1989 (Taylor Swift album)

1989 is the fifth studio album by American singer-songwriter Taylor Swift, released on October 27, 2014, through Big Machine Records. Following the release of her previous studio album Red (2012), a cross-genre record experimenting with various country, pop and rock styles, Swift sought to create a cohesive album that moved away from her marketed country-oriented sound. She named the album 1989 after her birth year and took inspirations from 1980s synth-pop.

1989
Studio album by Taylor Swift
Released	October 27, 2014 (2014-10-27)
Recorded	2013–2014
Studio	Various Conway (Los Angeles) Jungle City (New York City) Lamby's House (Brooklyn) MXM (Stockholm) Pain in the Art (Nashville) Elevator Nobody (Göteborg) The Hideaway
Genre	Synth-pop
Length	48:41 (standard ed.)
Label	Big Machine
Producer	Max Martin Taylor Swift Jack Antonoff Nathan Chapman Imogen Heap Mattman & Robin Ali Payami Shellback Ryan Tedder Noel Zancanella
Taylor Swift chronology
Red (2012) 1989 (2014) Reputation (2017)
Singles from 1989
"Shake It Off" Released: August 18, 2014 "Blank Space" Released: November 10, 2014 "Style" Released: February 9, 2015 "Bad Blood" Released: May 17, 2015 "Wildest Dreams" Released: August 31, 2015 "Out of the Woods" Released: January 19, 2016 "New Romantics" Released: February 23, 2016

Her collaborations with Max Martin, Shellback, Ryan Tedder, and Jack Antonoff resulted in a cohesive synth-pop sound equipped with heavy synthesizers. While Swift described 1989 as her first "official" pop album,[1] some reviewers argued that Swift's previous country releases were already pop-oriented. The songs are primarily about broken romance, a familiar theme for Swift. However, they portray lighthearted perspectives towards failed relationships, departing from Swift's previous antagonistic attitude.

Critical reception of the album was generally positive; the synth-pop production polarized reviewers, but Swift's songwriting received mostly favorable responses. Various publications included the album in their year-end and decade-end lists. At the 58th Grammy Awards in 2016, 1989 won Album of the Year and Best Pop Vocal Album, making Swift the first female solo artist to win Album of the Year twice.

Seven songs served as singles from 1989, including three Billboard Hot 100 number-one singles: "Shake It Off", "Blank Space", and "Bad Blood". The album spent 11 atop the US Billboard 200, received 9× Platinum certifications from the Recording Industry Association of America (RIAA), and has sold 6.215 million copies in the US. It also peaked at number one in several markets including Australia, Canada, and the UK, and has sold over 10 million copies worldwide. The album's corresponding concert tour, the 1989 World Tour, ran from May to December 2015 and grossed over $250 million, becoming the highest-grossing of 2015.

Background

Taylor Swift released her fourth studio album Red in October 2012.[2] Contemporary critics noted Red's musical experimentation transcending the country sound of Swift's previous releases, incorporating various pop and rock styles. The collaborations with renowned Swedish pop producers Max Martin and Shellback introduced straightforward pop hooks and new genres including electronic and dubstep to Swift's repertoire.[3][4][5][6] Swift and her label at the time, Big Machine, promoted Red as a country album; songs from Red impacted country radio and Swift made multiple appearances at country music awards shows;[7] the album's associated world tour, running from March 2013 to June 2014, was the highest-grossing country tour upon completion.[8] Some reviewers, including AllMusic's Stephen Thomas Erlewine[9] and Sputnikmusic's Channing Freeman,[10] disagreed and called Red a definite pop album.

Having been known as "America's Sweetheart" thanks to her wholesome and down-to-earth image,[11] Swift saw her reputation blemished from her history of romantic relationships with a series of high-profile celebrities. Her relationship with English singer Harry Styles during promotion of Red was particularly subject to constant tabloid gossip.[12] She disliked that the media portrayed her as a "serial-dater", feeling that it undermined her professional works, and became more reticent to discuss her personal life in public.[13] Most of Swift's lyrical inspirations during conception of the album came from her journal detailing her personal life, which had been a staple in her songwriting process.[14] In addition, a new inspiration this time was her relocation to New York City in March 2014, which gave Swift a sense of freedom to embark on new ideas.[15][14] Swift also took inspirations from the media scrutiny on her image, which prompted her to write satirical songs in addition to her traditional fairytale-like fictions.[16][17]

Recording and production

Swift began songwriting for her fifth studio album in mid-2013, when she was touring in support of Red.[18] She aimed to recruit a coherent production team of four to five personnel that she "always wanted to work with, or loved working with".[19] Speaking to the Associated Press in October 2013, she suggested that she could work again with Max Martin and Shellback, whom she described as "absolute dream collaborators" because they would take her ideas in a different direction, which challenged her as a songwriter.[18]

For Red's follow-up, Swift sought to create a "blatant pop" record, departing from the country/pop experimentation as she believed that "if you chase two rabbits, you lose them both".[20] To this end, Swift was much inspired by 1980s synth-pop; she viewed the 1980s as an experimental period that embraced "endless possibilities" when artists abandoned the generic "drums-guitar-bass-whatever" song structure and experimented with stripped-down synthesizers, drum pads, and overlapped vocals.[14] She took inspirations from the works of artists from the period, such as Peter Gabriel and Annie Lennox, to make a synth-pop record that could convey her thoughts without obscured by heavy instrumentation.[16] Swift and Martin served as executive producers; this was the first time Swift assumed total control over artistic direction of her album.[19] Scott Borchetta, president of Swift's then-label Big Machine, was initially reluctant towards Swift's decision.[21] He failed to persuade Swift to record "three country songs",[21] and ultimately accepted that Big Machine would not promote the new songs to country radio.[22] Martin and Shellback produced seven out of 13 tracks for the album's standard edition.[23]

Another key figure in the album's production team include Jack Antonoff, with whom Swift had worked on the new wave-influenced song "Sweeter than Fiction" for the soundtrack of One Chance (2013).[24] Antonoff co-wrote and co-produced two tracks on the standard edition.[23] The first of which, "I Wish You Would", stemmed from Antonoff's experimental sampling of snare drum instrumentation on Fine Young Cannibals' 1988 single "She Drives Me Crazy", one of their mutual favorite songs. Antonoff played his sample to Swift on an iPhone and subsequently sent it to her to re-record.[14] For the other, "Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane,[25] and she sent him back a voice memo containing the lyrics roughly 30 minutes later.[20] The song was Swift's first to write the lyrics on an existing instrumental.[26] Antonoff produced one more track for the album's deluxe edition, "You Are in Love".[19]

Swift contacted Ryan Tedder, whom she had always wanted to work with, through a smartphone voice memo.[27] He co-produced two songs—"Welcome to New York" and "I Know Places".[23] For the latter, Swift scheduled a meeting day with Tedder at the studio, and the recording process finalized the following day.[27] Tedder spoke of Swift's work ethic and perfectionism on Time: "Ninety-five times out of 100, if I get a track to where we're happy with it, the artist will say, 'That’s amazing.' It’s very rare to hear, 'Nope, that’s not right.' But the artists I've worked with who are the most successful are the ones who'll tell me to my face, 'No, you're wrong,' two or three times in a row. And she [Swift] did."[28] For "Clean", Swift approached English producer Imogen Heap in London after having written the song's lyrics and melody. Heap helped complete the track by playing instruments on it, and the two finished recording after two takes within one day at Heap's studio.[19] Nathan Chapman, Swift's longtime collaborator, co-produced the track "This Love".[29] Recording sessions took place at Conway Studios in Los Angeles, Jungle City Studios in New York, Lamby's House Studios in Brooklyn, MXM Studios in Stockholm, Pain in the Art Studio in Nashville, Studio Elevator Nobody in Göteborg, and The Hideaway Studio.[upper-alpha 1] The whole album was mastered by Tom Coyne within two days at Sterling Sound Studio in New York City.[19][23] Swift finalized the record upon completing the Asian leg of the Red Tour in mid-2014.[30]

Music and lyrics

Overview

The standard edition of 1989 is composed of 13 tracks, and the deluxe edition includes three extra original songs.[31] The album uses heavy synthesizers, programmed percussion, and processed background vocals.[32] Sasha Geffen from Consequence of Sound noted that the album incorporates hip hop-influenced beats and 1980s-styled basslines,[33] while Jon Caramanica writing for The New York Times found that 1989 stayed away from the hip hop/R&B crossover trends of her contemporaries and managed to embrace music of the mid-1980s.[29] Reviewers including The A.V. Club's Marah Eakin[34] and USA Today's Elysa Gardner[35] argued that even though Swift declared to move from country to pop on 1989, Swift had always been more pop-oriented even on her earlier songs.

The lyrics of 1989 are primarily about Swift's recurring themes of the emotions and reflections ensued from past romantic relationships.[32][36][37] However, 1989 showcased a maturity in Swift's perspectives; Rolling Stone observed that the album was Swift's first to not villainize her ex-lovers, but instead express "wistful and nostalgic" viewpoints on broken romance.[20] Pitchfork's Vrinda Jagota summarized 1989 as a "fully-realized fantasy of self-reliance, confidence, and ensuing pleasure", where Swift ceased to dramatize failed relationships and learned to celebrate the moment.[38] The album liner notes, which include a one-sentence message for each of the 13 songs, collectively tell a story of a girl through a tumbled relationship, who ultimately found that "She lost him but she found herself and somehow that was everything."[39] Swift explained her shift in attitude to Rolling Stone: "Different phases of your life have different levels of deep, traumatizing heartbreak. And in this period of my life, my heart was not irreparably broken. So it's not as boy-centric of an album, because my life hasn't been boycentric."[20]

Songs

The opening track, "Welcome to New York", was inspired by Swift's feelings when she first moved into New York City.[14] The song incorporates pulsing synthesizers,[40] and finds Swift embracing her newfound freedom.[29] "Blank Space", set over a minimal hip hop-influenced beat,[34] satirizes the media's perception of Swift as a promiscuous woman who dates male celebrities only for her songwriting material.[29][41] Swift targeted the song at the scrutiny on her image, "Every few years the media finds something that they unanimously feel is annoying about me. Me, my character, the way I live my life, the way I talk, the way I react when I win stuff."[42] The composition of "Style", a funk-flavored track,[43] took inspirations from "funky electronic music" artists such as Daft Punk.[19] The lyrics detail an unhealthy relationship and contain a reference to the American actor James Dean in the refrain.[33][44]

"Out of the Woods" features a graphic imagery of a car accident surgery requiring "20 stitches in a hospital room".[36][45] Swift said that the track was inspired by a relationship of hers that evoked constant anxiety because of its fragility: "every day was a struggle. Forget making plans for life – we were just trying to make it to next week."[20][46] She picked it as a favorite from 1989 because it "best represents" the album.[47] "All You Had to Do Was Stay" laments a past relationship and originated from Swift's dream of desparately shouting "Stay" to an ex-lover against her will.[48] "Shake It Off", sharing a loosely similar sentiment with "Blank Space", sees Swift expressing disinterest with her detractors and their negative remarks on her image.[49] The track incorporates a subtle saxophone line in its instrumentation.[50]

The bubblegum pop-infused number "I Wish You Would" uses heavy synthesizers, pulsing snare drums, guitars, and layered vocals.[29][51][52] Swift said that "Bad Blood", a track that incorporates heavy, stomping drums,[41] is about betrayal by an unnamed female peer;[20] various publications speculated the song to be about Katy Perry, with whom Swift was being involved in a heavily publicized feud.[53] "Wildest Dreams" speaks of a dangerous affair with an apparently untrustworthy man and incorporates a sultry, dramatic atmosphere accompanied by string instruments.[19][43][54] On "How You Get the Girl", a bubblegum pop track featuring guitar strums over a heavy disco-styled beat,[51][55] Swift hints at her desire to reunite with her ex-lover.[43] "This Love" is a soft rock-flavored electropop ballad that, according to Jon Caramanica, could be mistaken as "a concession to country" because of the production by Swift's longtime co-producer Nathan Chapman.[29][40][41]

Swift said that the standard edition's penultimate track "I Know Places", which expresses her desire to preserve her unstable relationship, serves as a loose sequel to "Out of the Woods".[46] Using metaphors of foxes running away from hunters to convey Swift and her lover's hideaway from scrutiny,[45][56] the song is accompanied by dark, intense drum and bass-influenced beats.[54] On "Clean", an understated soft rock-influenced number,[40] Swift details her struggles to escape from a toxic yet addictive relationship, finding herself "finally clean" after a destructive yet cleansing torrential storm.[56][57] "Wonderland", the first of the three bonus songs on the deluxe edition, uses allusions to the fantasy Alice's Adventures in Wonderland to describe a relationship tumbling down the "rabbit hole".[58] The ballad "You Are in Love" finds Swift talking about an ideal relationship from another woman's perspective.[51][59] The final song's title, "New Romantics", is a namesake of the cultural movement in the late 1970s and early 1980s.[58] Evoking strong 1980s synth-pop sound,[60] the song sees Swift reigniting her hopes and energy after the heartbreaks she had endured.[38]

Release and promotion

In August 2014, Swift teased the album's release through her social media accounts.[61] On August 18, Swift confirmed via a live stream aired by Yahoo! / ABC News that her fifth studio album, 1989, would be released on October 27;[62] she also unveiled the covert artwork, which is a Polaroid picture with the words "T. S. 1989" written underneath.[1] Following the live stream, Swift announced that she would distribute a total of 1989 "SwiftStakes" (a wordplay of sweepstakes) to her fans, as part of a competition.[1] The winners would earn tickets to Swift's future concert shows or 1989-related merchandise.[63] She also selected a number of fans based on their engagement on social media and invited them to her properties or hotel rooms for secret album-listening sessions, called "The 1989 Secret Sessions".[64] The sessions took place in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September 2014. Video footage of the sessions were released on October 16, a few days before the album's release.[65]

Swift on The 1989 World Tour, the highest-grossing tour of 2015

On the day of the album's release on October 27, 2014, Yahoo! and iHeartRadio live-broadcast Swift's final "1989 Secret Session", which took place in Manhattan.[66] Both the standard and deluxe editions were released for digital download through retailer services globally,[67] except in the US and Canada, where the deluxe edition was released as a CD exclusively by Target.[27][68] Each CD copy of 1989 includes a packet of 13 Polaroid pictures, portraying Swift during the making of the album;[69] Polaroid Corporation's chief executive reported that this strategy helped promote the brand's ailing sales.[70] To bolster album sales, Swift had tie-ins with Subway, Keds, and Diet Coke.[71]

Prior to the album's release, in July 2014, Swift wrote an op-ed for The Wall Street Journal stressing the importance of albums to artists and fans, and expressing concern over predictions of "downfall of music sales and the irrelevancy of the album as an economic entity".[72] Within 1989's first week of release, Swift removed her entire catalog from Spotify, arguing that the streaming company's ad-supported, free service undermined the premium service which provides higher royalties for songwriters.[73] In a June 2015 open letter, Swift criticized Apple Music for not offering royalties to artists during the streaming service's free three-month trial period and stated that she would pull 1989 from the catalog.[74] The following day, Apple announced that it would pay artists during the free trial period; Swift thereafter agreed to keep 1989 on the streaming service.[75][76] She re-added her entire catalog to Spotify, Amazon Music, and Google Play in June 2017.[77] In August 2019, Swift announced plans to rerecord her first six studio albums, including 1989, in November 2020. The decision came after Swift expressed disapproval of Big Machine's transaction of her masters following her departure from the label in November 2018.[78]

Swift made appearances on television and in live shows to promote 1989. She performed at awards shows including the 2014 MTV Video Music Awards[79] and the 2014 American Music Awards, where she received the ceremony's inaugural Dick Clark Award for Excellence.[80] Her appearances on television talk shows included Jimmy Kimmel Live!,[81] Late Show with David Letterman,[82] and Good Morning America.[83] She was part of the line-ups for the 2014 iHeartRadio Music Festival on September 19 in Las Vegas[84] and CBS Radio's "We Can Survive" benefit concert on October 23 at the Hollywood Bowl.[85] She performed at the Victoria's Secret Fashion Show 2014 on December 2 in London,[86] and headlined the Jingle Ball Tour 2014, broadcast by KIIS-FM on December 5.[87]

Touring

See also: The 1989 World Tour

Swift announced the album's supporting world tour, The 1989 World Tour, on November 3, 2014 via her Twitter account.[88] The tour ran from May to December 2015, kicking off in Tokyo, Japan[89] and concluding in Melbourne, Australia.[90] It attracted attention for featuring a range of high-profile special guests, including singers and fashion models whom the media called Swift's "squad".[91][92][93] The 1989 World Tour was the highest-grosing tour of 2015, accumulating over $250 million in box office.[94] In North America alone, the tour grossed $199.4 million, surpassing the 2005 record held by The Rolling Stones ($162 million) to become the highest-grossing North American tour within a year.[95] The record was later broken by Swift's 2018 Reputation Stadium Tour.[96]

Singles

A remix of "Bad Blood" featuring rapper Kendrick Lamar (pictured) served as 1989's fourth single.

Swift premiered the lead single from 1989, "Shake It Off", and its accompanying music video through the August 18 live stream.[1][97] The single debuted atop the US Billboard Hot 100[98] and reached number one in Australia and Canada, and number two in the UK.[99] Swift released "Out of the Woods" and "Welcome to New York" through iTunes Stores as promotional singles on October 14 and 20, respectively.[100] "Blank Space" was released on November 10, 2014 as the album's second single.[101] It stayed at number one on the Billboard Hot 100 for seven consecutive weeks, marking Swift's longest run at the top.[102] "Style" followed on February 9, 2015, and reached number six in the US and Canada.[103][99]

A remix of "Bad Blood" featuring rapper Kendrick Lamar was released as 1989's fourth single on May 17, 2015.[104] The single reached number one in Australia, Canada, the US, and number four in the UK.[99] Its music video featured Swift's high-profile celebrity friends,[105] and won Video at the Year at the 2015 MTV Video Music Awards.[106] "Wildest Dreams" served as the follow-up single on August 31, 2015, and became 1989's fifth consecutive Billboard Hot 100 top-10 single, peaking at number five.[99][107] "Out of the Woods", previously a promotional single, was released to radio as the sixth single on January 19, 2016.[108] On February 17, Swift announced that she would release the three deluxe edition bonus tracks to iTunes Stores in the US as promotional singles one at a time,[109] and released the first of which, "Wonderland".[110] "You Are In Love" and "New Romantics" followed on February 24 and March 3, respectively.[111] The latter was released to US contemporary hit radio on February 23, 2016 as the seventh and final single from the album.[112]

Critical reception

Professional ratings

Aggregate scores
Source	Rating
Album of the Year	76/100[113]
AnyDecentMusic?	7.4/10[114]
Metacritic	76/100[115]
Review scores
Source	Rating
AllMusic	[116]
The A.V. Club	B+[34]
Cuepoint (Expert Witness)	A−[117]
The Daily Telegraph	[57]
The Guardian	[54]
Los Angeles Times	[43]
NME	7/10[40]
Pitchfork	7.7/10[38]
Rolling Stone	[55]
Spin	7/10[56]

1989 received generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 based on reviews from mainstream publications, the album received an average score of 76 based on 29 sources.[115] The majority of contemporary critics applauded Swift's maturity in lyrical perceptions and the album's 1980s synth-pop authenticity. However, some critics questioned whether the synth-pop production really worked for Swift.[118]

NME reviewer Matthew Horton considered Swift's transition to pop "a success" had the album excluded the "soft-rock mush" of "This Love" and "Clean".[40] The New York Times critic Jon Caramanica complimented Swift's avoidance of contemporary hip hop/R&B crossover trends, which distinguished her from other mainstream artists and made 1989 a possibly timeless album.[29] Writing for Rolling Stone, Rob Sheffield characterized the record as "deeply weird, feverishly emotional, wildly enthusiastic".[55] The A.V. Club's Marah Eakin praised Swift's maturity from overtly romantic struggles to more positive themes of accepting and celebrating the moment.[34] Neil McCormick of The Daily Telegraph commended the album's "[sharp] observation and emotional engagement" that contrasted with lyrics found in "commercialised pop".[57]

Slant Magazine's Annie Galvin observed that Swift maintained her clever songwriting that had distinguished her earlier releases, but was somewhat disappointed with the new musical style.[52] Alexis Petridis from The Guardian lauded Swift's artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop authenticity.[54] By contrast, Entertainment Weekly's Adam Markovitz was critical of the heavy synthesizers, which undermined Swift's conventionally vivid lyrics.[119] Andrew Unterberger from Spin similarly disliked the excessive synthesizers that leads to "lyrics occasionally getting buried", but was positive towards the 1980s synth-pop sonic coherence.[56] Shane Kimberlin writing for musicOMH deemed Swift's transition to pop on 1989 "not completely successful", but praised her lyrics for incorporating "enough heart and personality", which he found rare in the mainstream pop scene.[120]

Robert Christgau, while noticing the "treated hooks and doctored vocals" that had been prevalent in Swift's music, applauded her departure from country to experiment with new styles.[117] In a mixed review, AllMusic's Stephen Thomas Erlewine described the album as "a sparkling soundtrack to an aspirational lifestyle" that fails to transcend the "transient transparencies of modern pop".[116] Mikael Wood, in his review for the Los Angeles Times, found the album not really authentic, but acknowledged Swift's effort to recreate the music of an era she did not experience.[43] Pitchfork's Vrinda Jagota, in a 2019 retrospective review, found the album freed from the dramatic heartbreak on Swift's previous records, which shows that "everything doesn't always have to be so serious".[38]

Accolades

1989 was ranked as the best album of 2014 by Billboard,[121] Cosmopolitan,[122] and the Houston Chronicle.[123] The album was ranked within the top 10 in various publications, being placed at number three by Drowned in Sound,[124] number four by American Songwriter,[125] The Denver Post,[126] and Time,[127] number five by The Daily Telegraph,[128] number eight by Complex,[129] number nine by Newsday,[130] and number 10 by Rolling Stone[131] and The Philadelphia Inquirer.[132] On behalf of NPR, critic Ken Tucker ranked 1989 at number three on his list of 2014's best albums, comparing it to The Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967), as both records were "designed to be listened to from first cut to last."[133] Caramanica of The New York Times placed 1989 at number seven on his year-end list.[134] The album placed at number seven on Pazz & Jop, an annual mass critics' poll conducted by The Village Voice,[135] and was ranked at number 15 by The A.V. Club[136] and PopMatters,[137] number 31 by Pitchfork,[138] and number 32 by musicOMH.[139]

Publications included 1989 in their best-of lists of the 2010s decade, including Chorus.fm (2nd),[140] The A.V. Club (4th),[141] Slant Magazine (10th),[142] Billboard (19th),[143] Rolling Stone (19th),[144] Consequence of Sound (24th),[145] NME (31st),[146] Uproxx (34th),[147] Paste (50th),[148] Stereogum (69th),[149] and Cleveland.com (100th).[150] Consequence of Sound also ranked it the sixth best pop album of the 2010s.[151] Critic Chris Willman, writing for Variety, picked 1989 as his favorite album of the 2010s decade.[152] The album placed at number 89 on The Guardian's list of the 100 Best Albums of the 21st Century in 2019.[153] In terms of audience reception, 1989 positioned at number 44 on Pitchfork's readers' poll for the 2010s decade.[154]

1989 won Favorite Pop/Rock Album at the 2015 American Music Awards,[155] Album of the Year (Western) at the 2015 Japan Gold Disc Awards,[156] and Album of the Year at the 2016 iHeartRadio Music Awards.[157] It also earned nominations for Best International Pop/Rock Album at the 2015 Echo Music Prize,[158] International Album of the Year at the 2015 Juno Awards,[159] and Best International Album at the Los Premios 40 Principales 2015.[160] At the 58th Grammy Awards in 2016, the album won Album of the Year and Best Pop Vocal Album.[161] Swift became the first female solo artist to win Album of the Year twice—her first win was for Fearless (2008) in 2010.[162]

Commercial performance

1989 was released amidst a decline of traditional album sales because of the emergence of digital download and streaming platforms.[163] Swift's two last studio albums, Speak Now (2010) and Red (2012), each exceeded one million copies within one week, establishing Swift as one of the best-selling album artists in the digital era.[164] Given the music industry's climate and Swift's decision to eschew her characteristic country roots that had cultivated a sizable fan base, sales performance of 1989 was subject to considerable speculation among industry experts.[164][165] One week prior to the release, Rolling Stone reported that US retailers predicted the album to sell from 600,000 to 750,000 copies within its debut week.[163] Exceeding expectations, 1989 debuted atop the US Billboard 200 with first-week sales of 1.287 million copies, according to data compiled by Nielsen SoundScan for the chart dated November 15, 2014. Swift became the first artist to have three million-selling albums within the first week of release, and 1989 immediately became the only album released in 2014 to sell one million copies.[166] Billboard attributed the album's overwhelming success to Swift's interactions with fans via social media, tie-ins with large companies, and withdrawal from free streaming services.[165]

1989 topped the Billboard 200 for 11 non-consecutive weeks, becoming the fourth album since 2000 to spend more than 10 weeks at number one, following Swift's Fearless (2008–09), Adele's 21 (2011–12), and the soundtrack Frozen (2014).[167] It spent its full first year of release, or 52 weeks, in the top 10 of the Billboard 200, the fifth album to do so.[168] The Recording Industry Association of America (RIAA) certified the album 9× Platinum, which denotes nine million album-equivalent units.[169] With 6.215 million copies sold as of January 2020, the album was the third highest-selling album of the 2010s decade in the US.[170] In Canada, 1989 debuted atop the album chart and was 2014's best-selling album in the country, with sales of 314,000 units.[171][172] It received 6× Platinum certifications by Music Canada (MC) for surpassing 480,000 units in shipments.[173] The album was the fifth best-selling album of the 2010s decade in Canada, with sales of 542,000 copies.[174]

1989 debuted at number one on the UK Albums Chart with first-week sales of 90,000 units, the fastest-selling album by a female artist in 2014 in the UK.[175] It has sold 1.25 million copies and earned 4× Platinum certifications from the British Phonographic Industry (BPI).[176] The album reached number one on record charts of various European and Oceanic countries, including the Netherlands, Ireland, Norway, Australia, and New Zealand.[177] It reached number three on the Japanese Oricon chart and earned a Platinum certification by the Recording Industry Association of Japan (RIAJ).[178][179] It became one of the best-selling digital albums in China, crossing one million sales units as of August 2019.[180] According to the International Federation of the Phonographic Industry (IFPI), 1989 was the second-best selling album of 2014 and the third best-selling album of 2015, and had sold 10.1 million copies worldwide by the end of 2016.[181]

Retrospective commentary and impact

See also: 1989 (Ryan Adams album)

Rock singer Ryan Adams (pictured) released his track-by-track cover of 1989 in September 2015.

1989 effectively transformed Swift's image from a country singer-songwriter to a worldwide pop phenomenon thanks to its commercial success.[28][182] The album was the second to spawn five or more US top-10 singles in the 2010s decade, following Katy Perry's Teenage Dream (2010).[183] Consequence of Sound's Michael Roffman compared 1989 to Michael Jackson's 1982 album Thriller, as both albums yielded a string of successful hits that became "part of our American life".[145] Pitchfork's Chris Molanphy found the album's long-standing weeks atop the Billboard 200 remarkable, especially when Swift was actively against streaming services like Spotify, which emerged as a new component in calculating chart positions in the digital era.[184]

While Swift's announcement to shed her country roots initially diversified audiences, Kelsey McKinney from Vox noted that Swift succeeded because she had signified her change with her previous album, Red (2012), while still keeping her authenticity.[185] In the views of Time's Jack Dickey, Swift could maintain her sizable fan base notwithstanding musical shifts because she "introduced to her fans an earnestness and craft, a form of romanticism, that seems to be in short supply elsewhere in society", which resulted in enduring loyalty and support.[28] Writing for New York magazine, Sasha Geffen attributed the album's commercial success to Swift's songwriting: in contrast to mainstream pop songs' themes of opulence and fame, 1989 relates to listeners about emotional hardship and breakups, "a reply to the aspirations of other pop songs, but aspirational all the same". Geffen further noted the album's reminiscence to 1990s pop, which was a refreshing move compared to her peers' hip hop/R&B crossover trends and helped the album "sell like it was the '90s again".[186] Jay Willis from GQ similarly lauded Swift's avoidance of hip hop crossovers, which made 1989 a timeless album that brought out the most of Swift's talents.[187]

Contemporary artists cited 1989 as an influence including American singer-songwriter Conan Gray[188] and British pop band The Vamps, who took inspirations from 1989 while composing their album Wake Up (2015).[189] Jennifer Kaytin Robinson cited 1989 as an inspiration for her 2019 directorial debut Someone Great; she recalled that the album, specifically the track "Clean", was a source of emotional support to help her recover from her breakup.[190] American rock singer-songwriter Ryan Adams released his track-by-track cover album of 1989 in September 2015. He frequently listened to the album, which he found to be a "joyful" record, to cope with his broken marriage in late 2014.[191] On his rendition, Adams incorporated stripped-down, acoustic instruments of indie rock and country genres, which contrasts with the original's electronic production.[192][193] Swift was delighted with Adams's cover, saying to him "what you did with my album was like actors changing emphasis".[194]

Track listing

Standard edition[195]

No.	Title	Writer(s)	Producer(s)	Length
1.	"Welcome to New York"	Taylor Swift Ryan Tedder	Swift Tedder Noel Zancanella	3:32
2.	"Blank Space"	Swift Max Martin Shellback	Martin Shellback	3:51
3.	"Style"	Swift Martin Shellback Ali Payami	Martin Shellback Payami	3:51
4.	"Out of the Woods"	Swift Jack Antonoff	Swift Antonoff Martin^[a]	3:55
5.	"All You Had to Do Was Stay"	Swift Martin	Martin Shellback Mattman & Robin	3:13
6.	"Shake It Off"	Swift Martin Shellback	Martin Shellback	3:39
7.	"I Wish You Would"	Swift Antonoff	Swift Antonoff Martin^[a] Greg Kurstin^[b]	3:27
8.	"Bad Blood"	Swift Martin Shellback	Martin Shellback	3:31
9.	"Wildest Dreams"	Swift Martin Shellback	Martin Shellback	3:40
10.	"How You Get the Girl"	Swift Martin Shellback	Martin Shellback	4:07
11.	"This Love"	Swift	Swift Nathan Chapman	4:10
12.	"I Know Places"	Swift Tedder	Swift Tedder Zancanella	3:15
13.	"Clean"	Swift Imogen Heap	Swift Heap	4:30
Total length:				48:41

Deluxe edition tracks (digital download)[68]

No.	Title	Writer(s)	Producers	Length
14.	"Wonderland"	Swift Martin Shellback	Martin Shellback	4:05
15.	"You Are in Love"	Swift Antonoff	Swift Antonoff Martin^[a]	4:27
16.	"New Romantics"	Swift Martin Shellback	Martin Shellback	3:50
Total length:				60:23

Target deluxe edition bonus tracks[68]

No.	Title	Writer(s)	Producers	Length
14.	"Wonderland"	Swift Martin Shellback	Martin Shellback	4:05
15.	"You Are in Love"	Swift Antonoff	Swift Antonoff Martin^[a]	4:27
16.	"New Romantics"	Swift Martin Shellback	Martin Shellback	3:50
17.	"I Know Places" (piano/vocal voice memo)	Swift Tedder		3:36
18.	"I Wish You Would" (track/vocal voice memo)	Swift Antonoff		1:47
19.	"Blank Space" (guitar/vocal voice memo)	Swift Martin Shellback		2:11
Total length:				68:37

Japanese deluxe version bonus DVD[196]

No.	Title	Director(s)	Length
1.	"Shake It Off" (music video)	Mark Romanek	4:02
2.	"Shake It Off – The Cheerleaders Scene"		3:52
3.	"Shake It Off – The Ballerinas Scene"		3:44
4.	"Shake It Off – The Modern Dancers Scene"		4:01
5.	"Shake It Off – The Animators Scene"		3:58
6.	"Shake It Off – The Twerkers & Finger Tutting Scene"		4:00
7.	"Shake It Off – The Ribbon Dancers Scene"		3:40
8.	"Shake It Off – The Band, the Fans & the Extras Scene"		4:13
Total length:			31:30

Notes

• ^a signifies a vocal producer
• ^b signifies an additional producer

Personnel

Credits are adapted from liner notes of 1989.[23]

Studio locations

Recording sessions took place at: Conway Studios (Los Angeles, California) MXM Studios (Stockholm, Sweden) Jungle City Studios (New York City, New York) Lamby's House Studios (Brooklyn, New York) Studio Elevator Nobody (Göteborg, Sweden) Pain in The Art Studio (Nashville, Tennessee) The Hideaway Studio[upper-alpha 1]

Mixed at MixStar Studios (Virginia Beach, Virginia) Mastered at Sterling Sound (New York City, New York)

Production

Taylor Swift – writer, producer, executive producer, creative director Max Martin – vocal production, producer, writer, programming, executive producer Shellback – producer, writer, programming Imogen Heap – producer, writer, recording programming Jack Antonoff – writer, producer Ryan Tedder – producer, recording, writer, additional programming Ali Payami – writer, producer, programming Noel Zancanella – producer, additional programming Nathan Chapman – producer, recording Jason Campbell – production coordinator Mattman & Robin – producer, programming Greg Kurstin – additional production Michael Ilbert – recording

Smith Carlson – recording Laura Sisk – recording Sam Holland – recording Matthew Tryba – assistant recording Eric Eylands – assistant recording Brendan Morawski – assistant recording Cory Bice – assistant recording Serban Ghenea – mixing John Hanes – engineered for mix Peter Carlsson – Pro Tools engineer Tom Coyne – mastering Sarah Barlow – photography Stephen Schofield – photography Josh & Bethany Newman – art direction Austin Hale and Amy Fucci – design Joseph Cassell – wardrobe stylist

Instruments

Taylor Swift – heartbeat, claps, shouts, acoustic guitar, lead vocals, background vocals Max Martin – keyboard, piano, claps, shouts, background vocals Shellback – acoustic guitar, electric guitar, bass, keyboard, percussion, shouts, stomps, additional guitars, guitar, knees, noise, claps, drums, background vocals Imogen Heap – vibraphone, drums, mbira, percussion, keyboards, background vocals Jack Antonoff – acoustic guitar, electric guitar, keyboards, bass, drums, background vocals Ryan Tedder – piano, juno, acoustic guitar, electric guitar, drum programming, additional synth, background vocals

Niklas Ljungfelt – guitar Jonas Thander – saxophone Jonas Lindeborg – trumpet Magnus Wiklund – trombone Ali Payami – keyboards Noel Zancanella – drum programming, synthesizer, bass, additional synth Nathan Chapman – electric guitar, bass, keyboards, drums Mattman & Robin – drums, guitar, bass, keyboard, percussion Greg Kurstin – keyboards

Charts

Weekly charts

Chart (2014–2015)	Peak position
Australian Albums (ARIA)[177]	1
Austrian Albums (Ö3 Austria)[197]	5
Belgian Albums (Ultratop Flanders)[198]	1
Belgian Albums (Ultratop Wallonia)[199]	7
Brazilian Albums (ABPD)[200]	3
Canadian Albums (Billboard)[201]	1
Czech Albums (ČNS IFPI)[202]	17
Danish Albums (Hitlisten)[203]	2
Dutch Albums (Album Top 100)[204]	1
Finnish Albums (Suomen virallinen lista)[205]	10
French Albums (SNEP)[206]	9
German Albums (Offizielle Top 100)[207]	4
Greek Albums (IFPI)[208]	11
Hungarian Albums (MAHASZ)[209]	22
Irish Albums (IRMA)[210]	1
Italian Albums (FIMI)[211]	5
Japanese Album (Oricon)[178]	3
South Korean International Albums (Gaon)[212]	2
Mexican Albums (AMPROFON)[213]	1
New Zealand Albums (RMNZ)[214]	1
Norwegian Albums (VG-lista)[215]	1
Polish Albums (ZPAV)[216]	17
Portuguese Albums (AFP)[217]	3
Scottish Albums (OCC)[218]	1
South African Albums (RISA)[219]	7
Spanish Albums (PROMUSICAE)[220]	4
Swedish Albums (Sverigetopplistan)[221]	23
Swiss Albums (Schweizer Hitparade)[222]	3
Swiss Albums (SNEP Romandy)[223]	1
UK Albums (OCC)[224]	1
US Billboard 200[225]	1

Year-end charts

Chart (2014) Position Australian Albums (ARIA)[226] 2 Belgian Albums (Ultratop Flanders)[227] 71 Belgian Albums (Ultratop Wallonia)[228] 198 Canadian Albums (Billboard)[229] 2 Dutch Albums (Album Top 100)[230] 82 French Albums (SNEP)[231] 160 German Albums (Offizielle Top 100)[232] 71 Irish Albums (IRMA)[233] 7 Japanese Albums (Oricon)[234] 34 Mexican Albums (AMPROFON)[235] 28 New Zealand Albums (RMNZ)[236] 3 Swiss Albums (Schweizer Hitparade)[237] 87 UK Albums (OCC)[238] 11 US Billboard 200[239] 3 Chart (2015) Position Australian Albums (ARIA)[240] 3 Austrian Albums (Ö3 Austria)[241] 47 Belgian Albums (Ultratop Flanders)[242] 33 Belgian Albums (Ultratop Wallonia)[243] 125 Canadian Albums (Billboard)[244] 1 Dutch Albums (Album Top 100)[245] 35 French Albums (SNEP)[246] 82 German Albums (Offizielle Top 100)[247] 56 Irish Albums (IRMA)[248] 7 Japanese Albums (Oricon)[249] 30 Mexican Albums (AMPROFON)[213] 20 New Zealand Albums (RMNZ)[250] 7 Spanish Albums (PROMUSICAE)[251] 56 Swiss Albums (Schweizer Hitparade)[252] 40 UK Albums (OCC)[253] 6 US Billboard 200[254] 1

Chart (2016) Position Australian Albums (ARIA)[255] 17 Belgian Albums (Ultratop Flanders)[256] 94 Canadian Albums (Billboard)[257] 17 New Zealand Albums (RMNZ)[258] 19 UK Albums (OCC)[259] 44 US Billboard 200[260] 17 Chart (2017) Position Australian Albums (ARIA)[261] 32 US Billboard 200[262] 101 Chart (2018) Position Australian Albums (ARIA)[263] 36 US Billboard 200[264] 82 Chart (2019) Position Australian Albums (ARIA)[265] 46 US Billboard 200[266] 116 Decade-end charts Chart (2010s) Position Australian Albums (ARIA)[267] 8 UK Albums (OCC)[268] 25 US Billboard 200[269] 2 All-time charts Chart Position Australian Albums (ARIA)[270] 5 New Zealand Albums (RMNZ)[271] 27 US Billboard 200[272] 64 US Billboard 200 (Women)[273] 5

Certifications and sales

Region	Certification	Certified units/sales
Argentina (CAPIF)[274]	Gold	20,000^^
Australia (ARIA)[275]	9× Platinum	630,000
Austria (IFPI Austria)[276]	3× Platinum	45,000^*
Brazil (Pro-Música Brasil)[277]	Platinum	40,000^*
Brazil (Pro-Música Brasil)[277] Digital sales	Gold	20,000^*
Canada (Music Canada)[173]	6× Platinum	542,000[upper-alpha 2]
Denmark (IFPI Denmark)[278]	Platinum	20,000
France (SNEP)[279]	Platinum	100,000
Germany (BVMI)[280]	Platinum	200,000
India (IMI)[281]	3× Platinum	90,000[upper-alpha 3]
Italy (FIMI)[282]	Gold	25,000^*
Japan (RIAJ)[179]	Platinum	268,183[upper-alpha 4]
Mexico (AMPROFON)[284]	3× Platinum+Gold	210,000^^
Netherlands (NVPI)[285]	Gold	20,000^^
New Zealand (RMNZ)[286]	3× Platinum	45,000^^
Poland (ZPAV)[287]	2× Platinum	40,000^*
Spain (PROMUSICAE)[288]	Gold	20,000
Sweden (GLF)[289]	Gold	20,000^^
Switzerland (IFPI Switzerland)[290]	Gold	10,000^^
United Kingdom (BPI)[291]	4× Platinum	1,250,000[upper-alpha 5]
United States (RIAA)[169]	9× Platinum	6,215,000[upper-alpha 6]
^*sales figures based on certification alone ^^shipments figures based on certification alone sales+streaming figures based on certification alone

Release history

Release formats for 1989

Region	Date	Edition(s)	Format(s)	Label	Ref.
Canada	October 27, 2014	Standard	CD digital download	Big Machine Universal	[292]
United States				Big Machine	[195]
Canada		Deluxe	CD		[68]
United States
Germany		Standard deluxe	CD digital download	Big Machine Universal	[31]
United Kingdom				Big Machine Virgin EMI	[293]
Various	Digital download		Big Machine	[67]
Australia	October 28, 2014	Standard	CD	Universal	[294]
Japan	October 29, 2014	Deluxe	CD+DVD		[196]
Canada	December 9, 2014	Standard	Vinyl		[295]
United States				Big Machine	[296]
Turkey	December 10, 2014		CD		[297]
United States	December 15, 2014		Karaoke (digital download)		[298]
Mainland China	December 30, 2014	Deluxe	CD	Universal	[299]
Canada	March 3, 2015		Karaoke (digital download)	Big Machine	[300]
United States	April 14, 2015	Standard	Karaoke (CD+G/DVD)		[301]
Canada	May 14, 2015	Deluxe	Karaoke (CD+G)		[302]

See also

• List of best-selling albums of the 2010s in the United Kingdom
• List of best-selling albums by year in the United States
• List of best-selling albums in the United States of the Nielsen SoundScan era
• Lists of fastest-selling albums

References

Notes

1. The location of The Hideaway Studio, where "Clean" was recorded, is not indicated in the liner notes of 1989.[23]
2. Canadian sales figures for 1989 as of January 2020[174]
3. Indian sales figures for 1989 as of 2015, based on certification alone
4. Japanese sales figures for 1989 as of 2015[283]
5. UK sales figures for 1989 as of August 2019[176]
6. US sales figures for 1989 as of January 2020[170]

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279. "French album certifications – Taylor Swift – 1989" (in French). Syndicat National de l'Édition Phonographique. September 13, 2019. Retrieved September 14, 2019.
280. "Gold-/Platin-Datenbank (Taylor Swift; '1989')" (in German). Bundesverband Musikindustrie. Retrieved April 14, 2018.
281. Sen, Debarati S (November 10, 2015). "Taylor Swift's '1989' is certified triple platinum in India". The Times of India. Retrieved May 25, 2020.
282. "Italian album certifications – Taylor Swift – 1989" (in Italian). Federazione Industria Musicale Italiana. Retrieved November 20, 2017. Select "2017" in the "Anno" drop-down menu. Select "1989" in the "Filtra" field. Select "Album e Compilation" under "Sezione".
283. Accumulative sales figures for 1989 in Japan:
     "2014 Year-End Oricon" (in Japanese). Oricon. Archived from the original on July 12, 2018. Retrieved February 7, 2019.
     "2015 Year-End Oricon" (in Japanese). Oricon. Archived from the original on July 12, 2018.
284. "Certificaciones" (in Spanish). Asociación Mexicana de Productores de Fonogramas y Videogramas. Type Taylor Swift in the box under the ARTISTA column heading and 1989 in the box under TÍTULO
285. "Dutch album certifications – Taylor Swift – 1989" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Retrieved July 31, 2018. Enter 1989 in the "Artiest of titel" box.
286. "New Zealand album certifications – Taylor Swift – 1989". Recorded Music NZ. Retrieved November 16, 2018.
287. "Polish album certifications – Taylor Swift – 1989" (in Polish). Polish Society of the Phonographic Industry. December 15, 2015. Retrieved December 15, 2015.
288. "Spanish album certifications" (in Spanish). Productores de Música de España. Select Albums under "Chart", enter 2015 in the field "Year". Select 41 in the field "Semana". Click on "Search Charts".
289. "Veckolista Album, vecka 46, 2017 | Sverigetopplistan" (in Swedish). IFPI Sweden. Retrieved June 13, 2020. Scroll to position 50 to view certification.
290. "The Official Swiss Charts and Music Community: Awards (Taylor Swift; '1989')". IFPI Switzerland. Hung Medien. Retrieved September 5, 2014.
291. "British album certifications – Taylor Swift – 1989". British Phonographic Industry. Select albums in the Format field. Select Platinum in the Certification field. Type 1989 in the "Search BPI Awards" field and then press Enter.
292. 1989 releases in Canada:
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     "iTunes – Music – 1989 by Taylor Swift". iTunes Store (CA). Archived from the original on December 22, 2014.
293. 1989 releases in the UK:
     "1989 by Taylor Swift". iTunes Store (GB). Archived from the original on April 2, 2019. Retrieved February 8, 2019.
     "1989 (Deluxe) by Taylor Swift". iTunes Store (GB). Archived from the original on April 2, 2019. Retrieved February 8, 2019.
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294. "1989 by Taylor Swift". Sanity. Archived from the original on April 11, 2016.
295. "1989 (Vinyl): Taylor Swift: Amazon.ca: Music". Amazon.ca. Archived from the original on April 9, 2016.
296. "Taylor Swift: 1989 (Vinyl): Music". Amazon.com. Archived from the original on March 21, 2017.
297. "1989 [Licensee]" (in Turkish). D&R. Archived from the original on December 29, 2017.
298. "Taylor Swift Karaoke: 1989 by Taylor Swift". iTunes Store (US). Archived from the original on December 20, 2014.
299. "1989 by Taylor Swift (CD)" (in Chinese). Amazon.cn. Archived from the original on December 24, 2014.
300. "Taylor Swift Karaoke: 1989 (Deluxe Edition)". iTunes Store (CA). Archived from the original on August 24, 2015.
301. "Taylor Swift: Taylor Swift Karaoke: 1989 [CD+G/DVD Combo]: Music". Amazon.com. Archived from the original on July 24, 2015.
302. "1989 Karaoke (Limited Deluxe): Taylor Swift: Music". Amazon.ca. Archived from the original on December 8, 2015.

External links

• 1989 at Discogs (list of releases)