Ranking Every RED Song script

INTRO:

Red is one of my favorite Taylor Swift albums, and one of my favorite albums… ever. Granted, I’m still expanding my musical palate, but through it all, Red has stuck with me since my first listen, and Taylor’s Version has cemented its place in my heart as the song that reminds me that it’s okay to be a sad bitch every now and then. I’d honestly say it’s my third favorite Taylor album, with Reputation in second and Folklore and Evermore tied for first.

Now I eventually wanna make a video all about Red as an album, similar to my Folklore video. However, Evermore kinda got the priority there, and there’s a chance that one could also take over a year in ruining my life. As such, I decided to try and make smaller, more manageable videos in the meantime regarding Taylor’s music, starting with ranking all the songs off Red, Taylor’s Version.

I still stand by the fact there are no bad Taylor Swift songs. Even her worst songs are still strong enough to be considered everyone else’s “That was really good!” Yes, Even “ME!” Taylor just kinda exists in her own storytelling league, and as such, even the lower tiers in this video are still good in their own right, with F Tier being the only “We are in bordering-on-mediocre territory.”

Of course, this is also subjective. These are all my personal feelings, so if I love a song you hate, or vice versa, please don’t skin me alive. I know that’s hard to ask for on the internet, but… hey, I tried. Also, there are songs I won’t be considering: namely the acoustic version of “State of Grace” given I find it hard to rank alternate versions of songs with the others, and “Ronan.”

“Ronan” specifically is a very emotional song about the loss of a child. An actual child by the name of Ronan Thompson who died of cancer back in 2011. Given the subject matter, I felt it was too important to include in a list largely meant for fun, but it’s beautiful, honest, and definitely worth a listen, especially given all its proceeds when it came out as a single went to charity to help fight cancer.

“I've recently completed the re-recording of my 4th album, Red. It's really exceeded my expectations in so many ways, and one of those ways is that I thought it would be appropriate to add "Ronan" to this album. Red was an album of heartbreak and healing, of rage and rawness, of tragedy and trauma, and of the loss of an imagined future alongside someone. I wrote "Ronan" while I was making Red and discovered your story as you so honestly and devastatingly told it. My genuine hope is that you'll agree with me that this song should be included on this album. As my co-writer and the rightful owner of this story in its entirety, your opinion and approval of this idea really matters to me, and I'll honor your wishes here.” (Taylor Swift’s letter to Maya Thompson, Ronan’s mother)

Now without further ado, let’s cry.

STATE OF GRACE (B Tier):

A superior opening track, “State of Grace” perfectly sets the stage for Red both thematically and sonically. I utterly adore the long instrumental intro, and the production with Taylor’s vocals create a sweeping atmosphere that, as Chats and Reacts mentioned, sounds like she’s shouting about this epic love from the mountaintops.

“State of Grace” is all about the highs and lows of a red love: one that’s passionate, but inevitably combusts and burns out. My personal favorite part of the song is the vocalizing during the choruses, which I feel really helps add to the song’s grandeur. Honestly, this feels like it’d make a great song for the start of a movie. Or an anime intro, I’d be down for that too.

Overall, a great opening track, but one that doesn’t commit the cardinal sin of being better than most of the following songs. B Tier.

RED (S Tier):

There is no better title track. While “State of Grace” sets the stage for love in general, “Red” is specifically about the love that Taylor spends most of this album describing. The use of colors helps take this messy, turbulent relationship and translates it into something simple that can resonate with most people. Seriously, this use of colors is genius.

As an album, “Red” is a bit all over the place, just like Taylor during this relationship. The title track could pass as country for the most part, but also has elements of pop through structure and production (That “Re-e-e-ed” gets me every time). This unexpected fusion is what makes the album so unique.

The imagery of the song “Red” is likewise masterful, and combined with great vocals and production, you’ve got a near-perfect title track that ensures that once you make it past the opener, you’re staying. Insert “Stay Stay Stay” joke here. Anyhow, S Tier.

TREACHEROUS (A Tier):

“Treacherous” deserves more love. As a song all about knowing the pitfalls of a new relationship and diving in headfirst anyway, “Treacherous” is brutally honest about the perilous pursuit of love. It’s also the first relatively slower song on the album, which is a nice break from the last two tracks without losing that passionate-yet-heartbroken energy.

I also love how the song picks up towards the end in concert with the narrator’s emotions swelling. We love it when the music conveys the story. This is also a far more story-heavy song, which does a great job establishing the depths of the story we’ve embarked upon.

I wouldn’t say “Treacherous” is god-tier, but it’s close. A Tier.

I KNEW YOU WERE TROUBLE (D Tier):

And it’s here that the album, certain it’s got you in its treacherous grips, really starts having fun and experimenting. And admittedly, it’s one of the weaker songs for me. Don’t get me wrong, by Red’s standards even the weakest songs are still really good (that goes for Taylor in general, to be honest), but compared to the rest of the tracklist, “I Knew You Were Trouble” doesn’t stack up quite as much for me.

It is admittedly iconic as a fully pop song. Taylor’s use of the conventional pop structure that gets stuck in your head and goes mainstream, combined with her expert storytelling, is a recipe that could enslave all of mankind under her thumb. And the song does help convey the story going on with another relationship intriguing Taylor, with pretty common emotions about how a love you thought was perfect can leave you unexpectedly winded.

That all said, it’s not one I have on repeat, but still one I respect. I’ll bop to it if it comes on, and it’s never a skip. D Tier.

ALL TOO WELL (S Tier):

The iconic, legendary, heartbreaking “All Too Well.” Do I even need to explain this one. It’s quite possibly Taylor’s most beloved song, and her second best track 5. Yeah, I’m a “my tears ricochet” stan, what’re you gonna do?

But this is where Taylor’s storytelling kicks it into high gear. An emotional ballad about a passionate love that ended in tragedy, with Taylor pouring her heart out. It’s honest, it’s raw, and it’s painful, but equally cathartic. Songs like this are what have earned Taylor her spot as a beloved musician and storyteller. Even if it’s an abridged version, it’s still a perfectly paced story. S Tier.

22 (E Tier):

Yeah, this album’s definitely her least cohesive. Going from “All Too Well” right to “22” feels jarring, even when you know the reason why they’re ordered this way. And again, this is a more pop-focused song meant to infect you with earworms.

Personally, this is also not my vibe. What can I say, I just love me some sad bitch hours. “22” isn’t bad, but it’s not one I particularly enjoy, not even as much as “I Knew You Were Trouble.” But that said, it’s interesting how Taylor’s singles are her weakest songs. There are many reasons why I believe that to be, but I have to respect this one specifically because of its position in our culture of being foisted upon everyone on their 22nd birthday. E Tier.

I ALMOST DO (B Tier):

This one’s definitely grown on me. “I Almost Do” returns to that classic sad bitch energy, all about wondering about what your ex is up to and whether they miss you too. Taylor’s willingness to be honest about the uglier, messier parts of relationships, including breakups, is absolutely endearing, and no doubt has helped many through the ends of their own fairy tales.

For what it is, I do love the story behind “I Almost Do,” even if it’s not one of my favorites. I will say too many people sleep on it though. This seems to be a curse for most of her Track 7s, and I don’t know what to do with this revelation. Anyhow, B Tier.

WE ARE NEVER EVER GETTING BACK TOGETHER (C Tier):

Probably one of my favorites of the poppier Red songs, mostly because of its savagery. After countless times of breaking up and getting back together, it feels good to finally cut off a love that isn’t working and announcing, “I deserve better, now get lost.” Even the simplicity is a showcase of Taylor adapting her writing to make it more palatable for broader audiences. If you’re telling me you never put this on after a breakup between fits of crying and devouring ice cream, you’re lying.

Also, gotta love the order of going from “I Almost Do,” to “We’re Never Ever Getting Back Together,” to “Stay Stay Stay.” The constant back and forth, in the relationship, in the story, and even in the genre and tone of the songs, is superior. C Tier.

STAY STAY STAY (F Tier):

Oh god, here we go. Okay, real talk, I have never liked “Stay Stay Stay.” Yes, it’s cute, but it’s so jarring compared to the rest of Red, and it’s so unironically sweet that it kinda makes me sick. I wouldn’t say it’s bad, not at all. I can see why someone would love this one. But it’s definitely not my cup of tea. Far too many sugars.

That said, I do appreciate, again, the honesty in messier parts of a relationship. Yes, even throwing phones across the room. People do stupid shit, especially when they’re young - it’s been known to happen. Also, I can’t listen to this song without it sounding like standard royalty-free Kevin MacLeoud music found in early 2010s YouTube vlogs… and now I miss the simpler times. Anyway, F Tier, congrats.

THE LAST TIME (A Tier):

Why y’all sleeping on the greats? These darker, more somber vibes of “The Last Time” are definitely my jam, and the collab with Gary Lightbody was excellent. I love his voice, and it helps with the dual perspective of this dwindling relationship.

Again, cathartic. Demanding to be prioritized in your relationship after being treated like shit. And the way the song builds with frustration into that guitar solo, followed by the bridge where both parties have run out of energy? So. Fucking. GOOD. This is the last time I’m telling y’all to put some respect on “The Last Time’s” name. A Tier.

HOLY GROUND (B Tier):

Another grower. I actually wasn’t a fan of “Holy Ground” at first, but now it’s become one of my favorites. To me, it feels way more up my alley in its wholesomeness than “Stay Stay Stay.” Maybe it’s because “Holy Ground” has this twinge of sadness to it that I find irresistable, but hey, I just like to be sad for some reason.

But if I want an upbeat track that still makes me emotional, “Holy Ground” is my jam. It’s exactly what I wanted, and I actually kinda like that it took a while for me that realize that. Aging like a fine wine, perhaps? Or maybe that’s just adulthood. That said, I don’t think it’s one of the best, but it’s one I do love. B Tier.

SAD BEAUTIFUL TRAGIC (C Tier):

I know this one’s a favorite, and I know I said I love sad bitch hours. But y’all… I don’t know what it is, but “Sad Beautiful Tragic” has never been that bitch for me. It’s just never been able to fully capture my attention. When I do make myself listen, I do find myself enjoying the story, but it feels like it’s missing something.

I’ll probably be murdered for this one, but honestly… light me up. C Tier.

THE LUCKY ONE (S Tier):

A classic in every sense of the word. “The Lucky One” is unique in that it isn’t about a relationship at all. It’s actually about the story of a celebrity that the narrator looked up to, who found themselves being unraveled by the dark side of fame and Hollywood, eventually going into hiding to enjoy a private life away from prying eyes. And holy shit, the way Taylor predicted her fall from grace and eventual seclusion is actually mind blowing.

The story is what really sells this one for me. Everyone can listen to it and immediately get onboard, and it makes you think twice about the way you might talk about someone you perceive as privileged and living a life of luxury; not all that glitters is gold. S Tier, easily.

EVERYTHING HAS CHANGED (C Tier):

Again, a beloved song that I’ve never really loved. I do enjoy “Everything Has Changed,” but again it doesn’t feel like anything special to me, at least in regards to Taylor’s catalog. I do like the inclusion of Ed Sheeren, though. Their voices together? Heavenly. Feels like my eardrums are getting a massage.

It’s also nice after so much sad shit to have Taylor gushing about the excitement of a new relationship, especially towards the end of the standard album. C Tier.

STARLIGHT (B Tier):

Definitely my favorite of the pop songs, at least with classic Red. “Starlight” actually captures the sound of the stars shimmering and shooting through the sky, and it’s the first association of love with the stars as well. We love foreshadowing of golden true love that shines like daylight - or I guess in this case, starlight.

“Starlight” actually follows the story of one of her ex’s grandparents, Robert and Ethel Kennedy, all about their own wholesome love that inspired her to write this song. A timeless tale that sets the standard for a legendary romance - one that the men on this album have routinely failed to live up to, but one Taylor is continually on the hunt for. An excellent penultimate track. B Tier.

BEGIN AGAIN (B tier):

Not one of my favorite closing tracks, but one that’s perfect for Red. After getting your heart broken and your soul eviscerated, it’s scary to even think about trying to love again. But “Begin Again” shows that not only is it possible to find that love again, but to find something even better. You can always begin again.

A sweet, cozy song to end a tumultuous album, and exactly what the story called for. And just remember, if someone makes you feel like shit, you deserve better. You deserve someone who laughs at all your worst jokes and vibes with your weirdness; not someone who tries to change you. B Tier.

THE MOMENT I KNEW (S Tier):

The first and best of the bonus tracks. Let’s be real, this one’s fucking legendary. It’s practically etched in stone in Swifty lore that a certain someone didn’t bother showing up to her 21st birthday, leaving her crying in the bathroom after trying so hard to keep up a smile. It’s the moment you realize that even though this is the person you love the most, to them, you’re always on the backburner.

The story? Excellent. The imagery? Everything. The vocals? EMOTIONAL. This is a perfect song, end of story. S Tier.

COME BACK… BE HERE (A Tier):

Ah, the epitome of long-distance relationships. Real talk, I’ve sent this one to friends in their own long-distance relationships, and it hit them like a semi-truck. This is the power of Swift’s storytelling.

“Come Back Be Here” is beautiful in its honesty of wanting to be by your lover’s side. The pain in knowing you’re worlds apart, and that sometimes, something that could otherwise flourish can find itself struggling to survive just by life’s circumstances. A Tier.

GIRL AT HOME (C Tier):

Damn, “Girl At Home” really got a makeover, didn’t she? And honestly, as much as I acknowledge the club-style production on Taylor’s Version suits the song well, and gives it a stronger identity… I still prefer the original. Look, I don’t know, there’s something wholesome about the basic production and her earlier vocals. Maybe it’s my love for sad bitch hours, and I just find the old one more sincere.

Either way, both songs are great, especially as a reminder that men ain’t shit. But still, not one of my favorites. C Tier.

BETTER MAN (A Tier):

And now we begin the vault tracks. And lowkey… all but one of the vault tracks are lowkey the best songs on the entire album. “Better Man” was given to Little Big Town, and their version was fine, but Taylor’s Version? I’m deceased.

Another brutally honest song about cutting off a relationship you wish could’ve worked, but knowing you did the right thing for yourself. Great vocals, excellent production, just all around superb. A Tier.

NOTHING NEW (S Tier):

“The Lucky One” but sadder. Lowkey, Taylor really needs to do more features with women artists, especially ones like this where they get whole sections. Phoebe Bridgers’ inclusion is excellent, and her raspy but soothing vocals perfectly suit this song’s reflective, poignant vibe.

It’s even more honest about Taylor’s fears of her fans turning on her once they get bored. It’s actually kinda scary how she wrote about people driving her out only a few years before the world made that fear a reality. It’s perfect for my sad bitch hours where I won’t actually be drinking, because I dislike alcohol. But I will still be crying. S Tier.

BABE (A Tier):

We love a good “fuck you” to the cheaters of the world. Jack Antonoff’s production really helps Taylor’s Version stand out from Sugarland’s, and both have their own strengths. But goddamn, Taylor’s Version is so angry, but also so clearly sad in the hurt of betrayal, that it’s one of the most cathartic songs off the album. And it’s even a bit jazzy! We love to see it. A Tier.

MESSAGE IN A BOTTLE (C Tier):

Probably the weakest of the vault tracks, but even then, GODDAMN, this is a good bop. Out of all the poppy Red songs, this one’s probably my second favorite right behind “Starlight.” Which is weird, cuz I’m normally not this gung-ho about the cutesy songs, but there’s something about this bubbly, dreamy production that makes me perfectly visualize the message in a bottle bobbing through the ocean to the one you love. Again, no match for the rest of the vault tracks, but definitely one worth blasting. C Tier.

I BET YOU THINK ABOUT ME (S Tier):

Aside from the 10 minute version of “All Too Well,” this is the best vault track. Hands down. Holy fuck. Red as an album is so goddamn cathartic, and the country vibes of this one really help in establishing that the narrator has come to love themselves and their own heritage, compared to the snobs that used to shame her for it.

It’s just so set on that feeling you have after a breakup where you’re in awe you could ever fall for someone who would treat you so poorly. It’s a top-tier story that’s hella relatable, accompanied by an excellent production, and some nice backing vocals by Chris Stapleton. God I adore this one.

And yes, she did deserve that music video. The contrasting of red and white? Taylor corrupting the youths? Wearing converse to your ex’s wedding before triumphantly marching off? It’s everything. S Tier.

FOREVER WINTER (A Tier):

The mental health bop. “Forever Winter” is another example of Taylor’s honesty about the uglier parts of life, including trying to help someone with mental illness, or just bad coping strategies. However you read it, it’s an emotional and honest ballad about wanting to be there for someone who can’t be there for themselves.

Also, great production. It feels weirdly Christmas-y, and the brass instruments present are giving me life. As much as I despise the season of winter, “Forever Winter” is ironically one of my favorites. A Tier.

RUN (A Tier):

The superior Ed Sheeren collab. Sorry, not sorry. This one really showcases the beauty of Taylor and Ed’s harmonies. These two were just meant to sing together, and it’s so wholesome, whether it’s about a forbidden love or just an unexpected friendship, where the both of you can be yourselves with each other and feel like the rest of the world doesn’t exist. A Tier.

THE VERY FIRST NIGHT (B Tier):

This one is so cute, oh my lord. I literally feel like I’m flying, soaring through the clouds when I hear this one. “The Very First Night” talks about the desire to back to the honeymoon phase of your relationship, but does so in a happy, upbeat way that’s incredibly welcome on such an emotionally exhausting album. Not one of my favorites, but fun. B Tier.

ALL TOO WELL (10 minute version) (S Tier):

She. Is. That. Bitch. The 10 minute version was well worth the wait, and honestly, the original feels incomplete without the mentions of burials, sacred prayers, and loving dads ready to beat the living shit out of the man who broke your heart.

I’m honestly impressed that this doesn’t feel like a 10 minute song. The structure is excellent, and you can really tell that it was only cut down because of this arbitrary feeling of “No one will listen to a 10 minute song.” Um, over 200 million listeners on Spotify and a community of sad bitches beg to differ.

This is, quite possibly, one of Taylor’s best written songs of all time, if not the best. Yes, I think this is at least equal with “my tears ricochet.” It took the raw vulnerability of the original “All Too Well” and cranked it up to 1300. S Tier. It is the definition of S Tier.

CONCLUSION & OUTRO:

So there ya go - my rankings of all the Red songs. It’s a bit all over the place, but that’s what makes it beautiful. It’s an era rife with vulnerability, delivered through Taylor’s expert storytelling, and it’s definitely a fan favorite era for a reason. I’m so happy I got to enjoy it through the re-release, and I can’t wait to experience the others through Taylor’s Version. Reputation, Taylor’s Version might actually rip my soul from my body and toss it into the ether.

Anyhow, if you enjoyed this video and would like to see more content like this from me, then be sure to subscribe and ring that bell for notifications because YouTube hates creators. And if you’d like to support myself and the channel, you can pledge your support over on Patreon, and/or check out my debut urban fantasy novel De Cineribus: From the Ashes wherever books are sold!

I’m the Unicorn of War, and I remember it all too well.