"Change". Taylor's account of her and her band's struggle to be noticed — with a note of confident triumph. Taylor's dad convinced her that the song could be applied to other people and events — and it's a fitting closer to "Fearless". "...and we'll sing hallelujah."
"Long Live". The melody came to Taylor while she was touring for "Fearless" hearing the screaming crowds.
"All Too Well", certainly the Grammy performance at least. The emotional intensity she conveys simply by singing and playing the piano works incredibly well. The album version is equally good, although doesn't touch the Grammys performance.
Not technically by Taylor Swift, but this parody of "You Belong With Me", sung from the perspective of Mass Effect's Tali. Cute, yet somehow saddening...
The bridge to "Treacherous".
Two headlights shine through the sleepless night And I will get you, and get you alone Your name has echoed through my mind And I just think you should, think you should know That nothing safe is worth the drive and I would Follow you, follow you home... I'll follow you, follow you home...
"I Knew You Were Trouble" Live. Watch videos of it on Youtube; the entire crowd are absolutely roaring the chorus at the top of their lungs, and the final note is ridculously high and held for two counts of eight. Many critics consider it the highlight of her Red Tour.
The majority of 1989, but particularly "Welcome to New York" which has the elements of 80s pop music and is practically giddy, the beautifully haunting "Blank Space", "Clean" and "Style".
"Shake It Off," a self-aware Take That! to critics while being an incredible Ear Worm tune.
"Better Than Revenge": The only thing more shocking than the idea of Taylor Swift doing a pop-punk song is that it's actually a good pop-punk song.
From her very first album, "Picture to Burn". The ultimate revenge fantasy song, especially with the music video.
"Style" is simply incredible, from start to finish. With its serene, borderline eerie instrumentals, vivid imagery in the lyrics, and Taylor's powerful vocals, it's easily one of the most impressive tracks off of the very impressive 1989. The bridge is especially great, with Taylor's voice conveying so much emotion as she sings, "Just take me home!"
"Look What You Made Me Do", the first single released from her sixth album, is a significant aesthetic departure from her previous work, taking on a synth-rock style reminiscent of St. Vincent or Peaches. She absolutely rocks it, with a contagious intensity and energy. Especially important is the context of said single. Released after tensions and criticism over her career had reached an all-time high, with Twitter trends such as #TaylorSwiftIsOverParty #TaylorSwiftIsDead and #RIPTaylor, and going so far as to have a mural in Melbourne, Australia depicting her death, she released a song which, in four days, broke 13 records on Spotify, iTunes, and YouTube. Talk about a comeback.
"...Ready For It?" is sexy, catchy, and fun — and, if you look closely at the lyrics, a gloriously tongue-in-cheek response to how the media paints her relationships (and celebrity relationships in general).
The bouncy, catchy, and sweet "Gorgeous" proves that the old Taylor is, in fact, not dead, given its resemblance to songs from 1989. That just makes it even better.
And following this trend is "Call It What You Want", a beautiful love song which — if you listen closely to the lyrics — makes a few references to her life and detractors ("No one's heard from me for months", anyone?).
Although "King of My Heart" is quite different, even compared to tracks off of 1989, it's still wonderful. The joyful, free-spirited way she sings the chorus, and the lyrics that show she's head-over-heels for this guy, make for a lovely listening experience.
"New Year's Day" has been called reputation's "All Too Well," and with good reason. The sincere emotions and quiet tenderness of the lyrics prove that, sometimes, the simple route is the best one.