ButterFly | ||||
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Studio album by | ||||
Released | October 1, 1974 | |||
Recorded | 25 March, 18, 19, 22 July 1974 | |||
Studio |
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Genre | Contemporary pop | |||
Length | 35:40 | |||
Label | Columbia | |||
Producer | Jon Peters | |||
Barbra Streisand chronology | ||||
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Singles from ButterFly | ||||
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ButterFly is the sixteenth studio album by American singer Barbra Streisand. Released on October 1, 1974, by Columbia Records, it marked Streisand's first album of entirely new material in over three years. Primarily a contemporary pop record recorded throughout 1974, it also incorporates music from the reggae and R&B genres. All of the tracks on ButterFly are cover songs produced by Streisand's then-boyfriend Jon Peters, originating from artists like Bob Marley, David Bowie, Evie Sands, and Graham Nash.
The album received mixed reviews from music critics who questioned whether or not Peters' experience in the music industry was enough for him to produce an entire album. However, Tom Scott's involvement with the album was praised, particularly his position as an arranger. Commercially, the album peaked in the lower positions of Australia, Canada, and the United States. It would later be certified gold by the Recording Industry Association of America for physical shipments exceeding 500,000 copies. "Guava Jelly" and "Jubilation" were released as the album's two singles in December 1974 and April 1975, respectively.
The 8-track cartridge and cassette tape versions, as well as some international vinyl versions, swapped the front and back artwork and instead displays an illustration of Streisand's face and hair surrounded by colorful butterflies rather than the original LP's image of a fly on a stick of butter.
Earlier in January 1974, Streisand released The Way We Were and the official soundtrack to the film The Way We Were (1973), both of which were commercially successful, with the former album selling over 2 million copies in the United States. [1] The Way We Were predominantly featured material from Streisand's unreleased album The Singer, with only three tracks recorded specifically for the new project. [2] ButterFly was Streisand's first album of completely new material in over three years and was produced solely by her then-boyfriend, Jon Peters. [3] [4] Due to Peters' minimal experience in the music industry, it was suggested by AllMusic's William Ruhlmann that the album's overall sound was orchestrated more by saxophonist Tom Scott rather than Peters. [3] Streisand also collaborated with several composers and musicians for ButterFly, including John Bahler, Hank Cicalo, John Guerin, and Clarence McDonald. [5]
Recording sessions for the album took place at A&M Studios and United-Western Recorders in Los Angeles between February and July 1974. "I Won't Last a Day Without You", "Since I Don't Have You", and "Crying Time" were amongst the earliest tracks to be recorded, all during a session on March 25, 1974 at United-Western. The remaining tracks on the album were all recorded throughout July 1974 at A&M Studios. Scott and composer Lee Holdridge handled the arrangement of the ten tracks, while John Bahler arranged the horns and vocal production. [6] Streisand and Columbia Records released ButterFly on October 1, 1974 as her sixteenth studio album overall, distributed months after The Way We Were. [1] [7] The same label issued the album as an 8-track cartridge in 1974, with the track listing switching the order of "Jubilation" and "Crying Time" around. [8] The album was later released in a compact disc format on October 25, 1990. [9]
On ButterFly, Streisand departed from the pop and rock influences that were strong on her previous efforts and instead relied more on a variety of experimental, contemporary pop music. [3] [10] The singer also explored the reggae and classic R&B genres that were, at the time, popular on mainstream radio. [11] The album opens with a "seductive" [10] version of "Love in the Afternoon", a song originally performed by American singer Evie Sands earlier in 1974. [12] [13] It was written by Sands, Ben Geminaro, and Richard Wiseman; production of "Love in the Afternoon" and all songs on ButterFly were solely handled by Peters. [5] "Guava Jelly" is track two and a cover of Bob Marley's 1971 single. One of the reggae songs on the album, [14] it features "risqué lyrics" that suggest that guava jelly could be used as a type of sexual lubricant. [15] [16] Bill Withers's R&B ballad "Grandma's Hands" follows and is primarily a "gospel-flavored" song. [10] [17] Lyrically, it details a woman who shares a strong bond with her grandmother. [18] "I Won't Last a Day Without You" is the fourth track and a cover of the Carpenters' 1974 single; it was written by Paul Williams and Roger Nichols. [5] The album's second and final single, "Jubilation", was a song made famous by Paul Anka in 1972. In response to Streisand's rendition of the track, Anka questioned her decision to have Peters produce but remarked, "Barbra can sing the phone book. She has no problem singing anything. She's got one of the great voices". [19]
Track six is "Simple Man", originally performed by Graham Nash for his debut album, Songs for Beginners (1971). Written about an individual getting over a bad relationship, Nash wrote the song immediately after breaking up with his then-girlfriend Joni Mitchell. [20] David Bowie's "Life on Mars" is the seventh track, also written by Bowie. [5] During an interview with Playboy in 1975, Bowie was asked what he thought regarding Streisand's cover; disappointed, he claimed that it was "bloody awful" and "atrocious". [21] The preceding track ("Since I Don't Have You") was written by seven of the band members from the Skyliners and advertised as a "classic" on ButterFly. [22] "Crying Time" and "Let the Good Times Roll" finish off the record, serving as the ninth and tenth tracks, respectively. The former song was written by Buck Owens, originally performed by Ray Charles, and previously recorded by Streisand during a live television special called Barbra Streisand…and Other Musical Instruments in 1973. Author Francis David compared Streisand's vocal capabilities on the track to those of Aretha Franklin's. [23] Meanwhile, "Let the Good Times Roll" is a cover of the 1956 Shirley & Lee original. Written by Leonard Lee and Shirley Goodman, Goodman does not receive a writing credit on the album's official liner notes and would later take Lee to federal court to receive credit. [24]
The album's lead single "Guava Jelly" was released as a 7" record on December 16, 1974, two months after the release of ButterFly. [25] It was paired with "Love in the Afternoon" and "Life on Mars" as a B-side track in the United States and the Netherlands, respectively. [25] [26] "Jubilation" was the record's second and final single, released in April 1975 by Columbia in the same physical formats as "Guava Jelly". [27] On the Germany release of "Jubilation", it would be paired with B-side "Crying Time", [28] but the Canada and United States versions featured "Let the Good Times Roll" instead. [27]
Review scores | |
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Source | Rating |
AllMusic | [3] |
ButterFly has received mixed reviews from music critics. In a highly positive review, a critic from Billboard described it as "possibly the finest LP Ms. Streisand has ever come up with, artistically and commercially". The reviewer lauded her vocals and her ability to adapt to the music while also taking a liking to Peters' production capabilities. The critic also recommended "Love in the Afternoon", "Guava Jelly", "Grandma's Hands", "Jubilation", "Life on Mars", "Since I Don't Have You", and "Let the Good Times Roll" as the album's "best cuts". [11] Despite being Streisand's first collection of new material in approximately three years, AllMusic's Ruhlmann was disappointed by the singer's decision to work with Peters on the album. He felt that Peters' background in the music industry was "nonexistent" and instead highlighted Tom Scott, the album's arranger, as the "real power on the album". Concluding, Ruhlmann claimed that although ButterFly is a charming album, it ultimately only sold to Streisand's fan base rather than the general public. [3]
Ben Gerson from Rolling Stone called the songs on the album "forgettable" and "unconvincing". He also criticized Streisand's authenticity when singing lyrics that he considered "meaningless from the lips of an American". [29] Because of the lackluster response generated from the record, Streisand decided to work with new musicians on her following album, Lazy Afternoon (1975). Her decision pleased both critics and her fans, who felt that the new album was stronger than ButterFly. [30] Years later in 1991, Streisand took to Larry King Live and announced her complete displeasure with ButterFly and the songs on it. She deemed it as her least favorite album and joked that she would like to withdraw it from her catalog altogether. [31] [32]
In the United States, ButterFly debuted at number 72 on the Billboard 200 chart for the week ending November 16, 1974. [33] The following week it rose to number 52 and on January 4, 1975, it reached its peak position at number 13. [34] [35] The record spent a total of 24 consecutive weeks on the Billboard 200. ButterFly was commercially less successful than its predecessor, which topped the Billboard 200. [36] However, due to the album's strong sales, the Recording Industry Association of America (RIAA) certified ButterFly gold on January 6, 1975, for physical shipments exceeding 500,000 copies. [1] In Canada, the album peaked at a slightly higher position. It debuted on the list, compiled by RPM , at number 92 on November 23, 1974, [37] and 11 weeks later it would peak at number 11 on February 15, 1975. [38] In total, it spent 17 weeks charting in that country. [39] It also charted in Australia, where it peaked at number 49 according to the Kent Music Report. [40]
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Love in the Afternoon" |
| 4:07 |
2. | "Guava Jelly" | 3:19 | |
3. | "Grandma's Hands" | Bill Withers | 3:27 |
4. | "I Won't Last a Day Without You" | 4:16 | |
5. | "Jubilation" | 3:52 | |
6. | "Simple Man" | Graham Nash | 3:03 |
7. | "Life on Mars" | David Bowie | 3:13 |
8. | "Since I Don't Have You" |
| 2:52 |
9. | "Crying Time" | Buck Owens | 2:51 |
10. | "Let the Good Times Roll" | Leonard Lee | 4:57 |
Total length: | 35:40 |
No. | Title | Length |
---|---|---|
1. | "Love in the Afternoon" | 4:07 |
2. | "Guava Jelly" | 3:19 |
3. | "Grandma's Hands" | 3:27 |
4. | "I Won't Last a Day Without You" | 4:16 |
5. | "Crying Time" | 2:51 |
6. | "Simple Man" | 3:03 |
7. | "Life on Mars" | 3:13 |
8. | "Since I Don't Have You" | 2:52 |
9. | "Jubilation" | 3:52 |
10. | "Let the Good Times Roll" | 4:57 |
Total length: | 35:40 |
All tracks produced by Jon Peters. [6]
Credits adapted from the liner notes of the CD edition of ButterFly. [5]
Chart (1974–1975) | Peak position |
---|---|
Australia Albums (Kent Music Report) [40] | 49 |
Canada Top Albums/CDs ( RPM ) [38] | 11 |
US Billboard 200 [36] | 13 |
Region | Certification | Certified units/sales |
---|---|---|
United States (RIAA) [1] | Gold | 500,000^ |
^ Shipments figures based on certification alone. |
"The Way We Were" is a song by American singer Barbra Streisand from her fifteenth studio album of the same name. It was released as the album's lead single on September 27, 1973, through Columbia Records. The 7" single was distributed in two different formats, with the standard edition featuring B-side track "What Are You Doing the Rest of Your Life?"; the Mexico release instead included an instrumental B-side. The song was written by Alan Bergman, Marilyn Bergman, and Marvin Hamlisch, while production was solely handled by Marty Paich. "The Way We Were" was specifically produced for the record, in addition to three other tracks, including her then-upcoming single "All in Love Is Fair" (1974).
A Collection: Greatest Hits...and More is the fourth greatest hits album recorded by American vocalist Barbra Streisand. It was released on October 3, 1989 by Columbia Records. The compilation features ten songs from Streisand's career, dating from 1975 to 1988, plus two previously unreleased songs: "We're Not Makin' Love Anymore" was released as the album's lead single on September 14, 1989, and "Someone That I Used to Love" was distributed as the second and final one in 1989. Both singles charted on several record charts internationally.
The Essential Barbra Streisand is the fifth greatest hits album by American singer Barbra Streisand, released on January 29, 2002, by Columbia Records. The compilation features 38 songs from Streisand's catalog, in addition to two previously unreleased tracks. It includes material from 26 of the singer's albums and was described as a collection of, mainly, her pop songs. A reissued version of the compilation was distributed by Columbia and Legacy Recordings in 2008 and includes a bonus disc featuring nine additional songs from Streisand's discography.
Duets is a compilation album by American singer Barbra Streisand, released on November 26, 2002, by Columbia Records. The collection features nineteen duets from Streisand's career, including two newly recorded ones: "I Won't Be the One to Let Go" with Barry Manilow and "All I Know of Love" with Josh Groban. The Manilow duet was released as the album's lead single on November 4, 2002, as a streaming-only exclusive for AOL Music website members.
"Shake Me, Wake Me " is a song recorded by the American quartet Four Tops for their third studio album, On Top (1966). It was released in February 1966 as a 7" vinyl single through Motown records. It was written and produced by Brian Holland, Lamont Dozier, and Eddie Holland. A gospel rock track, its lyrics detail a relationship that has ended. It has since been regarded as one of Four Tops' most successful singles ever. It charted moderately well in both the United States and Canada, and became the group's fifth consecutive entry to chart within the top five of the Hot R&B/Hip-Hop Songs chart. Four Tops has performed "Shake Me, Wake Me " on various occasions throughout their careers and have included it on several greatest hits albums, including on The Four Tops Greatest Hits (1967) and The Ultimate Collection (1997).
Barbra Streisand's Greatest Hits is the first greatest hits album recorded by American vocalist Barbra Streisand. It was released in January 1970, by Columbia Records. The record is a compilation consisting of 11 commercially successful singles from the singer's releases in the 1960s, with a majority of them being cover songs. The songs on Barbra Streisand's Greatest Hits originally appeared on one of the singer's eight previous albums and span in release from 1963 to 1968. It contains her most commercially successful tracks, including her first Billboard Hot 100 top ten single "People" and top 40 entry "Second Hand Rose". The album was distributed on compact disc in 1986 and rereleased under the title The Hits in 2006.
The Way We Were is the fifteenth studio album recorded by American singer Barbra Streisand. The album was released in January 1974, preceded by the commercial success of its lead single "The Way We Were" first released in September 1973.
Barbra Streisand's Greatest Hits Volume 2 is the second greatest hits album recorded by American vocalist Barbra Streisand. It was released on November 15, 1978 by Columbia Records. The album is a compilation consisting of ten commercially successful singles from the singer's releases in the 1970s, with a majority of them being cover songs. It also features a new version of "You Don't Bring Me Flowers", which was released as the collection's only single on October 7, 1978. Originating on Streisand's previous album, Songbird, the new rendition is a duet with Neil Diamond who had also recorded the song for his 1978 album of the same name. The idea for the duet originated from DJ Gary Guthrie who sold the idea to the record label for $5 million.
Lazy Afternoon is the seventeenth studio album recorded by American singer Barbra Streisand. It was released on October 14, 1975, by Columbia Records. Following a mixed critical response to her previous studio album, ButterFly (1974), the singer began working with new musicians for the project. Recorded in April 1975 in Los Angeles, Lazy Afternoon contains pop standards. Producer Rupert Holmes wrote three songs on the album and co-wrote a fourth, "By the Way", with Streisand. She also included a few cover songs, such as the Four Tops' "Shake Me, Wake Me ", Stevie Wonder's "You and I", and Libby Holman's "Moanin' Low".
Christmas Memories is the second Christmas album and twenty-ninth studio release by American singer Barbra Streisand. It was released on October 30, 2001, by Columbia. Streisand recorded the album during July, August, and September 2001 in various recording studios throughout California and in North Vancouver. It was executive-produced by Streisand and Jay Landers, while William Ross and David Foster served as additional producers. The album contains several cover versions of various holiday songs. To promote Christmas Memories, Columbia Records released an advance sampler version of the album titled A Voice for All Seasons.
Live Concert at the Forum is the second live album by American singer Barbra Streisand, released physically on October 1, 1972, by Columbia Records. Produced by long-time collaborator Richard Perry, it was recorded at The Forum in Inglewood, part of Greater Los Angeles, on April 15, 1972, during Four for McGovern, a concert held in benefit for George McGovern's 1972 presidential campaign. A CD version of Live Concert at the Forum was released on September 6, 1989.
Barbra Streisand...and Other Musical Instruments is the fourteenth studio album by American singer Barbra Streisand. It was released on November 2, 1973, by Columbia Records. The album was made available following a 1973 live television special promoted to improve Streisand's image and sound. With world music as the primary genre, the album's instrumentation varies greatly; even items such as kitchen utensils were used to create melodies and beats. With a majority of the songs on the album being cover songs, Streisand also re-recorded various tracks that originated earlier in her career. Her manager, Martin Erlichman, was credited as the album's sole and executive producer.
The Owl and the Pussycat is the soundtrack album to the 1970 American film of the same name. Released by Columbia Records, it features film dialogue by Barbra Streisand and George Segal recorded over music performed by American band Blood, Sweat & Tears. The album's five tracks were all written by Buck Henry, produced by Thomas Z. Shepard.
"Didn't We" is a song recorded by Irish singer and actor Richard Harris for his debut studio album, A Tramp Shining (1968). It was written and produced by Jimmy Webb and originally served as the B-side to Harris' 1968 single "MacArthur Park". "Didn't We" was then distributed as the record's single by Dunhill Records, also in 1968. A traditional pop song, Harris sings about his life in the past. Commercially, it charted at lower positions of both the United States and Canada, and in the higher ranks of their Adult Contemporary component charts. Harris featured "Didn't We" on several of his greatest hits albums, including The Richard Harris Collection: His Greatest Performances from 1973. That same year, the song was reissued as a promotional single paired alongside his 1971 single "My Boy".
"Guava Jelly" is a song recorded by the Jamaican group Bob Marley and the Wailers. It was released as a 7" vinyl single through Tuff Gong and Green Door Records. It was issued commercially with B-side track "Redder Then Red", which was misspelled on its initial printing, in 1971. It was written and produced by Marley and features uncredited lyrical contributions from Bunny Livingston. A reggae composition like the majority of Marley's works, "Guava Jelly" contains a rocksteady and island-like production with lyrics loosely based around sexual intercourse. His use of the term "guava jelly" was likely referring to a specific type of sexual lubricant. It was favorably viewed by several reviewers, with many of them finding the composition to be sexual and about love. The group placed "Guava Jelly" on several compilation albums, including Africa Unite: The Singles Collection in 2005, and Owen Gray and Herbie Mann created their own versions in 1974 and 1975, respectively.
"All in Love Is Fair" is a song by American singer-songwriter Stevie Wonder recorded for his sixteenth studio album, Innervisions (1973). Written and produced by Wonder, it was released as a 7" single in Brazil in 1974. The song is a pop ballad with lyrics that describe the end of a relationship through the use of clichés. Critical reaction to the song has been varied: Matthew Greenwald of AllMusic wrote that it was among Wonder's "finest ballad statements", but Robert Christgau felt that the singer's performance was "immature". Wonder has included it on several of his greatest hits albums, including the most recent, 2005's The Complete Stevie Wonder.
"Jubilation" is a song recorded by Canadian singer-songwriter Paul Anka for his 1972 studio album of the same name. Anka wrote the song with Johnny Harris, who also produced the track. It was released in 1972 as a 7" single by Buddah Records. A gospel song, the lyrics of "Jubilation" find the protagonist preaching about religious themes. Making a moderate commercial impact, it appeared on the record charts in both Canada and the United States. It has since been included on several of Anka's greatest hits albums and covered by The Edwin Hawkins Singers in 1973.
"My Father's Song" is a song recorded by American singer Barbra Streisand for her seventeenth studio album, Lazy Afternoon (1975). It was released as a 7" single in August 1975 through Columbia Records. Rupert Holmes wrote the song in collaboration with its producer Jeffrey Lesser. A sentimental ballad, "My Father's Song" was about Streisand's childhood with her father; Holmes' lyrics involve a protagonist, presumably a daughter, asking for her father's approval in life and love.
"We're Not Makin' Love Anymore" is a song recorded by American singer Barbra Streisand for her fourth greatest hits album, A Collection: Greatest Hits...and More (1989). It was released on September 14, 1989 by Columbia Records on 7-inch, 12-inch, cassette, and CD. It was written by Michael Bolton and Diane Warren and produced by Narada Michael Walden. Bolton's inspiration for the song was derived from his divorce; he and Warren debated what singer would be able to sing their work well and ultimately decided that Streisand would be the right fit. The song is a ballad that is similar in sound to Streisand's "Comin' In and Out of Your Life" (1981).
Funny Lady is the soundtrack album of the 1975 musical film of the same title, starring Barbra Streisand. Released by Arista Records on March 15, 1975, arranged, conducted, and coordinated by Peter Matz, the album's fifteen tracks are performed by Streisand, James Caan, and Ben Vereen. A sequel to the 1968 musical comedy-drama Funny Girl, the songs extend the semi-biographical account of the life of American performer Fanny Brice. Funny Lady also included songs written by Brice's third husband Billy Rose. New music by Kander and Ebb included "How Lucky Can You Get", the album's only single, released in April 1975.
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