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The album cover shows a group of middle-aged nudists posing in the middle of a forest. The group consists of five women and three men. The album cover was completely pixelated for its iTunes release, [21] and many online news outlets overlaid a black box over the explicit areas. [22] The replacement cover for Ritual de lo Habitual.
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At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 80, based on 22 reviews. [1] Tom Breihan of Pitchfork writes, "Album is mostly sunny Beach Boys pastiche, but it's not the kajillionth indie attempt at orchestral Pet Sounds majesty. Rather, it's simple and ...
The Bodyguard soundtrack by Whitney Houston (with various artists) is the best-selling album credited to a woman; [1] its sales are over 45 million copies since its release in November 1992. [2] Come On Over by Shania Twain is recognized by Guinness World Records as the biggest-selling studio album by a solo female artist with over 40 million ...
To the genius Lindsay Lohan, the hilarious Raven Symone, and the amazing Mary Kate and Ashley Olsen, these girls absolutely ruled our TV and movie screens for years in the early 2000's.
On August 13, 2019, Chenoweth announced via her social media that she would release her next studio album in the fall of 2019. The album itself would be her most personal cover album yet, paying tribute to many of strong female artists who inspired her as an entertainer including Dolly Parton, Barbra Streisand, Doris Day, Judy Garland, Carole King, and others.
For Ladies Only is the sixth studio album by Canadian-American rock band Steppenwolf.The album was released in November 1971, by Dunhill Records.It is a political concept album mainly about feminism but with several more conventional songs about romance as well, both unusual themes for Steppenwolf.
Girls, Girls, Girls has received mixed but generally positive reviews. In their June 12, 1987, issue The Georgia Straight applauded Mick Mars' guitar being featured more prominently in the final mix than it had been on 1985's Theatre of Pain, and called it their best work since 1981's Too Fast for Love.