Quadraphonic albums appeared in the early 1970’s and by the end of that decade had already run their course. Quadraphonic albums had a loyal following and there are several web sites today that celebrate the format. The specifics of the format can get technical. Basically, a Quadraphonically encoded recording splits the sound between four speakers – similar, but less effective than the 5-speaker “surround sound” available on DVD theater systems today.

There were three different Quadraphonic formats (“QS” from Sansui, “SQ” from Sony, and “CD-4” from JVC) and all were incompatible! Also, it was necessary to own a Quadraphonic stereo system to decode the recording (although standard 2-speaker stereo systems would still play the Quads). Quadraphonic recordings were available on vinyl, 8-track tape, and reel-to-reel. (Since Columbia was Streisand’s record label and a division of Sony, her Quadraphonic albums were released in the “SQ” format.)

Why discuss Quadraphonic albums? Collectors salivate over Quadraphonic (or “Quad”) albums because the master tapes were usually remixed. Therefore, if one were to compare a song from a Quad album to a song from a non-Quad album, the Quad version might differ considerably. Quad remixes sometimes used a completely different studio take.

As the compact disc became the standard media to deliver albums to consumers, the Quadraphonic vinyl LP’s have all but disappeared. Only record enthusiasts (with a turn table!) have kept the Quad experience alive.

Columbia Records jumped on the Quad bandwagon in the 1970’s. Several Streisand albums were released in Quadraphonic SQ format: Funny Girl (movie soundtrack), Stoney End, Barbra Joan Streisand, Live Concert At The Forum, The Way We Were (studio album), Butterfly, and Lazy Afternoon. Arista Records released the soundtrack to Funny Lady in Quadraphonic format.

It’s important to discuss the Streisand Quads because of the alternate songs. When Columbia released her album catalog on CD starting in the mid-1980’s, they utilized the standard master tapes that the original LP’s were mixed from. The master tapes for the Quad-mixed albums must be sitting in the hallowed “Streisand vault” somewhere. Even Arista’s 1998 re-release of Funny Lady did not include any of the Quad remixes.

The Streisand Quadraphonic albums are also interesting from an artistic point of view. To some listeners the difference between a Quad and non-Quad track may be undetectable. To others it is fascinating to hear Barbra’s studio technique – how she alters her phrasing of song with each take; how she sings new notes and tries new “readings” of a song. A Quadraphonic remix also illuminates the art of studio mixing. It's amazing how different a song can sound when the horns or strings or drums are highlighted -- it really changes the whole feel of the song!

Here’s some notes on a few of the Streisand Quadraphonic albums. It should be noted, too, that Butterfly contains the most alternate tracks.

Streisand Quad Recordings