Your basket is empty

Categories :

Similar artists

Albums

From
CD£10.49

International Pop - Released February 25, 1963 | Columbia

Distinctions The Qobuz Ideal Discography
Of course, the first thing that strikes you listening to the first Barbra Streisand album, recorded and released before the singer's 21st birthday, is that great voice. And it isn't just the sheer quality of the voice, its purity and its strength throughout its register, it's also the mastery of vocal effects that produce dramatic readings of the lyrics -- each song is like a one-act musical. Streisand opens with Julie London's signature torch song, "Cry Me a River," and she doesn't only surpass London, she sets off a thermonuclear explosion. From there, versatility and novelty are emphasized -- a breakneck version of "Who's Afraid of the Big Bad Wolf?," a slow, emotion-drenched performance of "Happy Days Are Here Again." But Streisand's debut, inventively arranged and conducted by Peter Matz, is notable as much for the surprising omissions as the surprising selections. Arriving in 1963, ten years into the revival of sophisticated interwar theater songs led by Frank Sinatra and followed by all other adult pop singers, Streisand virtually ignores the modern masters like Gershwin and Berlin. When she does do Rodgers & Hart or Cole Porter, she picks obscure songs; her idea of a good 1930s number is Fats Waller and Andy Razaf's "Keepin' Out of Mischief Now." She is much more comfortable with recent theater material, choosing two songs from The Fantasticks (1960) and the title song from the stage play A Taste of Honey (1962). The Barbra Streisand Album is an essential recording in the field of pop vocals because it redefines that genre in contemporary terms. (The Barbra Streisand Album won Grammy Awards for Album of the Year, Best Female Vocal Performance, and Best Album Cover.) © William Ruhlmann /TiVo
From
HI-RES£14.99
CD£10.49

Pop - Released November 22, 2013 | Columbia

Hi-Res Distinctions Hi-Res Audio
From
HI-RES£14.99
CD£10.49

Pop - Released September 23, 1980 | Columbia

Hi-Res
The biggest selling album of Barbra Streisand's career is also one of her least characteristic. The album was written and produced by Barry Gibb in association with his brothers and the producers of the Bee Gees, and in essence it sounds like a post-Saturday Night Fever Bee Gees album with vocals by Streisand. Gibb adapted his usual style somewhat, especially in slowing the tempos and leaving more room for the vocal, but his melodic style and the backup vocals, even when they are not sung by the Bee Gees, are typical of them. Still, the record was more hybrid than compromise, and the chart-topping single "Woman in Love" has a sinuous feel that is both right for Streisand and new for her. Other hits were the title song and "What Kind of Fool," both duets with Gibb. (The song "Guilty" won a Grammy Award for Best Pop Vocal by Duo or Group.) © William Ruhlmann /TiVo
From
HI-RES£14.99
CD£12.99

Pop - Released August 6, 2021 | Columbia - Legacy

Hi-Res
There is no one like Barbra Streisand. There's never been a singer like her. As Release Me 2 proves over and over again, even a duet with a frog puppet can be magic if it includes her voice. But… Release Me 2 is pure audible catnip, a career-stretching, for-fans release of all previously unreleased tracks (and companion to 2012's first volume). Like any truly great singer, Streisand makes each song here her own. Most comfortable in lush arrangements that allow her to soar, and ever willing to wade into schmaltz no matter how many violins, flutes or glockenspiels are involved, she's notoriously careful to choose settings for her incredible instrument that exude a certain epic crooner vibe. On an album in which none of the players behind her are given credit, this old pro easily knocks numbers like Michel Legrand's "Once You've Been in Love" or the Arlen/Harburg chestnut "Right as the Rain," (recorded in 1962 before her first album) out of the park. Her sweeping rendition of the Bacharach/David tune "Be Aware" from 1971—a practice run for a TV performance—is masterful. Perhaps the most sure-footed phraser in all of American popular music, equaled only by Garland and Sinatra, Streisand just doesn't make mistakes. And she can be game to a point with material as well. As referenced above, her 1979 re-envisioning of "Rainbow Connection" with Kermit the Frog is a classic of sorts, as she soars over his monotone. "If Only You Were Mine," from her 2005 album Guilty Pleasures with Barry Gibb is playful with Streisand adding spoken asides. And her duet with Willie Nelson, "I Want It To Be You," is the perfect blend of her studied creaminess and his talky cragginess. But let's get back to that first BUT. Listening to all the gloss here makes an adventurous listener wonder, especially in a collection of unreleased tracks: but what about pushing the envelope? Streisand works in a very tightly controlled stylistic range. She even art directed this project. Here when she steps out of her comfort zone into Randy Newman's "Living Without You," it suffers from trying too hard. It's unavoidable to wonder what her magnificent instrument could do if she'd challenged herself with more interesting material. A blues tune? Something with a little funk? A Pearl Jam cover? But idle speculation aside, this is supremely top shelf Streisand—not a note out of place and her voice ever confident and gleaming. © Robert Baird/Qobuz
From
CD£18.49

International Pop - Released January 29, 2002 | Columbia

Although Barbra Streisand has recorded for the same company, Columbia Records, throughout her career, her work has not been particularly well represented on compilations. Four single-disc best-ofs dot her discography, but the listener who wanted to do something as simple as purchase an album containing the original studio recordings of both her first Top Ten hit, "People," and her first number one, "The Way We Were," without plumping for the four-CD box set Just for the Record , was out of luck. Complicating the compiling of her career highlights is her position as essentially an album artist, despite having scattered 11 Top Ten pop hits across 32 years. The ideal collection would have to do justice to her popular early albums of the '60s, her mid-career singles hits of the '70s, and her renewed album success in the '80s and '90s. Here it is. At a CD-busting length of over two and a half hours, this 40-track double-disc set encapsulates Streisand's recording career in chronological order from her 1963 debut album to 1999. (Two previously unreleased tracks sound like outtakes from her later album projects. "Someday My Prince Will Come" probably got left off of A Love Like Ours, while the gospel-tinged "You'll Never Walk Alone" must have been intended for Higher Ground.) Intelligently picking signature performances from her best and most popular albums, it largely eschews a raft of singles that got into the bottom half of the Top 40, but leaves out only one Top Ten hit, "What Kind of Fool." The singer's versatility and her ability to impose her immediately identifiable vocal style on a variety of material are emphasized in recordings that range from Broadway show tunes to disco. A collection like this has been needed for a long time as a gateway to Streisand's bountiful, indeed overwhelming, catalog. © William Ruhlmann /TiVo
From
CD£10.49

International Pop - Released October 16, 1967 | Columbia

If Simply Streisand, which appeared earlier the same month as A Christmas Album, indicated that Streisand was overly reverent when it came to standards, reverence was no problem with seasonal fare. You don't necessarily look for unusual interpretations of your Christmas music; you just want those old favorites sung well, and for the most part, that's what you got from Streisand. She did lead off with "Jingle Bells?" into which she injected some of her trademark humor while performing at a breakneck pace. Marty Paich arranged and conducted the secular songs like "Have Yourself a Merry Little Christmas" and "White Christmas," which occupied side one, while Ray Ellis handled the religious material on side two. But both were traditional in their charts, and Streisand gave her singing just enough personality without getting in the way of the familiar songs. They were trying to make a timeless classic, and that's what they achieved. © William Ruhlmann /TiVo
From
CD£14.49

International Pop - Released March 29, 2010 | Columbia - Legacy

Having recently become the only artist to score a U.K. number one album in each of the last five decades, the subject of Duck Sauce's Boney M-sampling club anthem, and a much talked about inspiration for one of the main characters in Glee, this 2010 Sony compilation of the legendary Barbra Streisand couldn't have been timed any better. Barbra: The Ultimate Collection may be less comprehensive than 2002's two-disc The Essential, but its track list still reads like a dictionary of definitions of easy listening pop standards, with a representative selection covering 45 years, from 1964's debut hit "People" to her cover of Frank Sinatra's "In the Wee Small Hours of the Morning" from 2009's Diana Krall-produced Love Is the Answer. All of her five Billboard chart-toppers are here, from her very first number one, "The Way We Were," to Academy Award-winning Best Original Song, "Love Theme from ‘A Star Is Born' (Evergreen)," to her duets with Donna Summer (a rare venture into disco territory on "No More Tears (Enough Is Enough)") and Neil Diamond ("You Don't Bring Me Flowers"), to her signature tune, "Woman in Love." But there are equally classic tracks elsewhere, with numbers from her most famous films such as Yentl's "Papa, Can You Hear Me?" and Funny Girl's "Don't Rain on My Parade," collaborations with Celine Dion ("Tell Him") and Barry Gibb ("Guilty"), and her powerful renditions of musical standards from Sunset Boulevard ("As If We Never Said Goodbye"), A Little Night Music ("Send in the Clowns"), and West Side Story ("Somewhere"). There are a few notable omissions, such as her last U.S. Top Ten single (the Bryan Adams duet "I Finally Found Someone"), and a couple of heavy hitters from her prolific '70s heyday ("My Heart Belongs to Me," "Stoney End"), but on the whole, Barbra: The Ultimate Collection is a valiant attempt to paint as big a picture of her illustrious career as is possible on just a single disc. © Jon O'Brien /TiVo
From
HI-RES£14.99
CD£11.49

Pop - Released September 12, 2014 | Columbia

Hi-Res
From
HI-RES£14.99
CD£10.49

Pop - Released September 29, 2009 | Columbia

Hi-Res
From
CD£11.49

International Pop - Released November 19, 2002 | NITRON concepts

In her lengthy career, Barbra Streisand has never shown much inclination to share the spotlight. In the movies, she must endure a leading man, but in her recordings, she has gone it alone for the most part. In 1978, however, a disc jockey edited together her and Neil Diamond's recordings of "You Don't Bring Me Flowers," and she and Diamond quickly cut a real duet, resulting in a number one hit. Thereafter, she cannily coaxed others into sharing the microphone, resulting in chart singles with Donna Summer, Barry Gibb, Kim Carnes, former boyfriend Don Johnson, Bryan Adams, and Celine Dion, and album tracks with Johnny Mathis, Michael Crawford, and Vince Gill. The material mostly consisted of mediocre adult contemporary ballads that were outshone by the star power of the singers. This album collects all those duets, plus a couple of newly recorded mediocre adult contemporary ballads sung with Barry Manilow and Josh Groban, and a few stray tracks from the 1960s and early '70s when Streisand joined another singer. Her unsuitability to the duet format is repeatedly evidenced, as she seems virtually incapable of shutting up when her partner is trying to take a solo, invariably humming in the background to draw attention back to herself. The only real exception to this rule is the version of "I've Got a Crush on You" recorded for Frank Sinatra's own Duets album, a track Streisand did not control. Naturally, the best performances occur when she is paired with a singer who is more than just a cipher -- Sinatra, Ray Charles, or Judy Garland, the latter two in TV performances. Then, of course, there's the medley of "One Less Bell to Answer" and "A House Is Not a Home" on which she finally finds the perfect duet partner, her overdubbed self! © William Ruhlmann /TiVo
From
HI-RES£14.99
CD£12.99

International Pop - Released January 1, 1985 | Columbia

Hi-Res
Barbra Streisand's abandonment of Broadway was the worst thing that happened to the theater in the '60s. Her retreat from theater music on record was less of a loss, if only because she had tended to focus on second-rank composers and obscure songs by first-rate ones, while practically ignoring, for example, Stephen Sondheim, who, as of the early '70s, became the pre-eminent Broadway songwriter. When she returned to show songs in 1985, she reversed these failings. Now, the singer who had never done much with Rodgers and Hammerstein, Frank Loesser, George Gershwin, or Jerome Kern finally felt confident enough to take on "If I Loved You" from Carousel, "Adelaide's Lament" from Guys And Dolls, "Can't Help Lovin' That Man" from Showboat, and a medley from Porgy And Bess, and she did them well. Even better, on seven tracks with Sondheim's name on them, she proved the perfect intepreter of the most contemporary and intellectual of Broadway's writers, whether singing his lyrics over the music of Leonard Bernstein (another composer she'd largely neglected) from West Side Story or making the most of material drawn from shows like Company, A Little Night Music, Sweeney Todd, and Sunday In The Park With George. Sondheim collaborated with Streisand, penning special lyrics for songs like "Putting It Together" and even his standard, "Send In The Clowns." Also on board was Streisand's arranger from the early and mid-'60s, Peter Matz. The result was an album that repositioned some of Broadway's best in a pop context (doubtless many people heard these great songs for the first time) and showed that Streisand was still at her best when presenting the dramatically satisfying story songs of the theater. Apparently, many long-time fans agreed: At sales over three million, The Broadway Album was Streisand's most commercially successful album in five years. (The Broadway Album won a Grammy Award for Best Female Pop Vocal.) © TiVo
From
HI-RES£21.99
CD£18.49

International Pop - Released December 8, 2017 | Columbia

Hi-Res
16 concerts, 14 cities… In 2016 and 2017, the great Barbra Streisand (75 years old) worked tirelessly to offer her legendary voice to her many fans. Without being a testamentary work, this series of concerts still constitutes a nostalgic inventory of the rich career of the performer of Woman in love (a title that is strangely and unfortunately absent from this collection). Incidentally, the album cover shows its hand by putting seven vignettes side by side picturing Streisand in concert throughout her life. Thanks to a lush crossover cast, these concerts showcase the artist above all else, who is captivating in the musicals A Star is Born (with the smooth Evergreen) and Funny Girl (with the spruce and jazzy Don’t Rain on My Parade). Always in this cinematographic niche, the colour suddenly changes while she performs a stripped-down and deep version of Papa, Can You Hear Me, taken from her unique movie as a director (Yentl). Admittedly her presence and charisma are still there, but in this type of song, the “magic” that the title of the album tries to sell us is harder to believe in, as the crystal from her voice is now tarnished. In the end, it’s in the most energetic and optimistic songs that she comes out best, such as How Lucky Can You Get, drawn from Funny Lady, or the mischievous Jingle Bells. Because if her vocal cords are sometimes tired, Streisand’s invigorating personality remains intact, and it’s what we’ll remember the most from these musical memories, testimonies of an era which will keep its “magic” forever. It’s worth noting that there’s a delightful duo with Jamie Fox on the very lyric Climb Ev’ry Moutain, a little-known song from The Sound of Music. This Deluxe version contains 8 additional tracks to the standard version—including the audio version of the complete recording of the Miami concert, which was broadcasted on Netflix in November 2017. © NM/Qobuz
From
CD£14.49

Pop - Released November 2, 2018 | Columbia

Having established her own philanthropic foundation in 1986, Barbra Streisand has long been an outspoken proponent for the protection of the environment, world peace, civil rights, and women's rights. She brings these passions to bear on her sophisticated 2018 studio album Walls. While Walls is certainly borne out of Streisand's own deeply heartfelt feelings regarding the state of the world and the seemingly divisive nature of American politics circa 2018, it's also a lushly produced and ruminative album that allows the multi-Grammy-winning singer to strike a pleasingly sincere tone with a broad appeal. Executive-produced by Streisand and Jay Landers, along with production and songwriting pros including Carole Bayer Sager, Walter Afanasieff, Alan and Marilyn Bergman, and others, Walls features a mix of newly penned originals and thoughtfully curated covers that evokes the adult-contemporary pop she championed throughout the '70s and '80s. Explicitly, the orchestral title-track, delivered with Broadway-level drama by Streisand, is a plea for bridging our personal differences rather than walling ourselves off. It's a sweeping, movie-perfect song, and showcases how Streisand's highly resonant voice has only grown richer with age. Several other songs, including the classical guitar-accented "What's on My Mind" and the hypnotic, piano-driven "Don't Lie to Me," are earnest meditations on the need for kindness, empathy, and honesty in our society. Elsewhere, she and writer/producer Desmond Child weave lines from Emma Lazarus' 1883 Statue of Liberty sonnet "The New Colossus" into their sweeping ballad "Lady Liberty." Similarly, with the Sager, Landers, and Jonas Myrin co-write "Better Angels," Streisand draws directly upon President Abraham Lincoln's 1861 inaugural address singing "We are not enemies, there is no good in that." Streisand's cover choices also evoke a thoughtful timeliness as she pairs with Michael McDonald and Kenneth "Babyface" Edmonds for Burt Bacharach and Hal David's Vietnam-era classic "What the World Needs Now." Equally timely is her gorgeously melancholy reading of the standard "Happy Days Are Here Again." There's both a sadness and warmth to Streisand's performances on Walls that befits the album's subject matter and speaks to her own ability to communicate to, and often for, her audience. © Matt Collar /TiVo
From
HI-RES£14.99
CD£11.49

International Pop - Released November 1, 1978 | Columbia

Hi-Res
Between the release of Barbra Streisand's first hits collection in 1970 and her second in 1978, she essentially became a different kind of recording artist. In the 1960s, she made a series of consistent albums devoted largely to show music material, but she scored precious few singles hits, with only one, "People," and reaching the Top Ten. But in the 1970s, she shifted to contemporary soft-rock and released a series of highly successful ballad singles, while her albums became largely inconsistent. For that reason, the hit quotient of her second hits album was much higher--"The Way We Were," "Love Theme From 'A Star Is Born' (Evergreen)," and the duet version of "You Don't Bring Me Flowers," sung with songwriter Neil Diamond and released on album here for the first time, all were number one hits, while "Stoney End" and "My Heart Belongs to Me" were Top Tens and "Sweet Inspiration/Where You Lead," "Songbird," and "Love Theme From 'Laura Mars' (Prisoner)" reached the Top 40. That was enough material to make Volume 2 Streisand's definitive hits collection, so much so that later compilations like Memories and A Collection/Greatest Hits...And More would be forced to cannibalize it. It was also a genre-defining album in terms of the emergence of a post-'60s contemporary pop music that drew upon the rock revolution to redefine classic pop for a new generation. © William Ruhlmann /TiVo
From
HI-RES£14.99
CD£12.99

International Pop - Released January 1, 1974 | Columbia

Hi-Res
Though usually referred to as The Way We Were, the unwieldy full title of this album is "Barbra Streisand Featuring the Hit Single The Way We Were and All in Love Is Fair," an important distinction because it was released simultaneously with the original soundtrack album for the film The Way We Were (Columbia 32830), which also contained a Streisand recording of the title song, along with the film score composed by Marvin Hamlisch. This album was thrown together quickly after that song took off as a single (in a recording different from the one in the film) in the wake of the success of the movie. In addition to the single and the Stevie Wonder song that also features in its title, the album contained a grab-bag of stray tracks dating back as far as seven years and coming from Streisand's fourth TV special, The Belle of 14th Street and an unfinished album project called "The Singer" largely made up of ballads written by Alan and Marilyn Bergman and Michel Legrand. The combined commercial impact of the film and the single propelled this album to the top of the charts. © William Ruhlmann /TiVo
From
CD£11.49

Pop - Released November 1, 1981 | Columbia

From
HI-RES£14.99
CD£10.49

International Pop - Released October 28, 1997 | Columbia

Hi-Res
As Barbra Streisand's first studio album of mainstream pop material in nine years, Higher Ground is something of an oddity. Instead of devoting herself to Broadway standards or a set of radio-oriented pop tunes, Streisand has crafted a record that she intended as a tribute to the power of music as prayer. It's an ambitious project, but for the most part it works, achieving a surprising grace. Higher Ground comprises both traditional religious songs and new material (even "Tell Him," an overblown duet with Celine Dion, vaguely touches on that theme), with grandiose arrangements by Marvin Hamlisch. Although Streisand and Hamlisch still favor sweeping strings and bold statements -- so much so that many of the songs sound remarkably similar to each other, in terms of dynamics and arrangements -- the album retains its power thanks to her subtle interpretations of melody and lyrics. The end result might not quite match her latter-day masterpieces, but it's another strong addition to her catalog. © Stephen Thomas Erlewine /TiVo
From
HI-RES£14.99
CD£10.49

International Pop - Released May 27, 1993 | Columbia

Hi-Res
While still an impressive recording, Back to Broadway is less impressive than its predecessor, The Broadway Album, for a number of reasons. The first is material. Barbra Streisand seems to be attracted to certain musicals, and here she chooses more songs from shows like West Side Story and Guys and Dolls that she didn't pick the last time around. Still attracted more to current composers than earlier ones, Streisand picks five songs by Stephen Sondheim (who has once again obligingly rewritten lyrics to suit her) and three by Andrew Lloyd Webber. The Sondheim material is worthy; the Lloyd Webber is not. (Though the intensity with which she sings "With One Look" from Sunset Boulevard suggests an eerie identification with the show's demented silent movie queen Norma Desmond.) Further, Streisand has done duets on two selections with people better identified with the material -- Michael Crawford, the original Phantom in Phantom of the Opera, on his signature song, "The Music of the Night," and Johnny Mathis, who has sung a medley of West Side Story songs in his shows for years, on a medley of "I Have a Love/One Hand, One Heart" from that show. Finally, the arrangements and production lean more toward contemporary pop and light jazz in many instances, the influence of commercial producers and arrangers like David Foster. All of which means that Back to Broadway is somewhat uneven. When Streisand takes on songs as well suited to her as "Everybody Says Don't" (from Sondheim's Anyone Can Whistle) and "Children Will Listen" (from his Into the Woods), she nears her work on The Broadway Album. Elsewhere, she is merely a phenomenal singer working against material or arrangements that aren't quite appropriate to her. © William Ruhlmann /TiVo
From
CD£10.49

International Pop - Released September 8, 2005 | Columbia

Guilty Pleasures isn't simply the belated sequel to Guilty, Barbra Streisand's 1980 collaboration with Barry Gibb. It's the best mainstream pop album she's made since that multi-platinum, chart-topping hit. Of course, the competition isn't exactly stiff -- her pop albums since then have been deliberately safe, overly calculated adult contemporary affairs that only made records of standards like 1985's The Broadway Album shine all the brighter -- and it, like its predecessor, is a bit of an anomaly in Streisand's catalog, since it shares more musical similarities with Barry Gibb's work than Barbra's own, yet there's no denying that this is the most satisfying straight-up pop album she's cut since Guilty. In fact, apart from the crystal-clear, overly clean digital production that immediately pegs it as a 2005 release, Guilty Pleasures could be taken as a bunch of outtakes from the 1980 album. Gibb, who wrote (along with a handful of other collaborators) and produced (along with John Merchant) the entire album, along with playing guitar and providing backup vocals, not only doesn't attempt to update his signature sound, but proudly sticks to unfashionable pop styles like the early-'80s anthemic soft rock of "Stranger in a Strange Land," the mellow Latin-tinged "Hideaway," and the disco of "Night of My Life." Yet instead of sounding like the work of a duo stuck in the past, Guilty Pleasures sounds as if Gibb has constructed a set of 11 songs that play to his strengths as a pop craftsman and Streisand's strengths as an interpreter. This may be firmly within both of their comfort zones, but despite the record's decidedly low-key vibe, neither Barry nor Barbra sound lazy, nor do they sound like they have something to prove, as if they're consciously trying to live up to the standard their first collaboration set. They sound relaxed and quietly assured, which makes this album far more charming than it might initially appear to be. Not everything works -- some of the ballads toward the end of the record are a little too hazy and samey to catch hold -- but most of the album holds its own with Guilty, which means this is not only a pleasant surprise, but one of Barbra's best straight-up mainstream pop records, and an album that surely lives up to its title. © Stephen Thomas Erlewine /TiVo
From
CD£14.49

International Pop - Released May 5, 2007 | Columbia

In 2006, Barbra Streisand set out on a rare concert tour, appearing at a handful of large venues around the United States and performing a set of songs that ran the gamut from rarely heard numbers from her early career to new interpretations of material from the hit musical Nine. Live in Concert 2006 includes recordings from her performances in New York City, Washington D.C., and Fort Lauderdale, FL, and features three selections with the popular vocal group Il Divo. Songs include "Starting Here, Starting Now," "The Way We Were," "Don't Rain on My Parade," "(Have I Stayed) Too Long at the Fair," "People," "Somewhere," and many more. © Mark Deming /TiVo