1989 (album)

''1989'' is the fifth studio album by the American singer-songwriter Taylor Swift, released on October 27, 2014, by Big Machine Records. Inspired by 1980s synth-pop, Swift conceived ''1989'' to recalibrate her artistry to pop after critics disputed her status as a country musician when she released the cross-genre ''Red'' (2012) to country radio. She titled ''1989'' after her birth year as a symbolic artistic rebirth and enlisted Max Martin, who produced ''Red''s electronic-influenced pop tracks, as co-executive producer.

Swift recorded ''1989'' at studios across the United States, the United Kingdom, and Sweden with an ensemble including Martin, Shellback, Jack Antonoff, Ryan Tedder, Nathan Chapman, and Imogen Heap. The synth-pop production is characterized by pulsing synthesizers, programmed drum machines, and processed backing vocals with electronic elements, a stark contrast to the acoustic arrangements of Swift's past albums. The songs expand on Swift's autobiographical songwriting and explore failed romance from a lighthearted perspective.

Swift and Big Machine promoted ''1989'' extensively through tie-ins and media endorsements but withheld the album from free streaming services, which prompted an industry discourse on the impact of streaming. To support the album, Swift embarked on the 1989 World Tour, which was the highest-grossing tour of 2015. Among seven singles released, three peaked atop the US ''Billboard'' Hot 100: "Shake It Off", "Blank Space", and " Bad Blood". ''1989'' spent 11 weeks atop the ''Billboard'' 200 and was certified nine-times platinum by the Recording Industry Association of America (RIAA). It has sold over 14 million copies worldwide and was certified multi-platinum in many countries.

When ''1989'' was first released, music critics generally complimented its production as catchy; they found an emotional engagement in its songwriting but some felt the synth-pop production eroded Swift's artistic integrity—a criticism that journalists and academics retrospectively regarded as rockist. ''1989'' won Album of the Year and Best Pop Vocal Album at the 2016 Grammy Awards, and it was listed in all-time album rankings by ''Rolling Stone'' and '' Consequence''. Critics and academics have considered ''1989'' an album that transformed Swift's status to a pop icon and promoted poptimism, but they also highlighted the media scrutiny that ensued. Following a 2019 dispute regarding the ownership of Swift's back catalog, she re-recorded ''1989'' and released it as ''1989 (Taylor's Version)'' on October 27, 2023.

Background

Taylor Swift had identified as a country musician until her fourth studio album, ''Red,'' which was released on October 22, 2012, by Big Machine Records. The album incorporates eclectic styles of pop and rock in addition to country, and its two most commercially successful singles—" We Are Never Ever Getting Back Together" and " I Knew You Were Trouble"—are pop songs with electronic stylings. The album's associated world tour, which from March 2013 to June 2014, was the all-time highest-grossing country tour when it completed. Although ''Red'' was promoted to country radio and awards shows, its pop-leaning production sparked a media debate over Swift's status as a country artist.

Swift's personal life was another aspect that attracted media attention. Her serial romantic relationships, including a short-lived romance with the English singer Harry Styles, generated much tabloid coverage and blemished her "America's Sweetheart" image. In March 2014, Swift relocated from Nashville to New York City; she recounted that moving geographically while being unattached romantically prompted her to embrace new creative ideas, as did the media scrutiny of her public image.

Recording and production

Swift began writing her fifth studio album in mid-2013, when she was touring to support ''Red''. She viewed ''Red'' as an album that straddled the boundary between country and pop and thus wanted its follow-up to be "blatant pop" because she believed, " fyou chase two rabbits, you lose them both." Inspired by 1980s synth-pop, she viewed the decade as an "experimental time in pop music" when musicians abandoned the established "drums-guitar-bass-whatever" production to make songs with synthesizers, drum pads, and overlapped vocals. Two of her main inspirations were Annie Lennox and Peter Gabriel—she admired how the former conveyed her "intense" thoughts through music and the latter's synth-pop sound created "an atmosphere behind what he was singing, rather than a produced track".

Swift enlisted Martin and Shellback as prime collaborators because she found "I Knew You Were Trouble" topping the US pop radio chart for seven weeks a motivation to fully embrace the electronic-pop sound that they produced. She enjoyed working with them because they often took her ideas in a different direction, which challenged her as a songwriter. Big Machine president Scott Borchetta initially was skeptical of Swift's decision and persuaded her to record a few country songs with instruments such as fiddle, but she rejected his request. Borchetta ultimately agreed with her to not promote the album to country radio, which had been formative in driving Swift's career. Martin and Shellback produced seven of the standard edition's thirteen tracks. Swift credited Martin as co-executive producer because he also recorded and produced the vocals on tracks where he was uncredited, which she deemed important in producing a coherent album.

Jack Antonoff was another key producer on ''1989''; he had worked with Swift on the 1980s new wave-influenced soundtrack single " Sweeter than Fiction" (2013). Antonoff extensively used the Juno-6 synthesizer, which he thought to have "such a sadness and a glory all at once", and co-wrote and co-produced three tracks, two for the standard edition and one for the deluxe edition. " I Wish You Would" stemmed from his experimental sampling of the snare drums on Fine Young Cannibals' 1988 single "She Drives Me Crazy". He played his sample to Swift on an iPhone and sent it to her to re-record. The final track is a remix that retains the distinctive snare drums. For " Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane. She sent him a voice memo containing the lyrics roughly 30 minutes later. The song was the first time Swift composed lyrics for an existing instrumental.

Swift contacted Ryan Tedder, with whom she had always wanted to work, by a smartphone voice memo. He co-wrote and co-produced two songs—" Welcome to New York" and "I Know Places". 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. Tedder spoke of Swift's work ethic and perfectionism 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.' 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 did."

For " Clean", Swift approached British producer Imogen Heap in London after writing the song's lyrics and melody. 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. Nathan Chapman, Swift's longtime collaborator, co-produced the track " This Love". The album was mastered by Tom Coyne in two days at Sterling Sound Studio in New York City. Swift finalized the record upon completing the Asian leg of the Red Tour in mid-2014.

Music and lyrics

Overview

The standard edition of ''1989'' includes 13 tracks; the deluxe edition includes six additional tracks—three original songs and three voice memos. The album prominently incorporates synthesizers, programmed drum machines, pulsating basslines, and processed backing vocals—a stark contrast to the acoustic arrangements of Swift's past albums. Because she 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. Although Swift declared her move from country to pop on ''1989'', several reviewers, including ''The A.V. Club''s Marah Eakin, argued that Swift had always been more pop-oriented even on her early country songs. 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". 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.

As with Swift's past albums, ''1989'' is primarily about the emotions and reflections resulting from past romantic relationships. Swift's songwriting retained its storytelling which had been nurtured by her country-music background, but it is more ambiguous and embraces pop-music songwriting prioritizing emotional intensity and general ideas over intricate details. Swift's characters in the ''1989'' songs cease to vilify ex-lovers and failed relationships like those on her past songs did and instead look at them through a wistful perspective. She attributed this change of attitude to her realization of "more complex relationships", in which she was also responsible for the downfall instead of completely putting the blame on the other. For ''USA Today'''s Brian Mansfield, even though the songs were inspired by Swift's personal life, they resonated with a wide audience who found themselves and their situations represented in her songs. 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. Ultimately, she finds that, "She lost him but she found herself and somehow that was everything."

Songs

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. "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. 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. "Out of the Woods" is an indietronica-flavored synth-pop song featuring heavy synthesizers, layered percussions and looping background vocals, resulting in a chaotic sound. Swift said that the song, which was inspired by a relationship that evoked constant anxiety because of its fragility, "best represents" ''1989''. " 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.

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. 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. 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 feud that received widespread media coverage. " Wildest Dreams" speaks of a dangerous affair with an apparently untrustworthy man and incorporates a sultry, dramatic atmosphere accompanied by string instruments. 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. "This Love" is a soft rock-flavored electropop ballad.

The penultimate track of the standard edition is "I Know Places", which expresses Swift's desire to preserve an unstable relationship. Swift stated that it serves as a loose sequel to "Out of the Woods". 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. The final track on the standard edition, "Clean", is an understated soft rock and synth-folk song talking about the struggles to escape from a toxic yet addictive relationship; the protagonist is "finally clean" after a destructive yet cleansing torrential storm. "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". Inspired by Antonoff and Lena Dunham's relationship, the ballad " You Are in Love" is about an ideal relationship from another woman's perspective. The final song's title, "New Romantics", refers to the cultural movement in the late 1970s and early 1980s. With a strong 1980s synth-pop sound, the song sees Swift reigniting her hopes and energy after the heartbreaks she had endured.

Title and artwork

Swift named ''1989'' after her birth year and said it signified a symbolic rebirth of her image and artistry. As creative director for the album's packaging, Swift included pictures taken with a Polaroid instant camera—a photographic method popular in the 1980s. 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. 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." She is wearing red lipstick and a lavender sweatshirt embroidered with flying seagulls. Her initials are written with black marker on the bottom left, and the title ''1989'' on the bottom right.

Each CD copy of ''1989'' includes a packet, one of five available sets, of 13 random Polaroid pictures, made up from 65 different pictures. The pictures portray Swift in different settings such as backdrops of New York City and recording sessions with the producers. 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. 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 heircompany stands for". ''Billboard'' in 2022 ranked the cover of ''1989'' as one of the 50 greatest album covers of all time.

Release and promotion

Swift marketed ''1989'' as her first "official pop" album. To bolster sales, Swift and Big Machine implemented an extensive marketing plan. As observed by Maryn Wilkinson, an academic specialized in media studies, Swift adopted a "zany" aspect for her ''1989'' persona. 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. She used social media extensively to communicate with her fan base. To attract a younger audience, she had promoted her country songs online previously. 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.

She also promoted the album through product endorsements with Subway, Keds, and Diet Coke. Swift held a live stream via Yahoo! 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. To connect further with her supporters, Swift selected a number of fans based on their engagement on social media and invited them to private album-listening sessions called "the ''1989'' Secret Sessions". They took place at her properties in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September 2014.

The album's standard and deluxe editions were released for download on digital platforms on October 27, 2014. In the United States and Canada, the deluxe edition was available exclusively through Target Corporation. 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'' 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". Other singles were "Out of the Woods", previously a promotional single, and "New Romantics". The deluxe edition bonus tracks, which had been available exclusively through Target, were released on the US iTunes Store in 2015.

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. 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. Big Machine and Swift kept ''1989'' only on paid subscription-required platforms such as Rhapsody and Beats Music. This move prompted an industry-wide debate on the impact of streaming on declining record sales during the digital era.

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. After Apple Music 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. She re-added her entire catalog on Spotify in June 2017. Swift began rerecording her first six studio albums, including ''1989'', in November 2020. 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.

In addition to online promotion, Swift made many appearances on radio and television. She performed at awards shows including the MTV Video Music Awards and the American Music Awards. Her appearances on popular television talk shows included ''Jimmy Kimmel Live!'', '' The Ellen DeGeneres Show'', ''Late Show with David Letterman'' and ''Good Morning America''. 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. The album's supporting tour, the 1989 World Tour, ran from May to December 2015. It kicked off in Tokyo, and concluded in Melbourne. Swift invited various special guests on tour with her, including singers and fashion models the media called Swift's "squad" which received media coverage. The 1989 World Tour was the highest-grossing tour of 2015, earning over $250 million at the box office. In North America alone, the tour grossed $181.5 million, setting the record for highest-grossing US tour by a woman. Swift broke this record in 2018 with her Reputation Stadium Tour.

Commercial performance

US music-industry publications were fond of predicting ''1989'''s sales performance; the music industry had seen declining record sales brought by digital download and streaming platforms, but Swift had established herself as a best-selling album artist in the digital era: her last two albums, ''Speak Now'' (2010) and ''Red'' (2012), each sold over one million copies within one week. Many industry personnel questioned whether Swift abandoning country music and withdrawing from streaming would impact the album's sales. During one week leading to ''1989'''s release, publications predicted the album would sell short of one million copies in its debut week, with estimations from 600,000 to 750,000 to 800,000–900,000. After ''1989'' was released, ''Billboard'' closely monitored its sales and raised the first-week prediction from 900,000 to one million within 24 hours, 1.2 million within 48 hours, and 1.3 million after six days of tracking.

Through November 2, 2014, ''1989'' debuted atop the US ''Billboard'' 200 with first-week sales of 1.287 million copies, according to data compiled by ''Billboard'' for the chart dated November 15, 2014. 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'' 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. By August 2022, the album had spent 400 weeks on the chart. ''1989'' exceeded sales of five million copies in US sales by July 2015, the fastest-selling album since 2004 up to that point. 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 United States. The Recording Industry Association of America (RIAA) certified the album nine-times platinum, which denotes nine million album-equivalent units. As of August 2023, ''1989'' had accumulated 12.3 million album-equivalent units in the United States.

''1989'' also reached number one on the record charts of various European and Oceanic countries, including Australia, Belgium, Ireland, the Netherlands, New Zealand, Norway, and Switzerland. The album received multi-platinum certifications in many countries, such as Australia (eleven-times platinum), Austria (triple platinum), Belgium (four-times platinum), New Zealand (nine-times platinum), and Norway (triple platinum). In Canada, it was certified six-times platinum by Music Canada (MC) and sold 542,000 copies to become the decade's fifth-best-selling album. It was the fastest-selling album by a female artist of 2014 in the United Kingdom, where it earned a six-times platinum certification from the British Phonographic Industry (BPI). In the Asia-Pacific markets, ''1989'' was certified platinum in Japan and Singapore, and it sold over one million units as of August 2019 to become one of the best-selling digital albums in China. According to the International Federation of the Phonographic Industry (IFPI), ''1989'' was the second-best-selling album of 2014 and third-best-selling of 2015. By 2022, the album was Swift's best-selling and had sold 14 million copies worldwide.

After Swift embarked on her sixth headlining world tour, the Eras Tour, in March 2023, sales and streams of Swift's discography resurged. ''1989'' reached new peaks on the albums charts in Greece (number one), Austria (number four), Sweden (number 17). It appeared on new albums charts of Argentina (number one), Uruguay (number seven), and Iceland (number 25).

Critical reception

When ''1989'' was first released, contemporary music critics gave it generally positive reviews. On Metacritic, a review aggregator site that compiles reviews from mainstream publications and assigns a weighted average score out of 100, ''1989'' received a score of 76 that was based on 29 reviews. AnyDecentMusic? compiled 28 reviews and gave the album a score of 7.4 out of 10.

Most reviewers highlighted Swift's mature perception of love and heartbreak. ''The A.V. Club''s Marah Eakin praised her shift from overtly romantic struggles to more positive themes of accepting and celebrating the moment. Neil McCormick of ''The Daily Telegraph'' commended the album's "harpobservation and emotional engagement" that contrasted with lyrics found in "commercialised pop". Alexis Petridis of ''The Guardian'' lauded Swift's artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop authenticity.

The album's 1980s synth-pop production divided critics. In an enthusiastic review, ''The New York Times''' Jon Caramanica complimented Swift's avoidance of contemporary hip hop/R&B crossover trends, writing, "Ms. Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars...even bother aspiring to." Writing for ''Rolling Stone'', Rob Sheffield characterized the record as "deeply weird, feverishly emotional, wildly enthusiastic". 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. ''NME'''s Matthew Horton considered Swift's transition to pop "a success", save for the inclusion of the "soft-rock mush" of "This Love" and "Clean". 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.

Some critics lamented that Swift's move from country to pop eroded her authenticity as a songwriter, particularly because of pop music's "capitalist nature" as opposed to country music's emphasis on authenticity. ''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. ''Entertainment Weekly''s Adam Markovitz and ''Spin'' Andrew Unterberger were critical of the heavy synthesizers, which undermined Swift's conventionally vivid lyrics. 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". Mikael Wood, in his review for the ''Los Angeles Times'', found the album inauthentic, but acknowledged her effort to emulate the music of an era she did not experience.

Awards and rankings

''1989'' won industry awards, including Favorite Pop/Rock Album at the American Music Awards and Album of the Year (Western) at the Japan Gold Disc Awards in 2015, and Album of the Year at the iHeartRadio Music Awards in 2016. It also earned nominations for Best International Pop/Rock Album at the Echo Music Prize, International Album of the Year at the Juno Awards, and Best International Album at the Los Premios 40 Principales in 2015. At the 58th Annual Grammy Awards in 2016, ''1989'' won Album of the Year and Best Pop Vocal Album. Swift became the first female solo artist to win Album of the Year twice—her first win was for ''Fearless'' (2008) in 2010.

Many publications ranked ''1989'' among the best albums of 2014. Those who placed the album within their top 10 included ''Billboard'' (first), '' American Songwriter'' (4th), ''Time'' (4th), ''The Daily Telegraph'' (5th), '' The Music'' (5th), ''Drowned in Sound'' (6th), '' Complex'' (8th), and ''Rolling Stone'' (10th). Other publications that featured ''1989'' in their lists were ''The Guardian'', ''The A.V. Club'', ''PopMatters'', ''Pitchfork'', and ''MusicOMH''. The album ranked 7th on ''The Village Voice'' 2014 Pazz & Jop mass critics' poll and featured in individual critics' lists by Jon Caramanica for ''The New York Times'' (7th), Ken Tucker for NPR (3rd), and Brian Mansfield for ''USA Today'' (1st).

Legacy

Cultural influence

''1989'' transformed Swift's image from a country singer to a pop icon. According to ''Time'''s Raisa Bruner, "''1989'' changed the music industry forever and cemented Swift's place as not only an artist with longevity, but a star who would make music on her own terms." It 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. Its singles received heavy rotation on US radio over a year and a half following its release, which ''Billboard'' noted as "a kind of cultural omnipresence" that was rare for a 2010s album. Shaun Cullen, an academic specializing in the humanities, described Swift as a figure "at the cutting edge of postmillennial pop". Swift continued to incorporate the 1980s pop sound of ''1989'' to her next albums such as '' Reputation'' (2017), ''Lover'' (2019), and ''Midnights'' (2022). Antonoff continued working with Swift on those albums and collaborated with other musicians to commercial success, and he credited Swift as the "first person" who recognized him a producer.Artists who cited ''1989'' as an influence included the singer-songwriter Conan Gray, the actor and musician Jared Leto, and the pop band Vamps, who was inspired by ''1989'' to compose their album ''Wake Up'' (2015). The director Jennifer Kaytin Robinson cited ''1989'' as an inspiration for her feature film debut, '' Someone Great'' (2019). The singer-songwriter Ryan Adams released his track-by-track cover album of ''1989'' in September 2015. Finding it a "joyful" record, he listened to the album frequently to cope with his broken marriage in late 2014. On his rendition, Adams incorporated acoustic instruments, which contrast with the original's electronic production. Swift was delighted with Adams' cover and told him, "What you did with my album was like actors changing emphasis."

Along with ''1989'' success, Swift's status as a pop star became a subject of media scrutiny. Swift described herself as a feminist, but 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. 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." Swift's disputes with several celebrities, including rapper Kanye West, diminished the sense of authenticity that she had maintained. Swift announced a prolonged hiatus following the 1989 World Tour because "people might need a break from er. Her follow-up album, ''Reputation'', was influenced by the media commotion surrounding her celebrity.

Critical re-evaluation

After Adams released his ''1989'' cover in 2015, ''Pitchfork'' attracted criticism when it reviewed his rendition while neglecting Swift's artistic output. In the ''New Statesman'', Anna Leszkiewicz wrote that the "most highbrow music critics" praised Adams for transforming Swift's ''1989'' from a "cheesy" album to a more serious one. The philosopher Alison Stone argued that this critical reaction was a result of both rockism and sexism. According to Stone, music journalism assumed that Swift's pop music had its "feminine" qualities of "superficiality and triviality", which it deemed inferior to Adams's indie rock and "singer-songwriter" identities that supposedly embodied authenticity and meaningfulness. Stone and ''Slate'''s Forrest Wickman commented that this was in line with ''Pitchfork'' and other rock-music critics' tendency to prefer male-oriented, "edgy" musicians to "mainstream" acts.

Retrospective reviews have considered ''1989'' an artistically accomplished album. ''Paste'''s Ellen Johnson wrote that it was "one of the best American pop albums of all time", and ''Esquire'''s Alex Bilmes regarded it as Swift's masterpiece and a modern classic. ''The Guardian'''s Ian Gormely wrote that ''1989'' made Swift the catalyst for poptimism—a critical reassessment of "mainstream" pop music that had been largely dismissed by "indie" music audiences. Lucy Ford of '' GQ'' said by embracing synth-pop, Swift " rovedgenres don't indicate authenticity". For many critics, the album stood out in contemporary music because Swift deliberately avoided contemporary hip-hop trends to incorporate 1980s/1990s musical influences, which made it an ambitious album with a nostalgic and classic sound; the BBC's Rob Freeman described the sound as "retrofuturist". ''NME'''s Hannah Mylrea deemed ''1989'' Swift's best album with a refined production and sharp lyrics. For the '' Alternative Press'' Kelsey Barnes and ''Slant Magazine'''s Annie Galvin, the album fostered Swift's artistic autonomy to experiment with different sounds and songwriting tropes. Some critics, such as Lucy Harbron from '' Clash'' and Neil Smith from the BBC, regarded ''1989'' as a pioneer for artists who experimented beyond their perceived musical boundaries.

Many publications ranked ''1989'' among their best albums of the 2010s decade—according to Metacritic, it is the 16th-most prominently acclaimed album on decade-end lists. ''The A.V. Club'' and ''Slant Magazine'' placed it in the top ten of their lists, and it featured in the top 50 on lists by ''Billboard'', '' Consequence'', ''NME'', '' Paste'', ''Rolling Stone'', and Uproxx. ''Consequence'' additionally ranked it sixth on their list of the best 2010s-decade pop albums, and '' Variety'''s Chris Willman ranked it first on his personal list. ''The Guardian'' featured the album at number 89 on a 2019 list of the 100 best albums of the 21st century. ''The Times''' Ed Potton dubbed it the "album of the century". On ''Pitchfork''s readers' poll for the 2010s decade, it ranked 44th. ''1989'' placed at number 393 on ''Rolling Stone'' 2023 revision of their 500 Greatest Albums of All Time, and number 39 on ''Consequence'' The 100 Greatest Albums of All Time (2022).

2023 re-recording

In November 2020, after a dispute over the ownership of Swift's back catalog, she began re-recording her first six studio albums that had been released by Big Machine. By re-recording them, Swift had the full ownership of the masters, which granted her full authorization of using her music for commercial purposes and therefore substituted the Big Machine-owned masters. Swift released the re-recording of ''1989'', subtitled '' Taylor's Version'', on October 27, 2023, nine years after the original release of ''1989''. It was the fourth re-recorded album in the series, following the ''Taylor's Version'' re-recordings of ''Fearless'' (2021), ''Red'' (2021), and ''Speak Now'' (2023). ''1989 (Taylor's Version)'' standard track-list contains re-recorded versions of all tracks on the deluxe ''1989'' edition and five previously unreleased "From the Vault" tracks. After the announcement of ''1989 (Taylor's Version)'', the original album re-entered the top 10 of the ''Billboard'' 200 chart dated August 26, 2023.

Track listing

Notes

* signifies a vocal producer
* signifies an additional producer

Personnel

Adapted from the liner notes of ''1989''

;Production

* Taylor Swift – writer, producer, executive producer
* 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

;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

;Art
* Taylor Swift – creative director
* Sarah Barlow – photography
* Stephen Schofield – photography
* Josh & Bethany Newman – art direction
* Austin Hale – design
* Amy Fucci – design
* Joseph Cassell – wardrobe stylist

Charts

Weekly charts

Year-end charts

Decade-end charts

All-time charts

Certifications and sales

See also

* List of ''Billboard'' 200 number-one albums of 2014
* List of ''Billboard'' 200 number-one albums of 2015
* List of UK Albums Chart number ones of the 2010s
* List of UK Album Downloads Chart number ones of the 2010s
* List of best-selling albums in Australia
* List of best-selling albums by year in the United States
* List of best-selling albums in China
* List of best-selling albums in the United States of the Nielsen SoundScan era
* List of best-selling albums of the 2010s in the United Kingdom
* List of best-selling albums of the 21st century
* List of best-selling albums by women
* Lists of fastest-selling albums
* List of albums which have spent the most weeks on the UK Albums Chart

Notes

References

Bibliography

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External links

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2014 albums
Taylor Swift albums
Albums produced by Taylor Swift
Albums produced by Jack Antonoff
Albums produced by Max Martin
Albums produced by Shellback (record producer)
Albums produced by Ryan Tedder
Albums produced by Nathan Chapman (record producer)
Albums produced by Mattman & Robin
Big Machine Records albums
Grammy Award for Album of the Year
Grammy Award for Best Pop Vocal Album
Synth-pop albums by American artists
Albums produced by Ali Payami
Albums produced by Imogen Heap