Medusa is the second solo studio album by Scottish singer Annie Lennox, released on 6 March 1995 by RCA Records. It consists entirely of cover songs. The album entered the UK Albums Chart at number 1 and peaked in the United States at number 11, spending 60 weeks on the Billboard 200. It has since achieved double platinum status in both the United Kingdom and the United States. Background and release The album yielded four singles in the United Kingdom: "No More I Love You's" (which entered the UK Singles Chart at number 2, becoming Lennox's highest-peaking solo single), "A Whiter Shade of Pale", "Waiting in Vain" and "Something So Right". Lennox explains the origins of the album in the liner notes: This album contains a selection of songs I have been drawn to for all kinds of reasons. There were not chosen with any particular theme or concept in mind—the method was more by instinct than by design. The work undertaken was truly a labour of love for me and I feel privileged to have been given this opportunity. The album was nominated for Best Pop Album at the Grammy Awards of 1996, losing to Turbulent Indigo by Joni Mitchell. 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", the Eurythmics singles "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". Critical reception Professional reviews for Medusa were mixed, ranging from favourable to outright hostile. AllMusic notes that critics "savaged" the album upon release: Trouser Press was probably the most severe in its criticism, characterising Lennox's interpretations of classic material as "obvious", "milquetoast" and "willfully wrongheaded". Reviewer Ira Robbins did single out the track "No More I Love You's" for genuine, if backhanded, praise: "The only song here that benefits from her ministrations is 'No More 'I Love You's,' a minor 1986 hit for Britain's otherwise forgotten The Lover Speaks,