This article is about Meghan Trainor's 2015 studio album. For Trainor's 2014 EP, see Title (EP).
Title is the major-label debut studio album by American singer-songwriter Meghan Trainor. Released on January 9, 2015, by Epic Records, the album replaced Trainor's 2014 EP of the same name on the iTunes Store. It was mainly written and composed by Trainor and Kevin Kadish, and produced by Kadish. Other collaborators on the album include Chris Gelbuda and Jesse Frasure, John Legend and Shy Carter. Musically, Title was inspired by Trainor's love for throwback style records, and the 1950s and 1960s eras in music. She incorporated different combinations of genres, including Caribbean, doo-wop, hip hop, soca and pop.
The album debuted at number one on the US Billboard 200 with 238,000 units sold. It also peaked at number one in Australia, Canada, New Zealand and the United Kingdom. Title was Epic Records' first number one album since Sara Bareilles' Kaleidoscope Heart (2010). It became Epic's first number one album since Michael Jackson's The Essential Michael Jackson (2005) to enter at the top of the Australian chart. The album was preceded by two commercially successful singles. "All About That Bass", released as the album's lead single on June 30, 2014, topped the US Billboard Hot 100 for eight weeks and the UK Singles Chart for four. The song peaked at number one in 58 countries and entered the list of best-selling singles. The second single "Lips Are Movin", released on October 21, 2014, was Trainor's second consecutive top five hit with a peak of number four on the Billboard Hot 100. The album's third single, "Dear Future Husband", peaked at number 14 on the Billboard Hot 100. Trainor promoted Title through a series of public appearances and televised live performances, as well as on the Jingle Ball Tour 2014. Trainor embarked on the album's first supporting concert tour, That Bass Tour, in February 2015.
Trainor initially released three albums: Meghan Trainor (2008), I'll Sing with You (2011) and Only 17 (2011). However, all three albums were pulled from circulation in the build-up to Title. In July 2014, Trainor said that she planned to complete the album by early fall. By mid-August, the record was initially completed, but Trainor told USA Today that a song which was written in eight minutes was to be recorded for the album the same day. On August 30, Trainor told Jim Sullivan of the Cape Cod Times that Title would be released in November or December 2014. However, in an interview with Billboard on September 21, Trainor stated that the album was "pretty much done" and that she had one more song left to complete. She also quipped, "I'm saving huge singles for Title."
In October 2014, after Trainor took a two-month break, when she has developing polyps on her vocal cords, Kadish made use of demo vocal takes Trainor had recorded as guides. Following her vocal rest, Trainor was initially discouraged. She told USA Today, "Kevin would calm me down, we'd dim the lights, so I wouldn't get frustrated." Some of the album was recorded with Trainor lying on her back, on a bed Kadish made her in studio. In an interview with Stacy Lambe of Out, Trainor said, "First album, you show them what you can do and then the second album, you can do whatever you want. And that's what I'm gonna do." The album was made up of 14 tracks, 10 of which were co-written and produced by Kadish. Trainor announced on October 14 that Title contained a country song made up entirely of her ukulele melody, and that she was searching for a country artist to feature on the track.
Writing and inspiration:
According to Trainor, Title was developed as a "very honest" album for all ages, and its writing reflects on the changes in her life and in her artistic process. The singer intended the album as a source of empowerment for youth, writing songs she said she wished she had before going into high school. The album's sound was inspired by Trainor's love for throwback style records, and the 1950s and 1960s eras in music. She honed the album's sound by incorporating different combinations of genres, including: Caribbean, doo-wop,hip hop,soca and pop. The record's cohesion was influenced by the works of American group the Fugees. "All About That Bass" was composed by Trainor when she was an unsigned recording artist. As a songwriter, Trainor "shopped" the song around at various record labels and offered it to numerous artists, including singer Beyoncé, all of which declined Trainor's offer. However, Trainor was signed to Epic Records by chairman L.A. Reid, after she performed the song for him in its demo form, in February 2014. Reid suggested that the song should remain as a demo form but have additional audio mastering. "All About That Bass" was inspired by Bruno Mars' "Just the Way You Are" (2010) and The Chordettes' "Lollipop" (1958).
When asked by Time 's Nolan Feeney about what she wanted listeners to hear on Title, Trainor said, "What would I want to say to the world? I want to help myself. I want to make sure guys take me on a date and treat me right because I didn't do that in the past. I want to love my body more. I just hope younger girls love themselves more, and younger people in general..."
"Dear Future Husband" was inspired by Trainor's love for harmonies, and a joke Trainor made with her father, where she said her future husband "is out there somewhere, chilling." With the track, Trainor wanted to state that women should be treated better by their love interests. "Like I'm Gonna Lose You" was a demo Trainor composed and recorded "years ago", left off the album's initial track listing. However, Trainor's uncle insisted her management to listen to the track. Upon hearing the song, Trainor's manager burst into tears and stated that it had to appear on Title. Trainor then developed and produced the final version of "Like I'm Gonna Lose You" with a friend and sent it to American singer John Legend, who shared the same management as Trainor. Legend replied, "I love this: I want to be a part of it", and later appeared on the track as a featured vocalist.
Trainor felt the title track showcased what her artistic style was about, and said, "I loved that 'Title' showed a little Caribbean drum before the chorus and then, like, a rap bridge that was, like...a totally different sound." It was described by her as "call me your girlfriend, I'm sick of being your boo thing, so call me your girlfriend and give me that title." "Lips Are Movin" was written in eight minutes. Trainor honed the song's inspiration from a situation where she caught one of her label colleagues lying, and American singer Sara Bareilles' "Love Song" (2007). She altered its message to deal with the subject of being cheated on, so that her listeners could relate to it better. Moreover, at the time of the track's development, Trainor reflected on her previous romantic relationship where she was cheated on and where her then-boyfriend dismissed her aspirations to become a pop star.
Music and lyrics:
Title has a predominantly blue-eyed soul, doo-wop, and pop sound.Stephen Thomas Erlewine of AllMusic opined that Title was a balance of old-fashioned girl group pop and old-school hip hop. It contains throwback style three-part harmonies and handclaps, finger-clicks, acoustic bass,bubblegum pop melodies, and reggae and soca riddims. It features Trainor performing in a style reminiscent of musical theatre, where she combines rapped verses with cabaret choruses. According to Jim Farber of the New York Daily News, some tracks on the record have influences of Caribbean music, inspired by Trainor's Tobago-born uncle and Millie Small's "My Boy Lollipop" (1964). Farber also opined that Title roots itself in the same style of its preceding singles "All About That Bass" and "Lips Are Movin", and recalls "girl groups in all their glory."
Trainor's vocal on the record was described by Rolling Stone as "torch-y" and "tangy", and reminiscent of singer-songwriter Amy Winehouse. The album's lyrical content deals with subjects of contemporary female empowerment, self-respect and self-awareness. It comprises the opposing themes: the individual versus society, modernity versus tradition, dependence versus independence. Paul de Barros of The Seattle Times wrote that the album contained adult themes with "occasionally salty language". According to Bryanna Cappadona of Boston, Trainor portrays a "bossy, egocentric and sexually candid" personality on the record. Helen Brown of The Daily Telegraph opined that "Trainor tackles 'complicated' relationships and drunken one-night stands with perma-perkiness" on Title. While Tshepo Mokoena of The Guardian wrote that the record served as a testament to Trainor not identifying as a feminist.
The album opens with a 24-second interlude, "The Best Part", which declares Trainor's delight in being a songwriter and shares similarities with Pat Ballard's "Mr. Sandman" (1954). A bubblegum-pop doo-wop song, "All About That Bass" contains elements from several genres: R&B hip hop,tropical, country and rock and roll. It comprises an earworm hook, early 1960s soul-pop groove, scatting tempo and shimmying melody. Trainor's vocals on the track were likened to the works of 1960s singers; Betty Everett, Doris Day, Eydie Gormé and Rosemary Clooney. Lyrically, "All About That Bass" serves as a callout to embrace inner beauty, and to promote positive body imagery and self-acceptance. The words "treble" and "bass" in the song act as metaphors for the weight of women, and the lyric "I'm bringing booty back" references Justin Timberlake's "SexyBack" (2006). "Dear Future Husband" is a doo-wop song, and a throwback to "boyfriend-obsessed" 1960s bubblegum pop. It features a series of production slap-beats, a rock-inspired drum track, piano and ebullient brass instrumentation. The song contains old-fashioned lyrics which serve as a list of factors Trainor's love interests should be aware of before proposing to her. The track shares a melody similar to 1961 songs "Runaround Sue" by Dion and "Quarter to Three" by Gary U.S. Bonds.
The album's fourth track, "Close Your Eyes", is a modern, slow dance ballad. It delivers a "cornier take" on the alternative-beauty theme of "All About That Bass", reinforcing her body image insecurities from the latter. The song is backed by an acoustic guitar and violin which shift focus to Trainor's nuanced, soulful vocal. A vocal by Kadish singing the lyric "That was beautiful" is included after each chorus. The track's style recalls the works of Italian-American duo Santo & Johnny. "3am" is a "honey-voiced" heartfelt ballad that serves as a drunk dialing come-on, which later becomes a regret. While most of Title portrays Trainor as confident, "3am" is afflicted with insecurity, and its lyrics imply that she succumbs to an ex-boyfriend despite her independent woman morale. According to Marc Hirsh of The Boston Globe, "3am" is a "quieter and more vulnerable, racked with self-doubt that can't just be sung away with a good pep talk in the mirror." Piet Levy of the Milwaukee Journal Sentinel said that the track was "a rare departure into serious, sad territory" for Trainor.
"Like I'm Gonna Lose You" is a duet between Trainor and John Legend, and a subdued,Motown, boilerplate ballad, and "tender love song". It serves as a change of pace in sound from the album's preceding tracks. The song is about loving someone out of fear of losing them. Sims opined that the track gave "Trainor's vocals the main stage", while Legend's vocal tone was described as "sincere". The ballad was compared by Rolling Stone to the works of Marvin Gaye and Tammi Terrell.> "Bang Dem Sticks", a raucous and suggestive song, contains a more ribald theme than the tracks before it, and its lyrics depict Trainor's attraction to drummers. The song follows a simple percussion rhythm, a combination of horn and drum instrumentation, and features Trainor rapping in a Southern American patois. Capadonna opined that the song had "the pushiest message" on the album.
"Walkashame" thematically ties in with the album's fifth song "3am"; both of which depict romantic missteps and self-awareness. A comical track, it includes a rapped verse by Trainor, and deals with the subject of hangovers. The track's lyrical content portrays Trainor expressing embarrassment, while defending a story of heading home nonchalantly after an unintended one-night stand. Melanie J. Sims of the Associated Press wrote that the track portrayed Trainor as "the funny girl-next-door". The record's title track is an upbeat song, which blends horns and background vocals with ukulele folk-pop and island percussion morphed into a programmed beat. It contains a ska-influenced bridge, handclaps and subtle modern effects. Trainor uses an assertive throwback aural tone on the song, while its lyrics depict her demanding her lover to put a name on their relationship status. Christina Garibaldi of MTV News wrote that the song serves as a lesson for women to disregard friends-with-benefits relationships.
"What If I", a "dreamy" 1950s-style string arranged ballad, mulls over the dangers of sex on a first date and echoes a more personal sentiment of the 1960 song "Will You Still Love Me Tomorrow" by The Shirelles. The track's string arrangement was compared to the works of Etta James, and that of The Skyliners' "Since I Don't Have You" (1958). The standard edition's closing track, "Lips Are Movin", is a bubblegum pop, doo-wop song, and contains influences of Motown bounce, 1945 music, and hip hop. It follows a half-sung, half-rapped format and comprises a retro-soul melody and beat, and a percussion-heavy arrangement. Lyrically, the song rebukes a cheating and lying lover, while asserting Trainor's physical assets. It shares the same relationship misstep themes of previous tracks "3am" and "Walkashame". Musically, the song is reminiscent of the album's second track, "All About That Bass" and references the latter in its lyrics. Erlewine wrote that it recalled "Amy Winehouse's snazzy new-millenial revival".
"No Good for You" contains elements of ska, which Billboard said recalled the works of Lily Allen. Simarly to the deluxe edition's final track "Credit", the song sees Trainor directly telling what she thinks of a troublesome man. "Mr. Almost" and "My Selfish Heart" act as a realization of being in an unhealthy romantic relationship. "Credit" sees Trainor questioning an ex-lover's new girlfriend on the positive traits her boyfriend has. Uninterested in him, Trainor asks his new girlfriend to give "credit where it's due". Garibaldi wrote that in the song Trainor speaks of how she made her ex-boyfriend "cool" and "gave him swag".
An extended play of the same name featuring "All About That Bass", "Dear Future Husband", "Close Your Eyes" and the title track was released on CD and digital download formats on September 9, 2014. On September 24, 2014, Trainor revealed at the IHeartRadio Music Festival confirmed that John Legend would feature on the album, after stating in August that the collaboration would be a possibility. An "All About That Bass" EP identical to the Title EP was released in Austria, Germany and Switzerland on October 3, 2014. The same day, in an interview with CFTR (AM), the singer announced two more titles from the track listing; "Walkashame" and "3am". The release of Title was then announced on October 20, 2014, and its pre-order replaced the Title EP on iTunes Stores the same day as it included all four tracks featured on the EP. However, the EP was not replaced on CD formats. All four tracks from the Title EP and "Lips Are Movin" were released as digital "instant grats" from the album pre-order. On January 9, 2015, Title was released.
Trainor promoted Title with a series of public appearances and televised live performances. She performed "All About That Bass" in a duet with American singer Miranda Lambert at the Country Music Association Awards on November 5, 2014. Whitney Self of Country Music Television wrote that the pair's rendition was "one of the most talked-about performances among the mainstream media". Following the performance at the ceremony, American singer Brad Paisley stepped into the audience and told Trainor that he felt she belonged in country music. Trainor then performed "Lips Are Movin" live on NBC's Today. She sang a medley of "All About That Bass" and "Lips Are Movin" on the final of the nineteenth season of American series Dancing with the Stars on November 26. She also performed the tracks from Title as part of her set for the Jingle Ball Tour 2014.
On December 13, Trainor performed "All About That Bass" live on the final of the eleventh series of The X Factor UK, with finalists Andrea Faustini, Fleur East and Ben Haenow. On December 17, Trainor performed "Lips Are Movin" on the seventh season finale of the American series The Voice. Trainor then performed "All About That Bass" and "Lips Are Movin" during Dick Clark's New Year's Rockin' Eve. She reprised "Lips Are Movin" in a live performance on The Ellen DeGeneres Show on January 14, 2015. Trainor then played an acoustic ukulele rendition of the track on The Tonight Show Starring Jimmy Fallon on January 15. In the United Kingdom, Trainor appeared on This Morning for an interview and performance of "Lips Are Movin" on January 19. She then performed "Lips Are Movin" for BBC Radio 1's Live Lounge on January 20.
The album's supporting concert tour, That Bass Tour, was announced on November 3, 2014. 19 North American dates with Australian band Sheppard as its opening act were announced. On January 9, 2015, two dates in Australia were announced. Four dates in the United Kingdom were then announced on January 19. The tour began on February 11, 2015, in Vancouver, Canada, and concludes on June 4, 2015, in Milan.
"All About That Bass" was released as the album's lead single on June 30, 2014. It was named the "Song of the Summer" by NBC's Today, and played into what Vogue called "The Era of the Big Booty". The song earned two nominations at the 57th Annual Grammy Awards for Record of the Year and Song of the Year, which Trainor subsequently lost to Sam Smith's "Stay with Me". Its accompanying music video became a viral hit, and was Vevo's second most streamed music video of 2014. The song, however, became subjected to controversy with critics dismissing it for anti-feminism, and cultural appropriation. "All About That Bass" topped the Billboard Hot 100 for eight consecutive weeks, and surpassed Michael Jackson's seven-week record with "Billie Jean" (1983) and "Black or White" (1991), to become the longest-running number one by an Epic Records artist. The song was later certified six-times platinum by the Recording Industry Association of America (RIAA). It peaked atop the UK Singles Chart for four consecutive weeks, and made British chart history by becoming the first single to enter the chart's top 40 without any contributing physical or digital sales. "All About That Bass" topped the national charts of 58 countries, and went on to sell 11 million copies worldwide, in turn becoming one of the best-selling singles.
"Lips Are Movin" was released as the album's second single on October 21, 2014, despite initial plans of "Dear Future Husband" and "Title" serving as Trainor's follow-up. The song garnered generally favorable reviews from music critics, and received several comparisons to "All About That Bass". Its accompanying music video, commissioned by Hewlett-Packard, featured a variety of social media stars, including dancers Les Twins and Chachi Gonzales.Billboard called the clip a "historic milestone" and "the first music video ever to be created entirely by social media influencers". The song became Trainor's second consecutive top five hit on the Billboard Hot 100 where it peaked at number four, and was certified double platinum by the Recording Industry Association of America (RIAA) for sales of over 2 million units. The song peaked at number two on the UK Singles Chart, being held off of the number one position by Mark Ronson's "Uptown Funk". "Lips Are Movin" also reached the top 10 in fifteen other countries, including: Australia, Canada, Germany, Ireland, Netherlands, and New Zealand.
"Dear Future Husband" was released as the third single from the album. It impacted mainstream radio in the United States on March 17, 2015. It was released on April 26, 2015 in the United Kingdom where it peaked at 20. It peaked at number 14 on the Billboard Hot 100, and was certified platinum by the Recording Industry Association of America (RIAA) for sales of over 1,000,000 units.
"Like I'm Gonna Lose You", featuring John Legend, will be released as the fourth single from the album. It will impact rhythmic radio in the United States on June 23, 2015.
On Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the album gained an average score of 59, based on 13 reviews, indicating "mixed or average reviews". In a positive review, Melissa Maerz of Entertainment Weekly stated that the album "will endear her equally to grandmas and the vintage-loving kids who borrow their cardigans" and called it "real-girl pop with massive charm". Maerz went on to opine that the record would boost Trainor's popularity as an artist.Rolling Stone reviewer Chuck Arnold deemed the album "charmingly old-fashioned" and commended Trainor for co-writing each of its comprising tracks.
Carl Wilson of Billboard stated that the messages in the album's songs "are what Trainor's fans want and need to hear, but they get repetitive, and the retro musical framing sometimes threatens to make her healthy-values emphasis seem dully quaint and cloying." He went on to add, "Aside from an understandable naïveté, Trainor's weaknesses are her stylistic cherry-picking and her compulsion to appear adorably relatable and socially correct...her career will live well beyond her breakout year if she can mature into the originality and messiness of her humanity with the same vivaciousness." In a mixed review, Marc Hirsh of The Boston Globe opined that Title was "for better or for worse, more of the same" as "All About That Bass". Hirsh commended the album's sass and "infectiousness", but felt it was "secondhand" and dismissed Trainor as a "plunderer first and foremost".
New York Daily News journalist Jim Farber complimented Trainor's "large" voice and "witty" writing style on the album. However, Farber said that "over the course of the album she crosses the line from confident to smug", adding, "The fact that she often harmonizes with herself only emphasizes the image of self-containment".The Daily Telegraph 's Helen Brown called Title "relentlessly cute" and felt it showcased "plenty of wit, and watertight tunes". However, Brown went on to comment that with the album Trainor offers "as many empty calories as the most vacuous TV talent show contestant", and opined that "she needs to read more self-help than she spouts".Slant Magazine's Alexa Camp opined that the album's "blue-eyed soul is ultimately just pale" and commented: "It's unclear how Trainor's otherwise retro shtick is sustainable, as evidenced by similar artists like Duffy seeing their careers quickly wane. After all, Trainor is no Amy Winehouse, lacking both that singer's raw emotive talent and Back to Black 's ability to infuse her period sound with a distinctly 21st-century sonic and lyrical sophistication."Spin writer Dan Weiss said, "If Title ends up being a gateway for body-conscious adolescents ..., more power to it", adding, "But if she was actually as clever as her press release and titled the album It Girl With Staying Power, she might actually have staying power".
In a negative review, Mikael Wood of the Los Angeles Times felt that Title was "cheerful, crafty, yet vexing", and opined that it "basically offers a dozen variations on 'All About That Bass'". Wood went on to criticize the record's opposing themes as "unexamined" and Trainor's use of certain vocal patterns "typically associated with black singers". Tshepo Mokoena of The Guardian felt the record was "full of lyrical contradictions" and lacked consistency. In his review, Mokoena quipped, "Come for catchy hooks sung in an affected Southern accent, not for insightful and, intimate songwriting".
In the United States, Title debuted at number one on the Billboard 200 issued for January 31, 2015, replacing Taylor Swift's 1989 at the top of the chart, with first-week sales of 238,000 units. Keith Caufield of Billboard wrote that its debut week tally included 195,000 in "pure sales", and opined that it was "an impressive figure, considering January is traditionally a sleepy month for big new releases".
The album also debuted at number one on the Canadian Albums Chart, with first-week sales of 12,000 copies, according to Nielsen SoundScan.
Title debuted at number one on the Australian Albums Chart issued for January 25. It became Epic's first number one album since Michael Jackson's The Essential Michael Jackson (2005). The album dropped to number five in its second week.Title debuted at number one on the New Zealand Albums Chart on January 19, and has since spent two consecutive weeks at the top of the chart. The album has also achieved success in Europe where it has peaked within the top 10 in Denmark, Norway, Spain, Sweden, and Switzerland. Though not released singles, several songs from the album managed to reach some charts worldwide. "Title" charted on the Billboard Hot 100 due to strong digital sales of 32,000 downloads, peaking at number 100, and also reached number nine in New Zealand, where it was certified gold by Recorded Music NZ (RMNZ). "Like I'm Gonna Lose You" charted at number 63 on the Canadian Hot 100, and at number eleven on the U.S. Bubbling Under Hot 100 Singles chart. "No Good for You" debuted and peaked at number 91 on the Swedish Singles Chart. It remained on the chart for two weeks.
Title was certified platinum by Australian Recording Industry Association (ARIA), indicating sales in excess of 70,000. It was certified gold by Music Canada, indicating sales in excess of 40,000. The album was also certified gold by Recorded Music NZ and Polish Society of the Phonographic Industry, indicating sales in excess of 7,500 and 10,000 respectively.Title was certified gold by British Phonographic Industry (BPI) too, indicating sales in excess of 100,000. It was certified gold by the Recording Industry Association of America (RIAA), with sales in excess of 500,000.
"The Best Part (Interlude)"
"All About That Bass"
"Dear Future Husband"
"Close Your Eyes"
"Like I'm Gonna Lose You" (featuring John Legend)
"Bang Dem Sticks"
James G. Morales,
Julio David Rodriguez,
"What If I"
"Lips Are Movin"
"No Good for You"
"Mr. Almost" (featuring Shy Carter)
"My Selfish Heart"
Japan bonus tracks
"I'll Be Home"
"All About That Bass" (Instrumental Version)
"Title" (Instrumental Version)
signifies a vocal producer,
Credits and personnel:
Meghan Trainor - vocals, additional drum programming, background vocals, executive producer, guitar, handclaps, piano, production, programming, recording, songwriter, ukulele, vocal production,
Jason Agel - recording,
David Baron - baritone saxophone, bass, celesta, clavinet, electric piano, French horn, Hammond organ, piano, strings, synthesizer, tenor saxophone,
Anita Marisa Boriboon - art director, design,
Todd Carey - songwriter,
Shy Carter - vocals, songwriter,
Eleonore Denig - violin,
The Elev3n - production, songwriter,
Ben Fagan - songwriter,
Shannon Forest - drums,
Jesse Frasure - songwriter,
Chris Gelbuda - additional background vocals, instruments, recording, production, programming, songwriter,
Jim Hoke - baritone saxophone, flute, tenor saxophone,
Brett James - songwriter,
Kevin Kadish - vocals, acoustic guitar, background vocals, bass, bass vocals, classical guitar, drum programming, drums, electric guitar, electric upright bass, engineering, mixing, organ, piano, production, songwriter, sound design, synthesizer, ukulele, vibraslap,
Samuel Kalandijan - engineering, mixing, recording,
Dave Kutch - mastering,
John Legend - vocals,
Jeremy Lister - background vocals,
Manny Marroquin - mixing,
Brooke Nipar - photography,
Paul Pontius - A&R,
J.R. Rotem - bass, drums, horns, organ, piano, production, strings,
Caitlyn Smith - songwriter,
Karen Thronton - songwriter,
Justin Weaver - songwriter,
Kenta Yonesaka - recording assistant,
Credits and personnel adapted from the album's liner notes.
Australian Albums (ARIA)
Austrian Albums (Ö3 Austria)
Belgian Albums (Ultratop Flanders)
Belgian Albums (Ultratop Wallonia)
Canadian Albums (Billboard)
Danish Albums (Hitlisten)
Dutch Albums (MegaCharts)
Finnish Albums (Suomen virallinen lista)
French Albums (SNEP)
German Albums (Offizielle Top 100)
Greek Albums (IFPI)
Hungarian Albums (MAHASZ)
Irish Albums (IRMA)
Italian Albums (FIMI)
New Zealand Albums (Recorded Music NZ)
Norwegian Albums (VG-lista)
Portuguese Albums (AFP)
Scottish Albums (OCC)
South African Albums (RiSA)
Spanish Albums (PROMUSICAE)
Swedish Albums (Sverigetopplistan)
Swiss Albums (Schweizer Hitparade)
UK Albums (OCC)
US Billboard 200
Canada (Music Canada)
New Zealand (RMNZ)
United Kingdom (BPI)
United States (RIAA)
sales figures based on certification alone, shipments figures based on certification alone
January 9, 2015
January 13, 2015
January 23, 2015
January 26, 2015
Text from this biography licensed under creative commons license