is the ninth studio album released by . The album was released simultaneously with A and was 's first that failed to chart in the Top 10 of the Billboard 200 when it peaked at #12. was recorded March 14, 15 and 20th, 1967. According to Billboard Magazine, Columbia Records reports a sale of nearly 250,000 in its first two weeks on the market. The album was certified Gold by RIAA in April 24, 2002.
"Classical Barbra" is a studio album by Barbra Streisand, released in February 1976 but recorded in 1973. The album consists of songs by classical European composers and includes tracks sung in English, French, Occitan, German, Italian and Latin. The music is performed by the Columbia Symphony Orchestra, conducted by Claus Ogerman. Leonard Bernstein wrote of the album, "Barbra Streisand's natural ability to make music takes her over to the classical field with extraordinary ease. It's clear that she loves these songs. In her sensitive, straightforward, and enormously appealing performance, she has given us a very special musical experience." The album has been certified Gold in the United States for sales of 500,000 on May 5, 1999.
is the second greatest hits album and fourth U.S. number-one album by . Released in 1978, it included 's greatest hits from the previous eight years with one new track, a duet with which never appeared on a previous album. was also the only album where the song appeared. It originally appeared on the now out-of-print soundtrack album to .
The Chicago mainstay's debut album was a rough, gruff, no-nonsense affair typified by the decidedly unsentimental track "Your Love Is like a Cancer." Seals wasn't all that far removed from his southern roots at this point, and his slashing guitar work sports a strikingly raw feel on his originals "Look Now, Baby," "Cotton Picking Blues," and "Hot Sauce" (the latter a blistering instrumental that sounds a bit like the theme from Batman played sideways).
Fenton Robinson is among the second-line blues musicians who have come close but never made it over the hump. He has certainly got the guitar goods, and his vocals are often memorable and anguished. Unfortunately, the 13 songs he did on this 1989 date were mostly good but nowhere as intense as he has delivered on other occasions. Neither is the instrumental work on this Evidence CD; his solos are firmly articulated, often elaborately constructed and paced, but they lack impact. Too many times Robinson falls just short of turning in a triumphant or exciting number, either through a less than emphatic vocal or a mundane solo.
He may have gotten his start with the hep swing of BEAT GIRL, then became a musical sensation for creating the cool jazz action of Agent 007. But for all of the lush stylings that John Barry used to define symphonic scoring as a contemporary “with it” sound, the composer proved he could make his approach sound just as contemporarily moving in the service of such historical dramas as MARY QUEEN OF SCOTTS, THE LION AND THE WINTER and THE LAST VALLEY. For if any music conveyed the feeling of untouched forests, royal intrigue and romantic mythmaking, then it was Barry’s theme-heavy scoring. Sure he’d latch onto a melody and beat you to death with it. But what a way to go, as Barry usually came up with a motif that you wouldn’t mind hearing ad infinitum, especially as his theme took on new life with each variation for strings, brass and winds. This was the kind of melody that helped make legendary figures into breathing, loving people, even when their movie got its kicks from turning such Technicolor heroes as Robin Hood and Maid Marian into characters just about ready for assisted living.