Easily one of her best post 60s LPs, STONEY END is so unique because for once Barbra leaves behind her supper club/show tunes material and takes a relaxed approach interpreting folk and pop...and to what effect!! All 11 tracks are wonderfully subdued and laid back for Streisand and yet they still bare that stamp of vocal power that has always been her calling card.

This LP is one of the rare moments in Streisand's recording career when seems relaxed, free and not constantly second-guessing herself and her singing. (Unfortunately we haven't seen her this relaxed since.)

A definite must for those who love Streisand's voice, phrasing and diction, but who often tire of her endless renditions of ballads and showtunes drowned in meticulous precision.

Stand out tracks: Her whistful interpretation of Joni Mitchell's "I Don't Know Where I Stand", a nice cover of Gordon Lightfoot's "If You Could Read My Mind", soulful readings of Mann/Weill's "Just A Little Lovin'" and Carole King's "No Easy Way Down" (not as effective as Dusty Springfield's, but still respectable) and an energetic, yet carefree approach to Laura Nyro's "Time and Love" and "Stoney End" the title track.

STONEY END is Streisand's vacation day, and what an exhilirating result when she lowers her guard!

Barbra Streisand arrived as a credible comtemporary artist with the release of this satisfying landmark album which opens with a magically stirring vocal turning Joni Mitchell's "I Don't Know Where I Stand" into a haunting masterpiece! A light and funky arrangement of Laura Nyro's "Hands Off The Man (Flim Flam Man)" make this a winning version while a dramatically stirring performance of Gordon Lightfoot's "If Your Could Read My Mind" is a delightful surprise for its rhythmically involved arrangement and great Streisand vocal. Seductive in her own winning way with the Barry Mann/Cynthia Weill classic "Just A Little Lovin' (Early In The Mornin')" while Randy Newman's "Let Me Go" is the definitive version containing a great Streisand blues vocal. Barbra's wildly successful rocking version of the Laura Nyro classic "Stoney End" is the song responsible for breaking Barbra out of the conservative mold as a singer of "yesterday's songs" into a great singer of songs of any kind with no boundries which allowed Barbra to grow artistically by leaps and bounds. Sung with soulful conviction are fine versions of Carole King's "No Easy Way Down", Laura Nyro's "Time And Love", and the gospel edged riveting rocker "Free The People" is given a frenzied workout and credited to Barbara Keith. Harry Nilsson's "Maybe" and Randy Newman's "I'll Be Home" are sublime ballads which stand tall with Streisands peak work. "What About Today" brilliantly showed Barbra as a credible contemporary singer to fans while "Stoney End" showed this to the world...credit for this incredible accomplishment must also include kudos to the amazing assortment of the "whose who" in the music world who are featured in this landmark work such as arrangers Gene Page, Perry Botkin,Jr., Clas Ogerman, musicians too numerous to list all but including musical legends such as Hal Blaine, Larry Muhoberac, Mike Rubini, Randy Newman, Larry Carlton, and the legendary background vocalists Clydie King, Merry Clayton, Vanetta Fields, Shirley Mathews, Jackie Ward, Toni Wine, Maeretha Stewart, Glenna Session, Eddie Kendrix, Sharone De Vault, & Jerry Cook and this amazing cast was all put together by legendary producer Richard Perry who went on to produce the equally extraordinary "Barbra Joan Streisand" album!!! Bravo to Barbra and everyone connected with this stunning collection...

This was one of the most exciting periods of time for me and many other Streisand fans. Barbra actually had a radio hit with the single "Stoney End" which made its chart debut in mid-October 1970 and ultimately peaked at Number 6 in Billboard. To already have been a Streisand fan and to have friends buying this 45 while pumping up the volume when it came on the radio was absolutely thrilling. My favorite singer was finally getting through to my classmates. It wasn't considered strange to be a Streisand fan at that time because she was such a powerful force in film, TV, concerts and recordings, she couldn't be ignored. Adding a hip quality of music to the movie star was thrilling.

The album kicked off with the delicate Joni Mitchell sonata "I Don't Know Where I Stand" from her 1969 Clouds LP and it was a stunner. We were just learning and hearing the brilliance of Mitchell and this was pre Blue, For The Roses and Court And Spark! Barreling right into Laura Nyro's "Hands Off The Man (Flim Flam Man)" was hearing Barbra as easy at home with the uptempo contemporary number as she had been with her standards and ballads she had been singing for eight years. And this wasn't a shock to our systems, it was Barbra singing this "modern" song with such confidence, you'd swear she had been holding out on us. Gordon Lightfoot's "If You Could Read My Mind" was a radio hit when Barbra released this album and I wouldn't say that she topped Lightfoot's own song, she just gave it HER unique spin which was splendid. "Just A Little Lovin'" was always a favorite, especially since I was familiar with it from Dusty Springfield's masterpiece Dusty In Memphis from a couple of years prior. But Barbra's take on it sent me over the moon. It became an early favorite of mine at first listen and still remains one of my favorite Streisand recordings. It was subtle and sexy and this was the new Streisand that was represented on this album. Randy Newman's "Let Me Go" was an interesting choice and it brought out an even more experimental side of Barbra that I hadn't heard until I heard this rendition. Then, of course, the title track fit smack dab in the middle -- and what's to be said? It was the perfect song at the perfect time sung by the perfect singer. Everything worked. I mean everything! The melody and that fantastic hook all fell into place. Another Laura Nyro jewel that was perfected by the consummate singer. And to think (For those old enough to have owned the album) that just closes out Side One!

Side Two picked up with the Goffin/King sweet soul inspiration of "No Easy Way Down" and Barbra's vocal soared over the arrangement making it one of the best "rock 'n soul" recordings of her career. Nyro's "Time And Love" was released as the follow-up to "Stoney End" and though it didn't chart as well, the proof was in the pudding - or in this case -the song. She belted this one out of the park as easy as the previous selections and it further cemented her place for a pop radio audience. Harry Nilsson's "Maybe" was Barbra at her comedic and her dramatic best. The tour de force performance brought out the best of this quirky arrangement and Barbra established it as her own. It was the perfect balance to the pop, rock and soul that we had already heard. "Free The People" was an attempt at Barbra's gospel efforts and it worked. The song wasn't oversung and the message was abundantly clear. Closing out the album is Randy Newman's "I'll Be Home" and it's one of the most understated and spectacular recorded performances laid down on vinyl for this powerhouse vocalist. There weren't any vocal acrobatics, just Barbra's simple vocal that sends tingles down my spine. Purity never sounded so pure.


Speaking of purists, it's no wonder that Barbra's critics embraced this album with open arms. Barbra has recorded 61 albums, but this solo outing was a new beginning and it opened up a whole new audience to appreciate her God-given talent.

It's said that Barbra was nervous and hesitant about performing these songs before producer Richard Perry reassured her several times (along with several late night phone calls from Barbra) that this was going to be "something special." Those two words would prove to be an understatement. Thirty-five years after the album was released, Stoney End is still ranked as one of the finest albums of Streisand's discography as well as a milestone for this "actress who sings."

Streisand may not intially have wanted "to go down the Stoney End," but I, and throngs of fans, are ultimately glad that she did.

Barbra Streisand's transition into mainstream pop was not an easy one. Having carved a niche singing decades-old standards, costuming herself in flowing gowns, Cleopatra eye make-up, and sky-high hairdos, she had established what the public expected of Streisand.

But she was unsatisfied. After sticking her big toe into the waters of pop-rock wih the ill-received "What About Today?" album, she jumped headlong into Carole King, Gordon Lightfoot, and Arethra Franklin territory. The results are stunning.

"Stoney End" opens with "I Don't Know Where I Stand," by Joni Mitchell. Streisands velvet shudder renders the song haunting and beautiful. Later, she attacks "If You Could Read My Mind," not with the complacency of a guitar-strumming balladeer, but with fully-orchestrated anger and sarcasm. On this cut, her timing and phrasing are never better. Clipping off ends of words and stanzas, she evokes the feel of a woman left teeter-tottering on the chasm created by emotional abandonment. Later cuts, such as "Free the People" show the singer's ability to handle spirituals, previously thought to be the territory of black singers. While Streisand doesn't attempt to "sing black," she uses all her dramatic resources to pull the meanings out of these songs with all the fire and veracity of Aretha Franklin in top form.

All in all, the album is mixed bag. Yet, all the ingredients are pleasing -- standing well alone, and yet adding a perverse sense of continuity to the whole project. When Streisand ends the disc with the lovely "I'll Be Home," one is easily reminded of the ability this great lady has to caress the listener's ears with her incredible smoothness and control.

This may be a mixed bag, but nothing in it could possibly offend anyone. Miss Streisand seems to finally be comfortable in her own skin -- a young, vital woman singing of issues and feelings that affect the young. Perhaps, more than ever, she is where she belongs.

This and Barbra Joan Streisand are my favourites (perhaps along with Funny Girl and The Broadway Album - the latter for the Sondheim interpretations) I was a teenager when this came out and I wore out the vinyl, and I still love listening to it for all the reasons other reviewers have mentioned! Wish she would sing more of this material in concerts.