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Over Again One Direction Album Cover

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2012 studio album by I Direction

Accept Me Domicile
A colourful image that features five men fooling around a red telephone box
Studio album by

One Management
Released nine November 2012 (2012-11-09)
Recorded May–August 2012
Studio
  • Kinglet Studios (Stockholm, Sweden)
  • Chalice Studios (Los Angeles, California)
  • MixStar Studios (Virginia Beach, Virginia)
  • Glutinous Studios (Surrey, England)
Genre Pop
Length 42:19
Characterization
  • Columbia
  • Syco
Producer
  • Julian Bunetta
  • Cirkut
  • Dr. Luke
  • Carl Falk
  • Kristoffer Fogelmark
  • Jake Gosling
  • Steve Robson
  • Shellback
  • Rami Yacoub
Ane Direction chronology
Up All Dark
(2011) 		Take Me Abode
(2012) 		Midnight Memories
(2013)
Singles from Take Me Home
  1. "Live While We're Young"
    Released: 28 September 2012
  2. "Piffling Things"
    Released: 12 Nov 2012
  3. "Osculation You"
    Released: seven January 2013

Take Me Habitation is the 2nd studio album by British-Irish boy band One Direction, released on ix November 2012 by Syco Music and Columbia Records. Equally a follow-up to I Direction's internationally successful debut album Upwards All Night (2011), Have Me Home was written in groups and has an boilerplate of just under v songwriters per track. Largely recorded and composed in Sweden during 2012, Savan Kotecha, Rami Yacoub and Carl Falk, who equanimous I Direction'southward hits, "What Makes Y'all Beautiful" and "One Thing", spent six months in Stockholm developing songs for the anthology, and were able to shape melodies around the members' tones.

The anthology's songs are characterized by metronomic pop, vocal harmonies, mitt claps, prominent electric guitar riffs, bright synthesizers, a homogeneoussound and message, and rotations of atomic number 82 vocals. The members' voices are presented individually on the record, and its lyricism speaks of falling in love, unrequited love, commitment, jealousy and self-empowerment. Take Me Abode garnered mostly positive reviews from music critics. At that place was praise for its quality of production, while criticism hinged on its generic, rushed nature.

Globally, the anthology topped the charts in more than than 35 countries. According to the International Federation of the Phonographic Industry (IFPI), Take Me Domicile was the 4th-global-best-selling anthology of 2012, selling 4.4 million units.[1] The album's number-one debut on the Us Billboard 200 chart made One Direction the first grouping to bow atop the Billboard 200 with their first 2 albums since American daughter group Danity Kane entered with Welcome to the Dollhouse in 2008 and their self-titled debut in 2006. One Direction besides became the second act in 2012 to achieve two number-one albums within a 12-month menses, and the first boy band in United states of america chart history to country two number-ane albums in a agenda twelvemonth. Their debut album and Accept Me Home were the tertiary and fifth-acknowledged albums of 2012 in the United States, respectively, making the band the start act to place ii albums in the year-cease top five in the Nielsen SoundScan era.

The album's lead single, "Live While We're Young", released on 28 September 2012, peaked inside the top x in almost every country it charted in and recorded the highest i-week opening sales figure for a vocal past a not-U.S. artist. The subsequent singles, "Little Things" and "Buss You", were less successful, although the erstwhile topped the U.k. Singles Chart. To promote the album, 1 Direction performed the album's songs on several televised programmes and a headlining sold-out concert at the Madison Square Garden. Furthermore, 1 Direction embarked on their second worldwide concert bout entitled the Take Me Habitation Tour in 2013.

Background and production [edit]

One Direction greet Swedish fans in Stockholm, Sweden, May 2012, as the recording commenced at Kinglet Studios

In 2012, One Direction revealed that a follow-up release to their debut album, Up All Night (2011), was in development. "In the summertime, we're going to get back and showtime a new record. We desire to bring out a record nearly every year, every twelvemonth and a half," Niall Horan said, revealing they were arranging "meetings and stuff with different writers and producers."[ii] In March 2012, McFly frontman Tom Fletcher confirmed that he would be writing a song for the anthology.[iii] In February 2012, One Management expressed interest in working with Ed Sheeran,[4] and in June 2012, Sheeran confirmed that they were in contact: "I'm going into the studio in Baronial to produce the tracks for them. I won't feature on the tracks though".[5]

In April 2012, The Contained reported that Simon Cowell, the group'southward managing director, had challenged prominent songwriters to compete for space on One Direction'due south second album.[6] Dee Demirbag, responsible for repertoire at BMG Rights Management, a music publisher, in Scandinavia, said: "Breaking a male child band in the U.Due south. is about as large equally it gets in the music industry, and then yous tin can imagine the competition to get cuts on the next Ane Management album is immense".[6] In addition, the article reported that Syco Records was working on candidates with Max Martin and Kristian Lundin.[half-dozen] By August 2012, information technology was confirmed that album would characteristic work from veterans such as Carl Falk, Rami Yacoub, Dr. Luke, Cirkut, and Shellback.[7]

Take Me Home was written in groups and has an average of just under five songwriters per track. "The Swedish-style songwriting: tune start" was predominantly utilised, according to Fourth dimension correspondent Douglas Wolk. Savan Kotecha, Yacoub, and Falk, who composed One Direction's hits, "What Makes You Beautiful" and "I Thing", spent half dozen months in Stockholm, Sweden, developing songs for the anthology, and were able to shape melodies around their tones. Kotecha reflected: "Nosotros'll spend days, sometimes weeks, challenging the melody. The goal is to make it sound like anyone can do this, only information technology's really very difficult".[eight] In addition, after viewing the international success of "What Makes You Beautiful", the trio conceptualised songs "that kids could play on guitar and embrace on YouTube."[viii]

After extensive promotional appearances in support of their debut album, One Direction began recording the anthology in May 2012, in Stockholm, Sweden, at Kinglet Studios.[9] [10] [11] In June 2012, the group continued recording the album in the United States, while touring on the final leg of their Up All Night Tour.[12] Horan, in a June interview with MTV News, disclosed that the group were intending to spend their fourth dimension in July and August "getting the album done."[13] As well sessions in Kinglet Studios, recording sessions and mixing for the album took place at Chalice Studios in Los Angeles, MixStar Studios in Virginia Beach, Wendy Firm Productions in London, and Viscous Studios in Surrey, England.[9]

Packaging [edit]

The anthology cover artwork, revealed on thirty Baronial 2012, features the grouping surrounding a traditional British K6 cherry telephone box, a familiar sight on the streets of the UK.[14] [15]

Music and lyrics [edit]

The album's songs are characterised by metronomic rock-inherited pop, vocal harmonies, hand claps, prominent electric guitar riffs, brilliant synthesisers, double entendres for sexual intercourse, a homogeneous audio and message, the pitch-correcting software Motorcar-Tune, and rotations of lead vocals.[8] [16] [17] [eighteen] [nineteen] Jon Caramanica, writing in The New York Times, considered the album "far more than mechanical" than their debut album, although noted that it is sonically and lyrically similar.[17] San Lansky, an editor for Idolator, described it as "'80s-inflected and intermittently rock-dappled," and as more indebted to the "sanitized punk crisis of McFly" than to teen pop.[20]

Alexis Petridis, a music journalist, interpreted its signature audio every bit a "peppy, synth-bolstered have on early-80s new-moving ridge pop, heavy on clipped rhythms and chugging guitars," which, he said, is at least an improvement on the substitute R&B "that was once the grim lot of the boyband."[18] The opening guitar riff of "Alive While We're Immature" has been noted as similar to that of the Clash'southward 1982 single, "Should I Stay or Should I Go", past some critics.[8] [17] [xviii] [19] [21] According to Petridis, the guitar is played thrice between the riff with the plectrum stroking the strings, while it is pressed. One annotation in the chord is inverse, which Petridis surmised was probably to avoid paying any royalty to the Clash.[eighteen] "Rock Me" has a clapping, mid-tempo shell that has been likened to that "We Will Rock Yous", a 1977 single by Queen.[viii] [22]

The group'due south voices are presented individually on the record.[viii] Savan Kotecha noted that the Backstreet Boys' tardily-'90s hits inspired the way he formulated Ane Direction's voices for the album.[8] Composer Julian Bunetta, who worked on three of Accept Me Home 's tracks, as well tried to place emphasis on the audio of each member: "The fans tin can tell the deviation, but nosotros wanted to make sure that when it came on the radio, the boilerplate person knew that it must exist I Direction, because it's five guys."[8] Too, Caramanica noted that the album's songs produced by Bunetta "tend to start out with more than breathing room, giving the guys a gamble to prove off vocally". The anthology'due south lyricism speaks of falling in love, unrequited love, the insistence that flaws are what brand a person unique, and commitment, in songs such as "Little Things," "Last Get-go Buss," "Back For Yous," and "They Don't Know About United states."[17] [18] [xix] [23] Other tracks, similar "Heart Attack," "Rock Me," "I Would," and "Over again," accept a more than solemn tone, addressing jealousy and longing for past significant others.[23]

Promotion [edit]

Take Me Habitation has yielded iii singles, including two US singles. Its atomic number 82 unmarried, "Alive While Nosotros're Young", was released by Syco Records on 28 September 2012. The song rocketed to worldwide success, peaking at number i in Republic of ireland and New Zealand and the top 10 in near every country it charted in.[24] [25] [26] In the United states, "Alive While Nosotros're Young" debuted at number three on the Billboard Hot 100 chart, sold 341,000 downloads in its first week, and bowed at number one on the Digital Songs chart. Its debut marks the highest bow by a British group and the 2nd-highest debut among all UK acts, outpaced only past Elton John's number one arrival with "Candle in the Current of air 1997". Its opening sales denote the biggest opening sales effigy for a single by a non-US artist and the third e'er for a download by a group, surpassed past the arrivals of Maroon five's 2012 unmarried, "Payphone" (493,000), and The Black Eyed Peas' 2009 single, "Smash Boom Pow" (465,000).[27] [28] "Petty Things" was released in the UK and Ireland on 12 November 2012, as the second single.[29] [30] The track debuted at number ane on the UK Singles Nautical chart of xviii November 2012, becoming I Direction's fifth superlative-x appearance and 2d number-one hitting in the United kingdom.[31] "Kiss You lot", chosen as the second and last U.S. unmarried third and final overall single of Have Me Home, was released digitally on 17 Nov 2012, according to MTV News.[32]

The group and the album'due south lead single were featured in a Pepsi television commercial for the Usa, which premiered on the Play tricks Broadcasting Company network on x October 2012.[33] Columbia Records immune the tape to stream in full on iTunes in the week leading up to its 13 Nov 2012 release.[34] In addition, One Management promoted the album in a serial of live appearances from Oct toward December, notably on television programmes The X Cistron USA,[35] The Ten Factor UK,[ citation needed ] The Today Show,[ citation needed ] and the BBC's Children in Need 2012 telethon.[36] Additional live appearances include at the Majestic Diversity Performance, in the presence of Queen Elizabeth Ii,[37] the Bambi Awards,[38] and a headlining sold-out testify at New York City's Madison Square Garden.[39] The album'due south accompanying concert tour, the Take Me Home Tour, commenced at London'due south O2 Arena on 23 February 2013.[40] [41] The concert tour consists of over 100 shows in Australasia, Europe, and North America, and is set to visit arenas and stadiums from February through October 2013. Appear by fellow member Liam Payne at the 2012 BRIT Awards in early 2012, the original concert bout was billed as the UK & Republic of ireland Arena Tour.[42] [43] In mid-2012, the concert tour expanded with legs in North America and Australasia following the band's international breakthrough.[44] [45] In the UK and Ireland, ticket sales reached 300,000 within a day of release, which included a six-date sell out at the O2 Arena in London.[46] In Australian and New Zealand markets, tickets grossed US$15.7 million, with all 190,000 tickets being sold for eighteen shows to exist held in Australia and New Zealand.[47]

Disquisitional reception [edit]

Professional ratings
Aggregate scores
Source Rating
Metacritic 68/100[48]
Review scores
Source Rating
AllMusic [16]
Billboard 80/100[49]
Daily Express [fifty]
Entertainment Weekly C[51]
The Guardian [18]
The Contained [52]
PopMatters half dozen/10[53]
Rolling Stone [54]

The anthology received generally positive reviews from contemporary music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the anthology received an average score of 68, based on x reviews.[48] Despite its "boardroom-defined objectives" and "safety", Al Fox, writing for BBC Music, considered the music itself "notable quality" and reliable.[55] Matt Neckband from AllMusic described information technology as an "immediately catchy mix of dancey pop that maximizes the group'southward shared pb-vocal arroyo and peppy, upbeat image."[16] Kate Wills from The Independent praised the uptempo material while defining the ballads every bit jarring, a notion shared by John Dolan of Rolling Rock.[52] [54] Simon Cuff of Daily Express noted that "it's not going to change the earth" but "the voices are good and the charm undiminished".[56] Chris Richards of The Washington Mail service wrote that "the group'due south best songs are dazzlingly efficient" and "the boy band's sophomore album is popular candy in the purest sense—sweet, colorful, and unlike then many releases aimed at ticklish tweenage hearts, consistent".[57] Sam Lansky of Idolator commented that the album is "some of the purest popular of the twelvemonth" and "is really pretty slap-up—certainly improve than it needs to be" while adding that "the hooks are instantaneous and keenly crafted" and "the production is '80s-inflected and intermittently rock-dappled".[58]

Al Play a trick on of BBC Music complimented the album, writing "polished and undecayed, despite its safety there are some testify-stopping pop anthems present" while adding that the album "takes the Ane Direction make, reinforces information technology nicely, and every bit far as their fans' needs are concerned, ticks every single box".[59] Josh Langhoff of PopMatters praised "C'mon C'mon" equally the album's all-time song, calling it "amazing" and "euphoric" and complimenting the group'south harmonies while too adding that the album had "unexpected variety" and that "these may be the least articulate cads on the pop charts, but their beats speak volumes".[60] James Robertson of The Daily Mirror praised the anthology, writing that "information technology'southward fun, infectious and they've establish the remainder betwixt poptastic fun for the pre-teens and lyrics with significant for embarrassed twenty-somethings who secretly listen to Upwardly All Night on their iPods" and that "there are some obvious rhymes and repetitive tones just the five-slice have smashed it with Take Me Home".[61] Carmin Chappell of HuffPost commented that "their maturation into young adults is made evident" and that "although the songs notwithstanding accept the poppy vibe characteristic of boybands, this album has a more cohesive sound than the final" while complimenting the anthology for how information technology "successfully embodies the carefree and fun nature of teens".[62] Sarah Dean, also writing for HuffPost, deemed the anthology equally "disappointingly good popular" and "the kind of music you want to detest and know you shouldn't savour as someone who isn't a 'teeny-bopper', but it yet puts a smile on your confront" while ending her review by saying "1 Management's global music domination won't exist ending anytime before long. And this album has made me think it's probably just easier to give in and enjoy it".[63]

Some reviews were less positive, with Amusement Weekly writer Adam Markovitz panning the record as an empty gesture and asserting that the album was rushed, signifying an album with "barely plenty cypher to keep the kids up by dinner."[51] Likewise, Robert Copsey from Digital Spy wrote, "The result [of Accept Me Home] may meet them progressing at a snail's pace, merely when you lot've got information technology then adept, what'southward the blitz anyway?"[64] In a mixed review, The New York Times contributor Jon Caramanica appreciated the album'southward sonic palette, but dismissed its lyricism equally narrow and tedious, and Sheeran's contributions as "unusually lumpy in the easily of such a polished group". Caramanica characterised the members' vocals as "fundamentally interchangeable", and opined that only Zayn Malik "breaks gratis from the pack vocally with any regularity."[17]

While he commended the anthology for its "variable quality", Alexis Petridis for The Guardian felt the record would not be able to transcend its target market, a core audition aged approximately 8 to 12 and female: "To anyone else, the mystery of One Direction's success—or at least the sheer scale of it—remains as opaque as ever."[xviii] The latter view was shared by Ben Rayner of the Toronto Star: "Unless you lot're in the target demographic or are, perhaps, a mom who lived through the aforementioned matter in her youth, at that place's no signal in even going near this record, of class, but the rest of usa were never meant to in the first place."[65] Writing for HitFix, Melinda Newman maintained that the anthology "masterfully hits its target", and concluded as follows: "I'm then far out of the One Dimension demographic, I practically need a GPS to find it."[22] Kyle Kramer of Chicago Tribune chosen the album "a bit of a cash catch" and "an empty gesture" while stating "that almost every song" on the album "appears carefully engineered to stick to a three-minute run fourth dimension and the same strict structural formula, in which two verses crescendo into forgettable choruses".[66]

Commercial operation [edit]

Globally, Take Me Home topped the charts in more than 35 countries, and was the quaternary-best-selling album of 2012, selling iv.4 1000000 units.[67] [68] In the United Kingdom, the anthology sold over 94,000 copies in its first 2 days of auction.[69] It debuted atop the UK Albums Chart with starting time-week sales of 155,000 copies, becoming their first album to summit the nautical chart and the 2nd fastest selling album of 2012.[31] The album and its second single, "Little Things", both debuted simultaneously at number one in the Uk on 18 November 2012, making One Direction the youngest act in British chart history to achieve the feat.[lxx] The anthology became the 5th-acknowledged album of 2012 in the U.k., having sold 616,000 copies by the end of 2012.[71] Information technology was certified double platinum past the British Phonographic Industry (BPI) on fifteen February 2013, denoting shipments of 600,000 copies.[72] As of February 2016, the album has sold 1,000,924 copies in the UK.[73]

In Republic of ireland, Take Me Dwelling house became the fastest-selling album of 2012,[74] lodged six consecutive weeks atop the Irish Albums Chart, and was certified triple platinum by the Irish Recorded Music Association (IRMA).[75] [76] In Italy, the collection became their second Italian nautical chart-topper, and Italy's seventh-acknowledged album of 2012.[77] [78] It has been certified double platinum by the Federation of the Italian Music Industry (FIMI), indicating sales of 60,000 copies.[79] In holland, the album debuted at number one on 17 November 2012, and shipped 25,000 copies in its showtime mean solar day of release.[80] [81] It was certified platinum past eighteen December 2012, denoting shipments of 50,000 copies in the region.[81] After a calendar month of its release, it was certified platinum in Poland for shipments of 30,000 copies,[82] while information technology became the seventh-best-selling album of 2012 in Denmark, having sold 28,875 copies by year end in that country.[83] In Sweden, the album was the 9th-best-selling anthology of 2012, and has been certified platinum by the Swedish Recording Industry Association (GLF), signifying shipments of 40,000 units.[84]

The album debuted at number ane on the Australian ARIA Chart dated 25 November 2012, a position it held for a second calendar week.[85] Information technology was certified platinum in Australia in its first calendar week by the Australian Recording Industry Association (ARIA) and has since been certified double platinum for a shipment of 140,000 copies.[86]

The record became the ring'due south second number-one album in the United States in the week of 18 November 2012, and recorded the biggest first-week sales tally for an album past a boy band since Northward'Sync's Celebrity (2001), and the third-largest debut sales week of 2012, behind Taylor Swift's Scarlet and Boom-boom past Mumford & Sons, with 540,000 copies sold.[87] [88] One Direction became the first grouping to bow atop the Billboard 200 with their first ii albums since American girl group Danity Kane entered with Welcome to the Dollhouse in 2008 and their self-titled debut in 2006, the 2d act in 2012 to achieve two number-one albums inside a 12-month catamenia alongside Justin Bieber, and the first boy band in US nautical chart history to land two number-i albums in a agenda year.[87] [88] The album was certified platinum by the Recording Industry Association of America (RIAA) on 5 December 2012, denoting shipments of i million copies.[89] It became their second album in 2012 to top the one-million marker in U.s.a. sales in the calendar week of 16 Dec 2012, making them the first human activity to accomplish the feat in a calendar year since 2009, and the first group or duo to accomplish the feat since Rascal Flatts in 2007.[90] Their debut album and Take Me Abode were the 3rd- and fifth-best-selling albums of 2012 in the U.s., respectively, making the band the kickoff act to identify two albums in the year-end top five in the Nielsen SoundScan era.[91] On 29 March 2015, information technology surpassed the 2 million threshold condign their second album (after Up All Nighttime) to sell over 2 million copies in the U.S. Equally of August 2015, the anthology has sold two.02 million copies in the U.S.[92]

Rail listing [edit]

No. Title Writer(s) Producer(due south) Length
ane. "Live While We're Young"
  • Rami Yacoub
  • Carl Falk
  • Savan Kotecha
  • Yacoub
  • Falk
 3:twenty
2. "Kiss You"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Kristian Lundin
  • Kristoffer Fogelmark
  • Albin Nedler
  • Yacoub
  • Falk
 iii:04
three. "Little Things"
  • Ed Sheeran
  • Fiona Bevan
 Jake Gosling three:39
4. "C'mon, C'mon"
  • Julian Bunetta
  • Jamie Scott
  • John Ryan
  • Bunetta
  • Ryan[a]
2:46
5. "Last First Osculation"
  • Yacoub
  • Falk
  • Kotecha
  • Fogelmark
  • Nedler
  • Liam Payne
  • Louis Tomlinson
  • Zayn Malik
  • Niall Horan
  • Harry Styles
  • Yacoub
  • Falk
  • Fogelmark
  • Nedler
 3:24
half-dozen. "Heart Assail"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Lundin
  • Yacoub
  • Falk
  • Shellback
 ii:57
7. "Rock Me"
  • Allan Grigg
  • Sam Hollander
  • Peter Svensson
  • Lukasz Gottwald
  • Henry Walter
  • Dr. Luke
  • Kool Kojak
  • Cirkut
  • Emily Wright[b]
3:21
8. "Change My Listen"
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
 3:33
9. "I Would"
  • Tom Fletcher
  • Danny Jones
  • Dougie Poynter
  • Bunetta
  • Ryan[a]
  • Sam Waters[b]
3:22
10. "Once more"
  • Sheeran
  • Robert Conlon
  • Alexander Gowers
 Gosling 3:03
xi. "Dorsum for You"
  • Yacoub
  • Falk
  • Kotecha
  • Fogelmark
  • Nedler
  • Styles
  • Horan
  • Payne
  • Tomlinson
  • Yacoub
  • Falk
  • Fogelmark
  • Nedler
 three:00
12. "They Don't Know About Us"
  • Peter Wallevik
  • Tebey Ottoh
  • Tommy Gregersen
  • Tommy Lee James
  • Bunetta
  • Ryan[a]
  • Ottoh[b]
3:21
13. "Summer Love"
  • Steve Robson
  • Wayne Hector
  • Lindy Robbins
  • Payne
  • Tomlinson
  • Malik
  • Styles
  • Horan
 Steve Robson 3:29
Limited yearbook edition bonus tracks[9]
No. Title Writer(s) Producer(s) Length
xiv. "She's Not Afraid"
  • Bunetta
  • Scott
  • Ryan
  • Tim Wood
  • Bunetta
  • Ryan[a]
iii:12
xv. "Loved You First"
  • Bunetta
  • Ryan
  • Ottoh
  • James
  • Woods
  • Bunetta
  • Ryan[a]
3:05
16. "Nobody Compares"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Yacoub
  • Falk
  • Shellback
 3:33
17. "Withal the Ane"
  • Yacoub
  • Falk
  • Kotecha
  • Payne
  • Tomlinson
  • Styles
  • Yacoub
  • Falk
  • Svensson[c]
3:03
Japanese limited yearbook edition bonus tracks[93]
No. Title Writer(s) Producer(s) Length
14. "She'due south Not Afraid"
  • Bunetta
  • Scott
  • Ryan
  • Wood
  • Bunetta
  • Ryan[a]
three:12
15. "Loved You Beginning"
  • Bunetta
  • Ryan
  • Ottoh
  • James
  • Wood
  • Bunetta
  • Ryan[a]
3:05
sixteen. "Nobody Compares"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Yacoub
  • Falk
  • Shellback
 3:33
17. "Notwithstanding the One"
  • Yacoub
  • Falk
  • Kotecha
  • Payne
  • Tomlinson
  • Styles
  • Yacoub
  • Falk
  • Svensson[c]
3:03
18. "Truly Madly Securely"
  • Trevor Dahl
  • Toby Gad
  • Robbins
 Gad 3:01
19. "Magic"
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Carl Falk
  • Shellback
 3:05
20. "Irresistible"
  • Fletcher
  • Jones
  • Poynter
  • Horan
  • Malik
  • Payne
  • Styles
  • Tomlinson
  • Bunetta
  • Waters
 3:59
Target deluxe edition bonus tracks[94]
No. Title Writer(due south) Producer(s) Length
14. "Truly Madly Deeply"
  • Dahl
  • Gad
  • Robbins
 Toby Gad 3:01
15. "Magic"
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
  • Shellback
 iii:05
sixteen. "Irresistible"
  • Fletcher
  • Jones
  • Poynter
  • Horan
  • Malik
  • Payne
  • Styles
  • Tomlinson
  • Bunetta
  • Waters
 3:59
17. "One Thing" (Live)
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
 3:26
18. "I Wish" (Live)
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
 three:48
iTunes Shop bonus tracks[95]
No. Title Writer(southward) Producer(s) Length
14. "She'south Not Agape"
  • Bunetta
  • Scott
  • Ryan
  • Wood
  • Bunetta
  • Ryan[a]
3:12
15. "Loved Yous Beginning"
  • Bunetta
  • Ryan
  • Ottoh
  • James
  • Wood
  • Bunetta
  • Ryan[a]
3:05
xvi. "Nobody Compares"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Yacoub
  • Falk
  • Shellback
 iii:33
17. "Still the One"
  • Yacoub
  • Falk
  • Kotecha
  • Payne
  • Tomlinson
  • Styles
  • Yacoub
  • Falk
  • Svensson[c]
three:03
18. "One Thing" (Alive)
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
 4:01
19. "What Makes You Beautiful" (Alive)
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
 iii:50
20. "Moments" (Live)
  • Sheeran
  • Si Hulbert
 Si Hulbert 5:10
21. "One Management backstage at the 2012 iTunes Festival" (Video) 4:26
iTunes Japanese special deluxe edition[96]
No. Title Writer(s) Producer(southward) Length
xiv. "She's Not Afraid"
  • Bunetta
  • Scott
  • Ryan
  • Wood
  • Bunetta
  • Ryan[a]
iii:12
15. "Loved You Showtime"
  • Bunetta
  • Ryan
  • Ottoh
  • James
  • Woods
  • Bunett
  • Ryan[a]
3:05
xvi. "Nobody Compares"
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Yacoub
  • Falk
  • Shellback
 3:33
17. "Still the I"
  • Yacoub
  • Falk
  • Kotecha
  • Payne
  • Tomlinson
  • Styles
  • Yacoub
  • Falk
  • Svensson[c]
3:03
18. "Truly Madly Deeply"
  • Dahl
  • Gad
  • Robbins
 Gad 3:01
19. "Magic"
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
  • Shellback
 3:05
20. "Irresistible"
  • Fletcher
  • Jones
  • Poynter
  • Horan
  • Malik
  • Payne
  • Styles
  • Tomlinson
  • Bunetta
  • Waters
 three:59
21. "Live While We're Young" (Dave Audé remix)
  • Yacoub
  • Falk
  • Kotecha
  • Yacoub
  • Falk
  • Audé
 three:16
22. "Kiss Yous" (Sharoque remix)
  • Yacoub
  • Falk
  • Kotecha
  • Shellback
  • Lundin
  • Fogelmark
  • Nedler
  • Yacoub
  • Falk
  • Sharoque
 iv:23

Notes

  • ^[a] signifies a co-producer
  • ^[b] signifies a vocal producer
  • ^[c] signifies an boosted producer

Personnel [edit]

Adapted from AllMusic.[97]

  • Karl Brazil – drums
  • David Bukovinszky – cello
  • Julian Bunetta – engineer, musician, producer, vocal producer
  • Mattias Bylund – editing, string arrangements, string engineer
  • Cirkut – musician, producer, programming
  • Rupert Coulson – engineer
  • Tom Coyne – mastering
  • Tommy Culm – groundwork vocals
  • Dr. Luke – musician, producer, programming
  • Chris Elliot – string engineer
  • Levon Eriksson – assistant
  • Carl Falk – guitar, musician, producer, programming, vocal editing, vocal engineer, background vocals
  • Rachael Findlen – assistant
  • Kristoffer Fogelmark – guitar, musician, producer, programming, vocal editing, vocal engineer, background vocals
  • Ian Franzino – assistant engineer
  • Serban Ghenea – mixing
  • Clint Gibbs – assistant, vocals
  • Jake Gosling – drums, mixing, percussion, piano, producer, programming, strings
  • Lukasz Gottwald – vocals
  • Stephen P. Grigg – assistant
  • John Hanes – mixing engineer
  • Sam Hollander – musician, programming
  • Niall Horan – guitar
  • Ash Howes – mixing, programming
  • Andy Hughes – assistant
  • Ava James – vocals
  • Matthias Johansson – violin
  • Koool Kojak – engineer, musician, producer, programming, vocals
  • Savan Kotecha – groundwork vocals
  • Chris Leonard – acoustic guitar, bass guitar, electric guitar
  • Zayn Malik – illustrations
  • Sam Miller – engineer
  • Katie Mitzell – production coordination
  • Malcolm Moore – bass
  • Adam Nedler – background vocals
  • Albin Nedler – musician, producer, programming, vocal editing, song engineer
  • 1 Direction – primary creative person
  • Alex Oriet – vocal engineer
  • Tebey Ottoh – vocal producer
  • Joel Peters – assistant
  • Luke Potashnik – guitar
  • Irene Richter – production coordination
  • Steve Robson – guitar, keyboards, mixing, producer
  • Shellback – bass, musician, producer, programming, background vocals
  • Peter Svensson – musician, programming, vocals
  • John Urbano – photography
  • Henry Walter – vocals
  • Sam Waters – vocal engineer, song producer
  • Caroline Watson – stylist
  • Emily Wright – engineer, song producer, vocals

Charts [edit]

Certifications and sales [edit]

Release history [edit]

References [edit]

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External links [edit]

  • Take Me Habitation at Metacritic

grossmanhimened.blogspot.com

Source: https://en.wikipedia.org/wiki/Take_Me_Home_(One_Direction_album)

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