Superman (1977) is the nineteenth studio album by American singer Barbra Streisand. The lead single "My Heart Belongs to Me" became a hit in 1977, peaking at #4 on the US pop chart. The title track was released as a follow-up. The album peaked at number 3 on the Top 200 LP Billboard album chart and on the UK Albums Chart at number 32. It has sold 2 million copies in United States and was certified 2× Platinum. Background and production The album was released after the success of Streisand's movie A Star Is Born, from 1976. At that time the movie soundtrack was the singer's best-selling album with 4.1 million copies sold worldwide and a platinum certificate in the United States, for more than 1 million copies sold. According to The New York Times, the album brings sounds from what they called "the second transition in Streisand's career", which began with the Stoney End album, in 1970, in which the singer experimented contemporary pop rock sounds and left aside "old‐fashioned" and "theatrical diva" from her early LPs, and that in Superman she confirms as a "a credible interpreter of contemporary songs". Two songs were written for the movie A Star Is Born but not used in the picture — "Answer Me" by Streisand, Paul Williams and Kenny Ascher; and "Lullaby for Myself" by Rupert Holmes. It also includes cover versions of contemporary singer-songwriters Kim Carnes' "Love Comes from Unexpected Places" from her album Sailin' and Billy Joel's "New York State of Mind" from Turnstiles. According to Joel, Streisand's recording resulted in his mother looking at his career with newfound respect: "Certainly my mom looked at me with fresh eyes--finally, a real singer had picked up on her errant son's efforts." Critical reception The album received good reviews from music critics. William Ruhlmann from AllMusic website gave the album three out of five stars and wrote that even though the album "seemed to be an unusually personal album for the singer, reflecting her feelings and viewpoints" it is not one of her best. Dave Marsh from Rolling Stone magazine, wrote that the album was Steisand best effort since her Stoney End (1970) album, and that it's an "ample evidence that Streisand actually can get away with singing whatever she chooses". He also wrote that even though there are some mannerisms, like her phrasing, "the material is chosen skillfully enough to