Back to Broadway (1993)

Catalog Number(s):

Front cover

Tracks

Back to Broadway CD
  1. Some Enchanted Evening [3:54]
    (R. Rodgers / O. Hammerstein II)
  2. Everybody Says Don't [2:37]
    (S. Sondheim)
  3. The Music Of The Night (Duet with Michael Crawford) [5:37]
    (A. Lloyd Webber / C. Hart / R. Stilgoe)
  4. Speak Low [4:10]
    (K. Weill / O. Nash)
  5. As If We Never Said Goodbye [4:45]
    (A. Lloyd Webber / D. Black / C. Hampton / A. Powers)
  6. Children Will Listen [4:09]
    (S. Sondheim)
  7. I Have A Love/One Hand, One Heart (Duet with Johnny Mathis) [4:45]
    (L. Bernstein / S. Sondheim)
  8. I've Never Been In Love Before [3:54]
    (F. Loesser)
  9. Luck Be A Lady [3:32]
    (F. Loesser)
  10. With One Look [3:35]
    (A. Lloyd Webber / D. Black / C. Hampton / A. Powers)
  11. The Man I Love [3:43]
    (G. Gershwin / I. Gershwin)
  12. Move On [5:27]
    (S. Sondheim)

Individual track credits:

(mouse and click on each song to reveal the credits...)

1.Some Enchanted Evening

From SOUTH PACIFIC

Written by: Richard Rodgers & Oscar Hammerstein II

Produced by: David Foster

Arranged by: Johnny Mandel & David Foster

Orchestrated by: Johnny Mandel, Conducted by: Eddie Karam

2. Everybody Says Don't

From ANYONE CAN WHISTLE

Written by: Stephen Sondheim

Produced by: David Foster & Barbra Streisand

Arranged by: Bill Ross & Barbra Streisand

Conducted by: Bill Ross

3. The Music of the Night

From PHANTOM OF THE OPERA

Written by: Andrew Lloyd Webber, Charles Hart, Richard Stilgoe

Produced by: David Foster

Co-Produced by: Barbra Streisand

Associate Producers: Jeff Jarratt & Don Reedman for Claude Hopper Productions Limited

London Symphony Orchestra Arranged & Conducted by: Andrew Pryce Jackman

Orchestra Recorded by: John Timperley

Vocals Recorded by: Humberto Gatica

Additional Vocal Engineering by: Dave Reitzas

4. Speak Low

From ONE TOUCH OF VENUS

Written by: Kurt Weill, Ogden Nash

Produced by: David Foster

Co-Produced by: Barbra Streisand

Arranged by: Johnny Mandel & David Foster

Orchestrated by: Johnny Mandel, Conducted by: Eddie Karam

5. As If We Never Said Goodbye

From SUNSET BOULEVARD

Written by: Andrew Lloyd Webber, Don Black, Christopher Hampton

Produced by: Barbra Streisand, Andrew Llyod Webber & Nigel Wright

Orchestrations by: Andrew Lloyd Webber, John Cameron & David Cullen

Orchestra Conducted by: David Caddick

6. Children Will Listen

From INTO THE WOODS

Written by: Stephen Sondheim

Produced by: Barbra Streisand

Arranged & Conducted by: Jonathan Tunick

Recorded by: Humberto Gatica

7. I Have A Love / One Hand, One Heart

From WEST SIDE STORY

Written by: Leonard Bernstein, Stephen Sondheim

Produced by: David Foster

Arranged by: Billy Byers & David Foster

Orchestrated by: Billy Byers & Bill Ross

Conducted by: Bill Ross

Recorded by: Al Schmitt & Dave Reitzas

Additional Recording: Humberto Gatica

8. I've Never Been In Love Before

From GUYS & DOLLS

Written by: Frank Loesser

Produced by: David Foster & Barbra Streisand

Arranged & Conducted by: Jeremy Lubbock

Recorded by: Shawn Murphy

Additional Recording by: Dave Reitzas

9. Luck Be A Lady

From GUYS & DOLLS

Written by: Frank Loesser

Produced by: David Foster

Co-Produced by: Barbra Streisand

Arranged & Conducted by: Jeremy Lubbock

Recorded by: Dave Reitzas & Humberto Gatica

10. With One Look

From SUNSET BOULEVARD

Written by: Andrew Lloyd Webber, Don Black, Christopher Hampton

Produced by: Barbra Streisand, Andrew Llyod Webber & Nigel Wright

Orchestrations by: Andrew Lloyd Webber & David Cullen

Orchestra Conducted by: David Caddick

Recorded by: Humberto Gatica

11. The Man I Love

From LADY, BE GOOD

Written by: George Gershwin, Ira Gershwin

Produced by: David Foster

Co-Produced by: Barbra Streisand

Arranged by: Johnny Mandel

Conducted by: Eddie Karam

12. Move On

From SUNDAY IN THE PARK WITH GEORGE

Written by: Stephen Sondheim

Produced by: Barbra Streisand

Arranged & Conducted by: Michael Starobin

Recorded by: Shawn Murphy

About the Album

Back to Broadway record store banner

(Above: Columbia Records serviced record stores with this 36-inch banner to promote the album.)

Back to Broadway was a milestone in Barbra Streisand's recording career. It followed on the heels of her $ 60 million dollar contract, signed in December 1992 with Sony Corporation. The contract gave Streisand deals for both film and recording projects. In the recording arena (the contract was negotiated by Marty Erlichman and Barbra's attorney Lee Phillips), Barbra's new contract with Sony allegedly paid her $5 million for every album, plus 42 percent-plus royalty on the wholesale price of each unit sold. The 1992 contract covered six albums plus two re-issues.

Back to Broadway was not only a sequel to her multi-platinum 1985 record, The Broadway Album, it was also Barbra's 50th album for Columbia Records. Back to Broadway, therefore, was prepared by the label for an all-out marketing blitz.

Barbra actually started working on Back to Broadway back in November 1992.

In November 1992, Streisand sang “I Have A Love / One Hand, One Heart” live with Johnny Mathis at the APLA program. Streisand told Goldmine magazine she was a Mathis fan for years, attracted to “his beautiful voice and his beautiful soulful eyes. I saw him the first time he was on the Ed Sullivan Show. I think I was 13 years old, living in Brooklyn.” She also said that working with Mathis “brings back lots of memories and feelings of when I was a kid wanting to be somebody: friends listening to rock 'n' roll stations, and me listening to Johnny Mathis. It just feels good.”

Mathis on recording with Streisand:

“Barbra is very exacting when it comes to her music. She's very wonderful that way. She doesn't let a thing get by. She changes arrangements and changes arrangers at the drop of a hat because she feels she hasn't got it right. She's absolutely right with what she does. It's just that sometimes it takes a long time to do it.”

Mathis on recording “I Have A Love / One Hand, One Heart”:

[David Foster] sat down and did a $20 recording of the background on a synthesizer and that's what we first rehearsed to for about a month or so. Then, we went into the studio over at MGM and I think it was about a 106-piece orchestra and we re-recorded it and Barbra didn't like that, so we scrapped that. Then, we tried something else and something else again and what we did is we went back to David's original $20 little thing he did on the synthesizer and that's what the record ended up as. It sounds great.”

Also in November 1992, Streisand reportedly tackled both “Unusual Way” (by Maury Yeston, from Nine) and “Being Good” (by Jule Styne from Hallelujah, Baby!) in the recording studio for a second time. (Both songs were recorded for 1985's Broadway Album but Streisand decided not to use them then.) Once again, they did not make it onto Streisand's album of Broadway songs—although “Unusual Way” was sung live during Barbra's 2006 concert tour. Streisand also recorded “Smoke Gets In Your Eyes” for Back to Broadway with David Foster arranging—but did not use it. (That song, with a different arrangement, turned up on 2009's Love is the Answer album).

In January 1993, Barbra sang “Children Will Listen” at Bill Clinton's inauguration.

In March 1993, still three months away from the album's release, David Foster talked to the L.A. Times about his work on Back to Broadway with Streisand. “I work on the musical tracks and she works out her own vocals,” Foster said. “She sings them the way she wants to sing them, which is fine with me. Broadway material is not my forte, but it is hers. It's hard for me to say, ‘Barbra, sing it this way.’”

Below: Streisand in the recording studio. Photos by David Zaitz.

Streisand in recording studio

When asked what songs Streisand was recording, Foster was coy. “I don't want to say yet, but I can say she's doing some Andrew Lloyd Webber tunes, some Stephen Sondheim tunes and some older tunes that are favorites of hers from shows like Guys and Dolls and Annie Get Your Gun. She's doing a duet with Johnny Mathis on a medley from West Side Story. I'm producing eight or nine tracks and she's doing the rest. We're modernizing the music, but not too much.”

Foster also talked to columnist Marilyn Beck in March 1993. He told Beck that Streisand and he were “both perfectionists. It HAS to be great. And that makes for pretty long hours—sometimes, say, noon to midnight in the studio. We each put in about four hours a day on business before that. It makes for a pretty intense period.”

Michael Crawford and Streisand in the studio

(Above: Michael Crawford and Streisand were costars in the 1969 musical film Hello, Dolly! Reunited on the Back to Broadway album, they duet on “Music of the Night” —the big hit from the Crawford-starring stage musical Phantom of the Opera.)

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Streisand recorded two songs from Andrew Lloyd Webber's musical version of Sunset Boulevard“With One Look” and “As If We Never Said Goodbye”. Streisand's album and her versions of the show's songs came out before Sunset opened in London with Patti Lupone.

Sunset's lyricist, Don Black rewrote some of “As If We Never Said Goodbye” for Streisand. “With Barbra Streisand,” he explained, “I had to change ‘With One Look.’ Those songs [from Sunset Boulevard] were written about a faded movie star. She wanted it more about a singer and I spent a wonderful day with her, changed a couple of bits and pieces. When you write musicals, musicals are written to be rewritten so you are used to people saying, ‘Can you write a different verse?’”

In April 1993, fans were disappointed to learn that a rumored duet between Madonna and Barbra Streisand would not happen due to scheduling problems. The pair were to have collaborated on “Anything You Can Do,” an Irving Berlin standard from Annie Get Your Gun.

Another song that did not end up on the final album was Barbra's solo version of “I've Got A Crush On You.” It was re-recorded with a new arrangement as a duet with Frank Sinatra.

Eugene ONeill playbill

Streisand appeared live at the Eugene O'Neill Theatre in New York on May 13, 1993 to promote the new album. Columbia Records hosted a "listening party" for the release of Back to Broadway. With tickets priced from $50 to $500, the evening also benefited Broadway Cares/Equity Fights AIDS. The theatre was sold out and packed with fans who came to hear the album months before it was actually released.

Barbra made a personal appearance that evening. Wearing a fashionable sailor outfit, she was greeted by screaming fans.

Photos by Walter McBride

One fan who was there remembered, “She was gracious and funny, and rolled up [a program] and held it up to her eye, looking into the crowd saying... ‘yoo-hoo... Mr Ziegfeld?’ (á la Funny Girl). We all went wild!”

That evening, Barbra was presented a huge plaque from the President of Sony Records which honored her for recording her fiftieth album which had an advance sale of over 1 million.

Back to Broadway, released June 1993, debuted on the Top Album charts at number one.

Back to Broadway singles

In the US and UK, Columbia released 7” and CD singles from Back to Broadway:

Press release for Back To Broadway

(Above: Back to Broadway press release. Contributed and scanned by Michael Kessler.)

Liner Notes

Barbra's liner notes for this album:

SOME EHCHAHTED EVENING (“South Pacific”)

“SOME ENCHANTED EVENING”, FROM THE PULITZER PRIZE WINNING SHOW, WAS SUGGESTED BY MY A&R MAN, JAY LANDERS...AND I THOUGHT “...EEH, I WASN’T EVER CRAZY ABOUT THAT SONG”. BUT DAVID FOSTER TOOK IT HOME TO SEE WHAT HE COULD DO WITH IT, AND CAME UP WITH A BEAUTIFUL CONCEPT. THEN JOHNNY MANDEL DID THE MOST INCREDIBLE ORCHESTRATION, AND I ABSOLUTELY ADORE IT NOW. 1993 MARKS THE 50TH ANNIVERSARY OF RODGERS & HAMMERSTEIN’S COLLABORATION. THEY GAVE THE MUSICAL THEATER SOME OF ITS MOST ENDURING AND HEARTFELT MUSIC.

EVERYBODY SAYS DON’T (“Anyone Can Whistle”)

THIS |S AN AMAZING PIECE OF MUSIC AND AN AMAZING LYRIC. IT REFLECTS WHAT l’VE EXPERIENCED SO OFTEN IN MY CAREER...EVERYBODY SAYING DON’T! | DIDN’T HEAR THIS PIECE ARRANGED IN A CONVENTIONAL BROADWAY STYLE, BUT MORE AS THE CLASSICAL SOUND OR ANGER OFTEN EXPRESSED IN THE MUSIC OF BARTOK AND STRAVINSKY.

START|NG WITH THOSE COMPOSERS AS A GUIDE, | WORKED WITH ORCHESTRATOR BILL ROSS, S|NG|NG HIM THESE ANGULAR STRING LINES WHICH HE INCORPORATED INTO THE FINAL ARRANGEMENT. lT’S VERY SATISFYING TO HEAR THE ORCHESTRA BRING TO LIFE THE SOUNDS YOU HEAR IN YOUR HEAD.

THE MUSIC OF THE NIGHT (Duet w/ Michael Crawford) (“The Phantom Of The Opera”)

WHEN I SAW “THE PHANTOM OF THE OPERA” I FELL IN LOVE WITH MICHAEL CRAWFORD’S PHANTOM AND HIS SONG “THE MUSIC OF THE NIGHT”. ALTHOUGH THE PHANTOM SINGS IT ON STAGE ALONE, I THOUGHT IT WOULD MAKE A WONDERFUL DUET. I ASKED MICHAEL IF HE WOULD SING IT WITH ME AND HAPPILY HE AGREED. HIS ARRANGER ANDREW PRYCE JACKMAN CAME UP WITH A FABULOUS ARRANGEMENT...IT TOOK US FOUR YEARS TO FINALLY GET TOGETHER AND RECORD IT!

IT WAS GREAT HAVING A REUNION WITH MICHAEL AFTER WORKING WITH HIM IN "HELLO DOLLY" — WHEN HE WAS JUST A KID...(SO WAS I !)

SPEAK LOW (“One Touch Of Venus”)

“SPEAK LOW” |S A SONG | REMEMBERED FROM MY CHILDHOOD. | F|RST HEARD IT IN THE FILM ADAPTATION OF THE SHOW “ONE TOUCH OF VENUS”. I LOVED THE WAY AVA GARDNER PERFORMED THE SONG IN THE MOVIE AND FILED IT IN THE BACK OF MY MIND TO DO IT SOMEDAY... AND THE DAY FINALLY ARRIVED.

AS IF WE NEVER SAID GOODBYE (“Sunset Boulevard”)

I WAS ALWAYS MOVED BY THE ORIGINAL GLORIA SWANSON CHARACTER NORMA DESMOND, IN BILLY WILDER'S WONDERFUL MOVIE "SUNSET BOULEVARD". IN THE MUSICAL VERSION "AS IF WE NEVER SAID GOODBYE" IS SUNG AT THE MOMENT WHEN NORMA RETURNS TO THE SOUND STAGES AT PARAMOUNT STUDIOS WHICH SHE SO LOVED —THINKING THEY WANTED HER TO MAKE A COMEBACK. ONLY LATER, DO WE FIND OUT THAT ALL THEY REALLY WANTED WAS TO BORROW HER ANTIQUE CAR.

THE LYRIC BEAUTIFULLY EVOKES THE SIGHTS, SOUNDS AND TEXTURES OF A HOLLYWOOD MOVIE SET — AND ESPECIALLY NORMA'S EXCITEMENT OF RETURNING TO IT ALL.

CHILDREN WILL LISTEN (“Into The Woods”)

I ADORED THIS PIECE OF MUSIC THE FIRST TIME I SAW “INTO THE WOODS”, BUT IT WAS NEVER PERFORMED AS A COMPLETE SONG. SO, I ASKED STEPHEN SONDHEIM IF HE HAD ANYTHING THAT WAS CUT FROM THE SCORE THAT I MIGHT USE TO COMPLETE IT. AS IT TURNED OUT, HE HAD THESE MARVELOUS QUATRAINS AND WE USED THEM TO CREATE A VERSE AND A BRIDGE. I'M SO GRATEFUL TO STEPHEN FOR HIS TIME, HIS WILLINGNESS TO KEEP WORKING AT SOMETHING, AND HIS BRILLIANCE.

THIS LYRIC MEANS A LOT TO ME, BECAUSE IT'S ABOUT THE RESPONSIBILITY PARENTS HAVE TOWARDS THEIR CHILDREN — HOW IMPORTANT WORDS ARE ... lMPRESSIONS ... FEELINGS THAT STAY WITH US FOR THE REST OF OUR LIVES.

ONE HAND, ONE HEART (Duet with Johnny Mathis) (“West Side Story”)

I CONSIDERED “ONE HAND, ONE HEART” FOR MY FIRST BROADWAY ALBUM, BUT FELT THE SONG WAS TOO SHORT. THEN, IN REVISITING IT FOR THE “BACK TO BROADWAY” ALBUM, I THOUGHT, “WHY NOT COMBINE IT WITH ‘I HA\/E A LOVE’ (START AND END WITH IT) TO MAKE IT A MORE COMPLETE PIECE?”. THE LYRICS WORK WELL TOGETHER.

THEN I THOUGHT, “WHY NOT ASK JOHNNY MATHIS TO SING IT WITH ME?”. HE’S ALWAYS BEEN ONE OF MY FAVORITE SINGERS, EVER SINCE I FIRST SAW HIM ON THE ED SULLIVAN SHOW WHEN I WAS THIRTEEN YEARS OLD. IT WAS A THRILL SINGING WITH HIM.

I'VE NEVER BEEN IN LOVE BEFORE (“Guys & Dolls”)

THlS SONG WAS SUGGESTED TO ME BY MY FRIEND ELLEN WHO HAD TAKEN HER KIDS TO SEE "GUYS & DOLLS" IN NEW YORK. I ASKED JEREMY LUBBOCK TO ELABORATE ON THE ORIGINAL ARRANGEMENT WITH A MORE HARMONICALLY ADVENTUROUS INTERPRETATION, AND I THINK IT CAME OUT RATHER NICELY. lT’S A GORGEOUS MELODY AND LYRIC.

LUCK BE A LADY (“Guys & Dolls”)

THIS WAS ONE OF MY OPENING NUMBERS WHEN I WAS EIGHTEEN YEARS OLD, SINGING IN A FANCY DETROIT RESTAURANT. RECENTLY I WENT TO LISTEN TO THE RECORD I THOUGHT I'D MADE OF IT, ONLY TO REALIZE I HAD NEVER RECORDED IT! SO HERE IT IS NOW, A BIT UPDATED .. .AND LUCKY FOR ME “GUYS & DOLLS” IS BACK ON BROADWAY WHERE NEW AUDIENCES CAN DISCOVER FRANK LOESSER’S DELICIOUS WORK.

IT'S NEVER BOTHERED ME THAT "LUCK BE A LADY" IS CONSIDERED A "MAN'S SONG". I JUST CHANGED A FEW WORDS AND THINK IT'S FINE, ESPECIALLY IN THIS DAY AND AGE OF FEMINISM.

WITH ONE LOOK (“Sunset Boulevard”)

WHEN | FIRST HEARD THIS SPMG, | WAS IMMEDIATELY TAKEN WITH ITS STRONG MELODY. I COULDN'T WAIT TO SING IT — ACT IT. THE LYRICS GAVE ME THE CHANCE TO PLAY THE CHARACTER OF NORMA DESMOND — A FADING SILENT MOVIE STAR DESPERATELY TRYING TO HOLD ON TO HER CAREER. WITH THE ONSET OF "TALKIES" MANY OF THE GREAT STARS BECAME OBSOLETE. THIS LYRIC EXPRESSES NORMA'S CONVICTION THAT ONE LOOK IS WORTH A THOUSAND WORDS.

THE MAN I LOVE (written for “Lady, Be Good”)

THIS CLASSIC WAS GEORGE & IRA GERSHWlN'S FIRST GREAT COLLABORATION — EVEN THOUGH IT TOOK A LONG TIME TO GET TO BROADWAY. IT WAS CUT OUT OF THREE SHOWS AND HAS NEVER APPEARED IN A GENUINE "BOOK" MUSICAL. IT FIRST BECAME WIDELY POPULAR WHEN HELEN MORGAN RECORDED IT. THIS IS MY HOMAGE TO THE GREAT SINGERS OF THEIR DAY — HELEN, BILLIE AND ELLA.

MOVE ON (“Sunday In The Park With George”)

| LOVE THE CONCEPT OF “MOV|NG ON". | MEAN, SOMETIMES EE GET STUCK IN RELATIONSHIPS AND SITUATIONS THAT ARE NEGATIVE AND BAD FOR US, SO, I WANTED TO END THE ALBUM WITH THIS IDEA OF MOVING ON. THE SONG IS PERFORMEDAS A DUET IN THE PLAY, AND AGAIN, TRUE TO FORM, I ASKED STEPHEN SONDHEIM IF HE WOULD REEXAMINE THIS FOR ME AS A SOLO PIECE, INCORPORATING “WE DO NOT BELONG TOGETHER” — ANOTHER PIECE | LOVE FROM THIS GREAT SCORE.

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.

Below: Back To Broadway at number one on the Billboard 200 chart for the week ending July 17, 1993. Scan by Peter Curl.

Back To Broadway number one on the charts

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.

Columbia press release about Back to Broadway debuting at Number 1

Grammy Nominations

Album Cover Outtakes

Firooz Zahedi shot the striking photograph that graces the cover of Back to Broadway. The outtakes from that session are just as gorgeous...

Zahedi outtake of Streisandanother Zahedi outtake

 

Zahedi outtakes

End.

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