All I can say is wow! This album is a must, not only for Streisand fans, but for anyone. A word of warning, though. This is not an album to be streamed piecemeal, picking out one or two tracks here and there. To get the full experience you need to buy the physical CD or LP, read the liner notes and listen, really listen, from beginning to end to get the full flavour of what it must have been like to experience the young Streisand live at the tiny Bon Soir. To those who actually saw her, I assume you know how lucky you were. You were there experiencing the beginning of one of the greatest careers in all popular music. Though Streisand always thought of herself as an actress who sings, it was the voice and her unique singing style that first introduced most of us to her talent.
Later of course she became more polished, maybe less spontaneous, but here she sounds wonderfully relaxed, joking with the audience and the band and everyone is clearly having a fabulous time. Then there is the voice itself, a miraculously pure sound, which somehow can encapsulate a range of moods and emotions, switching one moment from the goofiness of Who’s Afraid Of The Big Bad Wolf to the quiet inner happiness of I’ll Tell The Man In The Street the next.
As always with Streisand, there’s an eclectic mix of songs, many of them from obscure stage musicals, but with a few standards thrown in. Most of them are well known from her first few studio albums, but here they are given added immediacy by being performed before a live audience. I couldn’t possibly pick out any standout tracks because each and every one of them is an absolute gem, but please do listen to the whole album in one sitting. You can almost see the smoke-filled room, hear the chink of glasses and feel the atmosphere of the Bon Soir.
The disc was recorded over three nights, whilst Streisand was still doing her star show-stopping turn as Miss Marmelstein in I Can Get It For You Wholesale on Broadway. With the energy of the young, she would finish the show and then dash down to the Bon Soir to do her turn there. She had just signed with Columbia and the plan was to make these live performances her first album for the label. However, the final tapes proved unsatisfactory and the electricity generated in the club had somehow failed to come across on the tapes. Though the project was shelved in favour of a studio album (the now famous, multi award winning Barbra Streisand Album), the tapes were preserved and have now been re-mastered with state-of-the-art technology, clarifying the true artistry of Barbra and her band. Bootlegs have been around for decades, but none of them had access to the master tapes and are sonically massively inferior.
Don’t hesitate. Get yourself a seat at a table for one of the most thrilling debuts in the history of show business. I can assure you; you will not be disappointed.
Passing over such early loves as Doris Day (as a child, I loved her recording of Che sera sera, recently re-invented by the fabulous Pink Martini), and Nina and Frederick (Little Donkey my favourite Christmas song), the first singer who really spoke to me was Dusty Springfield (how could my parents not have known I would turn out gay?). Her solo career roughly coincided with my teens and her first solo album, A Girl Called Dusty , was the first LP (vinyl back then of course) that I owned. Dusty’s smoky voice filled with pathos such songs as My Colouring Book and the classic You Don’t Own Me, and belted out such blues classics as Don’t You Know? I bought each one of Dusty’s subsequent albums, right up to Dusty in Memphis, which didn’t sell well on its initial release, but subsequently acquired the status of one of the classic albums of all time, housing, as it does, Dusty’s definitive readings of such songs as Son of a Preacher Man and The Windmills of your Mind. Though an enormous critical success Dusty in Memphis was not a commercial success at its first release, and Dusty’s subsequent albums did no better and she seemed to disappear for several years, until she guested on the Pet Shop Boys’ What Have I Done To Deserve This? in 1989. This and the use of the song Son of a Preacher Man, in Tarrantino’s Pulp Fiction helped revive her career and she had another brief spell of success until breast cancer tragically took her life in 1999.
This was also the time of The Beatles, and nobody of my generation could possibly have escaped their influence. I remember having a crush on Paul McCartney (well he was extremely cute back then), though I didn’t really understand that’s what it was . Just to hear Paul sing and shake his mop top to songs like All My Loving and I Want to Hold Your Hand was enough to get me screaming like a girl. Please forgive me. I was only 11 or 12 at the time. If any band personifies the sound of the 60s, then asuredly it is The Beatles and their music still seems incredibly innovative today. I love all their early albums still but it was Sgt. Pepper’s Lonely Hearts Club Band which changed forever the face of pop music. I love every track, and would find it impossible to pick out a favourite; possibly Lucy In The Sky With Diamonds, or that gorgeous mini symphony She’s Leaving Home or the sublime fusion of Lennon and McCartney that is A Day in the Life, apparently an amalgamation of two songs that John and Paul were working on independently. 
Reluctantly I pass over The Shangri-Las, whose outpourings of teen angst, struck a chord in my teenage soul, ( Leader of the Pack, with its signature screeching bike tyres, once banned by the BBC, has since become a classic of the gramophone, a paean for every teenager who was ever in love ) and move on to a French singer, whose music I still enjoy to this day. With her long, straight hair, fringe half covering her eyes, tall and lanky, a square cut jaw, high cheek bones and thick lips, Françoise Hardy looked like a female Mick Jagger, and was the very epitome of the sixties chick. She had a small, slightly husky voice of limited range, but it was extremely expressive, in a French non- committal way, and has hardly changed in all the years she has been singing. She is stil singing today and hardly sounds any different from the young girl who first sang Tous le garcons et les filles way back in 1964. Incidentally her diction was, and still is, superb. I remember a French teacher, agreeing to a lesson in which we all listened to Françoise Hardy songs, translating the lyrics into English as we went along. The piano riff that opened the glorious Voilà was even sampled in Robbie Williams’ recent You Know Me. Françoise, je t’adore.
Then there is Cher. She may not have the greatest voice in the world, nor would she claim to have, but you have to admire a woman who has managed a number one hit in every decade from 1960 to the last one. Her career has had more ups and downs than a rollercoaster, and her private life was almost as rocky. When her daughter Chastity came out to her as a lesbian, Cher was surprisingly (she admits this herself) less supportive than one might have expected. However, having finally come to terms with the fact, she seems to have accepted with total equanimity Chastity’s transition into the male Chaz Bono, regularly tweeting support for her son in her twitter feed. She has also had a great career as an actress, with a string of excellent movies to her credit and an Oscar for her role in Moonstruck. Cher is a legend, and as a singer her voice has come a long way from the days of Sonny and Cher, which is when I first became a fan. The woman has been with me from adolescence till today and I would find it impossible to leave her out; and I actually think she is a better singer than she gives herself credit for. Just listen to the joy with which she sings the words “Man I am tonight”, when the preacher asks her if she is a “Christian chile” in her version of Walking in Memphis. I had a particular fondness for an album called Stars, after the Janis Ian song of that name, but it doesn’t ever seem to have been reissued. Cher may not be one of the greatest singers of all time, but she has definitely earned her place in the pantheon of great stars.
As lead singer of the Walker Brothers, Scott Walker wrapped his gorgeous, velvety voice round such hits as Make It Easy On Yourself and The Sun Ain’t Gonna Shine Anymore, but some of his own material had shown a darker side to him. As a teenager, I responded to their downbeat, esoteric lyrics, which were to be more fully explored when he left the group and embarked on a solo career. His first solo album, simply called Scott, definitely tried to cash in on Walker’s big ballad appeal, with songs like The Big Hurt and When Joanna loved me, but also contained a fair amount of Jacques Brel and Scott’s own compositions. The next album followed along the same lines, but Scott 3 was made up only of songs by Walker himself and by Jacques Brel. Scott 4, arguably the best and most homogeneous of his early albums, was the first of his albums not to make the top 10. It was also my favourite. Particularly ambitious is the first track, a glorious musical evocation of Ingmar Bergman’s The Seventh Seal, with its Morricone style arrangement, and the dark foreboding of The Old Man’s Back Again. I also treasure his Jacques Brel covers, particularly a hauntingly beautiful If You Go Away, though Walker also has a way with the wickedly malevolent Funeral Tango and the sarcasm and pain enshrined in Next. In later albums, he became more and more experimental, the music and arrangements ever more spare, and I found it harder to get on with him, but I still listen to his first solo albums regularly.
And so to Barbra Streisand. When did it become fashionable to knock Barbra? I suppose round about the time she achieved superstar status. Before that she was this kooky American Jewish comedienne with an amazing voice, and she was very much in vogue, especially amongst gay men, who responded to her the way previous generations had adored Judy Garland, and future generations would revere Madonna and Lady Gaga. Maybe it was the bitterness she injected into a standard like Cry Me A River or Free Again. I was slow to jump on the Streisand bandwagon, I’ll admit. In fact I was determined not to like her. So when the film of Funny Girl was released, I reluctantly went along to see it. By the time she’d sung I’m The Greatest Star near the beginning of the movie, I was agreeing with her. She truly was the greatest star, the talent just bursting through the screen. Later on, I suppose, some of the mannerisms began to grate, but that first exposure to Streisand at full tilt was a knock out. I’ve heard all the stuff about it actually being a small voice and only really suitable for recordings, but even if that is the case, it’s an amazing instrument. I’ve heard many classical singers praise her impeccable legato, breath control and intonation (she’s always bang in the centre of the note). She has sung a wide range of music and I suppose I would have to agree that the song does tend to come second to Streisand. We are often too aware of the singer and not of the song. That said, she did manage to sublimate her ego to an extent in the Richard Perry Stony End album, when she fully embraced the music of her own generation for the first time. She is also an intelligent singer, as Stephen Sondheim discovered, when he worked with her for the first time on The Broadway Album. She was the first singer to notice that the last verse of Send in the Clowns didn’t properly follow from what went before. When she asked him about it, he told her that, in the musical, there was a scene inbetween that explained it. She asked him to write a bridge to make it work better as a song out of context, and he did. I have most of her albums, though, if I’m honest, it’s the Streisand of the early and middle period albums I enjoy most. After The Broadway Album, released in 1985, her albums settled into a more standard, easy listening vein, but her most recent album, Walls showed she could still be relevant today. She has always taken an interest in politics and the environment and has been openly critical of Trump’s presidecny. Don’t Lie to Me, being written as a direct response to the barrage of ranting tweets from Trump. It could just as easily be addressed to Johnson here in the UK. Streisand is, and will always be, unique.
Now, there can hardly have been a time when I wasn’t aware of Frank Sinatra, as my parents both loved him, but I only really started to listen when I heard his 1969 album of Rod McKuen material, called A Man Alone. Although the album was recorded in 1969, I was only really aware of it in the late 70s after a break up with my then girlfriend. It’s melancholy mood certainly chimed in with my own at that time, and I remember sitting alone in the dark, wallowing in my misery with the voice of Ol’ Blue Eyes. Sinatra had a way with a lyric, a way of making you feel that the thought came newly minted from his lips. I particularly enjoyed the Nelson Riddle years, and my favourite albums still seem to be the more melancholic ones – In The Wee Small Hours of the Morning, allegedly recorded as a response to his break up with Ava Gardner , and the equally downbeat Only the Lonely. Sinatra may have been great at the up tempo classics like I’ve Got You Under My Skin, but it was the sad resignation with which he sang such songs as I Get Along Without You Very Well that always touched me most.
Moving forward in time a little, I confess I’d taken very little notice of George Michael until seeing him sing Somebody To Love (on tv) at the Freddie Mercury Tribute Concert for AIDS Awareness in 1992. He was one of the few singers to really do justice to a Freddie Mercury song, and his was undeniably the star turn of the concert. Just over 18 months later, I got the chance to hear him live on Wednesday December 1st 1993, at an AIDS benefit in the presence of HRH Princess Diana at Wembley Arena. David Bowie presented and the other artists were Mick Hucknall and k. d. lang (more of whom below). George live was even more impressive than George on tv or on record; I was totally bowled over. Subsequently I rushed out and bought the albums Faith and Listen Without Prejudice, Vol 1 (too bad that, because of his battle with Virgin, we never got Vol 2), and I played them incessantly. Older I liked even better, I think, though it would be a tough call. In 1999, he released an album of covers, Songs From The Last Century, that was, and remains, the least commercially successful of all his albums; but I love it, if only because it is only in the songs of other composers that an artist reveals his true credentials as a singer. Ranging from jazz standards like My Baby Just Cares For Me, to the Police’s Roxanne, George shows a masterful appreciation of different styles. My personal favourite is his version of The First Time I Ever Saw Your Face, sung with a quiet rapture, so full of wonder and awe. In interview he always struck me as incredibly intelligent, and incredibly tortured. He had an unhappy private life and struggled for many years with drugs and alcohol. He died tragically young, a victim of heart and liver disease. Somehow I doubt he really minded.
The other singer to knock me out at that AIDS benefit in 1993 was k. d. lang, whom I’d hardly even heard of before that time. The majority of the material she sang was off her album Ingénue, which I didn’t know, though I bought it straight after the concert. At the end of her set, she brought the house down with her rendering of the Roy Orbison classic Crying, which of course she had already recorded with Orbison himself. Lang is another singer who has proved herself equally in her own material and the music of other composers. She sings a heartrending version of the Cole Porter classic So In Love, on the AIDS charity album Red Hot And Blue, and her version of Leonard Cohen’s Hallelujah is arguably the greatest of all the many covers of that song. There is a youtube clip of lang singing the song at the Canadian Songwriters Hall of Fame induction of Leonard Cohen in 2006. It is the most touching tribute that one can performer can give to another, and Cohen, who is in the audience, is visibly moved. At the other end of the scale is her stupendous singing of the song at the Opening Ceremony for the Vancouver Winter Olympics in 2010, which is more epic in scale, to suit its surroundings. Her career hasn’t quite reached the heights it ought to have done, possibly due to her uncompromising attitude to her sexuality, which she has refused to play down. Whatever the reasons, she is a major artist, with an extraordinary voice, and a way with a lyric that draws you into its meaning. You really feel she is telling you a story. I think she is one of the greatest singers in the world today.
Philip's Assortment Box 