Thursday, February 28, 2013


U2 marched forth and found the perfect expression of their power and passion with the stark martial rhythms, stirring emotional anthems, and fiery political protest of this magnificent tour de force. After the mixed reviews of their sophomore album 'October' the band was determined to create something special. The band went into the studio with producer Steve Lillywhite who had produced 'October' and their debut 'Boy'.

Adam:   "We wanted something that was more abrasive, a bit more in-your-face, more street rather than stadium. I think because of the way we were performing, people were already beginning to get a whiff of stadium off the band, of those big gestures. I guess it was an attempt to underplay it."

Bono got married shortly after the sessions began, and continued to work on lyrics during his honeymoon in Jamaica. When he returned to Dublin the sessions resumed in earnest at Windmill Lane Studios with Bono on lead vocals, and additional guitar; The Edge on guitar, piano, lap steel, backing vocals, lead vocals on "Seconds," and bass and rhythm guitar on "40"; Adam Clayton on bass and lead guitar on "40"; Larry Mullen Jr. on drums. The sessions also included Kenny Fradley on trumpet on "Red Light"; Steve Wickham on electric violin on "Sunday Bloody Sunday" and "Drowning Man"; and The Coconuts: Cheryl Poirier, Adriana Kaegi, Taryn Hagey, Jessica Felton on backing vocals on "Like A Song...", "Red Light", and "Surrender".

Edge:    "One morning, on my way to rehersal, I was standing at a bus stop with my guitar. A guy came over carrying a violin case. He was probably about nineteen. He said, 'You're from U2. Have you ever thought about having violin on your album?' Three days later Steve Wickham was in Windmill Lane with his violin. I think it was his first recording session but he was absolutely fantastic to have around because his energy was so positive. He was only in the studio for half a day, but we did 'Sunday, Bloody Sunday' and 'Drowning Man'."

Adam:    "Kid Creole and the Coconuts were seasoned New York musicians who were in town. We invited the trumpet player down to work on a song called 'Red Light'. We thought it might freshen up the sound of the band."

Bono:    "The singers came too. Three Coconuts. They were so hot. Everyone started to perspire, the temperature in the studio was at an all time high. We had the studio lit red for effect, and one Coconut took her top off and sang in what looked like a ballerina's bra. The boys from Ireland had difficulty breathing."

Edge:     "On the last day of our session, we worked all through the night; it's six in the morning, but we still felt we were a song short. And then, to our horror, the next session arrives. It's a band called Minor Detail and they are booked into the studio at eight o'clock. They arrived early just to hover about and get ready for their eight o'clock start. And we were saying, 'But we haven't finished our album. You know, we've been in here for the last eight weeks. This is our last morning. You're starting at eight? You're kidding! Can you give us some more time?' They weren't hearing it. We had two hours and that was it. So we said, 'OK, we've got one more song to do. What's it going to be?' There was another number we had worked up and eventually abandoned. It had a great bass hook but a slightly unwieldy arrangement with lots of strange sections and time changes; but we had failed to pull it together as a coherent song. Someone said, 'Let's dig out that tune and see what we can do with it.' We decided to chop out the bits that weren't working - literally; so Steve did some very quick multi-track edits and took out any section that just didn't seem to be part of the main idea. So then we had this slightly unusual piece of music and we said, 'OK, what are we going to do with it?' Bono said, 'Let's do a psalm.' Opened up the Bible and found Psalm 40. 'This is it. Let's do it.' And within forty minutes we had worked out the last few elements for the tune, Bono had sung it, and we mixed it. And literally, after finishing the mix, we walked out through the door and the next band walked in."

Larry:   "The songs, rather than meandering, seemed to be a little more concise. Edge had taken on the role of musical director, and Steve Lillywhite knew the form and seemed more assured as a producer; which is not to say it was easy...We knew there was something special there. We felt we had finished the songs and done as much on the album as we could possibly do. There was a sense that we'd achieved what we'd set out to achieve."

Bono:   "War seemed to be the motif for 1982. Everywhere you looked, from the Falklands to the Middle East and South Africa, there was war. By calling the album War we're giving people a slap in the face and at the same time getting away from the cosy image a lot of people have of U2."

Edge:   "It's a heavy title. It's blunt. It's not something that's safe, so it could backfire. It's the sort of subject matter that people can really take a dislike to. But we wanted to take a more dangerous course, fly a bit closer to the wind, so I think the title is appropriate. 'October' and 'Boy' both had a key to the songs in the title and this one is no different. Not all the songs are about war, but it's a good general heading."

Bono:   "A lot of the songs on our last album were quite abstract, but 'War' is intentionally more direct, more specific. But you can still take the title on a lot of different levels. We're not only interested in the physical aspects of war. The emotional effects are just as important, 'the trenches dug within our hearts.'   People have become numb to violence. Watching the television, it's hard to tell the difference between fact and fiction. One minute you see something being shot on The Professionals, and the next you see someone falling through a window after being shot on the news. One is fiction and one is real life, but we're becoming so used to the fiction that we become numb to the real thing. 'War' could be the story of a broken home, a family at war. Instead of putting tanks and guns on the cover, we've put a child's face. 'War' can also be a mental thing, an emotional thing between loves. It doesn't have to be a physical thing...You have to have hope. Rock music can be a very powerful medium and if you use that to offer something positive then it can be very uplifting. If you use your songs to convey bitterness and hate, a blackness seems to descend over everything.   I don't like music unless it has a healing effect. I don't like it when people leave concerts still feeling edgy. I want people to leave our concerts feeling positive, a bit more free. Things might look very gloomy, but there is always hope. I think there is a need to develop a new political language to get over what is happening...I'm frightened, yes, but I'm not cynical or pessimistic about the future and a lot of that must come down to my beliefs. It is my belief in God that enables me to get up in the morning and face the world. I believe that there is a reason and a logic to everything. If I didn't believe that and thought that everything was simply down to chance, then I'd be really afraid. I wouldn't cross the road for fear of being run over...'War' is not a negative LP. I mean, I'm in love and there is a lot of love on the album. A song like 'New Year's Day' might be about war and struggle, but it is also about love. It is about having the faith to break through and survive against all odds. Love is a very powerful thing. There's nothing more radical than two people loving each other. When I talk about love I'm thinking of an unselfish love. Emotions can be bought and sold just like anything else, but I think real love is about giving and not expecting anything in return...I think that love stands out when set against struggle. That's probably the power of the record in a nutshell. The album is about the struggle for love, not about war in the negative sense. I would be failing in this interview if I made War sound like a gloomy album, because it's not. I hope it's an uplifting record. Some love songs devalue the meaning of the word. Disco bands turn it into a cliché by tearing it down until it means nothing. The power of love is always more striking when set against realism than when set against escapism."

'War' stormed its way to number fifty-nine in Germany, twenty-six in Finland, sixteen in Ireland, fifteen in Norway, twelve in the US, nine in Australia, five in New Zealand, four in Canada and France, three in the Netherlands, two in Sweden, and became their first number one album in the UK, making its debut in the top spot and upsetting Michael Jackson's 'Thriller'. It was their first gold album in the US, and broke the band on college and mainstream rock radio.

"Sunday Bloody Sunday" 4:38

hit number fourteen in Belgium, seven on the US hot mainstream rock tracks chart, and number three in the Netherlands.

"New Year's Day" 5:38

went to number fifty-three on the US hot 100, thirty-six in Australia, thirty-two in New Zealand, seventeen in Sweden, eleven in the Netherlands, ten in the UK, nine in Norway, and number two in Ireland and on the US hot mainstream rock tracks chart.

U2 New Years Day by Celtiemama

"Two Hearts Beat as One" 4:00

went to number one hundred and one on the US hot 100, fifty-three in Australia, eighteen in the UK, sixteen in New Zealand, and number twelve on the US hot mainstream rock tracks chart.

"Surrender" did not chart.


full album:

All tracks written by U2.

Side one
1. "Sunday Bloody Sunday" 4:38
2. "Seconds" 3:09
3. "New Year's Day" 5:38
4. "Like a Song…" 4:48
5. "Drowning Man" 4:12
Side two
6. "The Refugee" (produced by Bill Whelan) 3:40
7. "Two Hearts Beat as One" 4:00
8. "Red Light" 3:46
9. "Surrender" 5:34

10. "40" 2:36

bonus tracks

Treasure (Whatever Happened To Pete The Chop)*

Angels Too Tied To The Ground 

'War' tour in Boston:

00:00 Out Of Control

04:40 Twilight
09:30 An Cat Dubh
13:50 Into The Heart
16:40 Surrender
21:37 Two Hearts Beat As One / Let's Twist Again (snippet)
27:08 Seconds
30:09 Sunday Bloody Sunday
35:37 The Cry
36:12 The Electric Co. / Send In The Clowns (snippet)
41:43 I Fall Down
45:05 October
47:11 New Year's Day
52:09 Gloria
56:47 I Threw A Brick Through A Window
01:00:39 A Day Without Me
01:03:57 Party Girl
01:07:10 11 O'Clock Tick Tock / Drowning Man (snippet)
01:11:56 I Will Follow
01:16:35 40

Wednesday, February 27, 2013

seventh tree

Goldfrapp chilled out their club friendly grooves to create the folktronic ambience of this engagingly expansive emotional exploration. After the dance chart success of 'Supernature' the duo was ready to move in a new musical direction. Will Gregory explains: "I think we both felt the need to shut things down a bit. I think we felt that maybe with 'Supernature', the voice had been sort of caricatured or stylized and processed, and we wanted to go back to a much more intimate and personal solo voice where the character of the music and the emotion is coming from that. Sometimes we did some jams which were just with one instrument and her voice to do the writing with, and that just felt really nice, you know, that space. Sometimes we would look back at 'Supernature' and think we're working really hard on our drama here - maybe we don't have to work as hard as that. You can make things dramatic and startling with much more minimal resources and I think that was part of the enjoyment and the fun of working on [the album]. Or the exploration - trying to figure out another way of getting those moments in drama that we're always after."

Alison Goldfrapp reflects: "I think this one's been brewing for a while. A kind of aesthetic or sound that we've always been interested in-- which is probably why we made 'Felt Mountain' in the first place. And even though it's very different from 'Felt Mountain', it's a soundworld that we're fond of. And we've talked for a long while about doing stuff with harps and doing something more intimate. And as a result of touring 'Supernature' for so long, it felt time to do something that had more space, and was a bit quieter."

Gregory says: "We're very lucky in that we've got a record company who are keen to experiment and try different things. I think in some ways we were more scared about it than they were. We were kind of thinking, 'What are we doing?'. And we played them a couple of tracks, early demos, and they loved it. So that was great. Because I think our record company are quite unusual like that-- they like music, and they like being stimulated. They're quite like us, aren't they?"

Goldfrapp reckons: "Saying that you've got acoustic instruments and that's traditional and so people will think it's more intimate, that will always be the case. It's a more intimate sound, so it's going to sound more direct whatever you're singing about. I mean, it is a more personal record. But I think by the nature of having a voice that is more upfront and the way the vocals are set against the music, it's always going to feel more personal, even if the lyrics weren't, if you know what I mean? So it has it's moments of being more intimate or being personal, it's true. Some of it's confessional, but some of it is complete and utter gobbledeegook!"

They produced the album in their hometown of Bath, England with Alison Goldfrapp on lead vocals, backing vocals, production, engineering, mixing, art direction, and owl drawing; and Will Gregory on production, engineering, and mixing; with Jonathan Allen as string engineer; Flood on additional production, co-production, keyboards, guitar, mixing, and additional stems mixing; Nick Batt and Max Dingle on additional drum programming; Cathy Edwards on art direction; Richard Evans on guitar; Steve Evans on acoustic guitar; Chris Goulstone on drum samples and guitar; Isobel Griffiths as string contractor; Tony Hoffer on mixing, overdub engineering, and bass; Nick Ingman on string conduction and string orchestration; Charlie Jones on bass and twang bass; Paddy Lannigan on double bass; Serge Leblon on photography; Alex Lee on acoustic guitar, Nashville guitar, bass, and electric guitar; Aidan Love on additional programming and keyboards; Mat Maitland on art direction and design; Stephen Marcussen on mastering; Stephen Marshall as assistant string engineer; Justin Meldal-Johnsen on bass; Metro Voices as the choir; Bill Mims as mixing assistant and overdub engineer; Kit Morgan and Andrew Murphy on acoustic guitar; Everton Nelson as string leader; Jenny O'Grady as choir master; Tim Oliver as additional engineer; Damon Reece on drums and percussion; Simon Rogers on Indian guitar; Mary Scully on double bass; Leila Stacey as assistant string contractor; Adrian Utley on fuzz bass and fuzz guitar; Ruth Wall on harp samples; Denny Weston, Jr. on drums; David Daniels, Robin Firman, Cathy Giles, Paul Kegg, Melissa Phelps, and Chris Worsey on cello; Peter Lale, Andy Parker, Chris Pitsilides, and Katie Wilkinson on viola; and Alexander Bălănescu, Mark Berrow, Chris Clad, Dermot Crehan, Patrick Kiernan, Boguslaw Kostecki, Ann Morfee, Stephen Morris, Everton Nelson, Tom Pigott-Smith, Joanathan Rees, Jackie Shave, Sonia Slany, Cathy Thompson, Chris Tombling, and Debbie Widdup on violin.  

Gregory describes the effect of the rural setting on the music: "Just outside of Bath, in the Somerset countryside. It was a happy experience, yeah. The thing is, writing an album, it sort of seems it must be dependent on where you are, but a lot of it is just being left alone, to get on with it. It's a good reason for being in the country because you don't get any distractions. Countryside, a lot of it is just about getting your head cleared out of all the background noise of daily life. So I think we tend to be quite monkish and isolated. And that helps you get right into it."

Goldfrapp considers: "When I listen to music, what’s important is that it takes you on a journey. As much as I'm into the structure of music, or how I love the way film music works with images and emotions, I'm more interested in being 'taken' somewhere. Any music that really takes you, expels you, fires you off into some kind of other universe is really special. It's kind of the point of it for me. So, yes, when writing lyrics and melodies, when composing a structure of a song, there's a real aim there: to make it feel like you’re going on a journey. That there’s a beginning, a middle, and an end. And an atmosphere. All our albums, all our songs, they all have their own little world, as it were. Or, at least, that's the aim."

'Seventh Tree' bloomed at seventy-two in Spain, fifty-seven in Italy, forty-eight in the US, thirty-nine in New Zealand, thirty-seven in Austria and France, twenty-eight in Canada, twenty-one in Germany, twenty-four in the Netherlands, eighteen in Norway and Portugal, fourteen on the US top rock albums, twelve on the US top alternative albums chart, eleven in Australia and Switzerland, ten in Belgium, nine in Ireland, five on the European top 100 albums chart, and number two in the UK.

1. "Clowns" 4:08
made an appearance at number one hundred and fifteen in the UK.

2. "Little Bird" 4:25

3. "Happiness" 4:17
made it to number twenty-five in the UK.

4. "Road to Somewhere" 3:52

Goldfrapp- Road To Somewhere-Seventh Tree by chicethautaine

5. "Eat Yourself" 4:06

6. "Some People" 4:40

7. "A&E" 3:18
went to ninety-eight in Germany, eighty-five in Australia, thirty-eight in Belgium, thirty-three in Ireland, twenty-two on the US hot dance club song chart, ten in the UK, and number one on the US hot dance singles sales chart.

8. "Cologne Cerrone Houdini" 4:26

9. "Caravan Girl" 4:05
travelled to fifty-four in the UK and number nine on the US hot dance singles sales chart.

'Seventh Tree' 
full album:

Tuesday, February 26, 2013

street hassle

Lou Reed courted controversy and claimed his punk rock street cred with the loose gutter glam and dark poetic decadence of this artsy aggressive pièce de résistance.  Reed teamed up with producer Richard Robinson (who had produced his eponymous solo debut) to record 'Street Hassle' using the Binaural process that uses two microphones positioned to simulate the way the human ear receives sound.   Manfred Schunke and Heiner Friesz engineered the sessions at the Record Plant in New York City.  Several of the songs were recorded live in Germany.   The album involved Lou Reed on guitar, bass, piano, and vocals; Stuart Heinrich on guitar and background vocal; Michael Fonfara on piano; Marty Fogel on amplified saxophone; Steve Friedman on lead bass and background vocal; Jeffrey Ross on lead guitar and vocals on live recorded tracks; Michael Suchorsky on drums; Aram Schefrin on string arrangement; Jo'Anna Kameron, Angela Howard, Christine Wiltshire & Genya Raven on background vocals; with spoken word by Bruce Springsteen.  

'Street Hassle' only charted at eighty-nine in the US and twenty in France; but its ragged glory was a validation for the godfather of punk:    "'Street Hassle' is the best album I've done.  'Coney Island Baby' was a good one, but I was under seige.  'Berlin' was 'Berlin', 'Rock and Roll Heart' is good compared to a lot of the shit that's going around.  As opposed to 'Street Hassle', they're all babies.  If you wanna make adult rock records, you gotta take care of all the people along the way.  And it's not child's play.  You're talking about managers, accountants, you're talking about the lowest level of human beings.  'Street Hassle' is me on the line.  And I'm talking to them one to one."

"Street Hassle" – 10:53
A. "Waltzing Matilda" - 3:20
B. "Street Hassle" - 3:31
C. "Slipaway" - 4:02

"I was playing with this thing called Binaural sound and I just had this long lyric and it seemed to divide itself up into three sections.  So I was trying to put together three sections and then figure out how to go from section one to section two to section three.  And there was this string part.  The arranger was a great guy who said 'You could probably do it better than anybody because you know this whole thing.' And I said, 'Yeah, but I can't write it out.'  And he said, 'You don't have to.  All you have to do is hum it or sing it.'   So I did.  And then it was easy.  I just took the string part apart and took the cellist or something who was playing a certain line and used that to go to the another part.  And that solved the problem.  It was all just a mix.  Then you could go from part one to part two to part three...Bruce Springsteen was mixing in the studio below us, and I thought 'How fortuitious'.  People expect me to badmouth him because he's from New Jersey; but I think he's really fabulous.  He did the part so well that I had to bury him in the mix.  I knew Bruce would do the recitation seriously because he really is of the street, you know."

Waltzing Matilda whipped out her wallet
The sexy boy smiled in dismay
She took out four twenties 'cause she liked round figures
Everybody's queen for a day
Oh, babe, I'm on fire and you know how I admire your-
-body why don't we slip away
Although I'm sure you're certain, its a rarity me flirtin'
Sha-la-la-la, this way

Oh, sha-la-la-la-la, sha-la-la-la-la
Hey, baby, come on, lets slip away

Luscious and gorgeous, oh what a humpin' muscle
Call out the national guard
She creamed in her jeans as he picked up her knees
From off of the Formica topped bar
And cascading slowly, he lifted her wholly
And boldly out of this world
And despite people's derision
Proved to be more than diversion
Sha-la-la-la, later on

And then sha-la-la-la-la, he entered her slowly
And showed her where he was coming from
And then sha-la-la-la-la, he made love to her gently
It was like she'd never ever come
And then sha-la-la-la-la, sha-la-la-la-la
When the sun rose and he made to leave
You know, sha-la-la-la-la, sha-la-la-la-la
Neither one regretted a thing


(Slip away, Oooooh)

Hey, that cunt's not breathing
I think she's had too much
Of something or other, hey, man, you know what I mean?
I don't mean to scare you
But you're the one who came here
And you're the one who's gotta take her when you leave
I'm not being smart
Or trying to be cold on my part
And I'm not gonna wear my heart on my sleeve
But you know people get all emotional
And sometimes, man, they just don't act rational you know
They think they're just on TV

Sha-la-la-la, man
Why don't you just slip her away

You know, I'm glad that we met man
It really was nice talking
And I really wish that there was a little more time to speak
But you know it could be a hassle
Trying to explain this all to a police officer
About how it was that your old lady got herself stiffed
And it's not like we could help
But there wasn't nothing no one could do
And if there was, man, you know I would have been the first
But when someone turns that blue
Well, it's a universal truth
And you just know that bitch will never fuck again
By the way, that's really some bad shit
That you came to our place with
But you ought to be more careful around the little girls
It's either the best or it's the worst
And since I don't have to choose
I guess I won't and I know this ain't no way to treat a guest
But why don't you grab your old lady by the feet
And just lay her out in the darkest street
And by morning, she's just another hit and run
You know, some people got no choice
And they can never find a voice
To talk with that they can even call their own
So the first thing that they see
That allows them the right to be
Why they follow it, you know, it's called bad luck

Well hey, man, that's just a lie
It's a lie she tells her friends
'Cause the real song, the real song
Where she won't even admit to herself
The beatin' in her heart
It's a song lots of people know
It's a painful song
A little sad truth
But life's full of sad songs
A penny for a wish
But wishin' won't make you a soldier
With a pretty kiss for a pretty face
Can't have its way
Y'know tramps like us, we were born to pay

Love has gone away
And there's no one here now
And there's nothing left to say
But, oh, how I miss him, baby
Oh, baby, come on and slip away
Come on, baby, why don't you slip away

Love is gone away
Took the rings off my fingers
And there's nothing left to say
But, oh how, oh how I need him, baby
Come on, baby, I need you, baby
Oh, please don't slip away
I need your loving so bad, babe
Please don't slip away

"I Wanna Be Black" – 2:55

"Gimmie Some Good Times" parodies 'Sweet Jane'.

"Dirt" makes a joke of the criticisms that had been directed at Reed.

'Street Hassle' 
full album:

All songs written by Lou Reed.

Side One:
"Gimmie Some Good Times" – 3:15
"Dirt" – 4:43
"Street Hassle" – 10:53
A. "Waltzing Matilda" - 3:20
B. "Street Hassle" - 3:31
C. "Slipaway" - 4:02
Side Two:
"I Wanna Be Black" – 2:55
"Real Good Time Together" – 3:21
"Shooting Star" – 3:11
"Leave Me Alone" – 4:44
"Wait" – 3:13

Monday, February 25, 2013

the barbra streisand album

Barbra Streisand defied her critics and made her first album on her own terms. Even in high school, she was an iconoclast:    “I don't know why I always felt alone—a person apart from others, but I did. In high school, I used too much make-up, both on my lips and my eyes. Oh those crazy weird shades! I bleached my hair and wore very off-beat clothes. Why did I dress this way? Well, the kid who looked ridiculous with a ribbon in her hair as a kid didn't think she was the most gorgeous teenager either. But rather than sulk, I rebelled, I dressed the way I did to show everybody that I didn't care what they thought of me. I didn't know then that I really did.  I never thought of being unhappy or lonely. I hate self-pity—in myself, in anybody.”

After working for years in nightclubs, she had made television appearances on 'The Tonight Show' and 'PM East/PM West' before making her Broadway debut as Miss Marmelstein in the musical 'I Can Get It for You Wholesale'. This led to a recording contract with Columbia Records.  Streisand remembers:    "The most important thing about that first contract - actually, the thing we held out for - was a unique clause giving me the right to choose my own material. It was the only thing I really cared about. I still received lots of pressure from the label to include some pop hits on my first album, but I held out for the songs that really meant something to me ... When I first auditioned for Goddard Lieberson [Columbia's president], he said I wouldn't sell records, that I was much too special, that I would appeal only to a small clique who would dig me. But the first album went right on the charts...Everyone was surprised. But I always knew it would happen this way. People were ready for me...When I was looking for someone to arrange and conduct the album, I called Harold Arlen who recommended Peter Matz. This was the beginning of a long and creative relationship."

'The Barbra Streisand Album' was recorded over three days at Columbia Studio A in New York with producer Mike Berniker on a very small budget because the executives were not sure if she could sell a lot of records. The material was mostly Broadway standards that the label thought were too obscure. Streisand considers:    "A lot of people used to tell me, 'Kid, you better dress this way, and sing this kind of song.' But I think that when you ask an audience to love you, they turn away. So I dress the way I feel, and sing the way I feel, and I don't worry about the audience—not till afterwards, anyway. People say I'm fresh, because I don't take advice. But even if the advice is right, I have to find out it's right my own way ... I’ve never taken voice lessons and never will. I act out my songs more than I sing them. To tell you the truth, I don’t like singing. I think I’m awful. I don’t like other singers, either. What’s singing? Acting is the thing. I think it’s a waste of time to sit around and listen to music.”

'The Barbra Streisand Album' went to number eight on the US album chart and number six in Australia. It was certified gold and went on to win Grammy Awards for Album of the Year, Best Female Vocal Performance, and Best Album Cover - Other Than Classical in 1964, as well as a Grammy Hall of Fame award in 2006.

1. "Cry Me A River" Arthur Hamilton 3:37

2. "My Honey's Lovin' Arms" Joseph Meyer, Harry Ruby 2:14

3. "I'll Tell the Man in the Street" Lorenz Hart, Richard Rodgers 3:09

4. "A Taste of Honey" Ric Marlow, Bobby Scott 2:51

5. "Who's Afraid of the Big Bad Wolf?" Frank Churchill, Ann Ronell 2:35

6. "Soon It's Gonna Rain" Tom Jones, Harvey Schmidt 3:44

7. "Happy Days Are Here Again" Milton Ager, Jack Yellen 3:04

8. "Keepin' Out of Mischief Now" Andy Razaf, Thomas Waller 2:11

9. "Much More" Tom Jones, Harvey Schmidt 3:02

10. "Come to the Supermarket in Old Peking" Cole Porter 1:56

11. "A Sleepin' Bee" Harold Arlen, Truman Capote 4:21

Barbra Streisand - A Sleepin' Bee by enricogay

'The Barbra Streisand Album' 
full album: