A ranking of every single Taylor Swift song, updated to include her newly-released CatsMovie and holiday tracks
Photo: James White In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other aired on HBO.
144. “Look What You Made Me Do,” Reputation : “There’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting,” Swift told New York back in 2013. “The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do.” To Swift’s credit, it took her six records to get to this point.
138. “Santa Baby,” The Taylor Swift Holiday Collection : Before Ariana Grande’s “Santa Tell Me,” there was only one holiday song about falling in love with Santa, and for some reason, we spent decades making all our young female singers cover it. Swift’s version leans out of the awkwardness by leaning into the materialism; she puts most of her vocal emphasis on the nice presents she hopes Santa will bring her.
134. “Invisible,” Taylor Swift: Special Edition : A bonus track from the debut that plays like a proto–”You Belong With Me.” The “show you” / “know you” rhymes mark this as an early effort. 130. “White Christmas,” The Taylor Swift Holiday Collection : The most bluegrass of Swift’s Christmas tunes, this gentle rendition sees Swift’s vocals cede center stage to the mandolin and fiddle.
126. “Superman,” Speak Now: Deluxe Edition : A bonus track that’s not gonna make anyone forget Five for Fighting any time soon. 122. “The Lucky One,” Red : A plight-of-fame ballad from the back half of Red, with details that never rise above cliché and a melody that borrows from the one Swift cooked up for “Untouchable.”
118. “Last Christmas,” The Taylor Swift Holiday Collection : Swift does George Michael proud with this reverent cover of the Wham! classic. 114. “Beautiful Eyes,” Beautiful Eyes EP : The title track of Swift’s early-career EP finds the young songwriter getting a lot of mileage out of one single vowel sound: Besides the eyes of the title, we’ve got I, why, fly, cry, lullaby, even sometimes. A spirited vocal performance in the outro saves the song from feeling like homework.
110. “Sad Beautiful Tragic,” Red : Another glacially paced song from the back half of Red that somehow pulls off rhyming “magic” with “tragic.” 106. “I Think He Knows,” Lover : Not, as the title might imply, a slinky cheating ballad. Instead, it’s a straightforward love song. The stripped-down production in the verses makes a fun contrast with the bubbly chorus, but otherwise there’s not much here.
102. “Death by a Thousand Cuts,” Lover : Apparently inspired by a Netflix rom-com, and that tells you everything you need to know. 98. “Breathe,” Fearless : A Colbie Caillat collaboration that’s remarkable mostly for being a rare Swift song about a friend breakup. It’s like if “Bad Blood” contained actual human emotions.
94. “So It Goes,” Reputation : Unfortunately not a Nick Lowe cover, this one comes and goes without making much of an impact, but if you don’t love that whispered “1-2-3,” I don’t know what to tell you. 90. “You Need to Calm Down,” Lover : The song where Swift came out as an LGBTQ ally and buried the hatchet with Katy Perry, all at the same time. The slangy Trump jabs may read as a few years behind the times, but when it comes to straight pop stars penning gay-rights theme songs, you could do a lot worse.
86. “Haunted,” Speak Now : In which Swift tries her hand at Evanescence-style goth-rock. She almost pulls it off, but at this point in Swift’s career her voice wasn’t quite strong enough to give the unrestrained performance the song calls for. 82. “Wonderland,” 1989: Deluxe Edition : A deranged bonus track that sees Swift doing the absolute most. This song has everything: Alice in Wonderland metaphors, Rihanna chants, a zigzag bridge that recalls “I Knew You Were Trouble,” screams. As she puts it, “It’s all fun and games ’til somebody loses their MIND!”
78. “Tell Me Why,” Fearless : A bog-standard tale of an annoyingly clueless guy, but it’s paired with one of Swift and Rose’s most winning melodies. 74. “Don’t Blame Me,” Reputation : A woozy if slightly anonymous love song that comes off as a sexier “Take Me to Church.” [A dozen Hozier fans storm out of the room.]
70. “London Boy,” Lover : The song that gave the entire United Kingdom a chance to clown on Taylor Swift, which is the best gift the nation has received from an American since FDR’s Lend-Lease program. It’s utterly daffy, but as the product of a similar infatuation, it would be disingenuous of me to pretend I don’t see the appeal. Oi, leave it!
66. “Ours,” Speak Now: Deluxe Edition : It’s not this song’s fault that the extended version of Speak Now has songs called both “Mine” and “Ours,” and while “Ours” is good … well, it’s no “Mine.” Still, even if this song never rises above cuteness, it is incredibly cute. I think Dad’ll get over the tattoos.
62. “Call It What You Want,” Reputation : Many of the Reputation singles aim at sexy; this airy slow jam about losing yourself in love after a scandal is the only one that gets there, though the saltiness in the verses occasionally betrays the sentiment. 58. “Miss Americana and the Heartbreak Prince,” Lover : After years of being dinged for staying apolitical in her art, Swift here takes her first step into the arena, reframing the most recent presidential election through the high-school environment that provided so much of her early inspiration. It’s an ambitious conceit that I don’t think works 100 percent, but I appreciate how well the song evokes those pit-in-your-stomach days of late 2016.
54. “The Man,” Lover : Beyoncé’s “If I Were a Boy” transported to the world of media meta-narratives. It’s funny in a way Swift rarely lets herself be in her work. And props for succinctness — the chorus sums up so much you barely even need the rest of the song. But it also feels a bit like a really good op-ed.
50. “Jump Then Fall,” Fearless: Platinum Edition : An effervescent banjo-driven love song. I get a silly kick out of the gag in the chorus, when Swift’s voice leaps to the top of her register every time she says “jump.” 46. “Back to December,” Speak Now : At the time, this one was billed as a big step for Swift: the first song where she’s the bad guy! Now that the novelty has worn off “Back to December” doesn’t feel so groundbreaking, but it does show her evolving sensitivity. The key to a good apology has always been sincerity, and whatever faults Swift may have, a lack of sincerity has never been one of them.
42. “Dress,” Reputation : An appropriately slinky track that gives us an unexpected payoff for years of lyrics about party dresses: “I only bought this dress so you could take it off,” she says in the chorus. The way the whole song starts and stops is an obvious trick, but I like it. 38. “Treacherous,” Red : Swift has rarely been so tactile as on this intimate ballad, seemingly constructed entirely out of sighs.
34. “Christmases When You Were Mine,” The Taylor Swift Holiday Collection : The clear standout of Swift’s Christmas album, with an endearingly winsome riff and lyrics that paint a poignant picture of yuletide heartbreak. If you’ve ever been alone on Christmas, this is your song. 30. “Cornelia Street,” Lover : Fans joke that Swift is the only person in the world who finds Joe Alwyn compelling, but against all odds this dreamy deep cut imbues the relationship with a sense of grandeur. She’s looking back at their past, hoping her memories won’t be poisoned by whatever comes next. It’s as powerfully observed as all her best work — love makes nostalgists of us all.
26. “Shake It Off,” 1989 : Swift’s second No. 1 was greeted with widespread critical sighs: After the heights of Red, why was she serving up cotton-candy fluff about dancing your way past the haters? Now that we’ve all gotten some distance, the purpose of “Shake It Off” is clear: This is a wedding song, empty-headed fun designed to get both Grandma and Lil Jayden on the dance floor.
22. “The Archer,” Lover : By 2019, Swift’s pattern with promotional releases was well-established: The first few singles are infectious bubblegum stuff, and not until those have become annoyingly inescapable do we get to hear the slower, more emotional material. As with “Gorgeous,” it’s tempting to grade “Archer” on a curve based on what came before, but I suspect this one will hold up.
18. “Red,” Red : Re-eh-eh-ed, re-eh-eh-ed. Red’s title track sees the album’s maximalist style in full effect — who in their right mind would put Auto-Tune and banjos on the same track? But somehow, the overstuffing works here; it’s the audio equivalent of the lyrics’ synesthesia. 14. “Hey Stephen,” Fearless : Who knew so many words rhymed with Stephen? They all come so naturally here. Swift is in the zone as a writer, performer, and producer on this winning deep cut, which gives us some wonderful sideways rhymes , a trusty Hammond organ in the background, and a bunch of endearing little ad-libs, to say nothing of the kicker: “All those other girls, well they’re beautiful / But would they write a song for you?” For once, the mid-song laugh is entirely appropriate.
10. “Love Story,” Fearless : Full disclosure: This was the first Taylor Swift song I ever heard. I didn’t like it at first. Who’s this girl singing about Romeo and Juliet, and doesn’t she know they die in the end? What I would soon learn was: not here they don’t, as Swift employs a key change so powerful it literally rewrites Shakespeare. The jury’s still out on the question of if she’s ever read the play, but she definitely hasn’t read The Scarlet Letter.
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