122–100 99–75 74–50 49–25 24–1
24. “New Romantics”
Why are 1989’s bonus tracks so much better than the majority of the album? This is a near-perfect pop song.
23. “I Knew You Were Trouble.”
This is the first moment where we realize that country-Taylor was only a stepping stone to pop superstardom. There is zero country in this song –– instead, it’s a stellar fusion of dubstep, pop, and rock.
22. “Better than Revenge”
Effectively a sequel to Paramore’s “Misery Business,” Taylor successfully tries her hand at full-on pop-punk. Like Paramore’s song, it regrettably dips into slut-shaming as a byproduct of jealousy, but its emotional aggression solidifies its position as one of Speak Now’s highlights.
21. “Call It What You Want”
Taylor does her best Pure Heroine–era Lorde on this love song. Despite the rest of the album’s insecure insistence otherwise, she claims here that she doesn’t care what people think. Maybe it’s a thematic inconsistency, or maybe it’s a reflection of the full spectrum of her emotions.
20. “Clean”
Imogen Heap cowrites 1989’s finale, which may be Taylor’s finest album closer. It’s simultaneously calming and triumphant.
19. “Out of the Woods”
The first of many excellent Jack Antonoff collaborations samples the producer’s own “Wild Heart” from Bleachers’ Strange Desire. The top-of-her-lungs bridge is the obvious highlight, but the repetitive chorus adds enough new material in each go-round to stay exciting.
18. “Treacherous”
At this point, Taylor is so confident in her bridge-writing abilities that she includes two, and they function as an incredible second chorus.
17. “Speak Now”
This goofy hypothetical wedding is one of the clearest stories that Swift has ever committed to song.
16. “I Think He Knows”
Top-tier bubblegum pop in the vein of Carly Rae Jepsen. This song sounds like the color pink.
15. “Fearless”
A perfect opening track. It immediately demonstrates the evolution of Swift’s songwriting since her previous album, and houses one of the best instrumental breaks in her entire discography.
14. “Style”
Shellback and pop mastermind Max Martin assist to create one of the catchiest choruses ever. The second half of this song is pure, euphoric synthpop.
13. “New Year’s Day”
Instead of an explosive finale, Reputation ends with its most stripped-back track, as she desperately tries to maintain a rare life-giving relationship. This is basically only piano, acoustic guitar, and a few vocal layers.
12. “Mean”
Taylor takes aim at her critics and plays the victim with pitch-perfect precision. The cutesy vocals and innocent melody are almost enough to convince us that she can do no wrong.
11. “Getaway Car”
Thumping synth-bass, explosive drums, odd vocal delivery –– this song has all the hallmarks of a classic Jack Antonoff production. The bridge is magnificent, but the outro may be the single best moment on Reputation.
10. “State of Grace”
The opening of Red ditches country for arena rock, complete with guitar effects that’d make U2 proud.
9. “Love Story”
This was the first Taylor Swift song I encountered, and it’s still one of the best. The literary references are a little juvenile, but the melody and vocal performance here are among her greatest pop achievements.
8. “Long Live”
Taylor repurposes her usual fairy-tale tropes –– royalty, castles, and dragons –– to address her fans and her band instead of romantic partners. This has one of the best sonic build-ups of her career.
7. “Enchanted”
A big, bold love song about how good company can transform a crappy evening into a magical one. It’s the musical embodiment of young love. Oh, and it’s 2 a.m. again.
6. “Holy Ground”
The pinnacle of country-pop fusion. The overlapping vocal tracks in the second half push the song from good to great, and producer Jeff Bhasker (who’s also worked with Bruno Mars, Harry Styles, and fun.) provides a polished pop sound that never feels sterile or stiff.
5. “Lover”
The warm traditionalism of the instrumentation perfectly suits this waltzy love song, which is bound to be a staple at weddings for the next twenty years.
4. “Blank Space”
Taylor weaponizes her tabloid persona to craft a perfect pop song. It’s funny, it’s ironic, it’s tinged with sadness, and it’s Taylor Swift at her most self-aware.
3. “Cruel Summer”
St. Vincent cowrites this exhilarating summer fling anthem. The verses are great, the chorus is amazing, and the bridge is out of this world. I cannot believe that this never became a single.
2. “The Archer”
Bare-bones production highlights her rawest vulnerability in years, as she broadcasts her insecurities over the pulse of a John Hughes movie soundtrack. The rare admission of guilt here makes this one of her most honest songs ever.
1. “All Too Well”
The indisputable magnum opus of her career, this is the absolute peak of her poetic, emotional storytelling. There’s no traditional chorus –– each section of the song builds on the last, but other than the mantra “I remember it all too well,” she never repeats a line. It’s reductive to label this as just a breakup song or a love song –– it encompasses both with a breathtakingly bittersweet voice.
