“Of course, the first thing that strikes you listening to the first Barbra Streisand album, recorded and released before the singer’s 21st birthday, is that great voice. And it isn’t just the sheer quality of the voice, its purity and its strength throughout its register, it’s also the mastery of vocal effects that produce dramatic readings of the lyrics – each song is like a one-act musical” (Ruhlmann).
“Streisand opens with Julie London’s signature torch song, Cry Me a River, and she doesn’t only surpass London, she sets off a thermonuclear explosion. From there, versatility and novelty are emphasized – a breakneck version of Who’s Afraid of the Big Bad Wolf?, a slow, emotion-drenched performance of Happy Days Are Here Again” (Ruhlmann).
“But Streisand’s debut, inventively arranged and conducted by Peter Matz, is notable as much for the surprising omissions as the surprising selections. Arriving in 1963, ten years into the revival of sophisticated interwar theater songs led by Frank Sinatra and followed by all other adult pop singers, Streisand virtually ignores the modern masters like Gershwin and Berlin. When she does do Rodgers & Hart or Cole Porter, she picks obscure songs; her idea of a good 1930s number is Fats Waller and Andy Razaf’s Keepin’ Out of Mischief Now. She is much more comfortable with recent theater material, choosing two songs from The Fantasticks (1960) and the title song from the stage play A Taste of Honey (1962). The Barbra Streisand Album is an essential recording in the field of pop vocals because it redefines that genre in contemporary terms” (Ruhlmann).