The Second Barbra Streisand Album (1963)

Catalog Number(s):

This page: Tracks > About the Album >Unreleased Songs> Billboard Charts > Remastered CDs > Cover Outtakes

Original LP of SECOND BARBRA STREISAND ALBUM

Album scans by Kevin Schlenker

back cover of Second Barbra Streisand Album

Album covers: (top) The original LP cover; (bottom) The original LP back cover.

Below: The 1993 remastered CD cover with a restored photograph of Streisand.

Second Album CD cover

Below: The UK version of “The Second Barbra Streisand Album” displayed a different photograph of Streisand on the back cover.

European back cover of SECOND STREISAND ALBUM

Tracks

  1. Any Place I Hang My Hat Is Home [2:45]
    (J. Mercer / H. Arlen)
  2. Right As The Rain [3:25]
    (E.Y. Harburg / H. Arlen)
  3. Down With Love [3:42]
    (E.Y. Harburg / H. Arlen)
  4. Who Will Buy? [3:32]
    (L. Bart)
  5. When The Sun Comes Out [3:23]
    (T. Koehler / H. Arlen)
  6. Gotta Move [2:01]
    (P. Matz)
  7. My Coloring Book [4:11]
    (F. Ebb / J. Kander)
  8. I Don't Care Much [2:52]
    (F. Ebb / J. Kander)
  9. Lover, Come Back To Me [2:18]
    (O. Hammerstein II / S. Romberg)
  10. I Stayed Too Long At The Fair [4:21]
    (B. Barnes)
  11. Like A Straw In The Wind [4:46]
    (H. Arlen)

About the Album

Streisand in studio recording Second Album

(Above: Barbra in the Columbia Records studio, recording “The Second Barbra Streisand Album.”)

“My new album is called The Second Barbra Streisand Album,” Streisand told a reporter in 1963, “because that's just what it is. Why should I give it some fancy name that no one remembers anyway?”

The Second Barbra Streisand Album contained more songs that Barbra had performed in her nightclub act. “Most of the material was songs we had been doing for two and a half years,” Peter Daniels said. “It was a big compliment to me when Peter [Matz] took our arrangements and expanded them for an orchestra. The collaboration was incredible.”

Second Barbra Streisand Album ad from Columbia

Columbia's Mike Berniker produced the recording sessions, with Peter Matz contributing the arrangements and conducting the small orchestra.

Jule Styne—who wrote the score to Funny Girl—contributed liner notes which appeared on the back cover of the album. He wrote:

BARBRA STREISAND ... What makes her the unique and ingenious talent that she is? Listening to this album again and again, I have reached one conclusion: besides possessing a God-given singing voice, Barbra is the first girl I have ever heard who is a great actress in each song. Barbra makes every song sound like a well-written three-act play performed stunningly in three minutes. Although the same Barbra Streisand, she takes on an exciting new characterization for each song. At its beginning, she establishes her character; next, she creates a conflict (making all the lyrics mean so much more than they seem to), then she reaches a tremendous conclusion—so that, even after hearing only one song, lasting only a few minutes, one is completely overwhelmed.

Barbra knows what she is singing, knows what lyrics mean. I was one of the early, early Barbra Streisand fans and in all my years of writing songs ad being associated with top singers, I have never been as thrilled as I was listening to this new album. The only thing I can imagine exciting me more is hearing Barbra sing the score from the new musical by Bob Merrill and myself based on the life of Fanny Brice. We can't wait for that first rehearsal!!

Jule Styne

(Below: Streisand at the microphone.) Streisand wears white lace while recording in studio

Article below contributed by Rafe Chase.

By Leonard Feather

But what can I write? I said. You're the most written-about singer of the year; everything's been said.

One thing nobody ever talked about, said Barbra Streisand. And in the next few minutes she convinced me she was right.

The point is that what happened to Barbra Streisand in the area of phonograph records—namely, that she has become a best selling artist immediately with an album of straightforward ungimmicked music—is extraordinary in these days of pseudo-folkniks, rock 'n' roll vocal groups, freak hit instrumentals and generally second-rate music.

"All the people who sing my kind of songs," Barbra said, "sell only to 'in' type audiences, and sell about 400 copies. Four of the tunes in the first album were not even in tempo. I just sang ad lib. They told me you couldn't SELL that kind of thing. I said that was the only way I wanted to do it.

TRUE AGAIN; moreover, girl singers in general tend to sell far less readily nowadays than male singers. (Nancy Wilson is the only other recent exception.) Mike Berniker, Miss Streisand’s A and R man at Columbia, can be very proud: her first album is well over the 100,000 mark and has been on the best seller list for six months, while the second, released only a couple of weeks ago, has already reached 70.000.

“It's a wild kind of thing," Miss Streisand continued. “lt proves my point that anything that‘s truly real, musically genuine, is commercial. Hip people dig it, but the people in Arkansas dig it too, because the songs are beautiful. And I can get additional groups of people interested by doing unexpected pieces of material, like 'Who's Afraid of the Big Bad Wolf'—which I did just because it's the last kind of song you'd expect to hear in the sophisticated settings where I work. And ‘Happy Days Are Here Again’ goes into another market, too.

"People yell, ‘You gotta, be commercial! , but they forget that when Belafonte first sang folk songs, that was considered a way-out, uncommercial thing too. Why are Da Vinci and Van Gogh famous all over the world? You don't compromise with quality.

"You know, originally they turned me down at Columbia. RCA Victor turned me down, too. But then I was in the original cast album of 'I Can Get It For You Wholesale' for Columbia and that established me indirectly; I became a personality on records, and John S. Wilson of the New York Times said I was the only good thing in the album—even though I just did a comedy song and not much else.

"It's a wild thing, and a gratifying experience. I'm not the dedicated singer type, you know. I never even had a Victrola. I got to hear a bunch of records through an actor friend who has a big collection."

"Do you read music?"

"No, but if I like a song I can remember it after one hearing."

Needless to say, my Album of the Week for this week can hardly be an thing else but "The Second Barbra Streisand Album" (Columbia 2054, stereo 8854). It contains many of the songs that have established her recent in-person performances, such as the one I saw at Los Angeles' Cocoanut Grove, among the most exciting experiences of the year.

Miss Streisand has been compared with Judy Garland, Lena Home and Ethel Merman, which does her an injustice. She is not melodramatic like Garland, strident like Merman or sultry like Lena; she is, rather, the complete actress-singer. To me—and this is the kindest compliment I can pay her—she sounds like a combination of Barbra Streisand, Barbra Streisand and Barbra Streisand.

Streisand in studio recording Second Album

Recording Sessions & Unreleased Songs

On February 8, 1963 Streisand recorded Cole Porter's “Who Would Have Dreamed” from the 1940 Broadway show Panama Hattie (starring Ethel Merman). It has never been released. Streisand also attempted a version of “It Had To Be You” for The Second Album in June 1963. That song was re-recorded in November and included, instead, on The Third Album.

Photo, below right: A rare store display for Barbra's first two albums. Note the previously unseen publicity photo of Barbra on the left with a bouffant hairstyle!

Second Album Recording Sessions:

Second Album publicity

All sessions:

Produced by: Mike Berniker
Arranged & Conducted by: Peter Matz

February 8, 1963 — Studio A (799 7th Avenue, New York)
1:00 pm—4:00 pm

* unreleased
** unreleased; retake done at 6/7/63 session

June 3, 1963 — Studio A (799 7th Avenue, New York)

* unreleased; retake done at next session

June 6, 1963 — Studio A (799 7th Avenue, New York)

June 7, 1963 — Studio A (799 7th Avenue, New York)

* unreleased

 

Below: The Second Album press kit—scanned by Peter Curl, from his collection.

Second Album press kit

Billboard Charts

The Billboard 200 is a ranking of the 200 highest-selling music albums in the United States, published weekly by Billboard magazine.

Here's the numbers for this Streisand album:

Gold: 500,000 units shipped

Platinum: 1 million units shipped

Second Album at number two

Note: The record company must submit an album to the Recording Industry Association of America (RIAA) where it undergoes a certification process to become eligible for an award. The process entails an independent sales audit, which calculates the quantity of singles or albums shipped for sale, net after returns. The audit surveys shipments to the entire music marketplace, including retail, record clubs, television sales, Internet orders and other ancillary markets. Based on the certification of these shipments, a title is awarded Gold, Platinum, Multi-Platinum or Diamond status. The data here comes directly from official sources, mainly the RIAA online database.

CD Remasters

1987 CD Catalog Numbers:

Columbia released The Barbra Streisand Album and The Second and The Third albums on CD for the first time in 1987. Something went wrong with the sound on those three CDs, however. “There had been mention from Columbia Records that they couldn't find the original tapes but they put out the CDs anyway,” said Victor Bisio, a California-based recording engineer. “They were are the worst sounding CDs I ever heard. They were screechy and distorted. When she hit the high notes, it just shattered your speakers.”

[Barbra-Archives Note: I recently purchased one of the 1987 “Second Album” CDs and although the sound is not horrible, you can definitely hear distortion on all of the high notes — the instruments and Streisand's voice. The 1993 remastered CD was a definite improvement!]

All three albums were restored and remastered (along with new artwork) in October 1993 and part of Columbia Records' 11 Essential Barbra Streisand Releases. The master tapes were prepared for release by John Arrias (who put together the masters for Just For The Record). According to Columbia's publicity:

“The objective with each album was to restore the tapes to the quality of the original master recording. To do this in some cases, 30 years of noise had to be eliminated. John used his proprietary C.A.P. Noise Reduction System to eliminate hiss, distortion and noise. In each case great care was taken to maintain the integrity of the original albums.”

Columbia also recreated the packages using the original art or printing film.

Album Cover Outtakes

Fred Glaser told author Shaun Considine (Barbra Streisand: The Woman, The Myth, The Music) how the Second Album photograph came about:

With each step [of the hair styling] I also photographed her. I had a photographer [Woody Kuzuomi] living rent free in the top floor of my building. He photographed most of my clients as I worked on them. I insisted on that. A mirror can show so much, but a photograph tells all. We had many sessions with Barbra. It went beyond just doing her hair. I wanted to stylize her, to get a definitive look for her, which we eventually did through a long process of elimination.

The original LP cover was bleached out— very monochromatic. And Streisand's nose appeared with less bump. When the remastered CD was released, the original Kuzuomi photograph was restored in glorious gray-tones, unretouched.

Outtake by Kuzoumi

Below are more outtakes by Wood Kuzoumi, with coiffure by Fred Glaser.

Kuzoumi outtakes

End.

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