Published on Dec 12, 1997
Barbra Streisand albums have been, ultimately,
Here’s Babs Singing in one form or other. Of course, a
couple of them have been
Here’s Babs Singing … BROADWAY!!! which sold like crazy.
In any case, coherence has always been the biggest problem in
Streisand albums. Most of them have no concept, albums being
annoying things to keep up her popularity, to fill the space
between making movies, to have enough money to water her Malibu
ranch. There were stabs at rock music, a poppy Bee Gees
collaboration and lots of half-hearted soundtracks. Truth is, her
singles were legends … her albums were afterthoughts.
Higher Ground is centered on remembering the people who have
gone by. Such songs are popular nowadays; “One Sweet Day” and “I’ll
Be Missing You” have the long runs on Billboard, and the new one by
Elton John (“Candle In The Wind ’97”) is slated to be the mother of
them all. Despite arriving at such an atmosphere, and the fact that
it’s a Streisand album, it makes for some surprising failings in
the long run.
The title track’s backing instrumentals don’t live up to her
singing. This lack of interaction makes for an awkward rendition
which sets the pattern for the rest of the album. “On Holy Ground”
has Streisand so out of her element trying to sound in-gospel,
she’s classically oversinging which is something she’s usually not
prone to do.
It’s a little difficult to believe that “Leading With You Heart”
was made by the same people who did “The Way We Were.” The Bergmans
know how to control her voice which makes for a comfortable track
to both singer and listener, but it’s overall quite bland; at least
“Ordinary Miracles” had high notes. “Lessons to Be Learned” sounds
dangerously whinny (“WHHHHHHY d’I get buuuuuuurned???”), and still
bland.
Her collaboration with Celine Dion on “Tell Him” sharply
contrast Dion’s self-damaging technique and Streisand’s lush
preservation vocals, bringing out the worst in the former. “If I
Could” brings Broadway into the mix but it won’t satisfy fans of
the Great White Way. Anyone else would’ve; this is Streisand. Not
with “Not While I’m Around” around.
But buried in this are some salvageable material. “Circle” and
“At the Same Time” first made me think it was another
everyone-get-out-on-the-streets-and-hold-hands anthem but the open
wonder present in her voice is quite extraordinary. The medley “The
Water is Wide/Deep River” is one of her more soulful songs yet, as
“I Believe/You’ll Never Walk Alone” enhances two otherwise corny,
well-covered songs.
The best tracks come at the end of the album. “Everything Must
Change” reminds me of “All in Love is Fair,” but more sophisticated
thanks to its less-is-more arrangement. A soon-to-be Streisand
classic is “Avinu Malkeinu,” in which you can wallow in the sheer
warm purity of her voice, appropriating images of Streisand’s vocal
cords being touched by God.
The photos sum it up. She looks gorgeous in all the photos …
except the cover. Songs that, from the outside, should’ve worked
but somehow manages to miss in the last crucial moment. Just like
margarine.