ways. This song is so sad but so beautiful and really illustrates what it is like to have amazing parents when growing up is hard. So glad that Taylor wrote this song. A ten for me.

147. Starlight (Red): A thematically and musically upbeat song, and after Red, it’ll be awhile in the main album discography until Swift sounds quite this optimistic about romance again.

146. Paris (Midnights): This bright, shiny track brings a dose of levity and fun to the otherwise-heavy 3 AM Midnights tracks.

145. Us. (no album): This collaboration between Taylor Swift and Gracie Abrams (along with Aaron Dessner and Jack Antonoff on production) has electricity, with Taylor’s vocals present to support Gracie and let her shine; the bridge packs the kind of punch we’d expect from a Taylor song.

144. When Emma Falls in Love (Speak Now): This rather quickly reminded me of Train’s “Drops of Jupiter” (which Taylor covered on the Speak Now World Tour Live album), and I don’t think Taylor is trying to hide that; along with the Fall Out Boy and Hayley Williams features, I enjoy that she’s positioned Speak Now (Taylor’s Version) as a celebration of the late 2000s/early 2010s era of pop/rock music.

143. I Think He Knows (Lover): Lover sometimes feels not like an ode to love, but an ode to infatuation, and it’s that sense that prevents this quite listenable track from becoming a sleeper hit.

142. This Love (1989): It’s amazing how this song is both sedate and epic at the same time, and hello water imagery!

141. The Very First Night (Red): If this and “Starlight” are any indication, Swift seems intent on ending “Red” with an upbeat song, and this energetic number is soaring–both in terms of its sonic energy and its lyrics that express a desire to fly; with its reference to a note on a Polaroid, it also points the way forward to the next album, “1989.”

140. But Daddy I Love Him (The Tortured Poets Department): Putting on my social science hat, I appreciate that this song invites questions about parasocial relationships from the other side (i.e., the celebrity’s point of view), which I’m not sure we’ve really studied.

139. We Are Never Getting Back Together (Red): I thought I liked this one more than I do, but after listening again, I think it’s almost a prototypical example of a Taylor song that I like well enough but wouldn’t seek out when I’m looking for a song to play.

138. Renegade (no album): There’s very strong shades of “Long Story Short” here, and although this track doesn’t quite reach that level, it’s an effective continuation of the beautiful musical style of the Folklore/Evermore era (and another solid collaboration between Swift and Vernon).

137. You Need to Calm Down (Lover): It’s one of the most quotable and memeable Swift songs ever, but it’s hard for me to get past the irony that the queen of expressing her opinion now thinks she gets to tell other people to be quiet.

136. It’s Time to Go (Evermore): Whereas Folklore ended with tale of longing for peace and beauty, Evermore ends with a song about respecting boundaries and knowing when it’s time to go; it’s calm yet also unsettling, and a song that’s resonated more with me as time has passed.

135. The Joker and the Queen (no album): One great thing about Taylor & Ed duets is that their sincere friendship just shines through, and that’s certainly the case on this warm, beautiful track.

134. Illicit Affairs (Folklore): A highlight of this track is the bridge-that-becomes-an-ending; I like the acoustic sound on the Folklore original, but would also be curious to hear a rock remix in the style of the Eras Tour version.

133. Today Was a Fairytale (Fearless): A good, solid, sweet, earnest Taylor track that fits well with the sound of Fearless.

132. Fearless (Fearless): Fearless leaps out of the gate with a dance in a rainstorm in a best dress, effectively setting the theme and tone of the album.

131. The Other Side of the Door (Fearless): This forgotten treasure is so paradigmatically early-Swiftian it’s verges on parody: pouring rain, throwing rocks at a window, being carried up the stairs, a little black dress, all in the midst of an emotional storm where the girl just wants to feel like she’s wanted.

130. I Don’t Wanna Live Forever (no album): I enjoy this song when it comes on Pandora, and Taylor’s vocals here sound great, but I don’t think I’ve ever sought out this song just to listen to it.

129. I Can See You (Speak Now): More than any other Vault track on this album, the sound here pushes against the boundaries of the original Speak Now, but in logical ways; again, it reinforces my perception that Speak Now is really a rock album in disguise, and in that vein in this song, the instrumentation with Taylor’s vocals is fantastic.

128. Karma (Midnights): Maybe the sass crosses over into arrogance, but that said, I appreciate the lyrical creativity and the effective use of the harp-like strum.

• KIRA’S TAKE: I think a 7 out of 10 is too low because although I don’t love the message of the song, hearing this song live at the Eras Tour made me love it even more. It should be a 9.

127. I Hate It Here (The Tortured Poets Department): It’s a reflection on contentment that yields an unsettling view of human nature; like so much of TTPD, it raises questions about where true human happiness lies (see reference to Ecclesiastes in “You’re On Your Own Kid,” below, for a similar theme back on Midnights).

126. Should’ve Said No (Taylor Swift): A worthy hit single that aurally and lyrically echoes “Picture to Burn,” but for my money, I think “Picture” is the slightly stronger song.

125. Teardrops on My Guitar (Taylor Swift): A classic Taylor song and a strong example of her country artistry, although I wish it built to a better climax.

124. Blank Space (1989): I know, I can hear some Taylor Swift fans picking up rocks to throw at me, and this track has grown on me over the years, but I’m still left with the feeling that it doesn’t do enough of the emotional build-and-release that characterizes Taylor’s best work.

123. The Tortured Poets Department (The Tortured Poets Department): The lyrics feel like they could benefit from another revision, and if you don’t like Antonoff’s production when it kicks into high Bleachers mode, you won’t like this, but I sure do.

8 out of 10:

122. Midnight Rain (Midnights): More of an interlude than a song, this contains some of the most unusual and memorable sounds on a Taylor Swift track, and somehow it all works even though it feels like it shouldn’t.

121. The Moment I Knew (Red): This one is better than I remembered, powered by a musically and lyrically solid chorus, and with the existence of the 10-minute “All Too Well” (which tells the same story, it seems), it feels even more vital to the overall theme of the album.

120. Highway Don’t Care (no album): There’s something poetic about Taylor Swift, whose first single was “Tim McGraw,” teaming up with Tim McGraw to produce a solid, rocking modern country tune.

119. Bejeweled (Midnights): It’s one of the brightest and most playful tracks on the album, and while the ending of the chorus and the bridge feel a tad rough to me, I still like it quite a bit.

118. Babe (Red): It’s hardly my favorite song on Red, but it fits on the album, and the pop instrumentation and refrain “what about your promises, promises?” lifts Taylor’s rendition above Sugarland’s take on the song.

117. Right Where You Left Me (Evermore): This has a rolling beat, a sense of fun, country sensibilities, and potent imagery of Taylor, frozen at the age of 23 at a restaurant. 

116. The Bolter (The Tortured Poets Department): It’s easy to miss this one, buried at track 28 of 31, but if you bypass this folk pop breath of fresh air amid the more downbeat tracks on the back half of TTPD, you’ll be missing the most underrated track on the album.

115. Willow (Evermore): The opening guitar is great here, and although it doesn’t reach the heights of Taylor’s best work, it effectively opens the album.

114. I Knew You Were Trouble (Red): This song brings a harder edge musically than anything prior, signaling the country-Taylor era has reached deep twilight and the full transition to pop-Taylor is nigh.

113. The Great War (Midnights): Sorry history lovers, it isn’t a musical retelling of World War I, but rather a poetic depiction of love that persevered through severe conflict and has come through to the other side.

112. Better Man (Red): This country ballad is right at home (at last) on “Red,” and although at 5 minutes it feels like it should overstay its welcome, it never drags.

111. Jump Then Fall (Fearless): This is a great Fearless-era platinum edition song that would’ve fit perfectly on the main album; I’m glad that it was one of the secret songs on our stop of the Eras Tour!

110. Two is Better Than One (no album): A solid collaboration between Taylor and Boys Like Girls that uses compelling vocal harmony, painting the epic emotional sweep that characterizes so much of Swift’s best work; it’s another forgotten tune, perhaps, and that’s too bad, because it’s well worth a listen.

109. How You Get the Girl (1989): This carefully-paced track might win the award for the most pure fun on the album.

108. London Boy (Lover): A novelty song, yes, and another “ode to infatuation,” yes, but this one is a nice dose of pure fun.

107. The Fate of Ophelia (The Life of a Showgirl): The song provides good album-opening energy and establishes a theme of hope and rescue versus what came before on TTPD; the direct Shakespearean reference seems like a callback to Fearless, and not the only one on this album.

106. Florida!!! (feat. Florence + The Machine) (The Tortured Poets Department): It’s one of the strangest songs in the entire discography, yet it works, in part because Florence sounds great here and in part because Swifties will never pronounce the name of the state the same way again.

105. Now That We Don’t Talk (1989): It’s like a piece of bite-sized candy, sugary and hard to resist; it totally sounds like a Bleachers song, and that’s totally fine with me!

104. You’re Losing Me (Midnights): The restrained instrumentation gives room for the absolutely gut-wrenching lyrics in this song to shine.

103. Beautiful Ghosts (no album): It’s astounding, the diversity of musical styles she’s tried, and hearing her tackle a musical show tune makes me want to see her in a musical movie that’s actually… um… good (and no I haven’t seen Cats; I am a Taylor fan, yes, but that’s a bridge I’m not gonna cross).

102. Never Grow Up (Speak Now): I intended to rate this one lower, but then I listened to it, and was struck by the simplicity of Taylor with a guitar for instrumentation; if Speak Now were a concert, this would be the song midway through where the singer sits down on a stool with a spotlight on her and chats with the audience for awhile.

101. Picture to Burn (Taylor Swift): This classic debut album song has great energy and the banjo injects a good dose of fun.

100. Carolina (no album): With evocative lyrics and haunting instrumentation, this song from the movie Where the Crawdads Sing produces a delicious, dark, earthy mood that also resonates with the storytelling and musical style of the Folklore/Evermore era.

99. Tolerate It (Evermore): It’s a poignant and heart-wrenching tale, and the climbing-across-the-table performance during the Eras Tour… just epic.

98. Red (Red): I like the song as a whole and “driving a new Maserati down a dead-end street” classic middle-era Swift imagery, but for the first time in a couple of albums her vocal tone flirts with whininess.

97. Mastermind (Midnights): As someone who enjoys weaving crazy Taylor Swift theories in his spare time, I appreciate this wink and nod to such fans.

96. Gorgeous (Reputation): One of my rules of music is that I don’t like to hear children speaking in a song; this fun time, which begins with Blake Lively’s kid saying “gorgeous!”, is the one exception I tolerate.

95. Daylight (Lover): I’m a sucker for the “here’s what we learned today!” songs at the end of Taylor’s albums, and this is a strong one, filled with the expansive sense of hope that’s part of a new day (or new era in life).

94. I Did Something Bad (Reputation): Taylor continues her Reputation-era descent into madness in an energetic track that, without a doubt, contains more than a bit of sarcasm.

93. Mary’s Song (Oh My My My) (Taylor Swift): In the debut album she hadn’t quite mastered the art of being epic, but in this forgotten treasure, she’s getting there.

92. No Body, No Crime (Evermore): It aspires to be the next “Goodbye Earl” or “The Night the Lights Went Out in Georgia,” and it can be forgiven for not quite attaining that status, because it’s still a rocking country tune that contains some of the best storytelling on the album.

91. 22 (Red): “Happy, free, confused, and lonely at the same time” is such a perfect way to describe being 22, but one of my daughters diminished this song for me when she pointed out that Taylor often slurs the word “22” so badly that it sounds like “swimsuit” (… and she’s not wrong…).

90. Cardigan (Folklore): This song does so many things so well, filled with regret and pain and passion and also an easy sense of ‘chill,’ all at the same time. 

89. Ours (Speak Now): This track is reflective, thoughtful, and beautiful; I’d enjoy an entire album where she aims for this kind of mood.

88. Innocent (Speak Now): A bit of a sleeper on the album, Taylor’s olive branch to Kanye is sweet–too bad that didn’t last (even if it did spawn one or two good songs later).

87. This is Why We Can’t Have Nice Things (Reputation): And here’s the opposite of “Innocent”; Taylor strikes back at Kanye in a raucous number that was surely a crowd-pleaser as the closing song on the Reputation tour.

86. Gold Rush (Evermore): One of the few Antonoff-powered tracks on the album, the music provides a jolt of energy even if the lyrics are mushy (but I do really like the line, “My mind turns your life into folklore…”).

85. Clean (1989): More water imagery (that I think calls back to Fearless in at least a couple of ways) appears in this strong conclusion to a deep, creative album.

84. Say Don’t Go (1989): The track is a fun listen with passionate lyrics, and the powerful bridge with a well-timed thematic silence lifts it even higher; a standout that serves as further evidence of the high quality of the tracks that got left out of the non-deluxe OG 1989.

83. Long Story Short (Evermore): This delightfully self-referential song contains some of the clearest evidence of personal growth in any Swift song, and it’s good advice: “Past me, I want to tell yourself not to get lost in these petty things; your nemeses will defeat themselves before you get the chance to swing; and he’s passing by, rare as the glimmer of a comet in the sky…”

82. King of My Heart (Reputation): After a brief but reflective pause at the end of “Getaway Car,” this song opens with Taylor perfectly fine and alone; then a new character, the king of her heart, shows up, with the chorus and bridge so powerfully expressing Taylor’s affection for him.

81. …Ready For It? (Reputation): Let the games begin indeed, as Taylor throws down one of the strongest opening tracks on any of her albums.

80. Sweeter Than Fiction (no album): I don’t think I’d heard this one before I gave it a listen for this ranking, which is too bad, because it’s a fun and energetic song; I’ve listened to it a fair amount since, and I’d say it’s a neglected treasure.

79. Forever & Always (Piano Version) (Fearless): I give a very very slight nod to the regular version in this ranking, but the piano version is remarkable for having a different emotional landscape (more reflective) with the same level of awesome.

78. Forever & Always (Fearless): The emotion is intense as Taylor recounts her feelings about Joe Jonas’ famous 27-second breakup call, although I could wish for a bit more inspiration from the bridge.

77. Mine (Speak Now): By Speak Now Swift had established her reputation as a storyteller, and this album’s opening song signals that she’s going to play to that strength.

76. A Place in This World (Taylor Swift): I have the sense that I’m in a tiny minority regarding this one, but what can I say, I like what I like, and I think this is an underrated gem (that always reminds me of its role in the 2010 Ramona and Beezus movie).

75. Better Than Revenge (Speak Now): I confess this song is a bit of a guilty pleasure since I don’t think it’s a great idea to revel in revenge 🙂; I’m glad she dialed back the lyrical bite a bit in Taylor’s Version.

74. Would’ve, Could’ve, Should’ve (Midnights): Featuring the weight and sensibility of Aaron Dessner’s production, great build throughout the song, and a bridge that slays (“give me back my girlhood, it was mine first!”), this track is a winning recipe.

73. The Alcott (no album): I’m moved by the cascading emotion in the back-and-forth between Taylor Swift and Matt Berninger in the chorus, especially when Taylor’s voice gets deep; this is another beautifully reflective collaboration between Taylor and her friends at The National.

72. I Can Do It With a Broken Heart (The Tortured Poets Department): As scholars, we call what Taylor is describing “emotional labor,” or the practice of pretending to feel something you don’t for the sake of professional obligations; anyone with a job feels that to some extent, but without question, Taylor and other performers experience that to the nth degree.

71. Who’s Afraid of Little Old Me? (The Tortured Poets Department): Sweeping, epic, powerful, and both insightful and appropriate given so much unwarranted criticism of Taylor, the imagery of Swift leaping from the gallows and levitating down the street, and then the shrieking cry of “Who’s afraid of little old me?”… just wow.

70. Anti-Hero (Midnights): It already seems like a near-instant classic, and “Me, hi! I’m the problem it’s me” seems destined to be a classic Swiftie phrase.

69. Anti-Hero (feat. Bleachers) (no album): YMMV, but I like the 80s energy that Bleachers brings to this remix, and while the Eras Tour suggests that Swifties like shouting the line “Taylor you’ll be fine!”, for reasons I can’t really explain I enjoy “Sometimes I feel like everybody is an art bro lately…”

68. Betty (Folklore): Revisiting her country style was a bold choice, and it works; this is an instant classic (but sorry, James, I don’t think showing up at a party unannounced and insulting the girl’s friends is likely to win you many points).

• KIRA’S TAKE: I think an 8 out of 10 is too low because the relationship between Betty and James is illustrated so well. Extra points because the key change is just *chef’s kiss*. It should be a 10.

67. Mr. Perfectly Fine (Fearless): Definitely the most essential and memorable song from the Vault on Fearless (Taylor’s Version), with a killer bridge and even a key change; one wonders why it was left off the original album.

66. Everything Has Changed (Red): Another strong duet between Taylor and a male singer (this time Ed Sheeran), but I think “The Last Time” has just a bit more gravity to it.

65. Coney Island (Evermore): Again, I tend to be a fan of Taylor’s duets with men, and this no exception; the spare instrumentation, the hazy lyrics, and blending of Taylor and Matt’s voices creates a magical atmosphere that sometimes eludes this album.

64. ME! (Lover): I’m going to come down on the side of this much-criticized song; it’s energetic, peppy, bright, and cheerful, glowing with the summery brightness of the Lover era.

63. Seven (Folklore): This is an achingly beautiful reminiscence of childhood, filled with equal parts sweetness and melancholy, and laced with beautiful imagery throughout.

62. Hits Different (Midnights): As an professor, I’m obligated to rate highly a song that contains the word “antithetical,” especially when it’s such a bop.

61. My Tears Ricochet (Folklore): This follows the track 5 tradition of highly personal, emotionally resonant songs that also serve as album standouts.

60. White Horse (Fearless): The emotional punch at the end really elevates this classic track 5 ballad.

59. The Lakes (Folklore): In a rich synthesis of lyrics and music, this song so beautifully and hauntingly embodies a deep sense of longing for beauty and nature, shared with someone you love.

58. Don’t Blame Me (Reputation): The “crazy Taylor” of Reputation compares her lover to a narcotic, and the explosive chorus really lifts this track.



9 out of 10:

57. Our Song (Taylor Swift): The song that ended the original version of the album is sweet, fun, and catchy, and I confess I enjoy songs that are self-referential (the song concludes with Taylor sitting down to write the song).

56. Labyrinth (Midnights): This track is reflective, moody, wistful, disconcerting, and beautiful, all at the same time, and to my mind it’s the sleeper hit (but, it seems, much-unloved song😿) of Midnights.

55. The Last Time (Red): And again, I might be in a minority by giving this one a high score, but I like Swift and Lightbody’s voices together and the strong bridge kicks it up a notch.

54. New Romantics (1989): As an interpersonal communication scholar, I really don’t like the flippant attitude some in our day have toward romantic relationships, but Swift effectively captures that reality in this energetic song that’s filled with the great sound of the main 1989 album.

53. Breathe (Fearless): A bit of a forgotten treasure; allowing the orchestral strings to carry the emotion of the song (rather than a steel guitar, as she might’ve done if this were on the debut album) might foreshadow her shift to pop.

52. Invisible String (Folklore): I’m a sucker for self-referential Taylor, and this is self-referential Taylor that spans her entire career to date; it’s also an unabashed love song, which is a welcome change from the breakup-heavy themes on much of the rest of Folklore.

51. All You Had to Do Was Stay (1989): Taylor’s fifth tracks have a reputation for vulnerable lyrics, and in an album crowded with vibrant songs, it would be a mistake to overlook this one.

50. Is It Over Now? (1989): Both the lyrics and music yank me into this song, such that it flashes through my head like a trailer for a rom-com movie; it is a suitably epic conclusion to 1989 (Taylor’s Version).

49. Question…? (Midnights): I really like the production here, although as is sometimes the case on Midnights, the lyrics seem like they might benefit from one more draft; it’s still a fun listen.

48. My Boy Only Breaks His Favorite Toys (The Tortured Poets Department): A fantastically catchy song that helps refute the “But TTPD doesn’t have bops on it” claim, and the metaphors of childhood play work well and fit with the synth-heavy music.

47. So it Goes (Reputation): Maybe I’m in the minority (I’ve said that before, right??), but I think this is a hidden gem that lyrically and musically expresses the overall tone and atmosphere of the album.

46. Death by a Thousand Cuts (Lover): The music on the verses goes for epic and makes it there, and I enjoy the gently unnerving rhythm of the strings in the chorus.

45. Miss Americana & the Heartbreak Prince (Lover): I love epic Taylor, and this is epic Taylor, and I appreciate the artistry of the political commentary; its symbolism is so much richer and less heavy-handed than “Only the Young.”

• KIRA’S TAKE: I think a 9 out of 10 is a little bit under-ranked because the word play in the song is such a thing of beauty. Taylor just made something so beautiful even with it being a political song. It should be a 10.

44. Call it What You Want (Reputation): As Reputation draws to a close, Taylor lays down her weapons and her armor, seeming to turn away from relational drama and toward a quieter and stronger expression of romantic affection.

43. Delicate (Reputation): In contrast to her tendency for big, bombastic emotions, Taylor goes for understated and a bit coy, and it pays off in what seems like the most successful single from this album.

42. Speak Now (Speak Now): The title track of the album seems relatively forgotten these days, and that’s a shame, because it’s a great example of Taylor Swift storytelling that foreshadows her Folklore/Evermore era fiction (and the giggle in one of the final renditions of the chorus is a great touch).

41. The Man (Lover): Here Swift delivers not only an energetic track, but also punchy and incisive social commentary that I’ve mentioned when teaching muted group theory.

40. New Year’s Day (Reputation): It’s mainly Taylor and a piano in this brilliant final track, a song that is both totally like and totally unlike “Long Live” that closed Speak Now; her synthesis of both songs in the Reputation tour serves as a powerful illustration of her musical genius.

• KIRA’S TAKE: I think a 9 out of 10 is too high because yes this song is beautiful and I love it, but I think it should be a bit faster. Added point because it’s a good end to Reputation moving into Lover. It should be a 7.

39. Haunted (Acoustic Version) (Speak Now): It’s a solid acoustic rendering of an outstanding Speak Now song, even if it lacks some of the epic desperation of the original.

38. Nothing New (Red): An outstanding duet with Phoebe Bridgers, Taylor expresses the thoughts of probably every popular young female artist (and also strikes a chord with anyone who has thought about aging); it’s even more poignant when Taylor is in her 30s and those teenage up-and-comers are here now.

37. Dear John (Speak Now): It’s quite a feat that Taylor sustains such powerful emotion over the course of a song that runs over six and a half minutes, and she does it with formidable confidence.

36. Snow on the Beach (feat. more Lana Del Rey) (Midnights): This version is so much richer, less hollow while still ethereal, and wow it would’ve been a showstopper if it had been on the OG album; massive improvement!

35. The Black Dog (The Tortured Poets Department): In addition to all of the other TSwift magic on display here (emotional performance, sharp Antonoff production, a strong bridge, and potent image-filled songwriting), two things that elevate this song are the distinctive setting (seeing an ex on a location finder app, with Taylor’s voice dripping with sorrowed shock as she sings “… you forgot to turn it off”) and the haymaker vocal punch when “old habits die SCREAMING!”

34. Come Back . . . Be Here (Red): This is “Superman” but more mature, dripping with the pathos that characterizes the best songs of the Red era; it’s a crime that this diamond of a song receives such little attention.

33. The Story of Us (Speak Now): I think this is one of the more underappreciated Swift singles, and although I can see how some might not like the “next chapter” transition in the middle of the song, for me it works and fits with the “love is a story” theme that stretches across her early albums.

32. Sparks Fly (Speak Now): With Taylor in the pouring rain, it’s like “Fearless” (the song) version 2.0, and it kicks off maybe the best streak of songs on any Taylor Swift album.

31. loml (The Tortured Poets Department): Gorgeous in its musical simplicity, yes, it’s more poetry than music, but it all combines into an achingly sad emotional gut-punch of a track.

30. August (Folklore): Like “Last Great American Dynasty,” it’s a song with a breezy/beachy vibe, and it’s one of the more memorable songs on Folklore.

29. Evermore (Evermore): Exquisitely paced and deliciously emotional, it transcends song and expresses the cry of the pandemic era: “Can’t not think of all the cost, and the things that will be lost; oh, can we just get a pause, to be certain we’ll be tall again?”

28. I Know Places (1989): This song exudes the sense of being on the run in the dead of night, and the click of the tape recorder at the beginning and end provides great auditory framing.

27. I Bet You Think About Me (Red): There’s a sense on Taylor’s Version of “Red” that she’s trying to make us forget that this was originally positioned as a country album; here, though, she deploys country style and twang strategically in a wry, snarky, and fun ballad (and the vocal support from Chris Stapleton is value added).

26. You Belong With Me (Fearless): A Swift classic that generated an outstanding and cute video, and then her VMA award… with Kanye grabbing the mike and starting their feud, eventually leading to more drama drama down the album road.

25. End Game (Reputation): I once derided this song, but I was wrong; somehow this epic combo of Future, Sheeran, Swift, rap, and pop really works (even though it arguably shouldn’t), foreshadowing the optimistic turn at the end of the album… but first, we’ll have a descent into madness…

24. Back to December (Acoustic Version) (Speak Now): A bit more intimate and constrained in scope, and it hews so closely to the OG that you could be forgiven for confusing the two.

23. Last Great American Dynasty (Folklore): Taylor’s storytelling emerges in full force here in a breezy, beachy tune that brings an important punch of positive energy to the album.

22. State of Grace (Red): In this effective album opener with a great rolling beat, we’re far from the epic pageantry of the end of Speak Now, instead crashing into a world of busy streets, traffic lights, pain, and shades of wrong.

21. State of Grace (Acoustic Version) (Red): Wow, this already great song gets even better with the reflective turn in the acoustic version.

20. Haunted (Speak Now): Remember back in “Sparks Fly” how Taylor wanted something that would haunt her when her lover wasn’t around?–well, now he’s gone, and that’s exactly how she feels.

19. Cruel Summer (Lover): The second song on Taylor Swift albums tend to be pretty great, and this one is no exception, even if the verses outshine the chorus just a tad; it is a true shame this never saw release as a single.



10 out of 10!!!:

18. Back to December (Speak Now): In this perfectly-composed song, Taylor demonstrates her capacity for self-reflection, regret, and apology.

17. Mean (Speak Now): This super-fun bop foreshadows track #6 on a future album, when indeed she is living in a big ol’ city and shaking off the hate, hate, haters…

16. You’re on Your Own, Kid (Midnights): Casting a sweeping enough canvas through imaginative lyrics, strong vocals, and crisp pop production, this is just the kind of song I like from Taylor Swift; it has brought to my mind the biblical book of Ecclesiastes, which observes that human ambition is meaningless, a chasing after the wind.

• KIRA’S TAKE: I think this should be a top ten song because of THE BRIDGE ALONE. The song shows all of her album eras in this beautiful light. It’s just so perfect, there’s not one thing I would critique. It illustrates being famous but feeling so alone so well. Top ten song for me!

15. Style (1989): If I think “Blank Space” is overrated, “Style” is underrated, but perhaps I like this one because of its strong 80s sensibilities that are like musical catnip to me.

14. Wonderland (1989): For whatever reason, this Taylor/Alice in Wonderland crossover (what??? why, Taylor, why???), as bizarre as it sounds, not only works, but casts one of the most epic emotional vistas of any Swift song; one wonders how she ended up with so much great stuff on 1989 that she also had “New Romantics” and “Wonderland” as equally worthy leftovers.

13. Getaway Car (Reputation): This masterpiece provides a climax and plot twist for the whole album (signaled by a rare key change no less) as crazy Taylor steals the money and the keys and drives away.

12. Treacherous (Red): The song’s worldview is deeply at odds with my own beliefs about interpersonal relationships (no–we aren’t “just skin and bone trained to get along”; yes–it is a choice to “get swept away” into the arms of a lover), but that aside, the haunting chorus (which occurs late enough in the song that you could mistake it for a bridge) really elevates the power of this track.

11. The Archer (Lover): Some fans seem “meh” about this one, but I’m ready for combat to defend this track, which contrasts a minimalist style that generates tension with some of the most introspective lyrics Taylor has ever sung.

10. Mirrorball (Folklore): There’s a moment in this song when the instrumentals fade to almost nothing and we’re left with Taylor, describing herself spinning on her tallest tiptoes, and it’s one of the most beautiful moments in any Swift song.

• KIRA’S TAKE: I might be biased because the song is so personal and one of my favorites. I love the back story behind this song and I love that everyone can relate to it in a different way. Such a masterpiece. Top three for sure.

9. Exile (Folklore): This gorgeous, powerful song is (so far) the best duet she’s ever done, and also one of her best songs ever; the version on the Long Pond Studio Sessions is even more impactful than the one on the main album.

8. Enchanted (Speak Now): Strong, passionate, sweeping, epic–it’s what I enjoy hearing from Taylor Swift, and on an album full of incredible songs, it’s a standout.

7. Out of the Woods (1989): This muscular, robust song that would’ve been right at home in the year 1986, and if a time traveler slipped it into the radio rotation back then, it’d fit; also, the music video full of elemental imagery is pretty cool too.

6. I Wish You Would (1989): Again, maybe it’s my appreciation for 80s ballads, but I adore this hidden gem that I don’t ever hear anyone talk about; I particularly love the moment two minutes into the song, after the crazy-epic bridge, where most of the synth drops out to highlight Taylor’s “it’s 2 AM” (classic Swift!) vocals.

5. Cornelia Street (Lover): This is such a brilliant song, with the effective build-and-release of tension that often characterizes Swift’s best work; the use of piano here is particularly effective.

4. Long Live (Speak Now): The closing track of Speak Now succeeds where the closing track of the OG Fearless failed, offering an expansive, epic song that sums up the theme of the album, sticks the landing, and yields one of the best Taylor Swift songs of all time.

3. Love Story (Fearless): It remains Taylor’s most iconic song even today, and deservedly so–it’s the moment when she vaults from pretty good to outright amazing, and seldom looks back.

2. All Too Well (10 Minute Version) (Red): With it’s sweeping, epic emotional canvas, when I am done listening to it, sometimes I just turn Spotify off; I’m left with the sense that nothing more musically needs to be said for awhile, and the feeling of the song just needs to linger.

1. All Too Well (Red): Unfortunately, I won’t give this one higher than a 10. But for this song, and this song only, I will break my one-sentence-per-song rule. So many Taylor Swift fans consider this to be her best song. They’re right.

“All Too Well” is a sonic and lyrical masterpiece. First, the sound–from the soft intro and the gentle chord that concludes it, to the subtle lack of resolution in the ending, and everything in between, every instrument and note works purposefully yet carefully to create emotion. And oh does the emotion build, and I love how it catches the listener by surprise. Suddenly you’re no longer in the gentle passion of young love, but instead caught in a maelstrom of betrayal. And in that maelstrom Taylor drops maybe her most powerful lines ever: “Then you call me up again just to break me like a promise! So casually cruel in the name of being honest; I’m a crumpled up piece of paper lyin’ here, because I remember it all too well…” (Yes, I have a sticker on the back of my laptop with this lyric…)

That lyric is great, but I fear we ignore so much other great wordplay and imagery here. That little town street; getting lost upstate; autumn leaves; the embarrassing childhood photo album on the counter; of course, the scarf in the drawer; and one of my favorites, dancing ’round the kitchen in the refrigerator light… the lyrics deliver punch after punch right in the feels.

I so much enjoy every 10/10 Taylor song, but hearing this one is like moving up to another level, like entering another dimension. It’s the perfect fusion of country Taylor and pop Taylor. Not every song can or should be this, but here in this track 5 by which all others are judged, Taylor produced her greatest work so far–and the thing was never even released as a single!! Perhaps someday she’ll top this, but for now, it is the absolute pinnacle and showcase of Taylor Swift’s art. Speak Now may be the better album on balance, but Red has the best song of them all.

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As a final note, I am a social scientist who nerds out over statistics. So I couldn’t help but calculate the means and standard deviations for all of the albums. In descending order of average song rating:

• Reputation: M = 8.37 (SD = 1.13)
• Speak Now: M = 8.18 (SD = 1.69)
• 1989: M = 7.93 (SD = 1.71)
• Red: M = 7.72 (SD = 1.77)
• Folklore: M = 7.47 (SD = 2.21)
• Midnights: M = 7.44 (SD = 1.51)
• Lover: M = 7.42 (SD = 1.90)
• Evermore: M = 7.29 (SD = 1.39)
• Fearless: M = 6.96 (SD = 1.67)
• Taylor Swift: M = 6.53 (SD = 1.54)
• The Tortured Poets Department: M = 6.32 (SD = 2.20)
• The Life of a Showgirl: M = 5.71 (SD = 2.30)

An analysis of variance (ANOVA; a statistical technique that compares the mean rating of each album) found a significant difference in the means between albums, F(11, 239) = 3.66, p < .001, η² = .14, but a Tukey post hoc test revealed few significant difference between albums (mainly that I like Reputation and Speak Now more than The Tortured Poets Department and The Life of a Showgirl). That’s my statistical, social-science-professor way of saying that Taylor Swift, in my opinion, has been outstanding throughout much of her career.

Want a different way of ranking the songs? Check out my ranking of songs by their semantic centrality to the Taylorverse.

I’ve also ranked Taylor’s albums.

And ranked the eras in The Eras Tour, which is an outstanding show!

And connected Taylor Swift to each theory in the communication theory textbook I co-author.