Power, presence, popularity

Press, 29 January 1986, Page 15

Power, presence, popularity

By

ALLAN FRANCIS

BARBRA STREISAND. The Broadway Album CBS SBPBII2. ELAINE PAIGE. Love Hurts. WEA RECORDS 240796-1. With both arch-rivals in top form here, it is hard to fly in the face of public popularity. Nevertheless, I must still plump for Barbra Streisand in both artistic quality and vocal styling. Both singers have power which they use to good effect; Elaine Paige has come a long way since early stage performances which became immense hits on record a few years ago. These uncertain songs paved the way for her current surge of popularity and one is apart to overlook the established art of Streisand. When the latter was in full flight with “Memories” or “A Star is Bom” there were no others to offer competition; “Classical Barbra” reached into a sphere that was unique, if not quite making similar waves of popularity. Both singers have stage presence (as shown by the Tim Rice company that took New Zealand audiences by storm recently) and both use mainly the same repertoire. When Elaine Paige produced her “Memories” and “Stages” the spotlight left Streisand somewhat to focus on the exciting new voice from Britain. Now that the dust has settled, a clearer comparison is possible. Listeners

can evaluate, for themselves the respective artistry these women bring to the party. Both bring that suppressed power to the ballad that Louis Armstrong used with the muted horn; conversly neither are above dredging up old sores such as “Bring in the Clowns.” Record fans who already have tracks from the past albums will recognise plenty of familiar tunes. However, we are assured that all tracks here are newly pressed, and, judging by the sound quality on both discs, this would appear to be the case. Elaine Paige’s programme has little to do with rental cars, but a lot to relate her with the slick, modem ballad. The title track is the work of Boudleaux Bryant, others of note being “Sorry

Seems to be the Hardest Word” from Elton John, “MacArthur Park” by Jimmy Webb and a brace from the Tim Rice stable, “All Things Considered” and “I Know Him So Well.” Miss Streisand’s choice leans heavily towards Stephen Sondheim, with a dash or two of Gershwin, Rodgers and Bernstein, making up a package of Broadway tunes that are fairly predictable, although many are distinctly off the beaten track.

In the latter category the singer must be applauded (and I presume they are her choice), for such numbers as "Not While I’m Around” from "Sweeney Todd,”. “Something’s Coming” from “Westside Story,” “Being Alive” from “Company.” The dated sentimental-

ity of "Somewhere” from “Westside Story” or “If I Loved You” from “Carousel” serve, if nothing else, to show just what a fine singer can make of tunes that have now slipped into yesterday. Her technique is simply superb.

RICHARD HORE. Orchestral Organ. Twelve tracks of popular numbers by Christchurch organist, Richard Hore. RCA VPLI 0480.

An above average selection of everyday tunes from an above average organist makes considerable appeal for easy listening, ranging from show tunes, film music or sing-a-longs.

Richard Hore is one of New Zealand’s most proficient electronic organ players, having already achieved considerable fame in various competitions in Australasia since 1974. He is recognised as something of an authority on the multi-instrumental organ and shows his paces here in expert fashion. A good deal of the organist’s personality comes through his interpretation of some fairly standard tunes, with pleasing variety and some not inconsiderable dedication to an art form he obviously loves. Those who appreciate this style of music for dining or listening to, will love Richard Hore’s interpretation of “Love Me Tonight," “Cavatina,” “Sleepy Shores” and “Memory.”