1989 (Taylor Swift Album) - Wikipedia

1989 (Taylor
Swift album)
1989 is the fifth studio album by American singer-songwriter Taylor Swift. It was
released on October 27, 2014, by Big Machine Records. Following the release of her
genre-spanning fourth studio album Red (2012), noted for pop hooks and electronic
elements, the media questioned the validity of Swift's status as a country artist.
Inspired by 1980s synth-pop to create a record that shifted her sound and image from
country 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 artistry.
1989
Standard cover[note 1]
Studio album by Taylor Swift
Released October 27, 2014
Recorded c. 2013–2014
Studio Conway (Los Angeles)
Jungle City (New York City)
Lamby's House (Brooklyn)
MXM (Stockholm)
Pain in the Art (Nashville)
Elevator Nobody (Göteborg)
The Hideaway[note 2]
Genre Synth-pop
Length 48:41
Label Big Machine
Producer Max Martin

Taylor Swift
Shellback
Jack Antonoff
Ryan Tedder
Noel Zancanella
Ali Payami
Nathan Chapman
Imogen Heap
Mattman & Robin

Taylor Swift chronology
Red
1989
Reputation
(2012) (2014) (2017)
Singles from 1989
1. "Shake It Off"
Released: August 19, 2014
2. "Blank Space"
Released: November 10, 2014
3. "Style"
Released: February 9, 2015
4. "Bad Blood"
Released: May 17, 2015
5. "Wildest Dreams"
Released: August 31, 2015
6. "Out of the Woods"
Released: January 19, 2016
7. "New Romantics"
Released: February 23, 2016
The album's synth-pop sound is characterized by heavy synthesizers, programmed

drums, and processed backing vocals. Swift wrote the songs inspired by her personal
relationships, which had been a trademark of her songwriting. The songs on 1989
express lighthearted perspectives, departing from her previous hostile attitude
towards failed romance. Swift and Big Machine promoted the album extensively
through product endorsements, television, radio appearances and social media. They
pulled 1989 from free streaming services such as Spotify, prompting an industry
discourse on the impact of streaming on music sales.[note 3]
After the album's release, Swift embarked on the 1989 World Tour, which was the
highest-grossing tour of 2015. The album was supported by seven singles, including
three US Billboard Hot 100 number ones: "Shake It Off", "Blank Space", and "Bad Blood".
Critics praised Swift's songwriting in 1989 for offering emotional engagement that they
found uncommon in the mainstream pop scene. Meanwhile, the synth-pop production
raised questions regarding Swift's authenticity as a lyricist. 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. 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 was a commercial success. In the US, Swift became the first artist to have three
albums each sell over one million copies within their first week of release. The album
spent 11 weeks atop the Billboard 200 and received a ninefold platinum certification
from the Recording Industry Association of America (RIAA). It also earned multi-
platinum certifications in Australia, Canada, and the UK, and has sold over 10 million
pure copies worldwide.
Background
Until the release of her fourth studio album Red in October 2012, singer-songwriter
Taylor Swift had been known as a country artist.[3][4] Red incorporates various pop
and rock styles, transcending the country sound of her previous releases. 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.[5][6] 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.[7] When it ended, the
album's associated world tour, running from March 2013 to June 2014, was the all-time
highest-grossing country tour.[8] 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."[9]
Having been known as "America's Sweetheart" due to her wholesome and down-to-
earth image,[10] Swift saw her reputation blemished by her history of romantic
relationships with a series of high-profile celebrities. Her relationship with English
singer Harry Styles during the promotion of Red was a particular subject for tabloid
gossip.[11] 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.[12] 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.[13] 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.[13][14] Swift also took inspiration from the media scrutiny of her image to write
satirical songs about her perceived image.[15][16]
Recording and production

The 1980s synth-pop music, especially by artists such as Peter Gabriel (left) and Annie Lennox (right),
inspired the sound of 1989.[15]
Swift began songwriting for her fifth studio album in mid-2013 while touring to support
Red.[17] For Red 's follow-up, she sought to create a "blatant pop" record, departing
from her country/pop experimentation. She believed that "if you chase two rabbits,
you lose them both".[18] Greatly inspired by 1980s synth-pop,[19] 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.[13]
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
unburdened by heavy instrumentation.[note 4]
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.[9] 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.[17] Scott Borchetta, president
of Swift's then-label Big Machine, was initially skeptical of Swift's decision.[20] He
failed to persuade Swift to record "three country songs",[20] and ultimately accepted
that Big Machine would not promote the new songs to country radio.[21] Martin and
Shellback produced seven of the thirteen tracks on the album's standard edition.[1]
Swift credited Martin as co-executive producer because he also recorded and
produced her vocals on tracks on which he was uncredited. This solidified Swift's
vision of a coherent record rather than a mere "collection of songs".[20]
"I Wish You Would"
0:00 / 0:00
The snare drums on "I Wish You Would" were inspired by Fine Young Cannibals'
1988 single "She Drives Me Crazy".
Problems playing this file? See media help.
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).[22] Antonoff co-wrote and co-produced two tracks
on the standard edition.[1] 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.[13] Antonoff played
his sample to Swift on an iPhone and sent it to her to re-record.[13] The final track is a
remix that retains the distinctive snare drums.[23] For "Out of the Woods", Antonoff
sent his finished instrumental track to Swift while she was on a plane.[24] She sent
him a voice memo containing the lyrics roughly 30 minutes later.[18] The song was the
first time Swift composed lyrics for an existing instrumental.[25] Antonoff produced
one more track for the album's deluxe edition, "You Are in Love".[19]
Swift contacted Ryan Tedder, with whom she had always wanted to work, by a
smartphone voice memo.[26] He co-produced two songs—"Welcome to New York" and
"I Know Places".[1] 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.[27] 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 [Swift] did."[28] For
"Clean", Swift approached English 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.[19] Nathan
Chapman, Swift's longtime collaborator, co-produced the track "This Love".[29] The
album was mastered by Tom Coyne in two days at Sterling Sound Studio in New York
City.[1][19] 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 includes 13 tracks; the deluxe edition includes six
additional tracks—three original songs and three voice memos.[31][32] The album
makes heavy use of synthesizers, programmed drums, pulsating basslines, and
processed backing vocals.[33] 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.[34] Although Swift declared her move from country to
pop on 1989, several reviewers, including The A.V. Club 's Marah Eakin,[35] argued that
Swift had always been more pop-oriented even on her early country songs.[4] 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".[36] 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.[32]
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.[37][38] The songs are primarily about Swift's
recurring themes of the emotions and reflections resulting from past romantic
relationships.[33][39][40] 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.[18]
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.[41] 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."[42] Swift explained her shift in
attitude to NPR: "In the past, I've written mostly about heartbreak or pain that was
caused by someone else and felt by me. On this album, I'm writing about more
complex relationships, where the blame is kind of split 50–50 ... even if you find the
right situation relationship-wise, it's always going to be a daily struggle to make it
work."[15]
Songs
"Out of the Woods"
0:00 / 0:00
With lyrics inspired by her personal troubles, Swift described "Out of the Woods"
as the song that "best represents" the album. The track incorporates heavy
1980s-styled synthesizers and looping percussions.
Problems playing this file? See media help.

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.[29][43] "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.[35][44] The production of "Style", a funk-
flavored track, was inspired by "funky electronic music" artists such as Daft
Punk;[19][45] its lyrics detail an unhealthy relationship and contain a reference to the
American actor James Dean in the refrain.[46][47] "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.[48][49] Swift said that the song, which
was inspired by a relationship that evoked constant anxiety because of its fragility,
"best represents" 1989.[50][51] "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.[52]
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.[53][54] 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.[46][55][56] Swift said that "Bad Blood", a track that incorporates heavy,
stomping drums,[44] 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).[18][57] "Wildest Dreams" speaks of a dangerous affair with an apparently
untrustworthy man and incorporates a sultry, dramatic atmosphere accompanied by
string instruments.[19][45][58] 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.[45][55][59] "This Love" is a soft rock-flavored electropop
ballad;[43][44] 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.[29]
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".[50] 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.[58][60] The final track, "Clean", is an understated soft rock-
influenced 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.[43][61][62] "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".[23] The ballad "You Are in Love"
finds Swift talking about an ideal relationship from another woman's perspective.[63]
Swift was inspired by the relationship of Antonoff and his girlfriend at the time Lena
Dunham, both of whom are close friends of hers.[64] The final song's title, "New
Romantics", refers to the cultural movement in the late 1970s and early 1980s.[23] With
a strong 1980s synth-pop sound, the song sees Swift reigniting her hopes and energy
after the heartbreaks she had endured.[41][65]
Title and artwork
Swift named 1989 after her birth year, which corroborates the influence of 1980s
synth-pop.[19] She described the title as a symbolic rebirth of her image and artistry,
severing ties with the country stylings of her previous albums.[66] As creative director
for the album's packaging,[1] Swift included pictures taken with a Polaroid instant
camera—a photographic method popular in the 1980s.[67][68] 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."[69][70]
She is wearing red lipstick and a sweatshirt embroidered with flying seagulls.[67] Her
initials are written with black marker on the bottom left, and the title 1989 on the
bottom right.[68][70]
Each CD copy of 1989 includes a packet, one of five available sets, of 13 random
Polaroid pictures, made up from 65 different pictures.[71] The pictures portray Swift in
different settings such as backdrops of New York City and recording sessions with
the producers.[72] 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.[68] 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".[73]
Release and promotion
Swift marketed 1989 as her first "official pop" album.[74] To bolster sales, Swift and
Big Machine implemented an extensive marketing plan.[75] As observed by Maryn
Wilkinson, an academic specialized in media studies, Swift adopted a "zany" aspect
for her 1989 persona.[note 5] 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.[77] She used
social media extensively to communicate with her fan base; to attract a younger
audience, she had promoted her country songs online previously.[78] 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.[76][74] She also promoted the album through product endorsements with
Subway, Keds and Diet Coke.[79] 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",[80] which debuted atop the US Billboard Hot 100.[81] 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".[78] The sessions took place at her properties in Los
Angeles, New York City, Nashville, Rhode Island, and London throughout September
2014.[82]

Swift on the 1989 World Tour, the highest-grossing tour of 2015
The album's standard and deluxe editions were released digitally on October 27,
2014.[83] In the US and Canada, the deluxe edition was available exclusively through
Target Corporation.[26][84] 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.[85] 1989 was supported by a string of commercially successful
singles,[86] including Billboard Hot 100 number ones "Blank Space" and "Bad Blood"
featuring rapper Kendrick Lamar, and top-10 hits "Style" and "Wildest Dreams".[87]
Other singles were "Out of the Woods", previously a promotional single,[88] and "New
Romantics".[89] The deluxe edition bonus tracks, which had been available exclusively
through Target, were released on the iTunes Store in the US in 2015.[90]
On November 3, 2014, Swift removed her entire catalog from Spotify, the largest on-
demand streaming service at the time,[71] arguing that their ad-supported free service
undermined the platform's premium service, which provides higher royalties for
songwriters.[91] 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.[92] Big Machine and Swift kept 1989
only on paid subscription-required platforms such as Rhapsody and Beats Music.[75]
This move prompted an industry-wide debate on the impact of streaming on declining
record sales during the digital era.[74] 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.[93] 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.[94][95] She
re-added her entire catalog on Spotify in June 2017.[2] Swift began rerecording her first
six studio albums, including 1989, in November 2020.[96] 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.[97]
In addition to online promotion, Swift made many appearances on radio and

television.[75] She performed at awards shows including the MTV Video Music
Awards[98] and the American Music Awards.[99] Her appearances on popular
television talk shows included Jimmy Kimmel Live!, The Ellen DeGeneres Show, Late
Show with David Letterman and Good Morning America.[75] She was part of the line-up
for the iHeartRadio Music Festival,[100] CBS Radio's "We Can Survive" benefit
concert,[101] the Victoria's Secret Fashion Show[102] and the Jingle Ball Tour.[103] The
album's supporting tour, the 1989 World Tour, ran from May to December 2015. It
kicked off in Tokyo,[104] and concluded in Melbourne.[105] Swift invited various special
guests on tour with her, including singers and fashion models the media called Swift's
"squad" which received media coverage.[106] The 1989 World Tour was the highest-
grossing tour of 2015, earning over $250 million at the box office.[107] In North America
alone, the tour grossed $181.5 million, setting the record for highest-grossing US tour
by a woman.[108] Swift broke this record in 2018 with her Reputation Stadium Tour.[109]
Critical reception
Professional ratings
Aggregate scores
Source Rating
AnyDecentMusic? 7.4/10[110]
Metacritic 76/100[111]
Review scores
Source Rating
AllMusic [112]

The A.V. Club B+[35]
Cuepoint (Expert Witness) A−[113]
The Daily Telegraph [61]

The Guardian [58]

Los Angeles Times [45]

NME 7/10[43]
Pitchfork 7.7/10[41]
Rolling Stone [59]

Spin 7/10[60]
1989 received generally positive reviews from contemporary critics;[9] most of them
acknowledged Swift's mature perceptions.[114] The A.V. Club 's Marah Eakin praised her
shift from overtly romantic struggles to more positive themes of accepting and
celebrating the moment.[35] Neil McCormick of The Daily Telegraph commended the
album's "[sharp] observation and emotional engagement" that contrasted with lyrics
found in "commercialised pop".[61] Alexis Petridis of The Guardian lauded Swift's
artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop
authenticity.[58]
The album's 1980s synth-pop production divided critics. 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. Swift is aiming somewhere
even higher, a mode of timelessness that few true pop stars...even bother aspiring
to."[29] Writing for Rolling Stone, Rob Sheffield characterized the record as "deeply
weird, feverishly emotional, wildly enthusiastic".[59] 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.[113] 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".[43] 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.[115]
Several reviewers lamented that the musical shift erased Swift's authenticity as a
lyricist.[116] 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.[56] Entertainment Weekly 's Adam Markovitz and Spin 's Andrew
Unterberger were critical of the heavy synthesizers, which undermined Swift's
conventionally vivid lyrics.[60][117] 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".[112] 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.[45]
Accolades
1989 won Favorite Pop/Rock Album at the 2015 American Music Awards,[118] Album of
the Year (Western) at the 2015 Japan Gold Disc Awards,[119] and Album of the Year at
the 2016 iHeartRadio Music Awards.[120] It also earned nominations for Best
International Pop/Rock Album at the 2015 Echo Music Prize,[121] International Album of
the Year at the 2015 Juno Awards,[122] and Best International Album at the Los
Premios 40 Principales 2015.[123] At the 58th Grammy Awards in 2016, the album won
Album of the Year and Best Pop Vocal Album.[124] Swift became the first female solo
artist to win Album of the Year twice—her first win was for Fearless (2008) in
2010.[125]
The album appeared on multiple publications' year-end lists of 2014, ranking at

number one on the list by Billboard.[126] It was also picked as one of the best albums
of the 2010s decade, including top-10 entries in The A.V. Club[127] and Slant
Magazine.[128] According to Metacritic, it was the sixteenth most prominently
acclaimed album on the decade-end lists.[129] In terms of audience reception, 1989
ranked at number 44 on Pitchfork 's readers' poll for the 2010s decade.[130] In 2020,
1989 placed at number 393 on Rolling Stone 's 2020 revision of their 500 Greatest
Albums of All Time.[131]
Critical rankings for 1989
Published
Critic/Organization Time span Rank

year
American Songwriter Year-end 4 2014[132]
Year-end 15 2014[133]
The A.V. Club
Decade-end 4 2019[127]
Year-end 1 2014[126]
Billboard
Decade-end 19 2019[134]
Jon Caramanica (The New York Times) Year-end 7 2014[135]
Complex Year-end 8 2014[136]
Decade-end 24 2019[86]
Consequence of Sound
Decade-end (Pop music) 6 2019[137]
The Daily Telegraph Year-end 5 2015[138]
Drowned in Sound Year-end 3 2014[139]
Year-end 12 2014[140]
The Guardian
21st century 89 2019[141]
The Music Year-end 5 2014[142]
musicOMH Year-end 32 2014[143]
NME Decade-end 31 2019[144]
Paste Decade-end 50 2019[145]
Pazz & Jop (The Village Voice) Year-end 7 2014[146]
Pitchfork Year-end 31 2014[147]
PopMatters Year-end 15 2014[148]
Year-end 10 2014[149]
Rolling Stone Decade-end 19 2019[150]
All Time 393 2020[131]
Slant Magazine Decade-end 10 2019[128]

Time Year-end 4 2014[151]
Ken Tucker (NPR) Year-end 3 2014[152]
Uproxx Decade-end 34 2019[153]
Chris Willman (Variety) Decade-end 1 2019[154]
Commercial performance
1989 was released amidst a decline in record sales brought about by the emergence
of digital download and streaming platforms.[155] 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.[74] 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.[75][74] 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.[155]
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 albums each sell one million copies
within the first week, and 1989 was the first album released in 2014 to exceed one
million copies.[156] 1989 topped the Billboard 200 for 11 non-consecutive weeks[157] and
spent the first full year after its release in the top 10 of the Billboard 200.[158] By
September 2020, the album had spent 300 weeks on the chart.[159] 1989 exceeded
sales of five million copies in US sales by July 2015, the fastest-selling album since
2004 up to that point.[note 6] 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.[162] The
Recording Industry Association of America (RIAA) certified the album 9× Platinum,
which denotes nine million album-equivalent units.[163] All of its singles except "New
Romantics" achieved platinum or multi-platinum certifications. 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.[164]
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.[165] In Canada, it was certified 6× Platinum[166] and was the fifth-best-
selling album of the 2010s, with sales of 542,000 copies.[167] It was the fastest-selling
album by a female artist of 2014 in the UK,[168] where it has sold 1.25 million copies and
earned 4× Platinum certification.[169] 1989 became one of the best-selling digital
albums in China, having sold one million units as of August 2019.[170] 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.[171]
Legacy
American singer Ryan Adams (pictured) released his track-by-track cover of 1989 in September 2015.
1989 's commercial success transformed Swift's image from a country singer-
songwriter to a worldwide pop phenomenon.[28][116][172] The album was the second
album to spawn five or more US top-10 singles in the 2010s decade,[note 7] and made
Swift the second woman to have two albums each score five US top-10 hits.[note 8] 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".[175] The academic Shaun Cullen specializing in the humanities described
Swift as a figure "at the cutting edge of postmillennial pop".[176] According to the BBC's
Neil Smith, 1989 "[forged] a path for artists who no longer wish to be ghettoised into
separated musical genres".[177] Ian Gormely of The Guardian called Swift the forefront
of poptimism, led by 1989 which replaced dance/urban trends with ambition, proving
that "chart success and clarity of artistic vison aren't mutually exclusive ideas."[178]
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.[106]
Along with 1989 's success, Swift's new image as a pop star became a subject of
public scrutiny. While Swift supported feminism—her first time expressing her
political opinions[179]—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.[106] 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."[106]
Swift's disputes with several celebrities, most notably rapper Kanye West, diminished
the sense of authenticity that she had maintained.[95][note 9] Swift announced a
prolonged hiatus following the 1989 World Tour because "people might need a break
from [her]".[95] Her follow-up album Reputation (2017) was influenced in part by this
tumultuous affair with the media.[181]
Retrospective reviews from GQ 's Jay Willis,[182] New York 's Sasha Geffen,[183] and
NME 's Hannah Mylrea praised how 1989 avoided contemporary hip hop and R&B
crossover trends, making it a timeless album that represents the best of Swift's
prowess. Mylrea praised it as the singer'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.[184] Geffen also attributed the album's success to its
lyrics offering emotional engagement that is uncommon in pop.[183] Contemporary
artists who cited 1989 as an influence included American singer-songwriter Conan
Gray,[185] American actor and musician Jared Leto,[186] and British pop band the
Vamps, who took inspiration from 1989 while composing their album Wake Up
(2015).[187] Jennifer Kaytin Robinson cited 1989 as an inspiration for her 2019 directorial
debut, Someone Great.[188] American rock 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.[189] On
his rendition, Adams incorporated acoustic instruments which contrast with the
original's electronic production.[190][191] Swift was delighted with Adams' cover, saying
to him, "What you did with my album was like actors changing emphasis."[192]
Track listing
1989 – Standard edition[1]
No. Title Writer(s) Producer(s) Length
1. "Welcome to New York" Taylor Swift • Swift • Tedder • 3:32
Ryan Tedder Noel Zancanella

2. "Blank Space" Swift • Martin • Shellback 3:51
Max Martin •
Shellback
3. "Style" Swift • Martin • Martin • 3:51
Shellback • Shellback • Payami
Ali Payami
4. "Out of the Woods" Swift • Swift • Antonoff 3:55
Jack Antonoff
5. "All You Had to Do Was Swift • Martin Martin • 3:13
Stay"
Shellback •
Mattman & Robin

6. "Shake It Off" Swift • Martin • Martin • Shellback 3:39
Shellback
7. "I Wish You Would" Swift • Antonoff Swift • Antonoff • 3:27
Greg Kurstin[a]
8. "Bad Blood" Swift • Martin • Martin • Shellback 3:31
Shellback
9. "Wildest Dreams" Swift • Martin • Martin • Shellback 3:40
Shellback
10. "How You Get the Girl" Swift • Martin • Martin • Shellback 4:07
Shellback
11. "This Love" Swift Swift • 4:10
Nathan Chapman
12. "I Know Places" 3:15
Swift • Tedder Swift • Tedder •
Zancanella
13. "Clean" Swift • Swift • Heap 4:30
Imogen Heap
Total length: 48:41
1989 – Deluxe edition (bonus tracks)[193]

No. Title Writer(s) Producers Length
14. "Wonderland" Swift • Martin • Martin • Shellback 4:05
Shellback
15. "You Are in Love" Swift • Antonoff Swift • Antonoff 4:27
16. "New Romantics" Swift • Martin • Martin • Shellback 3:50
Shellback
Total length: 60:23
1989 – CD deluxe edition (bonus tracks)[84]

No. Title Writer(s) Length
17. "I Know Places" (piano/vocal voice Swift • Tedder 3:36
memo)
18. "I Wish You Would" (track/vocal voice Swift • Antonoff 1:47
memo)
19. "Blank Space" (guitar/vocal voice memo) Swift • Martin • 2:11
Shellback
Total length: 68:37
Notes
^a signifies an additional producer
Personnel
Credits are adapted from the liner notes of 1989.[1]

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
Peak
Chart (2014–2021)
position
Australian Albums (ARIA)[165] 1
Austrian Albums (Ö3 Austria)[194] 5
Belgian Albums (Ultratop Flanders)[195] 1
Belgian Albums (Ultratop Wallonia)[196] 7
Brazilian Albums (ABPD)[197] 3
Canadian Albums (Billboard)[198] 1
Czech Albums (ČNS IFPI)[199] 17
Danish Albums (Hitlisten)[200] 2
Dutch Albums (Album Top 100)[201] 1
Finnish Albums (Suomen virallinen lista)[202] 10
French Albums (SNEP)[203] 9
German Albums (Offizielle Top 100)[204] 4
Greek Albums (IFPI)[205] 11
Hungarian Albums (MAHASZ)[206] 22
Irish Albums (IRMA)[207] 1
Italian Albums (FIMI)[208] 5
Japanese Albums (Oricon)[209] 3
South Korean Albums (Gaon)[210] 10
South Korean International Albums (Gaon)[211] 2
Mexican Albums (AMPROFON)[212] 1
New Zealand Albums (RMNZ)[213] 1
Norwegian Albums (VG-lista)[214] 1
Polish Albums (ZPAV)[215] 17
Portuguese Albums (AFP)[216] 3
Scottish Albums (OCC)[217] 1

South African Albums (RISA)[218] 7
Spanish Albums (PROMUSICAE)[219] 4
Swedish Albums (Sverigetopplistan)[220] 23
Swiss Albums (Schweizer Hitparade)[221] 3
Swiss Albums (SNEP Romandy)[222] 1
UK Albums (OCC)[223] 1
US Billboard 200[224] 1
US Independent Albums (Billboard)[225] 7
Year-end charts
Chart (2014) Position
Austrian Albums (Ö3 Austria)[242] 47
Spanish Albums (PROMUSICAE)[253] 56
US Independent Albums[275] 36
Decade-end charts
Chart (2010s) Position
All-time charts
Chart Position
Australian Albums (ARIA)[note 10] 4
Irish Female Albums (IRMA)[280] 36
New Zealand Albums (RMNZ)[note 11] 33
US Billboard 200[note 12] 64
US Billboard 200 (Women)[note 13] 5
Certifications and sales

Certifications for 1989, with pure sales where available
Region Certification Certified units/sales
Australia (ARIA)[note 14] 9× Platinum 630,000
Austria (IFPI Austria)[286] 3× Platinum 45,000*
Brazil (Pro-Música Brasil)[287] Platinum 40,000*
Brazil (Pro-Música Brasil)[287]
Gold 20,000*
Digital sales
Canada (Music Canada)[166] 6× Platinum 542,000[note 15]
Denmark (IFPI Danmark)[288] Platinum 20,000
France (SNEP)[289] Platinum 100,000
Germany (BVMI)[290] Platinum 200,000
Italy (FIMI)[291] Gold 25,000*
Japan (RIAJ)[293] Platinum 268,000[note 16]
Mexico (AMPROFON)[294] 3× Platinum+Gold 210,000^
Netherlands (NVPI)[295] Gold 20,000^
New Zealand (RMNZ)[296] 6× Platinum 90,000^
Norway (IFPI Norway)[297] 3× Platinum 60,000*
Poland (ZPAV)[298] 2× Platinum 40,000
Singapore (RIAS)[299] 2× Platinum 20,000*
Spain (PROMUSICAE)[300] Gold 20,000
Sweden (GLF)[301] Gold 20,000
Switzerland (IFPI Switzerland)[302] Gold 10,000^
United Kingdom (BPI)[303] 4× Platinum 1,250,000[note 17]
United States (RIAA)[163] 9× Platinum 6,250,000[note 18]
* 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.
Big Machine •
[305]
Canada
CD •
Universal
Standard
United digital download
[306][307]
States
Canada Big Machine

Deluxe CD [84]
United October 27,
States 2014
Big Machine •
Germany [308]
CD •
Universal
Standard •
United digital download Big Machine •
[309]
deluxe
Kingdom Virgin EMI
Various Digital download Big Machine [83]
October 28, [310]

Australia Standard CD
2014
October 29, Universal [311]

Japan Deluxe CD+DVD
2014
Canada [312]
December
United Vinyl
9, 2014 [313]
States
December Standard
[314]
Turkey CD Big Machine
10, 2014
United December Karaoke (digital [315]

States 15, 2014 download)
Mainland December [316]

CD Universal
China 30, 2014
Deluxe
March 3, Karaoke (digital Big Machine [317]
Canada
2015 download)
United April 14, Standard Karaoke [318]
States 2015 (CD+G/DVD)

[319]
Canada May 14, 2015 Deluxe Karaoke (CD+G)
See also
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
References
Notes
1. Deluxe edition cover has "1989" written across the image, with "D.L.X." written in the
bottom right corner.
2. The location of The Hideaway Studio, where "Clean" was recorded, is not indicated in the
liner notes of 1989.[1]
3. 1989 returned to Spotify in June 2017.[2]
4. Swift admired Lennox's "way she conveys a thought, there's something really intense
about it". Commenting on Gabriel's music, Swift said, "What he was doing in the '80s was so
ahead of its time, because he was playing with a lot of synth-pop sounds, but kind of
creating sort of an atmosphere behind what he was singing, rather than a produced
track."[15]
5. Wilkinson used "zany" to describe Swift as "a figure who emphasises the pop
'performance' as one of hard work instead, because she exposed its construction as one
that does not come 'naturally'".[76]
6. The record was later surpassed by Adele's 25 (2015).[160][161]

7. Following Katy Perry's Teenage Dream (2010)[173]
8. After Janet Jackson; her first album to have five US top-10 entries was Fearless
(2008).[174]
9. Swift and West previously had a publicized tiff at the 2009 MTV Video Music Awards,
where West interrupted Swift's acceptance speech for Best Female Video. Their so-called
feud emerged again when West released his 2016 single "Famous", in which West
incorporates a lyric referencing Swift. West claimed that he had asked for Swift's
approval, which she objected to.[180]
10. Chart data for albums 1988–2021[279]
14. The Australian Recording Industry Association (ARIA) certified 1989 Diamond (500,000
units) in 2015[284] and 9× Platinum (630,000 units) in 2019[285]
15. Canadian sales figures for 1989 as of January 2020[167]
16. Japanese sales figures for 1989 as of 2015[292]
17. UK sales figures for 1989 as of August 2019[169]
18. US sales figures for 1989 as of October 2020[304]
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291. "Italian album certifications – Taylor Swift – 1989" (https://www.fimi.it/top-of-the-music/c

ertificazioni/certificazioni.kl#/certifications) (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".
292. Accumulative sales figures for 1989 in Japan:
"2014 Year-End Oricon" (https://www.oricon.co.jp/special/47530/5/) (in Japanese).

Oricon. Archived (https://web.archive.org/web/20180712002143/https://www.oricon.co.j
p/special/47530/5/) from the original on July 12, 2018. Retrieved February 7, 2019.
"2015 Year-End Oricon" (https://web.archive.org/web/20180712001944/https://www.orico

n.co.jp/special/48546/5/) (in Japanese). Oricon. Archived from the original (https://ww
w.oricon.co.jp/special/48546/5/) on July 12, 2018.
293. "Japanese album certifications – Taylor Swift – 1989" (https://www.riaj.or.jp/f/data/cert/

gd.html) (in Japanese). Recording Industry Association of Japan. Retrieved
September 18, 2018. Select 2015年03月 on the drop-down menu
294. "Certificaciones" (http://amprofon.com.mx/es/pages/certificaciones.php) (in Spanish).

Asociación Mexicana de Productores de Fonogramas y Videogramas. Retrieved
December 7, 2020. Type Taylor Swift in the box under the ARTISTA column heading and
1989 in the box under TÍTULO
295. "Dutch album certifications – Taylor Swift – 1989" (https://nvpi.nl/nvpi-audio/marktinform

atie/goud-platina/) (in Dutch). Nederlandse Vereniging van Producenten en Importeurs
van beeld- en geluidsdragers. Retrieved July 31, 2018. Enter 1989 in the "Artiest of titel"
box.
296. "New Zealand album certifications – Taylor Swift – 1989" (https://nztop40.co.nz/chart/al

bums?chart=4555) . Recorded Music NZ. Retrieved November 16, 2018.
297. "Norwegian album certifications – Taylor Swift – 1989" (https://ifpi.no/trofe/trofeoversik

t/?searchterm=Taylor+Swift) (in Norwegian). IFPI Norway. Retrieved October 29, 2020.
298. "Wyróżnienia – Platynowe płyty CD - Archiwum - Przyznane w 2015 roku" (http://bestsell
ery.zpav.pl/wyroznienia/platynoweplyty/cd/archiwum.php?year=2015) (in Polish).
Polish Society of the Phonographic Industry. December 15, 2015. Retrieved December 15,
2015.
299. "Singapore album certifications" (https://www.rias.org.sg/rias-accreditations/) .

Recording Industry Association Singapore. Retrieved December 22, 2020.
300. "Spanish album certifications" (http://www.promusicae.es/listas/semanales) (in

Spanish). Productores de Música de España. Retrieved December 7, 2020. Select Albums
under "Chart", enter 2015 in the field "Year". Select 41 in the field "Semana". Click on
"Search Charts".
301. "Veckolista Album, vecka 46, 2017 | Sverigetopplistan" (https://www.sverigetopplistan.s

e/chart/54?dspy=2017&dspp=46) (in Swedish). Sverigetopplistan. Retrieved June 13,
2020. Scroll to position 50 to view certification.
302. "The Official Swiss Charts and Music Community: Awards (Taylor Swift; '1989')" (http://w
ww.swisscharts.com/search_certifications.asp?search=Taylor+Swift+1989) . IFPI
Switzerland. Hung Medien. Retrieved September 5, 2014.
303. "British album certifications – Taylor Swift – 1989" (https://www.bpi.co.uk/award/13026-1

598-2) . British Phonographic Industry. Retrieved December 7, 2020.
304. Caulfield, Keith (October 25, 2020). "Taylor Swift's 'Folklore' Becomes First Million-Selling
Album of 2020 in U.S." (https://www.billboard.com/articles/business/chart-beat/947263
5/taylor-swift-folklore-first-million-selling-album-2020/) Billboard. Archived (https://we
b.archive.org/web/20201026231438/https://www.billboard.com/articles/business/chart-
beat/9472635/taylor-swift-folklore-first-million-selling-album-2020/) from the original
on October 26, 2020. Retrieved October 25, 2020.
305. 1989 releases in Canada:
"1989" (https://web.archive.org/web/20141029103424/https://www.amazon.ca/1989-Tayl
or-Swift/dp/B00MRHANNI) . Amazon.ca. Archived from the original (https://www.amazo
n.ca/1989-Taylor-Swift/dp/B00MRHANNI) on October 29, 2014. Retrieved December 7,
2020.
"iTunes – Music – 1989 by Taylor Swift" (https://web.archive.org/web/20141222035313/ht

tps://itunes.apple.com/ca/album/1989/id907242701) . iTunes Store (CA). Archived from
the original (https://itunes.apple.com/ca/album/1989/id907242701) on December 22,
306. "iTunes – Music – 1989 by Taylor Swift" (https://web.archive.org/web/20141027145635/h
ttps://itunes.apple.com/us/album/1989/id907242701) . iTunes Store (US). Archived from
the original (https://itunes.apple.com/us/album/1989/id907242701) on October 27,
307. "1989 by Taylor Swift" (https://www.barnesandnoble.com/w/1989-taylor-swift/2804065

3?ean=0843930013500) . Barnes and Noble. Archived (https://web.archive.org/web/202
01009043607/https://www.barnesandnoble.com/w/1989-taylor-swift/28040653?ean=08
43930013500) from the original on October 9, 2020. Retrieved October 5, 2020.
308. 1989 releases in Germany:
"1989 von Taylor Swift" (https://web.archive.org/web/20171128135234/https://itunes.appl

e.com/de/album/1989/907104653) (in German). iTunes Store (DE). Archived from the
original (https://itunes.apple.com/de/album/1989/907104653) on September 16, 2014.
"1989 (Deluxe) von Taylor Swift" (https://itunes.apple.com/de/album/1989-deluxe/9071

04698) (in German). iTunes Store (DE). Archived (https://web.archive.org/web/20181214
121459/https://itunes.apple.com/de/album/1989-deluxe/907104698) from the original
on December 14, 2018. Retrieved February 6, 2019.
"Taylor Swift: 1989 CD" (https://www.jpc.de/jpcng/poprock/detail/-/art/taylor-swift-1989/

hnum/5898175) (in German). jpc. Archived (https://web.archive.org/web/20190728042
429/https://www.jpc.de/jpcng/poprock/detail/-/art/taylor-swift-1989/hnum/5898175)
from the original on July 28, 2019. Retrieved October 27, 2014.
"1989 (Deluxe Edition): Audio CD" (https://web.archive.org/web/20141022035844/http://w

ww.amazon.de/1989-Deluxe-Edition-Taylor-Swift/dp/B00MV0FT4Y) (in German).
Amazon.de. Archived from the original (https://www.amazon.de/1989-Deluxe-Edition-Tayl
or-Swift/dp/B00MV0FT4Y) on October 22, 2014. Retrieved December 7, 2014.
309. 1989 releases in the UK:
"1989 by Taylor Swift" (https://itunes.apple.com/gb/album/1989/907104653) . iTunes

Store (GB). Archived (https://web.archive.org/web/20190402045731/https://itunes.apple.
com/gb/album/1989/907104653) from the original on April 2, 2019. Retrieved
February 8, 2019.
"1989 (Deluxe) by Taylor Swift" (https://itunes.apple.com/gb/album/1989-deluxe/90710

4698) . iTunes Store (GB). Archived (https://web.archive.org/web/20190402020924/http
s://itunes.apple.com/gb/album/1989-deluxe/907104698) from the original on April 2,
"1989 by Taylor Swift" (https://web.archive.org/web/20141026100216/http://www.amazo

n.co.uk/1989-Taylor-Swift/dp/B00MV0FQFG) . Amazon.co.uk. Archived from the original
(https://www.amazon.co.uk/1989-Taylor-Swift/dp/B00MV0FQFG) on October 26, 2014.
"1989 (Deluxe Edition)" (https://web.archive.org/web/20141030071047/http://www.amazo

n.co.uk/1989-Taylor-Swift/dp/B00MV0FT4Y) . Amazon.co.uk. Archived from the original
(https://www.amazon.co.uk/1989-Taylor-Swift/dp/B00MV0FT4Y) on October 30, 2014.
310. "1989 by Taylor Swift" (https://web.archive.org/web/20160411092355/http://www.sanity.c

om.au/products/2286260/1989) . Sanity. Archived from the original (https://www.sanity.
com.au/products/2286260/1989) on April 11, 2016. Retrieved December 7, 2016.
311. "1989 (Deluxe) by Taylor Swift" (https://www.hmv.co.jp/en/artist_Taylor-Swift_00000000

0353416/item_1989-Deluxe-Edition_5984096) . Japan: HMV. Archived (https://web.archi
ve.org/web/20190209124235/https://www.hmv.co.jp/en/artist_Taylor-Swift_0000000003
53416/item_1989-Deluxe-Edition_5984096) from the original on February 9, 2019.
312. "1989 (Vinyl): Taylor Swift: Amazon.ca: Music" (https://web.archive.org/web/20160409145

006/https://www.amazon.ca/1989-Vinyl-Taylor-Swift/dp/B00P2HSETA) . Amazon.ca.
Archived from the original (https://www.amazon.ca/1989-Vinyl-Taylor-Swift/dp/B00P2
HSETA) on April 9, 2016. Retrieved December 7, 2016.
313. "1989 [LP] by Taylor Swift" (https://www.barnesandnoble.com/p/1989-taylor-swift/28040

653/2673002350725) . Barnes and Noble. Archived (https://web.archive.org/web/20201
029000002/https://www.barnesandnoble.com/p/1989-taylor-swift/28040653/2673002
350725) from the original on October 29, 2020. Retrieved October 5, 2020.
314. "1989 [Licensee]" (https://web.archive.org/web/20171229113703/http://www.dr.com.tr/M
uzik/1989--Licensee-/Yabanci-Albumler/Pop-Music/Pop/urunno=0000000624008) (in
Turkish). D&R. Archived from the original (http://www.dr.com.tr/Muzik/1989-%5BLicense
e%5D/Taylor-Swift/Yabanci-Albumler/Pop-Music/Country/urunno=0000000624008) on
December 29, 2017. Retrieved December 7, 2017.
315. "Taylor Swift Karaoke: 1989 by Taylor Swift" (https://web.archive.org/web/2014122002571

6/https://itunes.apple.com/us/album/taylor-swift-karaoke-1989/id951348926) . iTunes
Store (US). Archived from the original (https://itunes.apple.com/us/album/taylor-swift-ka
raoke-1989/id951348926) on December 20, 2014. Retrieved December 7, 2015.
316. "1989 by Taylor Swift (CD)" (https://web.archive.org/web/20141224100207/http://www.a

mazon.cn/%E9%9F%B3%E4%B9%90/dp/B00QWC2HB0) (in Chinese). Amazon.cn.
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47/https://itunes.apple.com/ca/album/taylor-swift-karaoke-1989/id969609941) . iTunes
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raoke-1989/id969609941) on August 24, 2015. Retrieved December 7, 2020.
318. "Taylor Swift: Taylor Swift Karaoke: 1989 [CD+G/DVD Combo]: Music" (https://web.archiv
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319. "1989 Karaoke (Limited Deluxe): Taylor Swift: Music" (https://web.archive.org/web/201512

08223428/http://www.amazon.ca/Karaoke-Limited-Deluxe-Taylor-Swift/dp/B00V7Y29
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Bibliography
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and the Cultural Politics of Racial Melodrama". Journal of Popular Music Studies. 28 (1): 33–
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Limits of Taylor Swift's Paratextual Feminism". Communication, Culture and Critique. 13 (1):
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External links
Wikinews has related news:

Taylor Swift's 1989 wins Grammy's Record of the year; Bad Blood wins the Best
Music Video
1989 (https://www.discogs.com/master/750386) at Discogs (list of releases)
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1989 (Taylor

Studio album by Taylor Swift

Studio Conway (Los Angeles)

Jungle City (New York City)

Lamby's House (Brooklyn)

Pain in the Art (Nashville)

Elevator Nobody (Göteborg)

Label Big Machine

Producer Max Martin

Mattman & Robin

(2012) (2014) (2017)

Singles from 1989

Released: August 19, 2014

Released: November 10, 2014

Released: February 9, 2015

Released: May 17, 2015

Released: August 31, 2015

6. "Out of the Woods"

Released: January 19, 2016

Released: February 23, 2016

The album's synth-pop sound is characterized by heavy synthesizers, programmed

Recording and production

"I Wish You Would"

Problems playing this file? See media help.

Music and lyrics

"Out of the Woods"

Problems playing this file? See media help.

Title and artwork

Release and promotion

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

In addition to online promotion, Swift made many appearances on radio and

The album appeared on multiple publications' year-end lists of 2014, ranking at

Critic/Organization Time span Rank

American Songwriter Year-end 4 2014[132]

Jon Caramanica (The New York Times) Year-end 7 2014[135]

Complex Year-end 8 2014[136]

The Daily Telegraph Year-end 5 2015[138]

Drowned in Sound Year-end 3 2014[139]

The Music Year-end 5 2014[142]

musicOMH Year-end 32 2014[143]

NME Decade-end 31 2019[144]

Paste Decade-end 50 2019[145]

Pazz & Jop (The Village Voice) Year-end 7 2014[146]

Pitchfork Year-end 31 2014[147]

PopMatters Year-end 15 2014[148]

Rolling Stone Decade-end 19 2019[150]

All Time 393 2020[131]

Slant Magazine Decade-end 10 2019[128]

Ken Tucker (NPR) Year-end 3 2014[152]

Uproxx Decade-end 34 2019[153]

Chris Willman (Variety) Decade-end 1 2019[154]

Ryan Tedder Noel Zancanella

Shellback • Shellback • Payami

Mattman & Robin

1989 – Deluxe edition (bonus tracks)[193]

16. "New Romantics" Swift • Martin • Martin • Shellback 3:50

1989 – CD deluxe edition (bonus tracks)[84]

Credits are adapted from the liner notes of 1989.[1]

Max Martin – vocal production, producer, writer, programming, executive producer

Shellback – producer, writer, programming

Imogen Heap – producer, writer, recording programming

Jack Antonoff – writer, producer