All Studio Albums by Taylor Swift Ranked
In assessing the 16 years of musical output since her professional debut, Taylor Swift has come to be regarded as one of the most-influential female recording artists of all-time—across nearly all genres of contemporary music. Constantly perpetuating a state of reinvention, it’s hard to put a finger on what exactly she is. A country singer? A pop star? Whatever she is, one thing is for certain: Taylor Swift has shaped the hearts and minds of millions across the world for more than a decade. Her popularity hasn’t shown that slightest sign of fading, and it’s doubtful it ever will. If anything, her popularity is increasing every year. Even in the midst of the digital-age, Taylor Swift has sold an estimated 114 million units (physical media) worldwide, an incredible feat for any artist.
At the age of 32 years old, she continues to explore and guide popular music in a new and interesting direction every time she has another release. That being said, this is The Noble Joker’s ranking of every Taylor Swift album (so far).
9. Reputation - 2017
Creating a follow up to 1989 would prove to be a challenge. Choosing to work with synth-keyboards and drum pads again, she created another pop album, but this time it’s somewhat sour and unappealingly aggressive. Sadly, we saw Swift transition into a bitter and conventional state of mind. But how could you blame her?— becoming a stadium sellout act almost instantly following the release of 1989 would bring any artist to the brink of collapse (I’m sure the media didn’t help). Nevertheless, this album just simply disappoints.
Not to say this record is a complete mess; there are a few good songs found here. “Delicate” and “Call It What You Want” are tracks that have grown on me in a positive way. “Getaway Car” sees power-pop in its finest form, decorated with interesting melodies and spectacular production by Jack Antonoff (P.S. — the bridge is better than the rest of the song). The closing track, “New Years Day” is a good reminder that she can still lay down a great number—and undoubtably the best song on the album. Despite the select few good songs, it doesn’t make up for the rest of the cringe-fest. Songs like “End Game” and “Look What You Made Me Do” make your skin crawl. The absence of any strong narratives is blatantly obvious—neglecting one of the essential ingredients of a great record. This album aims high, but ultimately fails to capture the authenticity which made Swift an icon. The only thing it accomplished was leaving an ugly stain on her discography.
8. Taylor Swift (Debut) - 2006
The release of Taylor Swift signified a new era in popular music— maybe not initially, but it would be the debut of ‘Miss Americana’ who would dominate the charts in the coming years.
Its innocent nature is what drew so many to her music in the first place. Before Swift, there wasn’t a young female country singer on the scene who wrote songs that a younger audience could connect to. Songs of ‘real love’ coming from a 17 year old is something that wasn’t common on the Billboard Top 100 in the mid 2000s. “Tim McGraw,” “White Horse” and “Teardrops On My Guitar” became fan favorites with her new fanbase. “Our Song,” being the best of the bunch, is a simple tune that introduces us to the ‘storyteller’ that she has become.
The lp is far from her best, but the substantial importance of the record cannot be denied. There’s just something magical about Taylor being her true self on this album— and that authenticity really gives the album a lift. Everything she accomplished on her debut would eventually compliment her artistry later on down the road.
7. Speak Now - 2010
After the world-wide success of 2008’s Fearless, a follow up was released two years later on October 25, 2010. Similar to its predecessor, Speak Now continues to amaze. One noticeable distinction between the two albums is the change in narration. Gone is the “big sister” we had heard in Fearless—she now writes in the moment, based on recollections of contradictions and confessions. Equipped with pianos and electric guitars, a new iteration of country was once again taking place on this lp.
Continuing her ‘diary’ style of lyrical composition, she penned some great poetic songs like “Dear John,” “Back To December” and "The Story Of Us.” The adored epic, “Enchanted” is one of the finest memoirs of her career—providing a compelling tale that focuses upon insecurities and isolation…until ‘the one’ arrives. All the songs on the record posses a certain level of charm, but a few tracks I could do without. “Never Grow Up” and “Mean” don’t account for anything that hasn’t been sung already on the album. A great thing we can appreciate from this album is the absence of any sort of dis-track to Kanye West following his remarks at the 2009 VMAs.
This album holds a nostalgic and charming essence more than offering any specific importance in her discography. The absence of any sort of ambitious attempt to “transcend” comes as a surprise after the triumphant and ambitious Fearless. Despite the commercial success of “Mine” and the lp itself, it doesn’t continue the momentum that Fearless had generated. Nevertheless, the record apprehends the transformation from a teenager to an adult.
6. Lover - 2019
It was a relief to know that Swift found her footing on this lp after the hideous and aggressive tonality of Reputation. The album couldn’t be any more different in spirit: an artist on the offensive during Reputation has returned to the role of an optimist. One aspect that didn’t change was her aspiration for playing with synths and drum pads. Fueled by the success of the ‘Reputation Stadium Tour,’ Swift returned to the studio with some new material that would become the music for Lover, released in 2019. This time around, the majority of the tracks were uplifting and affectionate. But underneath all the positivity and pride, there is a subtle unjust theme at play. Two examples of this can be seen in the pro-LGBTQ song “You Need to Calm Down” and “The Man”—which protests the institutional sexism in America.
The standout track: “Lover,” a ballad of what-ifs and wonder, is the strongest of her attempts to create an anthem for love. Now regarded as one of the greatest songs in her catalog, the 3/4 waltz has made appearances in many weddings and slow dances over the years…and rightfully so. Others like “Death By A Thousand Cuts” and “Cornelia Street” posses the same quality of craftsmanship that lifts her songwriting higher than most. But there are issues I do have with the album. First off, the track-list contains a few clunkers that don’t work within the framework of the lp. “I Think He Knows,” “London Boy” and “It’s Nice To Have A Friend” could have easily been left off the album; they simply don’t add anything noteworthy to the overall theme.
After three pop records in a row, Lover is a conclusive and optimistic end to another chapter in her career that some had found dismissive. Unfortunately, the global outbreak of COVID-19 canceled the upcoming tour to promote the songs from Lover—denying broader appreciation. The album is largely misunderstood as being another pop record, but in truth, it’s essentially a portrait of herself caught in the midst of another transitional phase.
5. Fearless - 2008
Where most artists struggle to compile great material for their sophomore record— Swift does not. Easily the definitive country album in her discography, this album captures what attracts millions to her music. Compelling narratives of going through the motions of young love captivated the hearts of teenage girls across the world. But this album also saw a breakthrough in numbers. Fearless sold 592,000 copies in the first week and gave Swift her first (of many) records to debut at number 1. Following the immediate success of her debut album in 2006, she went out and produced the most charming lp in her catalog.
The one song that encompasses the overall vibe of the album is “Fifteen.” The message of “watch your heart” and “there will be tears” was very appealing to a young audience. It’s a bit uncanny hearing this from a 18-year old, but the lyrics are exactly what young girls wanted to hear from a "big sister”— which Swift plays perfectly. Another thing teenage girls wanted to hear was the lead single off the album: “You Belong With Me.” A song that wields a great amount of anthemic energy, this tender sing-along will get even the ‘haters’ singing. Her distinctive storytelling style became a trademark on this lp; songs such as “Love Story” and “Hey Stephen” gave Swift a boost up the charts of 2009 with apparent ease.
The mainstream appeal and abstract instrumentation is something different than most 2000s country records—with most of the songs sticking to the tin/ brush sound of Nashville. It’s also probably safe to say that the tracks on this lp have a pop sensibility contributing to the country flavor. The humble versatility of her songs on Fearless is what made Swift the songsmith she’s know for today.
4. Evermore - 2020
Most ‘Swifies’ on the morning of December 10th probably experienced a sudden, unexpected flash of excitement after Taylor Swift (for the second time in a row) announced the release of her 9th studio album (scheduled for midnight of the same day). Only five months after Folklore was released in July, many including myself, were skeptical if this “drop announcement” was really true or not. Writing, recording and releasing a new album in that amount of time seemed unlikely. But despite my suspicion—she delivered another great record in similar vein to her sister album, Folklore.
There are a lot of parallels between Folklore and Evermore. For every song on Folklore, a near twin is found on Evermore. You wouldn’t be alone if you experienced deja-vu after listening to “dorthea.” The apparent resemblance to “betty” suggests that maybe we didn’t get the full story on some of Folklore’s narratives and characters. It would be safe to say that we got a bit of ‘closure’ with this album. I initially thought that after Folklore, Swift would take some time to reinvent herself into something else, but after listening to this album, it occurred to me that she wasn’t finished with her Folklore characters yet. As you’ve probably noticed by now, it’s hard to write about Evermore without mentioning this record. More and more, Evermore appears to serve as a fitting “closer”to Swift’s most interesting chapter yet.
3. 1989 - 2014
Shouldn’t 1.3 million physical copies sold within the first week of release begin to make a case for significance of this album in Swift’s cannon? Arguably her most universally loved album to date, this record is cherished by fans and critics alike. It’s essentially the record that launched her into super-stardom and cemented her as a world-class act.
If Red was a large step in a new direction, then 1989 was an assured ascendency into that genre. Even from the very beginning, she had a vision for the record and how it would sound. “I woke up,” she said, “and I [decided the album is] called 1989. I’d been making ’80s synth pop, so I thought I’m just gonna do that. I’m calling it a pop record. I’m not listening to anyone at my label. I’m starting tomorrow.” Ready to embark upon this endeavor with fervor, she brought in the Swedish songwriter/ producer Max Martin (the man responsible for the sound of the mid- 2010s), Ryan Tedder, Imogen Heap and Jack Antonoff to co-write the album with. Together, they produced one of the most recognizable albums of the 21st century (the Polaroid cover, just as iconic). “Shake It Off,” “Blank Space” and “Bad Blood” were all top 5 charting tracks in the US. Let’s face it— when you think of Taylor Swift’s music, it’s often these songs that will come to mind.
The first track on the lp, “Welcome To New York,” was the first injection of pop we ever got from Taylor Swift—and what a way to start off a new era. “This Love,” “Style” and “Wildest Dreams” also contribute to the atmosphere and excitement of the lp. But there is one track from the album that, for me, sticks out as the best: “Clean.” This monumental album closer depicted something other than love or heartbreak (common themes found throughout her work). The song tells a story of an individual who no longer misses or has any sour feelings towards her ex— hence finally being “clean.” This may possibly be the first sign of Swift growing out of the love & loss mold that she’s been comfortable with for years.
The remarkable aspect of Red and 1989 is that she was able to change artistically without losing the trademark element of her storytelling abilities. Now in a new era, it looked like she could venture into any genre she wanted, and it would still be Taylor Swift. Surprisingly, this record received warm welcomes upon release—opposed to cries of ‘Judas’ and other objections/rejections artists have endured in the past. The immediate success and popularity of the album left many with high hopes and expectations for her next lp….
2. Red - 2012
The only album that possesses every style of her career (at least, the styles up to that point)—country, pop and dubstep…all make frequent appearances across the record. This album is truly one of a kind; its diverse nature holds a perfect blend of genres without misleading the listener. Of course, an artist forging a change of style was not anything new when this record was released in 2012. But in Swift’s case, writing mainstream power-pop songs could have been viewed as an act of desperation from a young artist. Few artists could get away with such a transition without backlash from critics and fans. But after three country albums, I imagine Swift was itching to expand her horizons with the new palette of sounds that she would debut on this record.
And, who would have thought that experimenting with ‘80s synths and drum pads would be the path she would take?
With this new approach to songwriting, her music found a new audience with songs such as “I Knew You Were Trouble,” “We Are Never Getting Back Together” and “22.” The dubstep bass-drop of “I Knew You Were Trouble” was the defining moment on the album when it became clear that Swift aimed to become something other than another country singer. But the familiar country/pop hybrid can still be heard on the lp: “Begin Again,” “State Of Grace” and “Treacherous” being the best of the country tunes.
I would have to be halfwitted to not mention Red (Taylor’s Version), released on November 12, 2021. In the weeks leading up to its midnight “drop,” Red (Taylor’s Version) had a transcendent effect upon most listeners. You know an artist has some real power when you can generate 303 million streams within the first week of release…on an album where the songs were almost a decade old! But there really is only one reason for this madness: the track “All Too Well (10 Minute Version)” would be included on the album. If you don’t know, this song is hailed as her greatest artistic statement and ranked number 5 on Rolling Stone Magazine’s “The 100 Best Songs of the 2010s.” She once stated in an interview that there was an extended version of the track somewhere, but that remained a myth until the announcement/introduction of Red (Taylor’s Version). To make the anticipation of the song’s release easier to understand, it could be analogized to The Beatles releasing a 10-minute version of “A Day In The Life.” And when we heard it for the first time on November 12th, it did not disappoint; in fact, it exceeded all expectations and beyond. Taylor Swift now holds the record for the longest number 1 charting song, coming in at 10:13.
This re-release reminded us of how important this record was for her, and for us as well. The songs on the record proved a pivotal point in her career…and, indicated that change was on the horizon. The next time we heard from her, it would be a very different Taylor than what we were used to.
1. Folklore - 2020
Five months into the pandemic lockdown, Swift dropped a brand new album unannounced that kept ‘Swifties’ and curious listeners (as myself) occupied while in isolation. During the pandemic, artists had a choice to continue working or to take some time off. Thankfully, she chose to be productive by writing and recording songs that reflected on the times and her new musical endeavors. In many ways, the album was the soundtrack for 2020. With 615,000 physical copies sold within the first week of release, it was clear Taylor made something special. With a global pandemic spreading, riots for racial equality raging in America and political clashes intensifying, it just makes it all the better knowing this was released when the world needed her music the most.
First off, recording a 15 track lp in the midst of a global shutdown was likely complicated, and keeping the project in complete secrecy, a challenging proposition. Collaborating with the National’s Aaron Dessner and longtime colleague Jack Antonoff, the album finds itself wandering in a yet another new direction for Swift. It was a sigh of relief after my first listen—to conclude that she finally departed her ‘artificial pop’ era. The folk-indie influence adds a much needed twist to her songwriting that hasn’t been seen before in her previous work. Narratives based on personal accounts have always been found in her storytelling, but the inclusion of themes such as adulthood and maturing as an artist on this record are subjects which she’d neglected to explore in the past. It was apparent something had changed since we last heard from her. Despite the overwhelming acceptance of this new “lo-fi” sound, a number of fans didn’t like the direction she was taking (a number of them felt the same upon 1989’s release). But Taylor was growing up, and so was her music.
As usual, this album bears an abundance of songs that become instant classics in her catalog. “the 1,” “cardigan,” '“exile” and '“betty” are a few of the tracks that occupied the Billboard Top 100 for days. But the best track of the lp belongs to “august,” found on side-3 (for you vinyl owners out there). The song depicts a summer love that ends in heartbreak. She uses her most powerful storytelling tool by reflecting on the past without distorting the facts. A story written utilizing a first-person account but also slipping into the third-person’s senses and point of view is something to appreciate. The skillset of playing around with intricate narration is found all over the record, including “the last great american dynasty” and the bonus-track '“the lakes” (which unfortunately didn’t make the cut).
Finding a new path to take after 2019’s Lover seemed unlikely, but once again she made the right artistic choice by reinventing herself once again. This era proved to everyone that Taylor Swift still had something to say—even if it wasn’t '“Shake It Off.”