1989 (Taylor Swift album)

From Wikipedia for FEVERv2
Jump to navigation Jump to search

1989 is the fifth studio album by American singer-songwriter Taylor Swift, released on October 27, 2014, through Big Machine Records. 1989 (Taylor Swift album)_sentence_0

Following the release of her genre-spanning fourth studio album Red (2012), noted for pop hooks and electronic production, the media questioned the validity of Swift's status as a country artist. 1989 (Taylor Swift album)_sentence_1

Inspired by 1980s synth-pop to create a record that shifted her sound and image from country-oriented to mainstream pop, Swift enlisted Max Martin as co-executive producer, and titled her fifth album after her birth year as a symbolic rebirth of her image and artistry. 1989 (Taylor Swift album)_sentence_2

The album's synth-pop sound is characterized by heavy synthesizers, programmed drums, and processed backing vocals. 1989 (Taylor Swift album)_sentence_3

Swift's songs were inspired primarily by her personal relationships, which had been a trademark of her songwriting. 1989 (Taylor Swift album)_sentence_4

The songs on 1989 express lighthearted perspectives towards failed romance, departing from her previous antagonistic attitude. 1989 (Taylor Swift album)_sentence_5

To bolster sales, Swift and Big Machine marketed the album extensively through product endorsements, television and radio appearances, and social media engagement. 1989 (Taylor Swift album)_sentence_6

They pulled 1989 from free streaming services such as Spotify, prompting an industry discourse on the impact of streaming on music sales. 1989 (Taylor Swift album)_sentence_7

After the album's release, Swift embarked on the 1989 World Tour, which was the highest-grossing tour of 2015. 1989 (Taylor Swift album)_sentence_8

The album was supported by seven singles, including three US Billboard Hot 100 number ones: "Shake It Off", "Blank Space", and "Bad Blood". 1989 (Taylor Swift album)_sentence_9

Contemporary critics praised Swift's songwriting for offering emotional engagement that they found uncommon in the mainstream pop scene. 1989 (Taylor Swift album)_sentence_10

Meanwhile, the synth-pop production raised questions regarding Swift's authenticity as a lyricist. 1989 (Taylor Swift album)_sentence_11

The album appeared on several publications' lists of the best albums of the 2010s and featured in Rolling Stone's 2020 revision of their 500 Greatest Albums of All Time. 1989 (Taylor Swift album)_sentence_12

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. 1989 (Taylor Swift album)_sentence_13

1989 was a commercial success. 1989 (Taylor Swift album)_sentence_14

In the US, Swift became the first artist to have three albums each sell over one million copies within their first week of release. 1989 (Taylor Swift album)_sentence_15

The album spent 11 weeks atop the Billboard 200 and received a ninefold platinum certification from the Recording Industry Association of America (RIAA). 1989 (Taylor Swift album)_sentence_16

It also earned multi-platinum certifications in Australia, Canada and the UK, and has sold over 10 million copies worldwide. 1989 (Taylor Swift album)_sentence_17

Background 1989 (Taylor Swift album)_section_0

Until the release of her fourth studio album Red in October 2012, singer-songwriter Taylor Swift had been known as a country artist. 1989 (Taylor Swift album)_sentence_18

Red incorporates various pop and rock styles, transcending the country sound of her previous releases. 1989 (Taylor Swift album)_sentence_19

The collaborations with renowned Swedish pop producers Max Martin and Shellback—including the top-five singles "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble"—introduced straightforward pop hooks and new genres including electronic and dubstep to Swift's repertoire. 1989 (Taylor Swift album)_sentence_20

Swift and her label, Big Machine, promoted it as a country album; songs from Red impacted country radio and Swift made multiple appearances at country music awards shows. 1989 (Taylor Swift album)_sentence_21

When it ended, the album's associated world tour, running from March 2013 to June 2014, was the all-time highest-grossing country tour. 1989 (Taylor Swift album)_sentence_22

The diverse musical styles sparked a media debate over Swift's status as a country artist, to which she replied in an interview with The Wall Street Journal, "I leave the genre labeling to other people." 1989 (Taylor Swift album)_sentence_23

Having been known as "America's Sweetheart" thanks to her wholesome and down-to-earth image, Swift saw her reputation blemished by her history of romantic relationships with a series of high-profile celebrities. 1989 (Taylor Swift album)_sentence_24

Her relationship with English singer Harry Styles during the promotion of Red was a particular subject for tabloid gossip. 1989 (Taylor Swift album)_sentence_25

She disliked the media portraying her as a "serial-dater", feeling it undermined her professional work, and became more reticent to discuss her personal life in public. 1989 (Taylor Swift album)_sentence_26

Most of the album's lyrics were derived from Swift's journal detailing her personal life; she had been known for autobiographical narratives in her songwriting since her debut. 1989 (Taylor Swift album)_sentence_27

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. 1989 (Taylor Swift album)_sentence_28

Swift also took inspiration from the media scrutiny of her image to write satirical songs about her perceived image. 1989 (Taylor Swift album)_sentence_29

Recording and production 1989 (Taylor Swift album)_section_1

Swift began songwriting for her fifth studio album in mid-2013 while touring to support Red. 1989 (Taylor Swift album)_sentence_30

For Red's follow-up, she sought to create a "blatant pop" record, departing from her country/pop experimentation. 1989 (Taylor Swift album)_sentence_31

She believed that "if you chase two rabbits, you lose them both". 1989 (Taylor Swift album)_sentence_32

Greatly 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. 1989 (Taylor Swift album)_sentence_33

She took inspiration from the music of artists from the period, such as Peter Gabriel and Annie Lennox, to make a synth-pop record that would convey her thoughts unobscured by heavy instrumentation. 1989 (Taylor Swift album)_sentence_34

To ensure a smooth transition to pop, Swift recruited Max Martin and Shellback as major collaborators, in part because of their reputation as the biggest mainstream pop hitmakers at the time. 1989 (Taylor Swift album)_sentence_35

Speaking to the Associated Press in October 2013, Swift described them as "absolute dream collaborators" because they took her ideas in a different direction, which challenged her as a songwriter. 1989 (Taylor Swift album)_sentence_36

Scott Borchetta, president of Swift's then-label Big Machine, was initially skeptical of Swift's decision. 1989 (Taylor Swift album)_sentence_37

He failed to persuade Swift to record "three country songs", and ultimately accepted that Big Machine would not promote the new songs to country radio. 1989 (Taylor Swift album)_sentence_38

Martin and Shellback produced seven of the thirteen tracks on the album's standard edition. 1989 (Taylor Swift album)_sentence_39

Swift credited Martin as co-executive producer because he also recorded and produced her vocals on tracks on which he was uncredited. 1989 (Taylor Swift album)_sentence_40

This solidified Swift's vision of a coherent record rather than a mere "collection of songs". 1989 (Taylor Swift album)_sentence_41

Another key figure on the album's production team was Jack Antonoff, with whom Swift had worked on the new wave-influenced song "Sweeter than Fiction" for the soundtrack of One Chance (2013). 1989 (Taylor Swift album)_sentence_42

Antonoff co-wrote and co-produced two tracks on the standard edition. 1989 (Taylor Swift album)_sentence_43

The first, "I Wish You Would", stemmed from his experimental sampling of snare drum instrumentation on Fine Young Cannibals' 1988 single "She Drives Me Crazy", one of their mutual favorite songs. 1989 (Taylor Swift album)_sentence_44

Antonoff played his sample to Swift on an iPhone and sent it to her to re-record. 1989 (Taylor Swift album)_sentence_45

The final track is a remix that retains the distinctive snare drums. 1989 (Taylor Swift album)_sentence_46

For "Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane. 1989 (Taylor Swift album)_sentence_47

She sent him a voice memo containing the lyrics roughly 30 minutes later. 1989 (Taylor Swift album)_sentence_48

The song was the first time Swift composed lyrics for an existing instrumental. 1989 (Taylor Swift album)_sentence_49

Antonoff produced one more track for the album's deluxe edition, "You Are in Love". 1989 (Taylor Swift album)_sentence_50

Swift contacted Ryan Tedder, with whom she had always wanted to work, by a smartphone voice memo. 1989 (Taylor Swift album)_sentence_51

He co-produced two songs—"Welcome to New York" and "I Know Places". 1989 (Taylor Swift album)_sentence_52

For "I Know Places", Swift scheduled a meeting with him at the studio after forming a fully developed idea on her own; the recording process the following day finalized it. 1989 (Taylor Swift album)_sentence_53

Tedder spoke of Swift's work ethic and with 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.' 1989 (Taylor Swift album)_sentence_54

It's very rare to hear, 'Nope, that's not right.' 1989 (Taylor Swift album)_sentence_55

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. 1989 (Taylor Swift album)_sentence_56

And she [Swift] did." 1989 (Taylor Swift album)_sentence_57

For "Clean", Swift approached English producer Imogen Heap in London after writing the song's lyrics and melody. 1989 (Taylor Swift album)_sentence_58

Heap helped to complete the track by playing instruments on it; the two finished recording after two takes in one day at Heap's studio. 1989 (Taylor Swift album)_sentence_59

Nathan Chapman, Swift's longtime collaborator, co-produced the track "This Love". 1989 (Taylor Swift album)_sentence_60

The album was mastered by Tom Coyne in two days at Sterling Sound Studio in New York City. 1989 (Taylor Swift album)_sentence_61

Swift finalized the record upon completing the Asian leg of the Red Tour in mid-2014. 1989 (Taylor Swift album)_sentence_62

Music and lyrics 1989 (Taylor Swift album)_section_2

Overview 1989 (Taylor Swift album)_section_3

The standard edition of 1989 includes 13 tracks; the deluxe edition includes six additional tracks—three original songs and three voice memos. 1989 (Taylor Swift album)_sentence_63

The album makes heavy use of synthesizers, programmed drums, pulsating basslines, and processed backing vocals. 1989 (Taylor Swift album)_sentence_64

Because Swift aimed to recreate authentic 1980s pop, the album is devoid of contemporary hip hop or R&B crossover elements popular in mainstream music at the time. 1989 (Taylor Swift album)_sentence_65

Although Swift declared her move from country to pop on 1989, several reviewers, including The A.V. 1989 (Taylor Swift album)_sentence_66 Club's Marah Eakin, argued that Swift had always been more pop-oriented even on her early country songs. 1989 (Taylor Swift album)_sentence_67

The three voice memos on the deluxe edition contain Swift's discussions of the songwriting process and unfinished demos for three songs—"I Know Places", "I Wish You Would", and "Blank Space". 1989 (Taylor Swift album)_sentence_68

Myles McNutt, a professor in communications and arts, described the voice memos as Swift's effort to claim her authority over 1989, defying pop music's "gendered hierarchy" which had seen a dominance of male songwriters and producers. 1989 (Taylor Swift album)_sentence_69

Although 1989's production was a dramatic change from that on Swift's country repertoire, her distinctive storytelling ability, nurtured by her country background, remained intact in her songwriting. 1989 (Taylor Swift album)_sentence_70

The songs are primarily about Swift's recurring themes of the emotions and reflections resulting from past romantic relationships. 1989 (Taylor Swift album)_sentence_71

However, 1989 showcased a maturity in Swift's perspectives: Rolling Stone observed that the album was her first not to villainize ex-lovers, but instead expressed "wistful and nostalgic" viewpoints on broken romance. 1989 (Taylor Swift album)_sentence_72

Pitchfork's Vrinda Jagota summarized 1989 as a "fully-realized fantasy of self-reliance, confidence, and ensuing pleasure", where Swift had ceased to dramatize failed relationships and learned to celebrate the moment. 1989 (Taylor Swift album)_sentence_73

The album's liner notes, which include a one-sentence hidden message for each of the 13 songs, collectively tell a story of a girl's tangled relationship. 1989 (Taylor Swift album)_sentence_74

Ultimately, she finds that, "She lost him but she found herself and somehow that was everything." 1989 (Taylor Swift album)_sentence_75

Swift explained her shift in attitude to NPR: 1989 (Taylor Swift album)_sentence_76

Songs 1989 (Taylor Swift album)_section_4

Swift's feelings when she first moved to New York City inspired the opening track, "Welcome to New York", a synthesizer-laden song finding Swift embracing her newfound freedom. 1989 (Taylor Swift album)_sentence_77

"Blank Space", set over a minimal hip hop-influenced beat, satirizes the media's perception of Swift as a promiscuous woman who dates male celebrities only to gather songwriting material. 1989 (Taylor Swift album)_sentence_78

The production of "Style", a funk-flavored track, was inspired by "funky electronic music" artists such as Daft Punk; its lyrics detail an unhealthy relationship and contain a reference to the American actor James Dean in the refrain. 1989 (Taylor Swift album)_sentence_79

"Out of the Woods" is an indietronica and synth-pop song featuring heavy synthesizers, layered percussions and looping background vocals, resulting in a chaotic sound. 1989 (Taylor Swift album)_sentence_80

Swift said that the song, which was inspired by a relationship that evoked constant anxiety because of its fragility, "best represents" 1989. 1989 (Taylor Swift album)_sentence_81

"All You Had to Do Was Stay" laments a past relationship and originated from Swift's dream of desperately shouting "Stay" to an ex-lover against her will. 1989 (Taylor Swift album)_sentence_82

The dance-pop track "Shake It Off", sharing a loosely similar sentiment with "Blank Space", sees Swift expressing disinterest in her detractors and their negative remarks on her image. 1989 (Taylor Swift album)_sentence_83

The bubblegum pop song "I Wish You Would", which uses pulsing snare drums and sizzling guitars, finds Swift longing for the return of a past relationship. 1989 (Taylor Swift album)_sentence_84

Swift said that "Bad Blood", a track that incorporates heavy, stomping drums, is about betrayal by an unnamed female peer (alleged to be Katy Perry, with whom Swift was involved in a that received widespread media coverage). 1989 (Taylor Swift album)_sentence_85

"Wildest Dreams" speaks of a dangerous affair with an apparently untrustworthy man and incorporates a sultry, dramatic atmosphere accompanied by string instruments. 1989 (Taylor Swift album)_sentence_86

On "How You Get the Girl", a bubblegum pop track featuring guitar strums over a heavy disco-styled beat, Swift hints at her desire to reunite with an ex-lover. 1989 (Taylor Swift album)_sentence_87

"This Love" is a soft rock-flavored electropop ballad; music critic Jon Caramanica opined the song could be mistaken as "a concession to country" because of the production by Swift's longtime co-producer Nathan Chapman. 1989 (Taylor Swift album)_sentence_88

The penultimate track of the standard edition is "I Know Places", which expresses Swift's desire to preserve an unstable relationship. 1989 (Taylor Swift album)_sentence_89

Swift stated that it serves as a loose sequel to "Out of the Woods". 1989 (Taylor Swift album)_sentence_90

Accompanied by dark, intense drum and bass-influenced beats, the song uses a metaphor of foxes running away from hunters to convey hiding from scrutiny. 1989 (Taylor Swift album)_sentence_91

The final track, "Clean", is an understated soft-rock-influenced song, which talks about the struggles to escape from a toxic yet addictive relationship; the protagonist is "finally clean" after a destructive yet cleansing torrential storm. 1989 (Taylor Swift album)_sentence_92

"Wonderland", the first of the three bonus songs on the deluxe edition, alludes to the fantasy book Alice's Adventures in Wonderland to describe a relationship tumbling down a "rabbit hole". 1989 (Taylor Swift album)_sentence_93

The ballad "You Are in Love" finds Swift talking about an ideal relationship from another woman's perspective. 1989 (Taylor Swift album)_sentence_94

Swift was inspired by the relationship of Antonoff and his girlfriend Lena Dunham, both of whom are close friends of hers. 1989 (Taylor Swift album)_sentence_95

The final song's title, "New Romantics", refers to the cultural movement in the late 1970s and early 1980s. 1989 (Taylor Swift album)_sentence_96

With a strong 1980s synth-pop sound, the song sees Swift reigniting her hopes and energy after the heartbreaks she had endured. 1989 (Taylor Swift album)_sentence_97

Title and artwork 1989 (Taylor Swift album)_section_5

Swift named 1989 after her birth year, which corroborates the influence of 1980s synth-pop. 1989 (Taylor Swift album)_sentence_98

She described the title as a symbolic rebirth of her image and artistry, severing ties with the country stylings of her previous albums. 1989 (Taylor Swift album)_sentence_99

As creative director for the album's packaging, Swift included pictures taken with a Polaroid instant camera—a photographic method popular in the 1980s. 1989 (Taylor Swift album)_sentence_100

The cover is a Polaroid portrait of Swift's face cut off at the eyes, which Swift said would bring about a sense of mystery: "I didn't want people to know the emotional DNA of this album. 1989 (Taylor Swift album)_sentence_101

I didn't want them to see a smiling picture on the cover and think this was a happy album, or see a sad-looking facial expression and think, oh, this is another breakup record." 1989 (Taylor Swift album)_sentence_102

She is wearing red lipstick and a sweatshirt embroidered with flying seagulls. 1989 (Taylor Swift album)_sentence_103

Her initials are written with black marker on the bottom left, and the title 1989 on the bottom right. 1989 (Taylor Swift album)_sentence_104

Each CD copy of 1989 includes a packet, one of five available sets, of 13 random Polaroid pictures, made up from 65 different pictures. 1989 (Taylor Swift album)_sentence_105

The pictures portray Swift in different settings such as backdrops of New York City and recording sessions with the producers. 1989 (Taylor Swift album)_sentence_106

The photos are out-of-focus, off-framed, with a sepia-tinged treatment, and feature the 1989 songs' lyrics written with black marker on the bottom. 1989 (Taylor Swift album)_sentence_107

Polaroid Corporation chief executive Scott Hardy reported that the 1989 Polaroid concept propelled a revival in instant film, especially among the hipster subculture who valued the "nostalgia and retro element of what [their] company stands for". 1989 (Taylor Swift album)_sentence_108

Release and promotion 1989 (Taylor Swift album)_section_6

See also: The 1989 World Tour 1989 (Taylor Swift album)_sentence_109

Swift and Big Machine implemented an extensive marketing plan to bolster 1989's sales. 1989 (Taylor Swift album)_sentence_110

As observed by Maryn Wilkinson, an academic specialized in media studies, Swift adopted a "zany" aspect for her 1989 persona. 1989 (Taylor Swift album)_sentence_111

As Swift had been associated with a hardworking and authentic persona through her country songs, her venture to "artificial, manufactured" pop required intricate maneuvering to retain her sense of authenticity. 1989 (Taylor Swift album)_sentence_112

She used social media extensively to communicate with her fan base; to attract a younger audience, she had promoted her country songs online previously. 1989 (Taylor Swift album)_sentence_113

Her social media posts showcased her personal life, making fans feel engaged with her authentic self and thus cemented their support while attracting a new fan base besides her already large one. 1989 (Taylor Swift album)_sentence_114

She also promoted the album through product endorsements with Subway, Keds and Diet Coke. 1989 (Taylor Swift album)_sentence_115

Swift held a live stream via Yahoo! 1989 (Taylor Swift album)_sentence_116

sponsored by ABC News on August 18, where she announced the details of 1989 and released the lead single "Shake It Off", which debuted atop the US Billboard Hot 100. 1989 (Taylor Swift album)_sentence_117

To connect further with her supporters, Swift selected a number of fans based on their engagement on social media and invited them to secret album-listening sessions, called "The 1989 Secret Sessions". 1989 (Taylor Swift album)_sentence_118

The sessions took place at her properties in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September 2014. 1989 (Taylor Swift album)_sentence_119

The album's standard and deluxe editions were released digitally on October 27, 2014. 1989 (Taylor Swift album)_sentence_120

In the US and Canada, the deluxe edition was available exclusively through Target Corporation. 1989 (Taylor Swift album)_sentence_121

The songs "Out of the Woods" and "Welcome to New York" were released through the iTunes Store as promotional singles on October 14 and 20, respectively. 1989 (Taylor Swift album)_sentence_122

1989 was supported by a string of commercially successful singles, including Billboard Hot 100 number ones "Blank Space" and "Bad Blood" featuring rapper Kendrick Lamar, and top-10 hits "Style" and "Wildest Dreams". 1989 (Taylor Swift album)_sentence_123

Other singles were "Out of the Woods", previously a promotional single, and "New Romantics". 1989 (Taylor Swift album)_sentence_124

The deluxe edition bonus tracks, which had been available exclusively through Target, were released on the iTunes Store in the US in 2015. 1989 (Taylor Swift album)_sentence_125

On November 3, 2014, Swift removed her entire catalog from Spotify, the largest on-demand streaming service at the time, arguing that their ad-supported free service undermined the platform's premium service, which provides higher royalties for songwriters. 1989 (Taylor Swift album)_sentence_126

She had written an op-ed for The Wall Street Journal in July 2014, expressing her concerns over the decline of the album as an economic entity following the rise of free, on-demand streaming. 1989 (Taylor Swift album)_sentence_127

Big Machine and Swift kept 1989 only on paid subscription-required platforms such as Rhapsody and Beats Music. 1989 (Taylor Swift album)_sentence_128

This move prompted an industry-wide debate on the impact of streaming on declining record sales during the digital era. 1989 (Taylor Swift album)_sentence_129

In June 2015, Swift stated that she would remove 1989 from Apple Music, criticizing the service for not offering royalties to artists during their free three-month trial period. 1989 (Taylor Swift album)_sentence_130

After Apple announced that it would pay artists royalties during the free trial period, she agreed to leave 1989 on their service; she then featured in a series of commercials for Apple Music. 1989 (Taylor Swift album)_sentence_131

She re-added her entire catalog on Spotify in June 2017. 1989 (Taylor Swift album)_sentence_132

Swift began rerecording her first six studio albums, including 1989, in November 2020. 1989 (Taylor Swift album)_sentence_133

The decision came after talent manager Scooter Braun acquired the masters of Swift's first six studio albums, which Swift had been trying to buy for years, following her departure from Big Machine in November 2018. 1989 (Taylor Swift album)_sentence_134

In addition to online promotion, Swift made many appearances on radio and television. 1989 (Taylor Swift album)_sentence_135

She performed at awards shows including the MTV Video Music Awards and the American Music Awards. 1989 (Taylor Swift album)_sentence_136

Her appearances on popular television talk shows included Jimmy Kimmel Live! 1989 (Taylor Swift album)_sentence_137 , The Ellen DeGeneres Show, Late Show with David Letterman and Good Morning America. 1989 (Taylor Swift album)_sentence_138

She was part of the line-up for the iHeartRadio Music Festival, CBS Radio's "We Can Survive" benefit concert, the Victoria's Secret Fashion Show and the Jingle Ball Tour. 1989 (Taylor Swift album)_sentence_139

The album's supporting tour, the 1989 World Tour, ran from May to December 2015. 1989 (Taylor Swift album)_sentence_140

It kicked off in Tokyo, and concluded in Melbourne. 1989 (Taylor Swift album)_sentence_141

Swift invited various special guests on tour with her, including singers and fashion models the media called Swift's "squad" which received media coverage. 1989 (Taylor Swift album)_sentence_142

The 1989 World Tour was the highest-grossing tour of 2015, earning over $250 million at the box office. 1989 (Taylor Swift album)_sentence_143

In North America alone, the tour grossed $181.5 million, setting the record for highest-grossing US tour by a woman. 1989 (Taylor Swift album)_sentence_144

Swift broke this record in 2018 with her Reputation Stadium Tour. 1989 (Taylor Swift album)_sentence_145

Critical reception 1989 (Taylor Swift album)_section_7

1989 (Taylor Swift album)_table_general_0

Professional ratings1989 (Taylor Swift album)_table_caption_0
Aggregate scores1989 (Taylor Swift album)_header_cell_0_0_0
Source1989 (Taylor Swift album)_header_cell_0_1_0 Rating1989 (Taylor Swift album)_header_cell_0_1_1
AnyDecentMusic?1989 (Taylor Swift album)_cell_0_2_0 7.4/101989 (Taylor Swift album)_cell_0_2_1
Metacritic1989 (Taylor Swift album)_cell_0_3_0 76/1001989 (Taylor Swift album)_cell_0_3_1
Review scores1989 (Taylor Swift album)_header_cell_0_4_0
Source1989 (Taylor Swift album)_header_cell_0_5_0 Rating1989 (Taylor Swift album)_header_cell_0_5_1
AllMusic1989 (Taylor Swift album)_cell_0_6_0 1989 (Taylor Swift album)_cell_0_6_1
The A.V. Club1989 (Taylor Swift album)_cell_0_7_0 B+1989 (Taylor Swift album)_cell_0_7_1
Cuepoint (Expert Witness)1989 (Taylor Swift album)_cell_0_8_0 A−1989 (Taylor Swift album)_cell_0_8_1
The Daily Telegraph1989 (Taylor Swift album)_cell_0_9_0 1989 (Taylor Swift album)_cell_0_9_1
The Guardian1989 (Taylor Swift album)_cell_0_10_0 1989 (Taylor Swift album)_cell_0_10_1
Los Angeles Times1989 (Taylor Swift album)_cell_0_11_0 1989 (Taylor Swift album)_cell_0_11_1
NME1989 (Taylor Swift album)_cell_0_12_0 7/101989 (Taylor Swift album)_cell_0_12_1
Pitchfork1989 (Taylor Swift album)_cell_0_13_0 7.7/101989 (Taylor Swift album)_cell_0_13_1
Rolling Stone1989 (Taylor Swift album)_cell_0_14_0 1989 (Taylor Swift album)_cell_0_14_1
Spin1989 (Taylor Swift album)_cell_0_15_0 7/101989 (Taylor Swift album)_cell_0_15_1

1989 received generally positive reviews from contemporary critics; most of them acknowledged Swift's mature perceptions. 1989 (Taylor Swift album)_sentence_146

The A.V. 1989 (Taylor Swift album)_sentence_147

Club's Marah Eakin praised her shift from overtly romantic struggles to more positive themes of accepting and celebrating the moment. 1989 (Taylor Swift album)_sentence_148

Neil McCormick of The Daily Telegraph commended the album's "[sharp] observation and emotional engagement" that contrasted with lyrics found in "commercialised pop". 1989 (Taylor Swift album)_sentence_149

Alexis Petridis of The Guardian lauded Swift's artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop authenticity. 1989 (Taylor Swift album)_sentence_150

The album's 1980s synth-pop production divided critics. 1989 (Taylor Swift album)_sentence_151

In an enthusiastic review, The New York Times critic Jon Caramanica complimented Swift's avoidance of contemporary hip hop/R&B crossover trends, writing, "Ms. 1989 (Taylor Swift album)_sentence_152

Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars...even bother aspiring to." 1989 (Taylor Swift album)_sentence_153

Writing for Rolling Stone, Rob Sheffield characterized the record as "deeply weird, feverishly emotional, wildly enthusiastic". 1989 (Taylor Swift album)_sentence_154

In a review published by Cuepoint, Robert Christgau applauded her departure from country to experiment with new styles, but felt this shift was not radical. 1989 (Taylor Swift album)_sentence_155

NME reviewer Matthew Horton considered Swift's transition to pop "a success", save for the inclusion of the "soft-rock mush" of "This Love" and "Clean". 1989 (Taylor Swift album)_sentence_156

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. 1989 (Taylor Swift album)_sentence_157

Several reviewers lamented that the musical shift erased Swift's authenticity as a lyricist. 1989 (Taylor Swift album)_sentence_158

Slant Magazine's Annie Galvin observed that Swift maintained the clever songwriting that had distinguished her earlier releases, but was disappointed with the new musical style. 1989 (Taylor Swift album)_sentence_159

Entertainment Weekly's Adam Markovitz and Spin's Andrew Unterberger were critical of the heavy synthesizers, which undermined Swift's conventionally vivid lyrics. 1989 (Taylor Swift album)_sentence_160

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". 1989 (Taylor Swift album)_sentence_161

Mikael Wood, in his review for the Los Angeles Times, found the album inauthentic for Swift's artistry, but acknowledged her effort to emulate the music of an era she did not experience. 1989 (Taylor Swift album)_sentence_162

Accolades 1989 (Taylor Swift album)_section_8

1989 won Favorite Pop/Rock Album at the 2015 American Music Awards, Album of the Year (Western) at the 2015 Japan Gold Disc Awards, and Album of the Year at the 2016 iHeartRadio Music Awards. 1989 (Taylor Swift album)_sentence_163

It also earned nominations for Best International Pop/Rock Album at the 2015 Echo Music Prize, International Album of the Year at the 2015 Juno Awards, and Best International Album at the Los Premios 40 Principales 2015. 1989 (Taylor Swift album)_sentence_164

At the 58th Grammy Awards in 2016, the album won Album of the Year and Best Pop Vocal Album. 1989 (Taylor Swift album)_sentence_165

Swift became the first female solo artist to win Album of the Year twice—her first win was for Fearless (2008) in 2010. 1989 (Taylor Swift album)_sentence_166

The album appeared on multiple publications' year-end lists of 2014, ranking at number one on the list by Billboard. 1989 (Taylor Swift album)_sentence_167

It also featured on several lists of the best albums of the 2010s decade, including top-10 entries in The A.V. 1989 (Taylor Swift album)_sentence_168

Club and Slant Magazine. 1989 (Taylor Swift album)_sentence_169

In terms of audience reception, 1989 ranked at number 44 on Pitchfork's readers' poll for the 2010s decade. 1989 (Taylor Swift album)_sentence_170

In 2020, 1989 placed at number 393 on Rolling Stone's 2020 revision of their 500 Greatest Albums of All Time. 1989 (Taylor Swift album)_sentence_171

1989 (Taylor Swift album)_table_general_1

Critical rankings for 19891989 (Taylor Swift album)_table_caption_1
Critic/Organization1989 (Taylor Swift album)_header_cell_1_0_0 Time span1989 (Taylor Swift album)_header_cell_1_0_1 Rank1989 (Taylor Swift album)_header_cell_1_0_2 Published

year1989 (Taylor Swift album)_header_cell_1_0_3

American Songwriter1989 (Taylor Swift album)_header_cell_1_1_0 Year-end1989 (Taylor Swift album)_cell_1_1_1 41989 (Taylor Swift album)_cell_1_1_2 20141989 (Taylor Swift album)_cell_1_1_3
The A.V. Club1989 (Taylor Swift album)_header_cell_1_2_0 Year-end1989 (Taylor Swift album)_cell_1_2_1 151989 (Taylor Swift album)_cell_1_2_2 20141989 (Taylor Swift album)_cell_1_2_3
Decade-end1989 (Taylor Swift album)_cell_1_3_0 41989 (Taylor Swift album)_cell_1_3_1 20191989 (Taylor Swift album)_cell_1_3_2
Billboard1989 (Taylor Swift album)_header_cell_1_4_0 Year-end1989 (Taylor Swift album)_cell_1_4_1 11989 (Taylor Swift album)_cell_1_4_2 20141989 (Taylor Swift album)_cell_1_4_3
Decade-end1989 (Taylor Swift album)_cell_1_5_0 191989 (Taylor Swift album)_cell_1_5_1 20191989 (Taylor Swift album)_cell_1_5_2
Jon Caramanica (The New York Times)1989 (Taylor Swift album)_header_cell_1_6_0 Year-end1989 (Taylor Swift album)_cell_1_6_1 71989 (Taylor Swift album)_cell_1_6_2 20141989 (Taylor Swift album)_cell_1_6_3
Complex1989 (Taylor Swift album)_header_cell_1_7_0 Year-end1989 (Taylor Swift album)_cell_1_7_1 81989 (Taylor Swift album)_cell_1_7_2 20141989 (Taylor Swift album)_cell_1_7_3
Consequence of Sound1989 (Taylor Swift album)_header_cell_1_8_0 Decade-end1989 (Taylor Swift album)_cell_1_8_1 241989 (Taylor Swift album)_cell_1_8_2 20191989 (Taylor Swift album)_cell_1_8_3
Decade-end (Pop music)1989 (Taylor Swift album)_cell_1_9_0 61989 (Taylor Swift album)_cell_1_9_1 20191989 (Taylor Swift album)_cell_1_9_2
The Daily Telegraph1989 (Taylor Swift album)_header_cell_1_10_0 Year-end1989 (Taylor Swift album)_cell_1_10_1 51989 (Taylor Swift album)_cell_1_10_2 20151989 (Taylor Swift album)_cell_1_10_3
Drowned in Sound1989 (Taylor Swift album)_header_cell_1_11_0 Year-end1989 (Taylor Swift album)_cell_1_11_1 31989 (Taylor Swift album)_cell_1_11_2 20141989 (Taylor Swift album)_cell_1_11_3
The Guardian1989 (Taylor Swift album)_header_cell_1_12_0 Year-end1989 (Taylor Swift album)_cell_1_12_1 121989 (Taylor Swift album)_cell_1_12_2 20141989 (Taylor Swift album)_cell_1_12_3
21st century1989 (Taylor Swift album)_cell_1_13_0 891989 (Taylor Swift album)_cell_1_13_1 20191989 (Taylor Swift album)_cell_1_13_2
The Music1989 (Taylor Swift album)_header_cell_1_14_0 Year-end1989 (Taylor Swift album)_cell_1_14_1 51989 (Taylor Swift album)_cell_1_14_2 20141989 (Taylor Swift album)_cell_1_14_3
musicOMH1989 (Taylor Swift album)_header_cell_1_15_0 Year-end1989 (Taylor Swift album)_cell_1_15_1 321989 (Taylor Swift album)_cell_1_15_2 20141989 (Taylor Swift album)_cell_1_15_3
NME1989 (Taylor Swift album)_header_cell_1_16_0 Decade-end1989 (Taylor Swift album)_cell_1_16_1 311989 (Taylor Swift album)_cell_1_16_2 20191989 (Taylor Swift album)_cell_1_16_3
Paste1989 (Taylor Swift album)_header_cell_1_17_0 Decade-end1989 (Taylor Swift album)_cell_1_17_1 501989 (Taylor Swift album)_cell_1_17_2 20191989 (Taylor Swift album)_cell_1_17_3
Pazz & Jop (The Village Voice)1989 (Taylor Swift album)_header_cell_1_18_0 Year-end1989 (Taylor Swift album)_cell_1_18_1 71989 (Taylor Swift album)_cell_1_18_2 20141989 (Taylor Swift album)_cell_1_18_3
Pitchfork1989 (Taylor Swift album)_header_cell_1_19_0 Year-end1989 (Taylor Swift album)_cell_1_19_1 311989 (Taylor Swift album)_cell_1_19_2 20141989 (Taylor Swift album)_cell_1_19_3
PopMatters1989 (Taylor Swift album)_header_cell_1_20_0 Year-end1989 (Taylor Swift album)_cell_1_20_1 151989 (Taylor Swift album)_cell_1_20_2 20141989 (Taylor Swift album)_cell_1_20_3
Rolling Stone1989 (Taylor Swift album)_header_cell_1_21_0 Year-end1989 (Taylor Swift album)_cell_1_21_1 101989 (Taylor Swift album)_cell_1_21_2 20141989 (Taylor Swift album)_cell_1_21_3
Decade-end1989 (Taylor Swift album)_cell_1_22_0 191989 (Taylor Swift album)_cell_1_22_1 20191989 (Taylor Swift album)_cell_1_22_2
All Time1989 (Taylor Swift album)_cell_1_23_0 3931989 (Taylor Swift album)_cell_1_23_1 20201989 (Taylor Swift album)_cell_1_23_2
Slant Magazine1989 (Taylor Swift album)_header_cell_1_24_0 Decade-end1989 (Taylor Swift album)_cell_1_24_1 101989 (Taylor Swift album)_cell_1_24_2 20191989 (Taylor Swift album)_cell_1_24_3
Stereogum1989 (Taylor Swift album)_header_cell_1_25_0 Decade-end1989 (Taylor Swift album)_cell_1_25_1 691989 (Taylor Swift album)_cell_1_25_2 20191989 (Taylor Swift album)_cell_1_25_3
Time1989 (Taylor Swift album)_header_cell_1_26_0 Year-end1989 (Taylor Swift album)_cell_1_26_1 41989 (Taylor Swift album)_cell_1_26_2 20141989 (Taylor Swift album)_cell_1_26_3
Ken Tucker (NPR)1989 (Taylor Swift album)_header_cell_1_27_0 Year-end1989 (Taylor Swift album)_cell_1_27_1 31989 (Taylor Swift album)_cell_1_27_2 20141989 (Taylor Swift album)_cell_1_27_3
Uproxx1989 (Taylor Swift album)_header_cell_1_28_0 Decade-end1989 (Taylor Swift album)_cell_1_28_1 341989 (Taylor Swift album)_cell_1_28_2 20191989 (Taylor Swift album)_cell_1_28_3
Chris Willman (Variety)1989 (Taylor Swift album)_header_cell_1_29_0 Decade-end1989 (Taylor Swift album)_cell_1_29_1 11989 (Taylor Swift album)_cell_1_29_2 20191989 (Taylor Swift album)_cell_1_29_3

Commercial performance 1989 (Taylor Swift album)_section_9

1989 was released amidst a decline in record sales brought about by the emergence of digital download and streaming platforms. 1989 (Taylor Swift album)_sentence_172

Swift's two previous studio albums, Speak Now (2010) and Red (2012), each sold over one million copies within one week, establishing her as one of the best-selling album artists in the digital era. 1989 (Taylor Swift album)_sentence_173

Given the music industry's climate, and Swift's decision to eschew her characteristic country roots that had cultivated a sizable fan base, the sales performance of 1989 was subject to considerable speculation among industry experts. 1989 (Taylor Swift album)_sentence_174

One week before its release, Rolling Stone reported that US retailers predicted the album would sell from 600,000 to 750,000 copies in its debut week. 1989 (Taylor Swift album)_sentence_175

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. 1989 (Taylor Swift album)_sentence_176

Swift became the first artist to have three albums each sell one million copies within the first week, and 1989 was the first album released in 2014 to exceed one million copies. 1989 (Taylor Swift album)_sentence_177

1989 topped the Billboard 200 for 11 non-consecutive weeks and spent the first full year after its release in the top 10 of the Billboard 200. 1989 (Taylor Swift album)_sentence_178

By September 2020, the album had spent 300 weeks on the chart. 1989 (Taylor Swift album)_sentence_179

1989 exceeded sales of five million copies in US sales by July 2015, the fastest-selling album since 2004 up to that point. 1989 (Taylor Swift album)_sentence_180

With 6.215 million copies sold by the end of 2019, the album was the third-best-selling album of the 2010s decade in the US. 1989 (Taylor Swift album)_sentence_181

The Recording Industry Association of America (RIAA) certified the album 9× Platinum, which denotes nine million album-equivalent units. 1989 (Taylor Swift album)_sentence_182

All of its singles except "New Romantics" achieved platinum or multi-platinum certifications. 1989 (Taylor Swift album)_sentence_183

The album tracks "Welcome to New York" and "This Love" were certified platinum, and "New Romantics", "All You Had to Do Was Stay", "How You Get the Girl", and "I Know Places" were certified gold. 1989 (Taylor Swift album)_sentence_184

The album reached number one on the record charts of various European and Oceanic countries, including Australia, Belgium, Ireland, the Netherlands, New Zealand, Norway, and Switzerland. 1989 (Taylor Swift album)_sentence_185

In Canada, it was certified 6× Platinum and was the fifth-best-selling album of the 2010s, with sales of 542,000 copies. 1989 (Taylor Swift album)_sentence_186

It was the fastest-selling album by a female artist of 2014 in the UK, where it has sold 1.25 million copies and earned 4× Platinum certification. 1989 (Taylor Swift album)_sentence_187

1989 became one of the best-selling digital albums in China, having sold one million units as of August 2019. 1989 (Taylor Swift album)_sentence_188

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. 1989 (Taylor Swift album)_sentence_189

Legacy 1989 (Taylor Swift album)_section_10

See also: 1989 (Ryan Adams album) 1989 (Taylor Swift album)_sentence_190

1989's commercial success transformed Swift's image from a country singer-songwriter to a worldwide pop phenomenon. 1989 (Taylor Swift album)_sentence_191

The album was the second album to spawn five or more US top-10 singles in the 2010s decade, and made Swift the second woman to have two albums each score five US top-10 hits. 1989 (Taylor Swift album)_sentence_192

Its singles received heavy rotation on US radio over a year and a half following its release, which Billboard described as "a kind of cultural omnipresence that's rare for a 2010s album". 1989 (Taylor Swift album)_sentence_193

The academic Shaun Cullen specializing in the humanities described Swift as a figure "at the cutting edge of postmillennial pop". 1989 (Taylor Swift album)_sentence_194

According to the BBC's Neil Smith, 1989 "[forged] a path for artists who no longer wish to be ghettoised into separated musical genres". 1989 (Taylor Swift album)_sentence_195

The album's electronic-pop production expanded on Swift's next two studio albums, Reputation (2017) and Lover (2019), which solidified her status as a pop star. 1989 (Taylor Swift album)_sentence_196

Along with 1989's success, Swift's new image as a pop star became a subject of public scrutiny. 1989 (Taylor Swift album)_sentence_197

While Swift supported feminism—her first time expressing her political opinions—her public appearances with singers and fashion models whom the media called her "squad" gave the impression that she did so just to keep her name afloat in news headlines. 1989 (Taylor Swift album)_sentence_198

Kristy Fairclough, a professor in popular culture and film, commented, "Her shifting aesthetic and allegiances appear confusing in an overall narrative that presents Taylor Swift as the centre of the cultural universe." 1989 (Taylor Swift album)_sentence_199

Swift's disputes with several celebrities, most notably rapper Kanye West, diminished her sense of authenticity that she had maintained. 1989 (Taylor Swift album)_sentence_200

Swift announced a prolonged hiatus following the 1989 World Tour because "people might need a break from [her]". 1989 (Taylor Swift album)_sentence_201

Her follow-up album Reputation (2017) was influenced in part by this tumultuous affair with the media. 1989 (Taylor Swift album)_sentence_202

Retrospective reviews from GQ's Jay Willis, New York's Sasha Geffen, and NME's Hannah Mylrea lauded the album's avoidance of contemporaneous hip hop and R&B crossover trends, which made 1989 a timeless album representing the best of Swift's talents. 1989 (Taylor Swift album)_sentence_203

Mylrea praised it as Swift's best record and described it as an influence for younger musicians to embrace "pure pop", contributing to a growing trend of nostalgic 1980s-styled sound. 1989 (Taylor Swift album)_sentence_204

Geffen also attributed the album's success to its lyrics offering emotional engagement that is uncommon in pop. 1989 (Taylor Swift album)_sentence_205

Contemporary artists who cited 1989 as an influence included American singer-songwriter Conan Gray and British pop band the Vamps, who took inspiration from 1989 while composing their album Wake Up (2015). 1989 (Taylor Swift album)_sentence_206

Jennifer Kaytin Robinson cited 1989 as an inspiration for her 2019 directorial debut, Someone Great. 1989 (Taylor Swift album)_sentence_207

American rock singer-songwriter Ryan Adams released his track-by-track cover album of 1989 in September 2015. 1989 (Taylor Swift album)_sentence_208

Finding it a "joyful" record, he listened to the album frequently to cope with his broken marriage in late 2014. 1989 (Taylor Swift album)_sentence_209

On his rendition, Adams incorporated acoustic instruments which contrast with the original's electronic production. 1989 (Taylor Swift album)_sentence_210

Swift was delighted with Adams' cover, saying to him, "What you did with my album was like actors changing emphasis." 1989 (Taylor Swift album)_sentence_211

Track listing 1989 (Taylor Swift album)_section_11

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/1989 (Taylor Swift album).