Event records for the 35-plus set come about as often as the locusts, but Barbra Streisand's reunion record with Barry Gibb is as big as they get. Twenty-five years after Streisand's best-selling "Guilty," which paired the two talents, Gibb again elicits the very best from the songbird—not only the sky-high vocal delivery that made her famous, but also a rare, indulgent playfulness. Aside from several creamy MOR love and heartbreak songs, Streisand serves up the dance ditty "Night of My Life," already remixed into a dancefloor hoot; the doo-wop-lite "Come Tomorrow," one of two duets with Gibb; and the lovely Bee Gees cover "(Our Love) Don't Throw It All Away." But nothing beats Streisand belting a ballad, and "Stranger in a Strange Land" and "Golden Dawn" are nothing less than classics. Wholly rewarding.

—Chuck Taylor

Liz Smith

. . . BARBRA STREISAND'S latest CD is called "Guilty Pleasures," and among other things, it reunites her with Barry Gibb, with whom she paired famously on 1980's fantastically successful "Guilty" album. (He produced and wrote the music on that multiplatinum disc.) Gibb does it again, producing and composing the songs on Streisand's new one.

The first single, "Stranger in a Strange Land," is a paean to our fallen soldiers in Iraq, who have perished, so goes the lyric, "fighting someone else's war." Barbra made a stunning (and amusing) movie comeback with "Meet the Fockers," but it is That Voice that still electrifies, and seems to be virtually untouched by time. Miss Streisand says she is "thrilled" by her reunion with Gibb, and further, "he is the only person I know who can write the songs, produce them and sing them." I think I know another person who could — Barbra Streisand.

Everyone loves a reunion, the happier the better. A quarter century after collaborating on the best- selling Guilty, Barbra Streisand and Barry Gibb are back together - and the results are something to sing about. In fact, the only question is: What took them so long? Gibb was born with the kind of intuitive pop instincts that others can only dream of; combine his sure touch as a songwriter and producer with Streisand's still-magisterial voice and pure pop pleasure is assured.

Featuring ten new songs co-written by Barry Gibb and a striking take on the Andy Gibb hit "(Our Love) Don't Throw It Away," Guilty Pleasures is a testament to the undiminished strength of Streisand's vocal artistry. Digging into superbly crafted tunes such as "Golden Dawn," "Letting Go," and "Without Your Love," Streisand sounds as if she just stepped out of the original Guilty sessions -- here is a singer still in her prime and ready to remind the whole world about it. Barry Gibb, holding his own, gets into the act on two exuberant duets; both "Come Tomorrow" and "Above the Law" run thick with the lusty spirit that signals a hit single. The squeaky- clean instrumental textures and Bee Gees- styled -backup vocals may speak of the late '70s, but delightfully so. Comparing Guilty Pleasures to its priceless predecessor is pointless -- appreciate the new union for the overflowing joy it brings.

William Pearl

Singles review (Stranger In A Strange Land)

Barbra Streisand's... reunion with Barry Gibb—who masterminded 1980's stellar "Guilty"—pairs her with some of the best arrangements she has ever sung throughout the full-length "Guilty Pleasures," due Sept. 20. First single "Stranger in a Strange Land" is a positive yet poignant and timely expression honoring soldiers who have perished "fighting someone else's war." The video is streaming at amazon.com. The melody, Gibb's background contributions and Streisand's impassioned performance are superlative. "Stranger" is written and produced by a pop king and sung by his parallel queen. Priceless.

A few tracks into this highly anticipated Barbra Streisand release and the title starts to make sense. Guilty Pleasures is a 'Streisandian' spin on a melange of popular styles, including '50s doo-wop ("Come Tomorrow"), Motown ("It's Up to You"), disco ("Night of My Life"), Broadway ("Without Your Love"), and something vaguely waltz-like ("Stranger in a Strange Land"). If that sounds gimmicky and contrived, it isn't. The musical influences are more under Streisand's spell rather than the other way around. Then there's that voice: fire-and-brimstone bold one minute, cashmere soft the next, and fully undiminished overall. Much has been made of the politics surrounding "All the Children," but the protest-song-for-Muzak reputation preceding it comes without justification. The song makes its point (for peace) mildly and without undue controversy. The voice of Barry Gibb crops up more than just on the two duets he is credited with ("Above the Law" and "Come Tomorrow"), and where it is not being showcased, on "(Our Love) Don't Throw it All Away" for example, it sounds best. Of course the other inspiration behind this album's title is a nod to Guilty, the multiplatinum album Streisand and Gibb recorded in 1980 that captured the hearts of millions and spawned decades of requests for further collaborations. With Guilty Pleasures, Streisand has managed to avoid charges that she's past her peak, as evidenced on the gorgeous love song "Letting Go."

--Tammy La Gorce

The legendary singer, songwriter, actress, director and producer teamed up with The Bee Gees singer Barry Gibb for a return to the pop charts with her 61st album. Twenty-five years ago this month, the duo created harmonious bliss and history with their chart-topping album "Guilty." This was the fifth Streisand album to reach No. 1, with 12 million copies sold worldwide.

The album is still considered one of her greatest musical accomplishments. It spawned a unique pair; no one had ever thought two distinct and dynamic voices such as Barbra and Barry's would ever create such music. But the pair quickly proved that it was a winning combination with their duets, "Guilty" and "What Kind of Fool," which both became top-10 hits.

This new album, "Guilty Pleasures," began production earlier this spring and has created a buzz in the entertainment industry. Not only is it a rare and exciting project, it also paints a different picture of Streisand, who usually performs standards and orchestrated music.

In many of her last albums, she is accompanied by a large symphony orchestra with a grandiose feel, but "Guilty Pleasures" almost has a pop feel. The accompaniment is a simple band with synthesized strings keeping the focus on the voices instead of the instruments.

Of the seven songs I previewed, the two most enjoyable are "Stranger in a Strange Land" and "Above the Law."

Many radio stations in cities such as Dallas, Providence and New York City began playing "Stranger in a Strange Land" in late August. In the music video, which can be seen on Amazon.com, Streisand sings a heartfelt, patriotic message in a perfect voice about writing to our military serving around the world about their sacrifices. While she sings, images of past and present wars flash on the screen.

The music video for "Above the Law," a duet with Barry Gibb, can be seen on AOL Music (music.channel.aol.com). It shows Barbra and Barry singing alongside the band with playful interaction.

Many critics have complained that since she's a woman in her early 60s and has retired from strenuous concert tours, she is finished with her career. This is definitely not the case, since there is absolutely no warbling in her voice or any other physical signs of aging. She sports a new look with a saucier haircut and fun sequined tops- always continuing to add more to her ever-changing style and panache.

Along with Amazon and AOL, you can preview "Guilty Pleasures" at many local music stores, including Barnes & Noble.

Streisand is definitely stepping outside of the box with "Guilty Pleasures." She is able to keep up with the current trend of popular music and still create a feeling of nostalgia with her voice, style and music.

But don't take my word for it. Check out its No. 1 pre-order sales ranking at Amazon.com.

"Guilty Pleasures" will definitely be another album to add to anyone's music collection. Look for it nationwide on Sept. 20.

jpearson@unews.com

Guilty Pleasures isn't simply the belated sequel to Guilty, Barbra Steisand's 1980 collaboration with Barry Gibb. It's the best mainstream pop album she's made since that multi-platinum, chart-topping hit. Of course, the competition isn't exactly stiff -- her pop albums since then have been deliberately safe, overly calculated adult contemporary affairs that only made records of standards like 1985's The Broadway Album shine all the brighter -- and it, like its predecessor, is a bit of an anomaly in Streisand's catalog, since it shares more musical similarities with Barry Gibb's work than Barbra's own, yet there's no denying that this is the most satisfying straight-up pop album she's cut since Guilty. In fact, apart from the crystal-clear, overly clean digital production that immediately pegs it as a 2005 release, Guilty Pleasures could be taken as a bunch of outtakes from the 1980 album. Gibb, who wrote (along with a handful of other collaborators) and produced (along with John Merchant) the entire album, along with playing guitar and providing backup vocals, not only doesn't attempt to update his signature sound, but proudly sticks to unfashionable pop styles like the early-'80s anthemic soft rock of "Stranger in a Strange Land," the mellow Latin-tinged "Hideaway," and the disco of "Night of My Life." Yet instead of sounding like the work of a duo stuck in the past, Guilty Pleasures sounds as if Gibb has constructed a set of 11 songs that play to his strengths as a pop craftsman and Streisand's strengths as an interpreter. This may be firmly within both of their comfort zones, but despite the record's decidedly low-key vibe, neither Barry nor Barbra sound lazy, nor do they sound like they have something to prove, as if they're consciously trying to live up to the standard their first collaboration set. They sound relaxed and quietly assured, which makes this album far more charming than it might initially appear to be. Not everything works -- some of the ballads toward the end of the record are a little too hazy and samey to catch hold -- but most of the album holds its own with Guilty, which means this is not only a pleasant surprise, but one of Barbra's best straight-up mainstream pop records, and an album that surely lives up to its title.

Review by Stephen Thomas Erlewine

"Guilty Pleasures"
(Columbia)

If there's such a thing as hypoglycemic bliss in pop, it is to be found on "Guilty Pleasures," the 25th-anniversary reunion album of Barbra Streisand and Barry Gibb. The lush, celestially oriented collection, co-produced by Mr. Gibb with John Merchant, is a sustained musical sugar rush (sweeter even than their 1980 multiplatinum blockbuster "Guilty") guaranteed to make you swoon (if your taste runs to musical Mallomars) without leaving you comatose.

The songs, composed by Mr. Gibb, the Bee Gees' main man, mostly in collaboration with his two oldest sons, Ashley and Stephen, all languish in the pop vocabulary of oracular sweet nothings that Mr. Gibb long ago adapted into his own distinct line of designer ear candy. A lush revival of the Andy Gibb hit "Our Love (Don't Throw It All Away)" fits snugly into the format.

The album finds Mr. Gibb in full command of his gift for airborne melodic hooks carried on misty whooshes and anchored by feathery beats that allude to everything from early rock 'n' roll ("Come Tomorrow") to light disco ("Night of My Life").

Ms. Streisand sounds considerably more relaxed riding in these cotton-candy cloud banks than she did 25 years ago. The album features the softest and most seductive aspects of her voice. And since she consciously discarded most of the breathy, sobbing mannerisms of her younger days, you no longer hear a singer demanding, "Look how deeply I feel."

But the question remains: what does this style and substance mean in 2005? "Guilty" rode the tail end of the "Saturday Night Fever" craze. "Guilty Pleasures" gambles on locating a nostalgic ground swell.

STEPHEN HOLDEN

Bon Jovi rocks; Streisand rolls
This week sees the return of both Bon Jovi and Babs. Jon Bon Jovi and company slap a crooked grin on the grim state of mainstream rock, while Streisand partners up with Barry Gibb for a creamy pop confection

Barbra Streisand, Guilty Pleasures (* * * ½ out of four) Adult-contemporary pop doesn't come smoother or creamier than this collection reuniting the genre's most durable diva with writer/producer/sometime-vocal partner Barry Gibb, her collaborator on 1980's Guilty. Early highlights of the new CD include the lilting duets Come Tomorrow and Above the Law. But stay tuned for Streisand's graceful take on the Bee Gees-composed Andy Gibb hit (Our Love) Don't Throw It All Away and the wistful ballad Letting Go, both ideal showcases for her shimmering, shivery warmth. —Elysa Gardner (Related chat: Talk fall music with Ken Barnes, 1 p.m. ET)

Barbra Streisand, Guilty Pleasures (* * * ½ out of four) Adult-contemporary pop doesn't come smoother or creamier than this collection reuniting the genre's most durable diva with writer/producer/sometime-vocal partner Barry Gibb, her collaborator on 1980's Guilty. Early highlights of the new CD include the lilting duets Come Tomorrow and Above the Law. But stay tuned for Streisand's graceful take on the Bee Gees-composed Andy Gibb hit (Our Love) Don't Throw It All Away and the wistful ballad Letting Go, both ideal showcases for her shimmering, shivery warmth.

Elysa Gardner

Streisand, Gibb: Pleasurable match


Babs and Barry, together again at last: That's the hook of "Guilty Pleasures," a reunion companion to 1980's smash album "Guilty," which saw Barbra Streisand under the tutelage of singer-songwriter Barry Gibb and the Bee Gees' production personnel, the team that ruled as lords of disco.

We're a long way from the disco era, as is this new set, which has all the bells and whistles of the modern recording studio and is perfectly tailored to lite-rock stations everywhere. Just wait: You'll soon be hearing Miss Streisand on the portable radio that the person in the cubicle next to you brings to work every day for soothing background noise.
Despite whether anyone actually listens attentively to "Pleasures," it will be obvious that Miss Streisand's voice is as strong and expressive as ever. Take it from someone whose hippocampus will forever be imprinted with the jingle-jangle of Miss Streisand's 1967 Christmas album, which spun on vinyl in the childhood home of this reviewer every December without fail. I'd notice if there were a crack in her 63-year-old armor.

The same hardiness can't be attributed to Mr. Gibb's songs, however. The head Bee Gee brother composed new material with sons Ashley and Stephen (in addition to co-producing the album) but had to cherry-pick old songs such as "(Our Love) Don't Throw It All Away," which was written for and recorded by the late Andy Gibb, and "Letting Go," a decades-old tune from a movie soundtrack.
The gentle Latin shuffles "Hideaway" and "Above the Law" sound strained next to the epic American pop of "Without Your Love" and "Golden Dawn." In contrast, Miss Streisand and Mr. Gibb wear the classic soul/R&B arrangements of "Come Tomorrow" and "It's up to You" more lightly.

A lowlight is the vaguely topical "All the Children" ("Stand up/Freedom is the message in your song"), with its plastic Middle Eastern rock sheen. "Stranger in a Strange Land," also obliquely about current events, is a straightforward adult-contemporary ballad and, not surprisingly, the much better song.
Of the 11 tracks here, only "Night of My Life" is wince-inducing. With electro-pop percussion, warbled vocal effects and trippy lyrics such as "Closer/sight and the sound/roller coaster/that merry-go-round," it's hard to imagine why Mr. Gibb thought the song appropriate for a traditionalist such as Miss Streisand.
It's the one tune on a pleasant album that will oblige you to ask your cubicle neighbor to turn down her radio, please.

By Scott Galupo

Seattle Post Intelligencer

GRADE: B+

Event records for the 35-plus set come about as often as the locusts, but Streisand's reunion record with Barry Gibb is as big as they get. Twenty-five years after "Guilty," Gibb again elicits the very best from the songbird -- not only the sky-high vocal delivery that made her famous, but also a rare, indulgent playfulness. Aside from several creamy MOR love and heartbreak songs, Streisand serves up the dance ditty "Night of My Life," already remixed into a dance-floor hoot; the doo-wop lite "Come Tomorrow," one of two duets with Gibb; and the lovely Bee Gees cover "(Our Love) Don't Throw It All Away." But nothing beats Streisand belting a ballad, and "Stranger in a Strange Land" and "Golden Dawn" are nothing less than classics. (Billboard)

Special thanks to Dick Guttman / Rachelle Brehm - and everyone at The Barbra Streisand Forum.

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