Taylor Swift softly said, "I'm doing good, I'm on some new stuff," at the start of "Folklore," and seldom have truer words been expressed more often than in the case of the woman who manages to be the best and most prolific lyricist in pop. Consider that, since her last tour, Swift has released six albums, four of which were brand-new, and two of which delved into her back catalog and demonstrated that she is a far more prolific songwriter than we previously thought. Her signature, possibly also her compulsion, and undeniably our delight is new material.
The chronic listenability of a "Midnight" means that sometimes you need a particular occasion to force oneself to stop and think: What do "Speak Now," "1989," "Reputation," et al. have to say to me today? Fortunately, Swift's birthday, when she turns 33 on December 13, is just such an occasion. A fantastic opportunity to compile a list of the top songs is on a festive occasion. It's true that coming up with a 13-song playlist—or even 33 songs—in celebration of her place on the mortal odometer would have been acceptable and perhaps even fortunate. We ultimately decided to draw the line at 50 tracks since, considering her discography of more than 225 songs, it is difficult to narrow even the best list down to that number.
You can be sure that if your favorite Swift song isn't on this highly arbitrary, critical list of the 50 finest songs, it's most likely in the unsaid 51st or 52nd position. And be aware that the winds may have changed on any given day, and we could have included "Shake It Off" or "Love Story" on the list. For the time being, there were simply too many incredible deep cuts to take into account while the greater singles dominated the canon. I didn't think it was premature to include certain songs from "Midnights," which I had just named the album of the year, on this "Eras"-spanning list. For it, are you prepared? (There is a loud boom.)
1 You Belong With Me
Although it is as perpetually adolescent as anything Swift has ever written, there is no need to grow out of it. Nothing in adult life compares to friend-zoning in high school, if at all. Who among us ever stops hoping that the person who can't take his eyes off the cheerleader—whether for us that person is the boss, peers, a disinterested husband, or a seemingly uncaring deity—will see us for who we really are? We persevered until the very end, boats against the river being borne back into the stands.
But really, has there been anything in the past 15 years that is more monstrously hooky than this? Swift brilliantly sets up the return to the chorus to end all 21st-century anthemic choruses, even in the portions of the song that seem like they shouldn't work, like the way she adds extra, melodically strange lines to the second verse ("What you doing with a lady like that?" A song about remembering to take your glasses off so the kid next door realizes you're a cutie contains all of human yearning and ambition.
2 All Too Well (10-Minute Version)
When "All Too Well" was extended to more than twice its original length for the "Taylor's Version" album, its details, and memories transcended any sense of linear narrative. In its original, abbreviated form on the "Red" album, the song already seemed like a fluid story. In her perspective, the song's narrative is almost like a "Groundhog Day"-style meditation on meditative suffering, in which the couple will simply keep breaking up indefinitely. (Well, if the sister ever returned the stupid scarf, it might end, but she doesn't need their resolution at this point.) It becomes much more calming than it is bitter, almost like a chant.
Swifties need to step up their game after successfully persuading Swift to record a 10-minute draught of the song thanks to their tenacious, cult-like commitment to the song. You're aware that someplace in a drawer are at least another ten minutes' worth of rough verses for "All Too Well." We need this song to be performed on its whole in Gregorian style, right? Requests for "All Too Well (20-Minute Version)" are now being accepted. (Could you possibly envision the joy exploding?)
3 Getaway Car
On her "Reputation" album, Swift experimented with a variety of new sounds, fusing hip-hop-influenced wordplay with harsher electronic sounds provided by Max Martin and Shellback, who were making their final appearance on a Swift album as of yet. But Swift wrote "Getaway Car," the album's most conventional-sounding song and ultimately the greatest, with her other go-to collaborator at the time, Jack Antonoff. "Getaway Car" is very different from the remainder of the album, which generally alternates between a defensive stance against social expectations and an embracing of secret love: sung by a Bonnie who is ready to leave her, it is an open letter of purpose to move on.
This song by Taylor Swift could be the toughest she's ever written; it almost seems like a taunt directed at an upcoming ex. She is describing the dynamic of how you can occasionally require a new flirtation to get you out of a bad relationship, and how that can take the form of serial: She instructs the presumably naive man, "Don't pretend it's such a mystery / Think about the place where you first met me / Ridin' in a getaway car."
The chorus melody's eerie tone gives this upbeat song a genuinely sorrowful feeling as well, giving the impression that the singer is not as tough as she seems and that she and others' escape patterns are doomed to be repeated again and time again. Anyhow, if you were to take this literally and interpret it as referring to her history, the public record demonstrates that she has definitely moved past it. Since the happy ending is inevitable, one of her most intriguing songs is this oddly lovely fusion of arena rock and hardboiled, fatalist noir.
4 Style
In this intensely sensual song, Swift's boyfriend is dressed like James Dean, at least in her head. Swift, Taylor Although there isn't a duet for him to hear her side of view, she does confirm that he like her "good girl faith and a tight little skirt," and there is no reason to think that she is misrepresenting what makes him tick. Truthfully, Swift has never created a song that is less profound, and profundity has never been less important. For the opening riff, Max Martin and Shellback set aside some of their computer programming skills in favor of an R&B electric guitar riff that hooks you in right away. The song reminds me of taking an open-top drive once the light-disco-martial beat starts.
5 Mirrorball
The Velvet Underground once sang, "I'll be your mirror," and this is Swift's response, "Let me count the ways." For want of a more apt term, the Antonoff-cowritten "Folklore" tune truly qualifies as "shimmering." Although she seems quite pliant about the idea inside the bounds of the wonderful music, Swift definitely doesn't want to imply that acting as a pure reflector of the world's different wants and needs is a good thing. This song has been compared to the Sundays and other pretty guitar-based indie pop acts from the past. It contains a lulling electric guitar and an absent drumbeat that makes you keep waiting impatiently for the song to pick up speed. Everything is great, even the humor.
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