Born in the U.S.A.

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Born In The USA redirects here. For other uses see Born in the U.S.A. (disambiguation).

Born in the U.S.A.
Studio album by Bruce Springsteen
Released	June 4, 1984
Recorded	January 1982 - March 1984 The Power Station and The Hit Factory, New York
Genre	Rock, Heartland rock
Length	46:57
Label	Columbia
Producer	Jon Landau, Chuck Plotkin, Bruce Springsteen, Steve Van Zandt
Professional reviews
Allmusic link Robert Christgau (A+) link Rolling Stone link
Bruce Springsteen chronology
Nebraska (1982) Born in the U.S.A. (1984) Live/1975-85 (1986)
Bruce Springsteen and the E Street Band chronology
The River (1980) Born in the U.S.A. (1984) Live/1975-85 (1986)
Singles from Born in the U.S.A.
"Dancing in the Dark" Released: May 4, 1984 "Cover Me" Released: July 31, 1984 "Born in the U.S.A." Released: October 30, 1984 "I'm on Fire" Released: February 6, 1985 "Glory Days" Released: May 31, 1985 "I'm Goin' Down" Released: September 7, 1985 "My Hometown" Released: November 21, 1985

Born in the U.S.A. is the seventh studio album by American rock singer-songwriter Bruce Springsteen, released on June 4, 1984. His popular and commercial triumph, it found Springsteen marking a departure in his sound – while the predecessor, the dark and acoustic Nebraska featured songs of pessimism and isolation, Born in the U.S.A.'s lyrics expressed signs of hope in the daily fight of the standard American in following the American Dream, a new feeling complemented by synthesized arrangements and a pop-flavored, radio-oriented sound that helped Springsteen to extend his already-growing popularity and dominate the mainstream audiences. In support of the album, there was an enormous commercial and sociocultural exposure throughout a large string of hit singles, remixes and music videos, and also the renewed image that Springsteen delivered – a muscular physique and a tougher, American-hero-like persona.

These departures auspicied Springsteen's peak of commercial success – Born in the U.S.A. was the best-selling album of 1985 in the United States (and also Springsteen's most successful album ever), produced a record-tying string of seven Top 10 singles (the most for an album in history tied with Michael Jackson's Bad and Janet Jackson's Janet Jackson's Rhythm Nation 1814) and also a worldwide concert tour (the two-year Born in the U.S.A. Tour) that was a massive success. Apart from this tremendous hype, the album was lauded by most critics and it is often considered Springsteen's magnum opus along with his 1975 breakthrough, Born to Run. As part of its enduring popularity, the album's impact as a cultural phenomenon lasted for generations, with its title track often misinterpreted as a patriotic anthem and its cover (a close-up of a rear Springsteen in front of an American flag, as he was photographed by Annie Leibovitz) becoming one of the most recognizable images in American popular culture.

[edit] Production

In 1981, Springsteen was asked to write some music for a film by Paul Schrader called Born in the U.S.A. (Schrader's movie would eventually be published 1987, entitled "Light of Day", featuring Michael J. Fox and Joan Jett). Shortly after, when Springsteen was working on a song titled Vietnam, he glanced at the script and sang the title. The song, entitled as the work-in-progress movie, was already finished during the sessions of Springsteen's introspective album Nebraska, and Springsteen originally wanted to include it on the album. However, it was removed as it did not coincide with the dark feel of the rest of the songs. The same happened with other songs already cut around January or February 1982 – the energetic rocker "Cover Me" and the intimate "I'm on Fire". Then, between April and May, Springsteen composed and recorded a number of songs specifically intended for an album besides Nebraska at The Power Station in New York – "Born in the U.S.A.", "Darlington County", "Working on the Highway", "Downbound Train", "I'm Goin' Down" and "Glory Days". By mid-1982, most of the album was already recorded even over three months before the commercial release of Nebraska. In May 1983, Springsteen cut another song, "My Hometown" at The Hit Factory and around the end of the year he taped the two final tracks originally considered for the album – "No Surrender" and "Bobby Jean".

A last moment addition was "Dancing in the Dark", a song specifically commissioned by Springsteen's producer and manager Jon Landau, who was satisfied with the material recorded but wanted a blockbuster first single, one that was fresh and directly relevant to Springsteen's current state of mind. Landau and Springsteen got into an argument, but later on Springsteen wrote "Dancing in the Dark" with some trepidation. His irked mood from the day's argument combined with the frustrations at trying to complete the album quickly poured out into the lyrics. As he wrote on his 1998 book Songs, "It went as far in the direction of pop music as I wanted to go – and probably a little farther." However, Springsteen noted that "My heroes, from Hank Williams to Frank Sinatra to Bob Dylan, were popular musicians. They had hits. There was value in trying to connect with a large audience."

One of the songs that was about to be left-off the album was No Surrender. Springsteen claimed that this was because "you don’t hold out and triumph all the time in life. (...) You compromise, you suffer defeat; you slip into life’s gray areas." Steven Van Zandt, convinced Springsteen otherwise: "He argued that the portrait of friendship and the song’s expression of the inspirational power of rock music was an important part of the picture." ^[1]

[edit] Promotion and blockbuster success

"Dancing in the Dark" was chosen as the first single for the album and it was released on May 4, 1984. The song surprised both critics and the public, as it showed the E Street Band using synthesizer for the first time. The track was enthusiastically received, particularly pointing at Springsteen's change of sound on the wake of the blockbuster success of Michael Jackson's Thriller and the popularity of pop music in general in America. The song quickly climbed the charts, and peaked at #2 on the Billboard Hot 100 and reached #1 on the Cashbox singles charts for two weeks on June 30. "Dancing in the Dark" also provided Springsteen a Top 10 hit in several countries and the most successful single of his career. The album was released on June 4 and, after a strong debut at #9 on Billboard 200, it quickly reached the top spot on July 7, spending four weeks at the top. Then, on August 4, it slipped down to #2, surpassed by Prince's breakthrough album Purple Rain, which spent an impressive 24 consecutive weeks at #1. During that 24-week period, Born in the U.S.A. was stucked #2 or (only in the case of three of those weeks) at #3. (This caused a rare phenomenon – Purple Rain and Born in the U.S.A. remained at #1 and #2 respectively during 18 consecutive weeks, marking the longest period with a static Top 2 in the history of the Billboard 200.) (Born in the U.S.A. replaced Purple Rain on the top on January 19, 1985, remaining at #1 for three further weeks.)

In late July 1984, the next single, "Cover Me", was released, and reached at #7 by October. Then, the title track, a stinging tale of the hardships suffered by returning Vietnam veterans, was released immediately, eventually becoming one of Springsteen's best known songs, accumulating a considerable amount of folklore and becoming misinterpretated as a patriotic anthem. It was another Top 10 hit, reaching #9 in January 1985. Shortly, the follow-up, "I'm on Fire", released in February, was also a big hit, reaching #6 in May. The next month, "Glory Days" was also released, reaching #5 in August supported also with a music video. The sixth and seventh singles, "I'm Goin' Down" and "My Hometown", released in September and November 1985 almost equaled the success of their predecessors and, even with no music videos and despite the lower airplay, they managed to reach #9 and #6 respectively.

With this, Columbia released a total of seven singles for the album in the United States, a particularly notable feat for a rock album, especially if coming from Springsteen, who was considered at the time essentially as an "albums artist". Before Born in the U.S.A., and despite a career of over a decade, only the radio-oriented 1980 single from The River, Hungry Heart was a Top 10 for Springsteen. Born in the U.S.A.'s strength in terms of hit singles its particularly significative if considering that, of all twelve Top 10 hits that Springsteen achieved to date in the U.S., seven were extracted from this album. (The radical change that the album represented surrounded some controversy at the time, with Cliff Bernstein, as manager of Def Leppard and Dokken, considered that "a sixth single ["I'm Goin' Down"] is a little bit of overkill."^[2]) Thanks to these singles, Springsteen was an almost constant presence on the Billboard Hot 100 between May 1984 and March 1986. All seven received extensive promotion, enjoyed respectable sales and gained considerable airplay, and four of them were supported with music videos. Springsteen made history when during the Christmas season of 1985 when he equaled the record achieved by Michael Jackson's Thriller the year before of the largest number of Top 10 singles in the Billboard Hot 100 extracted from a single album (only other album would also produce seven Top 10 singles in the U.S. – Janet Jackson's Rhythm Nation 1814, in early 1991).

The constant presence of Springsteen in the music industry that was auspicied with this number of singles, represented an invaluable support for the album, which enjoyed an impressive staying power on the charts, spending its 84 first weeks at the Top 10 (which included the whole calendar year of 1985). With this feat, Born in the U.S.A. became both the album with the most consecutive weeks on the Billboard Top 10 ever and the third album with the most weeks on the Top 10 overall (equaling Peter, Paul and Mary's 1962 eponymous album), only behind Jackie Gleason's Music for Lovers Only (153 weeks) and the Glenn Miller album by Glenn Miller and his Orchestra (130 weeks). Born in the U.S.A. spent an impressive total of 139 non-consecutive weeks on the Billboard 200 (which represented, in conjunction, over two years and a half on the list). Also, despite being released as early as June 1984, it was named the best-selling album of 1985 in the United States.

In terms of sales, Born in the U.S.A.'s were enormous. In the U.S., on July 8, 1984, just one month after its release, it received a Platinum certification by the RIAA. Further certifications were awarded throughout the following year, and on November 1, 1985 (when the final single wasn't still even released and the album was still on the Top 10) it was certified Diamond (recognizing ten million copies sold only in America). It eventually reached a 15xPlatinum certification on April 19, 1995. In all, Born in the U.S.A. sold 15 million copies in the United States and at least 30 million worldwide. It still stands as the second best-selling rock album by a solo artist, only behind Meat Loaf's Bat Out of Hell.

Songs from Born In The U.S.A. were first performed live on the 1984-5 tour and many continue to be staples of Springsteen's live shows on subsequent tours. The album was performed in its entirety for the first time on October 3 and again on October 9, 2009 at Giants Stadium in East Rutherford, New Jersey, with the second performance marking the final concert at that stadium before it was torn down. Springsteen had performed a total of 24 shows at the stadium beginning in 1985.

[edit] Music videos

Born in the U.S.A. was also notable for its production of music videos. In the wake of the success of Michael Jackson's Thriller, supported with creative, polished and high-budget music videos, Springsteen adopted the format for the first time in 1984 and recorded promotional videos for four out of the seven singles of Born in the U.S.A.. This videos were decisive for introducing Springsteen's music to a new, younger, and wider audience, as they received heavy rotation and support by the recently-launched MTV.

The video for "Dancing in the Dark" was directed by Brian DePalma. Set at a live performance, it's perhaps best remembered for the appearance of Courteney Cox as a fan who is invited on stage by Springsteen, and dances with him. (The video played a large role in launching Cox's career, which reached its heights when becoming one of the stars of NBC's sitcom Friends.) The video was filmed in June 1984 at the St. Paul Civic Center in St. Paul, Minnesota, before and during the initial show of the Born in the U.S.A. Tour and first aired on July 10, 1984 on MTV. The next video for the album was the one made for the title track. It was directed by noted filmmaker John Sayles and also consisted of video concert footage of Springsteen and the E Street Band performing the song, poorly synchronized with audio from the studio recording. Released in mid-December 1984, there supposedly had not been enough time to mix the audio from the concert. This footage was intermixed with compelling mid-1980s scenes of working-class America, emphasizing images that had some connection with the song, including Vietnam veterans, Amerasian children, assembly lines, oil refineries, cemeteries, and the like, finishing with a grizzled Springsteen posing in front of an American flag.

The other two videos for the album were more ambitious productions, as portrayed storylines that alluded to the emotions of the songs. The video for "I'm on Fire", shot in March 1985 in Los Angeles, and also directed by Sayles, featured Springsteen as a working class automobile mechanic and an attractive, married, very well-to-do, mostly unseen female customer who brings her vintage Ford Thunderbird in for frequent servicing, always requesting that he does the work. She gives him all her keys, not just the ones for the car. Later that night, he drives the T-Bird up to her mansion high in the hills above the city. He is about to ring the bell, when he thinks better of it, smiles wistfully, drops her keys in the mailbox next to the door and walks away down towards the lights below.^[3] It was the first video showing Springsteen's actoral side, it began airing in mid-April 1985 and, later in the year won the MTV Video Music Award for Best Male Video.

The final video for the album was the one shot for "Glory Days". It was shot in late May 1985 in various locations in New Jersey, and also directed by Sayles. It featured a narrative story of Springsteen, playing the protagonist in the song, talking to his young son and pitching to a wooden backstop against an imaginary lineup (he eventually lost the game to Graig Nettles). Intercut with these were scenes of Springsteen and the E Street Band lip-synching the song in a bar. Although he had left the band more than two years earlier, Steven Van Zandt was invited back to perform in this video, along with his sometimes hysterical stage antics but the two new members of the band, Nils Lofgren and Patti Scialfa, who had not been on the record at all, were also featured. Springsteen's then-wife Julianne Phillips made a cameo appearance at the baseball field at the end. The video began airing on MTV in mid-June 1985.

[edit] Remixes

In an effort (a first for Springsteen) to gain dance and club play for his music, and more non-whites in his audience, remixes for the first singles from the album were executed by maestro Arthur Baker. He first created the 12-inch "Blaster Mix" of "Dancing in the Dark", wherein he completely reworked the album version. Overdubbed were tom-toms, dulcimers, glockenspiel, assorted backing vocals, bass and horn sythesizer parts, and gunshot sounds. Springsteen's vocal part was chopped up, double-tracked, echoed and repeated, with certain lines such as "You sit around getting older" and "Heeey, baby!" made even more prominent. The remix was released on July 2, 1984 and generated a lot of media buzz for Springsteen, as well as actual club play. It went to #7 on the Billboard Hot Dance Music/Club Play chart, and had the most sales of any 12-inch single in the United States in 1984. However, many of Springsteen's hard-core rock fans, who had been suspicious of the new sound of "Dancing in the Dark" to begin with, despised the remix. Baker was subsequently quoted in angry response: "I got really offended. What is so different? It has a fucking glockenspiel, which Bruce has used before, background vocals ... it's no different. See, if any of those mixes had come out before, with no one knowing the other version, no one would have said a word."

Baker created the 12-inch "Undercover Mix" of "Cover Me" next, making a large-scale transformation: a new bass line was cut, an unused backing vocal by industry legend Jocelyn Brown was restored, and reggae and dub elements were introduced. Released on October 15, 1984, it also found displeasing from many fans, but managed to reached #11 on the Dance charts. Finally, on January 10, 1985, it was released the 12-inch "Freedom Mix" of "Born in the U.S.A.". It was a fairly radical remixing, even more so than those Baker had done for the album's previous singles. The mix removed any (possibly misleading) anthemic elements and pushed the song's mournfulness to the front. Synthesizer, glockenspiel, and drums were chopped up and isolated against Springsteen vocal fragments saying "Oh my God, no," and "U.S.A.—U.S.—U.S.—U.S.A." This remix was the least commercially successful of Baker's efforts, however, as unlike the prior two it failed to appear on Billboard's Dance chart.

[edit] Image and social issues

Some reminicenses were made between Springsteen and Sylvester Stallone's film character Rambo. Coincidentally, the second film of the saga, Rambo: First Blood Part II was premièred on May 1985, when the Born in the U.S.A. and Springsteen himself were at the peak of their mainstream popularity.

As of 1984, Springsteen was an American megastar for almost a decade. However, as Larry Rodgers interpreted it, "it was not until hit the gym to get buffed up and showed off his rear end in Annie Leibovitz’s famous cover photo for Born in the U.S.A. that he became an American pop icon",^[1] touching off a wave of Bossmania (as author Chris Smith described it ^[4]).

For the album, Springsteen reintroduced himself as a muscular and sexually-charged rocker after his adoption of constant wearing of tight blue jeans, white t-shirts and bandannas, and also an intensive physical training that included years of running, weightlifting and bodybuilding.

According to Bryan K. Garman, in his book A Race of Singers – Whitman's Working-Class Hero From Guthrie to Springsteen, these new image helped Springsteen to popularize his image on a new scale, but also brought him a decisive attachment to political and sociocultural issues, in the times when Ronald Reagan was reviving a patriotic pride by reaffirming the values of prosperity, expansion, and world domination of the United States "within a decidedly masculine framework".^[5]

For Garman, as Reagan's combination of masculinity and nationalism shaped a popular culture that "remasculinized" the country's image of, Americans found themselves reading and watching about the Vietnam War, trying to come to terms with the lost war and the soldiers who fought it. At the time, the huge popularity of Sylvester Stallone's "Rambo" films demonstrated both the public's fascination with the Vietnam veteran and the symbiotic relationship that existed between the Reagan presidency and much of the popular culture of its era. According to the author, Springsteen found himself enmeshed in the ideologies and symbols that Rambo and Reagan represented. In August 1985, the Chicago Tribune, coining a slogan that would soon appear on novelty T-shirts and bumper stickers throughout the country, declared him the Rambo of rock and roll, and a national hero who, like Stallone's character, "only wants America to love him as much as he loves it." According to this editorial, Springsteen reprised "the defiant, good ol' boy, blue-collar skepticism of Merle Haggard".

At the time, it was a common thought that both Rambo and Springsteen shared the same politics. As Garman puts it, "Stallone and Springsteen addressed questions of national identity, confronted the legacy of Vietnam, and, in some ways, physically resembled each other: they both had dark shoulder-length hair, wore bandannas as part of their costumes, and flaunted their muscular physiques. To be sure, the heroic and sexualized image that Springsteen cultivated was an important component of his popularity and in large part accounted for his appropriation by the Right." He also mentions that Springsteen began also to be characterized by a kind of stage performance that "(on one level) liberates his fans by presenting the possibility of sexual freedom. On another, it reaffirms the power of masculinity." Garman concluded his analysis with the sentence: "Like Reagan and Rambo, the apparently working-class Springsteen was for many American a white hard-bodied hero whose masculinity confirmed the values of patriarchy and patriotism, the work ethic and rugged individualism, and who clearly demarcated the boundaries between men and women, black and white, heterosexual and homosexual." ^[5]

Throughout time, the album did not lose its cultural and social relevance and was re-introduced to succesive generations. As an example, even two decades after its original release, Rolling Stone published a celebrated cover showing Simpsons's character Homer Simpson in a re-make of the cover of the album. Springsteen himself noted on his 1998 book Songs: "“For years after the release of the album, at Halloween, I had little kids in red bandannas knocking on at my door... singing, I was born in the U.S.A. They were not particularly well-versed in the Had a brother at Khe Sahn lyric.” ^[1]

[edit] Critical acclaim

Born in the U.S.A. was received by music critics with mostly unniversal acclaim and praise. However, some argued its evident commercial edge and synthesized production, especially when compared to the obscure, introspective predecessor, the critical favourite Nebraska. That wasn't a problem for respected authors as Robert Christgau, who, at the time of release, gave an A+ to the album, recognizing it as his "most rhythmically propulsive, vocally incisive, lyrically balanced, and commercially undeniable album." He added that "the aural vibrancy of the thing reminds me like nothing in years that what teenagers loved about rock and roll wasn't that it was catchy or even vibrant but that it just plain sounded good." He finally stated that, "while Nebraska's one-note vision may be more left-correct, my instincts (not to mention my leftism) tell me that this uptempo worldview is truer."^[6] Rolling Stone also praised the album, giving it five out of five stars, highlighting the prevalecence of umptempo songs, and calling it an album of "rowdy, indomitable spirit"^[7] AllMusic also gave five stars to the album, with William Ruhlmann considering that it was the apotheosis of the E Street Band and a culmination of a road traced since their very beginning – "the place where they renewed their commitment and where Springsteen remembered that he was a rock & roll star, which is how a vastly increased public was happy to treat him." ^[8]

In June 2009, during its 25th anniversary, the album confirmed its enduring popularity as many critics and journalists revisited the album with particularly enthusiasm as its theme coincided with the "new hope" bought in the wake of the Barack Obama era. However, in July, author Charles A. Hohman spread controversy when criticized the album on Pop Matters for "stressing male sexuality as imperative to the American Dream" and leaving women out of the picture or, in any case, on a dominated position. According to him. "from the hypermasculine stance on the cover to Springsteen's forcefully vigorous vocals throughout, Born in the U.S.A. is an album about masculinity, clearly operating from a man's point of view. To Springsteen's credit, his women are seldom sex objects, and when they are, such as on "Darlington County", that objectification is punished. However, there is little subversion of assigned gender roles within Springsteen’s portraits. In fact, his women are largely powerless, kept firmly in the private sphere, functioning as trophies or even as entitlements for the male protagonists." Hohman also pointed that on the album, "just as women can protect from the storms raging in the cutthroat, rough-and-tumble working world, they can be the storm as well. The pursuit of women, like the pursuit of money and prosperity, can lead to danger, corruption, even punishment. And so after championing the safeguarding contentment that women can provide once attained, Born launches into two hard-luck delinquent tales, tragicomic and almost cinematic narratives of men chasing women as one more essential piece to their ideal American life. "Darlington County" and "Working on the Highway" are Born's most linear, and arguably most obscure, compositions, but both illustrate the troubles that can trap men in search of female companionship." ^[9]

Born in the U.S.A. was voted as the best album of the year in The Village Voice's Pazz & Jop critics poll. In 2003, the album was ranked number 85 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 1989, it was rated #6 on Rolling Stone magazine's list of The 100 Greatest Albums of the 1980s. Chris Smith also included the album in his book 101 Albums that Changed Popular Music, stating that it was, lyrically, "as desperate as Nebraska, but the energy of the E Street Band brought the songs such power that many mistook the album–and the title track in particular– as a celebration of patriotism devoid of any critical commentary."

Despite the blockbuster success and critical acclaim of the album, Springsteen often expressed some mixed feelings about it. He often considered that Nebraska contains some of his strongest writing, while Born in the U.S.A. didn't necessarily follow suit. The title track, "more or less stood by itself,” he declared. "The rest of the album contains a group of songs about which I’ve always had some ambivalence." Even so, and despite calling it the "grab-bag nature" of the album, he acknowledged its powerful effect on his career, claiming: "Born in the U.S.A. changed my life and gave me my largest audience. It forced me to question the way I presented my music and made me think harder about what I was doing." ^[1]

[edit] Cover

The title track inspired the celebrated Annie Leibowitz photo of Springsteen's bottom against the backdrop of an American flag. Bruce had to be convinced to use it as the album's cover. Some people thought it depicted Springsteen urinating on the flag.^[10]

[edit] Awards

The album received many awards, including one Grammy and four American Music Awards.

[edit] Trivia

Born in the U.S.A. became the first compact disc manufactured in the United States for commercial release, when CBS Records opened its CD manufacturing plant in Terre Haute, Indiana in September 1984. Discs previously had been imported from Japan.

In 2004, Senator John Kerry used "No Surrender" as his campaign theme song during his 2004 presidential campaign. Springsteen performed the song at several Kerry rallies during the campaign.^[11]

As on Billboard, all seven Born in the U.S.A.'s singles reached the Top 10 on the Cashbox singles chart. They reached #1 ("Dancing in the Dark"), #7 ("My Hometown"), #8 ("I'm on Fire"), #9 ("Born in the U.S.A.", "Glory Days" and "I'm Goin' Down") and #10 ("Cover Me").

[edit] Track listing

[edit] Side one

All songs written by Bruce Springsteen.

1. "Born in the U.S.A." – 4:39
2. "Cover Me" – 3:27
3. "Darlington County" – 4:48
4. "Working on the Highway" – 3:11
5. "Downbound Train" – 3:35
6. "I'm on Fire" – 2:37

[edit] Side two

1. "No Surrender" – 4:00
2. "Bobby Jean" – 3:46
3. "I'm Goin' Down" – 3:29
4. "Glory Days" – 4:15
5. "Dancing in the Dark" – 4:00
6. "My Hometown" – 4:34

[edit] Personnel

[edit] The E Street Band

• Roy Bittan – piano, synthesizer
• Clarence Clemons – saxophone, percussion
• Danny Federici – organ, glockenspiel, piano on "Born in the U.S.A."
• Bruce Springsteen – vocals, lead guitar, acoustic guitar
• Garry Tallent – bass
• Little Steven Van Zandt – rhythm guitar, mandolin, harmony vocals
• Max Weinberg – drums

[edit] Additional musicians

• Richie "La Bamba" Rosenberg – background vocals on "Cover Me" and "No Surrender"
• Ruth Davis, married to Bruce Jackson, the sound engineer – background vocals on "My Hometown"

[edit] Production

• Bob Clearmountain – mixing
• John Davenport – assistant engineer
• Jeff Hendrickson – assistant engineer
• Andrea Klein – art direction, design, cover design
• Bruce Lampcov – assistant engineer
• Annie Leibovitz – photography
• Bob Ludwig – mastering
• Bill Scheniman – engineer
• Toby Scott – engineer
• Billy Straus – assistant engineer
• Zoe Yanakis – assistant engineer

[edit] Charts

[edit] Album

[edit] Singles

[edit] Non-single tracks

[edit] Chart trajectory

[edit] Certifications

^[17]

[edit] See also

• List of best-selling albums worldwide
• List of best-selling albums in the United States

[edit] References

[edit] External links

• Album lyrics and samples