![]() Of particular interest is a photo of her original written contract with the Bon Soir and her quip, "I used to earn $55 before taxes as a clerk. The highly informative six-page booklet follows suit, containing a more detailed description of the tracks and various historically important photos of people and documents and liner notes filled with fascinating facts about her singing and acting-the beginnings of her fast rise to fame. The photos nicely elicit a feel of 60 years ago. On the cover, in shades of pink, is a black and white photo of Streisand performing at the Bon Soir, looking adoringly at the crowd seated before her, followed by two similar photos inside, with “A Note From Barbra ” telling us briefly her Bon Soir story, and then, on the back, one of an outside view of the Bon Soir venue and a tracklist. The jacket is simple, tasteful, and thoughtful. (Grundman sketched his initials on the end grooves of the LPs I received for review.)įonn further informed me, "To meet the standards of both Impex Records and Streisand's team, we recut the LP lacquers three times to achieve near-silent test pressings."įonn also informed me, “True to her reputation for high standards, Streisand and team was proactive in the project, and nothing was done without their approval” ![]() Mastering: Paul Blakemore and Bernie Grundman I had the great pleasure of meeting Fonn and Nick Getz (son of saxophonist Stan Getz) in Chicago at Axpona 2023 in April, where Impex Records allowed a special (lovely) hearing of their upcoming vinyl release of Getz and Gilberto. Special thanks to Abey Fonn, President and Founder of Impex Records, for offering me a review copy before the general release. (IMPEX also has an SACD version, and native 24/96 is already available for streaming on Qobuz.) Given Streisand's reputation for high standards, it is no wonder that Impex Records, with its many exceptional audiophile-quality releases over the years, was the record label chosen to partner with, and we are lucky it turned out this way. We learn this and much more in this beautifully crafted release by Impex Records. Finally, to celebrate the album's 60th anniversary and Streisand's 60th anniversary with Columbia Records, the tapes were released and, using the advanced recording engineering technology available today, were brought back to life and made into Live at the Bon Soir. The change of plan certainly did not prevent her rise to fame.īut, alas, the original live tapes were stored in a vault for 60 years. As part of Streisand's many achievements, it received, the following year, three Grammy Awards: Album Of The Year, Best Female Vocal Performance, and Best Album Cover (John Berg, art director). The Barbara Streisand Album (February 1963) was the result, which contains 11 studio versions from among the 24 live tracks. Streisand, her manager (Marty Erlichman), and Columbia Records determined that the recording did not adequately convey what they had in mind, "The electricity that ignited the club had failed to translate onto tape." They decided to instead record Streisand's debut album two months later at Columbia's Studio A on 7th Avenue, NYC. The venue was in Greenwich Village on 40 West 8th Street, at the sophisticated and upscale Bon Soir nightclub, and the recording over three days was to be for a debut album with Columbia Records-but it wasn't. Streisand's vision also comes through on the defining title track "Walls," with lyrics specifically written for the album by revered Streisand collaborators Alan & Marilyn Bergman.The 24 tracks on this double-LP album were recorded live in November 1962, when Barbra Streisand was only 20 years old. To serve her inspirational themes, she shares production and arrangement duties on the new album with Walter Afanasieff, John Shanks and David Foster, but also with songwiter Desmond Child. It's Streisand's first album primarily consisting of original songs since 2005. Streisand also brings a fresh perspective to the classic songs "Imagine" and "What A Wonderful World," and the Bacharach/David pop standard "What The World Needs Now." The penultimate song that Streisand sings is a timely one called "Take Care Of This House" by the legendary composer Leonard Bernstein and lyricist Alan Jay Lerner. In addition to the three original tunes, the songs on Walls explore topics near to the celebrated artist's heart. ![]() WALLS finds Barbra exploring both her concerns and hopes for the future in a collection filled with beautiful melodies and thought-provoking lyrics. Mobile Fidelity Sound Lab ( MOFI ) (MFSL) ![]()
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