After an illustrious career spanning almost two decades, Taylor Swift has been the center of a zeitgeist effect seldom seen in pop culture. Her discography and public persona have seeped so far into the psyche of America’s youth that they are impossible to ignore. Having released her debut album at age 16, fans have seen her continually evolve and pursue new sounds on each studio release, known synonymously as her “eras.” Of course, being so popular and culturally significant, Swift’s music is often the subject of many opinionated music fans with equally as much criticism as there is praise. After all, even with millions of albums sold, countless Billboard #1 songs, and the recently gained status of billionaire, Swift is universally seen as a victim by her fan base.
While I myself do not frequent Swift’s music, I am at my core deeply passionate about music and am always looking to broaden my horizons. So, to hopefully open my mind a little, I listened through the singer-songwriter’s discography from front to back in an attempt to differentiate her best from her worst. The ground rules for this list are simple. I am ranking her core studio releases as they were originally released, so any of the deluxe or “From the Vault” tracks from any of the re-recorded “Taylor’s Version” albums will not be considered. Swifties, please don’t come for me.
#11 – “Taylor Swift” (2006, Big Machine)
Swift’s 2006 self-titled debut is an album so cliche and generic it could be made by AI. It includes 11 total tracks, nine of which are essentially about the same thing. The whole thing is pretty bland and sounds like any other female country album from the 21st century. I’ll try not to be too hard on it though. Swift recorded it at 15 and frankly, it sounds like it.
FAV TRACK: “Cold As You”
LEAST FAV TRACKS: The rest of the album
#10 – “Fearless” (2008, Big Machine)
Taylor’s 2008 sophomore effort shows some gained maturity from a songwriting standpoint, with slightly heavier emotional appeals and hooks. “Fearless” also sees Taylor planting the pop-hit seeds that would grow her career into what it is today. Although I can’t stand them, songs like “Love Story” and “You Belong with Me” prove that at just 18, Taylor knew how to write a massive radio hit. All in all, the album isn’t that big of an improvement to her debut, and still leaves much to be desired.
FAV TRACKS: “White Horse,” “Breathe” and “You’re Not Sorry”
LEAST FAV TRACKS: “The Way I Loved You,” “The Best Day” and “Forever and Always”
#9 – “Red” (2012, Big Machine)
Right when it seemed like Taylor would release her most consistently solid country album, she took a rather large left turn and decided to explore the pop realm. 2012’s “Red” is littered with electronic elements and pop sensibility, but is ultimately all over the place. Transitioning from “Treacherous” to “I Knew You Were Trouble” is such a shift that it’s almost abrasive. While Swift was able to snag a few big pop hits, her fourth record listens like she’s lost creativity. “Red” ultimately doesn’t know what it wants to be and serves as a pretty tiring listen.
FAV TRACKS: “State of Grace” and “The Last Time”
LEAST FAV TRACKS: “Red” and “Stay Stay Stay”
#8 – “Reputation” (2017, Big Machine)
“Jumping the shark” might be the best way to describe 2017’s “Reputation.” Three years after the massive success that was “1989,” Swift dives further into the waters of conventional pop, introducing elements of hip-hop and EDM throughout the track listing. Taylor also seems to adopt this new edgy “tough-girl” persona that ultimately just comes off sort of forced and fake. Cringeworthy moments such as “Look What You Made Me Do” come off more as an insecure attempt to prove toughness rather than a triumphant stand against her haters. While there are a few minor highlights on the record, “Reputation” delivers very little to write home about and only adds fuel to the fire for her biggest critics.
FAV TRACKS: “Getaway Car” and “Dress”
LEAST FAV TRACKS: “Look What You Made Me Do,” “…Ready For It?” and “This is Why We Can’t Have Nice Things”
#7 – “Speak Now” (2010, Big Machine)
Although slow-starting, 2010’s “Speak Now” sees Swift penning much more sophisticated ballads with even harder-hitting emotions than her previous two efforts. However, the album’s main downfall is that its lows are just as impactful as its highs. Having to sit through Disney Channel-esque duds like “The Story of Us” and “Better than Revenge” after the powerful anthems that are “Dear John” and “Innocent” feels like having a sweet reward snatched away from you as soon as you receive it. All in all, “Speak Now” serves as a big step in the right direction for a then 20 year old Swift.
FAV TRACKS: “Dear John,” “Never Grow Up” and “Innocent”
LEAST FAV TRACKS: “Mean” and “The Story of Us”
#6 – “Midnights” (2022, Republic)
Two years removed from her twin portraits of pandemic blues, Swift returned to the studio with her synth-pop partner in crime, Jack Antonoff, to try and recapture the magic that made “1989″ and “Lover” the mainstream giants that they were upon release. While 2022’s “Midnights” certainly did similar numbers, it’s ultimately missing that sweet something that the aforementioned projects had. There’s a few lyrical highlights and fun hooks here and there, but the album just kind of fades into the background of the rest of Swift’s discography. It’s likely her time with Antonoff has run its course.
FAV TRACKS: “Maroon,” “Labyrinth” and “Sweet Nothing”
LEAST FAV TRACKS: “You’re On Your Own, Kid,” “Bejeweled,” and “Vigilante Shit”
#5 – “The Tortured Poets Department” (2024, Republic)
If “Midnights” was the warning call for the waning creative relationship between Swift and Antonoff, “The Tortured Poets Department” is the nail in the coffin. The album is certainly a familiar and comfortable listen, but in the grander scheme of Swift’s discography it shows a Taylor that has become creatively stale. The same old production and lyrical themes are present and neither seem to offer anything fresh or interesting– not to mention the pretentious title for an album with fairly mediocre lyrics. With that being said, “TTPD” is still a good Taylor Swift album. Signature breakup tunes such as “So Long, London” show Swift in her element capitalizing on a failed relationship like only she can.
FAV TRACKS: “So Long, London” and “Guilty as Sin”
LEAST FAV TRACKS: “Who’s Afraid of Little Old Me?” and “Florida!!!”
#4 – “1989″ (2014, Big Machine)
Taylor Swift owes a massive thank you to Jack Antonoff and Max Martin for essentially saving her career. 2014’s “1989″ shows a Taylor that has completely reinvented herself, working out all of the awkward pop kinks heard on “Red.” The album is chock full of catchy hook after catchy hook paired with a dreamy feel heavily inspired by the synth-pop movement of the 1980s. While “Bad Blood,” “Shake it Off” and “Blank Space” catapulted Swift to the top of the mainstream, it’s tracks like “Out of the Woods” that show Taylor has really found her footing in pop, even being able to add some real substance to the genre.
FAV TRACKS: “Out of the Woods” and “Wildest Dreams”
LEAST FAV TRACKS: “Welcome to New York” and “Shake it Off”
#3 – “Lover” (2019, Republic)
Fresh off the runaway train that was “Reputation,” 2019’s “Lover” sees Taylor returning to the synth pop form that she mastered just four years prior on “1989.” Jack Antonoff’s production is back in full form with dreamy synths, skipping drums and bright accents of strings and horns littered throughout. The album also sees more mature pop songwriting from Swift with the introspective “The Archer” and the triumphant “Soon You’ll Get Better.” Ultimately, “Lover” listens as if “1989” grew up, acknowledging the adversity it’s faced and the importance of sticking to its roots. Taylor certainly saved face with this one.
FAV TRACKS: “The Archer,” “Paper Rings” and “Soon You’ll Get Better”
LEAST FAV TRACKS: “London Boy” and “ME!”
#2 – “Evermore” (2020, Republic)
There’s very little to say about “Evermore,” and honestly it’s for good reason. The second surprise record to come out of her spontaneous collaboration with Aaron Dessner ultimately just listens like “Folklore” part two, but doesn’t hit quite as hard.
FAV TRACKS: “Tolerate It,” “Coney Island” and “Evermore”
LEAST FAV TRACK: “Gold Rush”
#1 – “Folklore” (2020, Republic)
With the addition of first-time collaborator Aaron Dessner, 2020’s “Folklore” retains much of its predecessor’s pop sensibility, but utilizes a much more stripped down sound. Swift trades heavy synths for light guitars, strings and muted percussion, ultimately giving the album a laid back and dreamy sound that listens as if you’re lost in the woods searching for your own soul. The album also includes her best lyricism to date, arguably ever, with tracks like “Exile” serving as one of her all time best songs. The album explores romanticism and escapism, most likely influenced by the isolation brought on by the COVID-19 pandemic. “Folklore” serves as an artistic statement from Swift that proves she can write deeper than once perceived. Damn good for an album that was recorded entirely remote.
FAV TRACKS: “Exile,” “Illicit Affairs” and “Epiphany”
LEAST FAV TRACK: “Mirrorball”
