The Prince of Tides:
Original Motion Picture Soundtrack (1991)

Catalog Number(s):

Tides CD cover art Prince of Tides back cover soundtrack Buy from Amazon


  1. Main Title [4:27]
  2. Teddy Bears [0:55]
  3. To New York [1:28]
  4. The Bloodstain [1:18]
  5. The Fishmarket [0:58]
  6. The New York Willies [2:42]
  7. The Village Walk [2:59]
  8. Lila's Theme [3:09]
  9. Home Movies [1:35]
  10. Daddy's Home [1:37]
  11. The Hallway (Love Theme) [2:43]
  12. They Love You Dad [0:43]
  13. So Cruel [1:33]
  14. Savannah Awakes [1:02]
  15. Love Montage [3:59]
  16. Tom Comes Home [1:13]
  17. The Outdoors [1:16]
  18. Tom's Breakdown [1:04]
  19. The Street [3:10]
  20. For All We Know (instrumental) [2:17]
    (J.F. Coots / S.M. Lewis)
  21. The Reunion [2:21]
  22. End Credits [3:45]
  23. FOR ALL WE KNOW (vocal by Barbra Streisand) [4:14]
    (J.F. Coots / S.M. Lewis)
  24. PLACES THAT BELONG TO YOU (vocal by Barbra Streisand) [3:38]
    (J. Newton Howard / A. Bergman / M. Bergman)

About the Album

Barbra Streisand originally intended that Oscar-winning film composer John Barry would write the score to Prince of Tides. Streisand's and Barry's work habits proved to be incompatible and Barry left the project. Barry explained what happened in a 1996 interview: “I was asked by Barbra Streisand to do The Prince of Tides—I live in New York, she lives in Los Angeles—and I went and met with her, and she showed me some footage, and she said, ‘Why aren't you moving to Los Angeles?’ and I said, ‘Absolutely not.’ And she said, ‘Well, I like to know what's going on’—Barbra's an extreme case, by the way—and I said, ‘Even if I did move to Los Angeles, I have no desire to meet with you once I know what I'm going to do. I can't work with someone over my shoulder, absolutely no way.’”

Buy Moviola (Film Score Re-Recording Compilation) - John Barry @iTunes

Barry recorded his rejected Prince of Tides theme and performed it in concert with an introduction in which he says it was a theme Barbra Streisand “didn't like.” Retitled “Moviola,” the theme appeared on Barry's 1992 movie theme album.

“For All We Know”

Streisand records FOR ALL WE KNOW

Johnny Mandel started working with Streisand on “For All We Know” in late spring 1991. “I played some synthesizer parts for her and she sang,” he said. “I worked out what chords I needed, then went home and wrote the arrangement.”

Mandel then took about a week to score the chart for the song before returning to the studio to record it. “The recording, done in June in Capitol Records' Studio A, didn't take long,” Mandel said. “Barbra came in, and we did eight or nine great takes, each one of which could have been a release.”

Billie Holiday's LADY IN SATIN album cover

Streisand wrote some interesting liner notes for this song:

One of the presents my son Jason gave me for my last birthday was a CD of the classic Billie Holiday album “Lady in Satin”—it was one of the few albums I'd ever bought when I was 16 years old.

I needed a melody for a scene in THE PRINCE OF TIDES where Nick Nolte and I dance together at The Rainbow Room. One of the songs on Billie's record was “For All We Know”. It was so beautiful and the lyric was so perfect—as if it were written especially for the film ...

Kirk Whalum, the jazz saxophonist from Memphis, soloed on this track. “[Streisand] heard my version of 'For All We Know' and wanted me to be a part of the movie The Prince of Tides,” Whalum told Memphis Flyer. “In the studio, she sang it and I played the solo. Everybody was sort of holding their breath, because she can be a perfectionist. She looks over at me and says, 'What do you think?' Yeah, I'm a boy from Memphis sitting there in Hollywood and Barbra Streisand is asking me what I think. A moment that will live in infamy.”

“Places That Belong To You”

James Newton Howard and Streisand in recording studio

I had the great fortune to interview Marilyn and Alan Bergman for Barbra Archives when they were in Washington, D.C. in 2007. I asked them about “Places That Belong To You”.

Matt Howe: I love that song.

Marilyn Bergman: It’s a beautiful melody that James Newton Howard wrote.

MH: I reviewed the lyrics and the song is from Barbra’s character’s perspective, right?

Alan Bergman: You have a combination of the character and the story. Also, the melody is indigenous to that story.

MB: Actually, it’s [Dr. Lowenstein’s] story. In the movie, it’s her story, in a way. It’s their relationship, I guess. The book is told from the perspective of [the character] Tom Wingo. At the end of the movie, as I remember, he’s driving over a bridge and he says her name (“Lowenstein, Lowenstein…”).

AB: It’s ambiguous at the end, really.

MB: It’s that idea that whenever there’s a deep relationship in one’s life, even though it’s in the past, there’s always a part – we’ve written about this a few times. We wrote it in “Where Do You Start” – there’s always a little part that stays, that sticks to the lining of your heart.

AB: It’s the same idea, though. Something remains.

MB: We really believe that. The idea keeps coming up.

Streisand explained in her liner notes for the CD why she did not utilize this song in the actual movie:

As the director of THE PRINCE OF TIDES I felt it wasn't right for Barbra Streisand (or Susan Lowenstein) to sing at the end of the film. But it was such a beautiful melody that we asked Alan and Marilyn Bergman to write a lyric to it so I could include it on this soundtrack recording. If Lowenstein did sing, I think this is what she would say.

Barbra elaborated about keeping the song in the movie to the Boston Globe in 1991: “It's his story,” she said of Nick Nolte's character. “That's why I didn't sing the song at the end of the movie. I would have been paid a lot of money to sing the song, as much as I got paid to produce. But I felt it wasn't right. It was his story and what right would I have to come in and sing this song? My character is a secondary character.”

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:

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.


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