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Justin Vernon of Bon Iver's defeated drawl) borrows similarly spacious minor keys with ten times the heartbreak. Many listeners at the time of its 2017 release were less than thrilled by what they saw as pseudo-edgy antics, the equivalent of a prep having a bad day and reaching for black lipstick. Reputation is, without a doubt, Taylor's most polarizing work to date. Some of her trademarksher gift for melody, her third-act POV reversalswere already present here, but theres a sloppiness to the writing that shes long since cleaned up. Her eighth LP disregards the crutch of compelling production and relies more so on solemn, thoughtful writing and is her first full-length departure from autobiography into fiction. Her narrators often seem to lack insight because Swift writes with the point of view that hers is the only story to be told, which makes songs like Dear John and Better Than Revenge come across as shallow and shortsighted. Its admirable that she tries to incorporate more sophisticated elements into a few of the songs here, but dancing with or kissing someone in the rain is a default image that crops up with nearly the same distracting frequency as references to princesses, angels, and fairy tales. Report RESET RANKING RESET TEMPLATE SAVE/DOWNLOAD TIER LIST Template by lucy Shes mined this type of melancholy tone before, but never for the full length of an album and certainly never with such a range of perspectives. Pam Grier reflects on her most iconic roles, from, now backpedaling their initial criticisms, unrequited love looming on the high school bleachers, Professor of Commercial Music explains to EW, reclaiming the masters of her life's work, New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era, The best song from every Taylor Swift album. Jonathan Keefe. Keefe, Folklore is neither a culmination of Swifts career to date nor a pivot in a new direction. It's a melancholy that allows you to wallow on the condition of looking forward after the fact, holding nothing back as you let everything go. Like the "Taylor's Version" before it, 2021's rendition of Red lassos fans' near-decade old affection and nostalgia for the songs and herds them into an encore of adoration. I don't love the way the writer described some of the albums (saying Taylor sounds like a stay at home mom? Taylor may be wise beyond her years, but that doesn't spare her from petty rage, especially on "Better Than Revenge" (which is essentially her "Misery Business"), scorning another girl for "the things that she does on the mattress" while likening their shared love interest to a toy on the playground in the next breath. Songs range from edgy and confident with "I Did Something Bad" to breathy and beautiful with "Dress," all the while playing with different musical styles and production effects. Would it be soft and sincere, like "New Year's Day," poppy and upbeat like "Wildest Dreams," or go back to Swift's acoustic roots with songs like "Untouchable"? Still, what some may see as folklore's central weakness is in actuality its greatest strength. The difficulty (and, perhaps, the beauty) of attempting to order her albums is that 1) she's been so consistently good, and 2) whichever albums harbor your affections most can change by the year, month, day, and even hour depending on your headspace and heartache. She's an artist defined by eras (as is the name of her heavily anticipated upcoming tour) a Reputation era for self-defense, a Lover era for romantic solace which her adoring fans latch onto and assign to their own life stages with fervor. Yet its the lyricism that makes Folklore such an astonishing album, with Swift writing both from her own point of view, as well as exploring other peoples. Lover. How do you follow-up Reputation, a revenge album filled with vengeance? 175. But, as is tradition, the haters hardly scratched the surface of this sixth record, overlooking its genuine feats of all-encompassing production and high-energy, in-your-face vocals. And, thus, here's where she lost some audiences at the onset, who understandably furrowed their brows at first listen. Offers may be subject to change without notice. And I'm telling you, it's going to be a journey. The tracks combined her typical impressive storytelling abilities while tying together strong emotions of frustration that feel at home in "Reputation" (seen in the track "The Man") as well as stories of falling in love and almost losing it that feel at home in "Speak Now" or "Red" (as seen in "Cornelia Street"). As Rob Sheffield wrote for Rolling Stone, this album combined a lot of previous versions of Swift, seemingly capping off her career. Swift, of course, got her start writing astutely observed country ballads, and these songs bolster her trademark knack for lyric-crafting with maximalist, blown-out pop production courtesy of collaborators Max Martin and Jack Antonoff. Too many of us have felt like the monster on the hill encroaching on a peaceful city, the devastated partygoer in the blood-soaked gown, the midnight raining on a kindred spirit's sunlight, the lovesick loner lost in a labyrinth of their own making. The Taylor Swift song sorter and B. This is based on A. How often I find myself in the mood to listen to . Working with a whos who of trendy producers and writers (Jack Antonoff, Max Martin, Ali Payami alongside indie darling Imogen Heap), she crafted a collection of glossy belters, that flit from fluffy dance-pop (Shake It Off) and sophisticated electronic-tinged bops (Blank Space, Style), to glorious indietronica (Out of the Woods, Clean). Other notable tracks include "Illicit Affairs," "Invisible String," and "Betty.". Keefe, Swifts third album, Speak Now, is problematic in precisely the same ways that its predecessors are, but there isnt a song here that isnt an absolute wonder of technical construction. Red is filled with top notch tunes: the brilliantly snarky We Are Never Ever Getting Back Together (Swifts first ever Billboard 100 Number One) and fizzing 22 are stone-cold smashers. And, of course, "Marjorie" is a masterful and beautiful tribute to Swift's grandmother that's packed with soulful and illustrative lyrics. 'All You Had To Do Was Stay' - '1989' Article Continues Below Don't get me wrong, "All You Had To Do Was Stay" is an amazing song that fits perfectly into. Annie Galvin, Evermore is at once as confident and complete a statement as Folklore. Brittany Spanos of Rolling Stone writes that the album "most notably picks up where the pure pop triptych of '1989,' 'Reputation,' and 'Lover' left off, a dazzling bath of synths complementing lyrics caught between a love story and a revenge plot.". Another remote collaboration composed in secret, evermore is a sort of epilogue to the backwoods mythos and backdoor relationships on folklore, delving into new character studies with a familiar, folk-infused air of coulds, woulds, and shoulds. In her defense, no creative mind can be consistently remarkable, not even one as decorated and revered as Taylor Swift. "Drew looks at me / I fake a smile so he won't see / that I want and I'm needin' / Everything that we should be" was as good as poetry, and a north star to the forlorning that looms in girlhood. Many artists lucky enough to enjoy their 15 minutes of fame peak at the onset, delivering one or two tokens of pop culture product before a dwindling stream of less impressive ventures. Editors Note: This article was originally published on July 6, 2021. In a review for Rolling Stone, Claire Shaffer called the album "a refreshing change of pace.". How does Midnights compare to its worthy predecessors? Standouts tracks on this album also include "Fearless," an easy listen that captures the sweet feelings surrounding new romances; "Fifteen," a young love story that unfolds over several verses; "White Horse," a slow tune featuring lyrics about heartbreak that cut deep; "Love Story," a romantic tale with a fairytale edge; and "The Best Day," an emotional song that is filled with sweet childhood memories. It's 1989's sonic spirit with more lyrical depth, dipping a brush in her newfound solipsism and painting musical murals of Taylor's "13 sleepless nights," scenes of "self-loathing, fantasizing about revenge, wondering what might have been, falling in love, and falling apart" construed in vivid detail. That said, this album ranked below the others as it plays it a bit safer than some of the music released later in her career. It's a dreamy pop album, though not fully aligned with that subgenre thanks to more of Jack Antonoff's signature production, which injects Midnights with a pulsing, mounting aura in hypnotizing new tracks "You're On Your Own, Kid," "Mastermind," and Spotify play count heavyweight champ "Anti-Hero." Gone is the will-they-won't-they tension of Reputation's hushed, closed-door affair; Taylor's Lover is here to stay, and this seventh studio album exists almost solely to deliver that proclamation between a few self-love clichs ("I'm the only one of me") and tired girl-power taglines ("If I was a man / Then I'd be the man"). A 20-year-old Taylor, mid-transition from childhood to adulthood, draws from that dizzying dysphoria and uses it to refine her already awe-inspired songwriting. The bridge to Fifteen includes a great, revealing line about a friends lost innocence (And Abigail gave everything/She had to a boy/Who changed his mind/And we both cried), while the playful melody of Hey Stephen captures the essence of what makes for indelible teen-pop. evermore. Debut. His contributions here are uniformly clean and efficient, but plenty of his signature production tics, even if theyre presented here in a fresh context, are beginning to feel overused. As ever, Swift deftly pivots from upbeat tracks to sad ballads with devastating bridges that make you want to cry your eyes out. But this time, we're also met with a subtle lightness, like the calm and clarity that comes after a good cry. "Speak Now" comes in at no. On earworm lead-single Anti-Hero Swift sings: Its me/Hi/Im the problem, its me, the kind of thought weve all had when lying awake trying to drift off. So while still an undeniably amazing album, and a true testament to her style's shape-shifting abilities, she can and has done better than 1989 even if it was her second go-around for Album of the Year. But none before were so intricate and immersive as a whole fictional timeline pieced together from multiple angles in an album just over an hour long. that have almost childish lyrics to soft, heart-wrenching ballads about love and loss like "Soon You'll Get Better.". Midnight's answer: she's still soaring. At the time of publishing, we're just over two weeks past our first listen, still internalizing the record's themes of loneliness and loathing, insecurity and insomnia. She's endlessly accessible, easy to understand even in her later, more cryptic works, yet her songwriting is also a blank space (*cue pen-click*) ripe for filling in your personal memories and private associations. 'I. And a follow-up to 1989 would always have big shoes to fill but Reputation lacked the stone-cold smashers Swift has proven time and time again shes capable of. Read on for a ranking of all of Swift's albums, from least to most iconic in descending order. Yet between its plot-point breadcrumbs is an inherent relatability embedded in Taylor's never-better introspection. escaped the fate of Pharrell in Minions or Timberlake in Trolls). "Picture To Burn" is a scorned teen's "Before He Cheats" swapping shooting whiskey for rumor mills with a grown woman's wit and a veteran songwriter's aptitude. Song for song, the album finds Swift at a new peak in her command of language. Back in 2006, a little-known country singer called Taylor Swift released her debut single Tim McGraw. But as Pitchfork critic Anna Gaca pointed out, the album may be honest and genuine, but it feels uneven with how much it sways from garish pop singles like "ME!" by Slant Staff October 25, 2022 1 Photo: Republic Records Taylor Swift started off as a country artist at a time when the genre was both less respectful and accommodating of the voices of women than at any other point in its storied history. Songs like "Blank Space" and "Wildest Dreams" are more than deserving of their far-reaching recognizability, but not so much their long time (and only recently dethroned) standing at the top of Taylor's Spotify play stats. Perfectly Fine." document.getElementById("comment").setAttribute( "id", "ae642da28755683afdf2ec0fe06ed858" );document.getElementById("facec42938").setAttribute( "id", "comment" ); Save my name, email, and website in this browser for the next time I comment. On 2012s Red, Swift began her transition from country crossover artist to creating glossy, mainstream pop; on its 2021 re-record we were reminded just what a superb songwriter Swift has always been. The worlds defining voice in music and pop culture: breaking whats new and whats next since 1952. Swift shines brightest on these songs, building and developing her story out of economic but evocative turns of phrase.". If you have a hard time taking a side, you can either click "I Like Both" or "No Opinion," though the catch is that the process might take longer. Listening to folklore then is like wiping the cuff of a cable knit on fogged glass to peer in on private moments. Cinquemani, Swifts 1989 severed whatever vestiges of her country roots remained on 2012s Red, replacing acoustic guitars and pedal steel with multi-layered synthscapes, drum machines, and densely packed vocal tracking. ), and is occasionally clumsy in its comebacks. Then there's the true-to-life nostalgic musings of romantic naivety at fifteen and unrequited love looming on the high school bleachers. and Bleachers fame), who employs an undercurrent of drums that boom like palms on metal doors and vocals that echo as if off skyscrapers. By albums end, Swift assesses her crumbling empire and tattered reputation, discovering redemption in loveonly Reputation isnt so much a rebirth as it is a retreat inward. But reputation's best serenade is also its most understated (and underrated): "New Years Day." Its a solid album which shows bucket-loads of promise; but its not a patch on what was to come later. Taylor Swift currently has 10 albums, with 2022's "Midnights" being her most recent release. So while it's vehemently impressive that an adolescent was the creative force behind the best tracks on a seven-time platinum record, it doesn't change the fact that it's far from her best work, and mostly made of songs that slip through her legacy's cracks more than any other album. This new sound may not be a far cry from the original, but to the trained Swiftie's ear, these small changes culminate into a noticeably "richer" listening experience from all angles. Pam Grier reflects on her most iconic roles, from Coffy to Jackie Brown. Like folklore, much of evermore is made up of somber soliloquies that materialize like a fine mist over a field in the dead of winter. The contrast of that relationship with the one detailed in "Champagne Problems" makes the latter seem even more heart-wrenching. If Teardrops on My Guitar from Swifts debut album was her breakthrough song, it was Love Story, the ballad from its follow-up Fearless, that cemented her name in the pop history books. To make it easy for you, we haven't included Taylor Swift singles, EPs, or compilations - everything you see here should only be studio albums. While tracks like Cardigan and Invisible Strings hinge on protracted metaphors, Mad Woman and Peace are blunt and plainspoken. And on Midnights, Taylor turns to us, yet again. To celebrate the release of Swifts tenth album Midnights, here we take a look back on Taylor Swifts entire career and rank her ten albums in order of greatness. On Swifts second album she still kept things country, but this time the pop edge that defined later releases was more evident. Songs like I Know Places ride a reggae swagger and trap-influenced snare beats before launching into a soaring, Pat Benatar-esque chorus. Ten albums, a mantelpiece of awards and over a decade later, Swift has become one of the biggest popstars on the planet. It made sense then for this, her second studio album, which won her four Grammys including Album of the Year, to be the first altar in the "Taylor's Version" re-recording saga. These tales spin out like spools of fine gold, delicate in their delivery, eschewing catchy hooks to instead relish in simplicity. When it comes to things other than boys, though, Swift has always preferred to dip her toes in rather than get soaking wet; her transformation from country teen to pop queen was, after all, a decade in the making. 'Red' is filled with top notch tunes: the brilliantly snarky 'We Are Never Ever Getting Back Together' (Swift's first ever Billboard 100 Number One) and fizzing '22' are stone-cold smashers. In recent years, shes also become a music business game-changer: most notably for re-recording her first six albums in order to regain control of her masters, which has seen Swift release the Taylors Version of both Red and Fearless. It's the product of a prolific mind being forced to slow down, reflect, and create something completely new; A memoirist moved to experiment with a stream-of-consciousness novel. Its an effortless fusion that, like much of 1989, displays Swifts willingness to venture outside her comfort zone without much of a safety net, and test out an array of sonic experiments that feel both retro and of the moment. But for every purely excellent song off 1989 ("Out Of The Woods," "Clean") there's invariably a hollow foil track, the worst offenses, of course, being "Shake It Off" and "Bad Blood." Keefe, Swifts seventh album, Lover, lacks a unified sonic aesthetic, ostensibly from trying to be something to everyone. The album finds Swift living up to all of the praise she earned for her songwriting earlier in career. There are many more parallels to past albums, as revisiting life moments already explored in her previous songs creates yet another treasure map of topics for knowledgeable fans. Speak Now. And though "All Too Well" is of course her opus in this arena, Speak Now precedes it with an impressive display of her one-off storytelling powers. In short: 1989 is Taylor Swifts masterpiece. says the actress. 1,062 Likes, 2 Comments - BLKPIK IDI ( ) (@blackpink.india) on Instagram: "#TaylorSwift, BLACKPINK and #OliviaRodrigo are the only female artists ranking inside IFPI's Top 10" If the black-and-white cover art didn't let you know this one would be different, the first song she released off the album, "Look What You Made Me Do," says it all. No one would have blamed her for taking a well-deserved creative hiatus after that marathon of releases, but Taylor has proven herself to be an artist of momentum multiple times over. October 26, 2022. The tongue-in-cheek I Forgot That You Existed is a strutting reminder of Swifts skills as a lyricist. Entertainment Weekly may receive compensation for some links to products and services on this website. But before expanding on her honeymoon phase, we're treated to the tour-de-force track "Cruel Summer" (not a Bananarama cover), a buzzer-beating, angst-wielding anthem that's among the greatest pop songs her auteur has ever crafted. The gist: In each "battle," two Taylor Swift songs (from the same album or not) are pitted against each other for your judgment. The resulting 2021 album, Fearless (Taylor's Version), is an inspiring feat and first step forward after reclaiming the masters of her life's work. this link is to an external site that may or may not meet accessibility guidelines. It's her only album with skip-every-time songs (why on earth would you force a collab between Future and Ed Sheeran? There were TikTok teasers to reveal the track titles, but beyond that fans weren't given many clues about what to expect from the album. ", Big Machine/Republic Records/Republic Records/Big Machine. But this is Taylor we're talking about here, and the fact of the matter is, she's at her best at her most singular, when there's zero doubt that anyone but her could have been the creative mind behind the record. Released as a surprise sister album to folklore, it focused on Swift's exploration of lyrical storytelling based on tales and experiences that weren't her own. i. With a record thats a love letter to love itself. Between those extremes is a reliable lineup of ultra-catchy mega-hits that infected the cultural consciousness through Top 40 countdowns and, later, TikTok videos. this includes her entire catalogue/discography and eras debut to evermore. 1 as it best represents the evolution of Swift and her music. After spending the last two years re-recording some of those early releases, including Fearless and Red, Swift has returned with Midnights, her first album of new material since 2020s Evermore. 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