Album Title
Annie Lennox
Artist Icon Medusa (1995)
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Genre

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Medusa is the second solo album by the Scottish singer Annie Lennox, released in March 1995. It consists solely of cover songs, all originally recorded by male artists. It entered the UK Albums Chart at No. 1 and peaked in the US at number 11, spending 60 weeks on the Billboard 200 chart. It has since achieved double platinum status in both the UK and the U.S. and sold more than 6 million copies worldwide.

The album yielded four U.K. singles: "No More I Love You's" (which entered the UK Singles Chart at No. 2, Lennox's highest ever solo peak), "A Whiter Shade of Pale", "Waiting in Vain" and "Something So Right".

The album was nominated for Best Pop Vocal Album at the Grammy Awards of 1996, losing to Turbulent Indigo by Joni Mitchell, however, Lennox took home the Best Female Pop Vocal Performance award for her work on the first single "No More I Love You's". This album was re-released in late 1995 in a double jewel case containing the album Medusa and a nine-track bonus CD featuring the studio version of Paul Simon's "Something So Right" (with Simon guesting on vocals and guitar) and eight tracks recorded live from the concert in Central Park: "Money Can't Buy It", "Legend in My Living Room", her Eurythmics hits "Who's That Girl?", "You Have Placed a Chill in My Heart" and "Here Comes the Rain Again", along with "Why", "Little Bird" and "Walking on Broken Glass".


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User Album Review
Unlike recent, similar efforts by Gloria Estefan and Luther Vandross, the former Eurythmic's collection of other artists' tunes is a work of art. Lennox has transformed every song she tackles into her own, sometimes rendering them unrecognizable from the originals--most notably on the Temptations' ferocious soul classic "I Can't Get Next to You," done as a doleful plaint.

After listening to Lennox's versions of songs such as Bob Marley's "Waiting in Vain" and Al Green's "Take Me to the River," you have an even greater appreciation of the originals--and that might be just what she intended.

Still, the satisfaction you get from listening to "Medusa" is not much greater than that provided by significantly less ambitious albums in the same vein. Lennox's rich, unaffected vocals are glorious, of course, but only the Clash's "Train in Vain"--which she does as a gospel-flecked ballad--truly benefits from being so radically reworked.


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