The Owl and the Pussycat | ||||
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Soundtrack album by Barbra Streisand, George Segal, and Blood, Sweat & Tears | ||||
Released | December 19, 1970 | |||
Genre | Rock | |||
Length | 46:41 | |||
Label | Columbia | |||
Producer | Thomas Z. Shepard | |||
Barbra Streisand chronology | ||||
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George Segal chronology | ||||
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Blood, Sweat & Tears chronology | ||||
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The Owl and the Pussycat is the soundtrack album to the 1970 American film of the same name. It was released by Columbia Records on December 19, 1970 and features dialogue from the film 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, and later released by Blood, Sweat & Tears in stripped down instrumental versions on their 2013 compilation album Rare, Rarer & Rarest. An 8-track cartridge edition of The Owl and the Pussycat was also distributed, featuring four songs instead of five.
The soundtrack's songs are influenced by rock music and big band-style tunes. The Owl and the Pussycat was critiqued for Streisand's inclusion of talking rather than singing. However, critics felt the music paired nicely with the dialogue. Commercially, the album only charted in the United States and Canada. On the Billboard 200, it peaked at number 186, becoming Streisand's lowest-charting entry from her entire career, although it served as Segal's highest charting effort.
The Owl and the Pussycat was released to movie theaters on November 3, 1970, by Columbia Pictures. The accompanying soundtrack was released on vinyl and 8-track cartridge on December 19 of the same year through Columbia Records, featuring five tracks of dialogue spoken by cast members Barbra Streisand and George Segal recorded over music performed by American band Blood, Sweat & Tears. They created the instrumentals for the film while touring shortly before band member and lead vocalist, David Clayton-Thomas, departed the group. This was Clayton-Thomas's first film score credit, and he considered the work as being difficult because he was tasked with placing music over preexisting dialogue. He wrote: "Somebody should have told me what can happen when you do a film score. When the picture is completed, the powers that be can do what they want with the score." The record's five song titles correlate with different scenes in the film and are primarily rock-influenced.