I started listening to Streisand in 1980 with her "Guilty" album and it took a long time before I was able to appreciate the unique magic of her earliest recordings (e.g "The Second Barbra Streisand Album"). "A Love Like Ours" is the best of two worlds for me, it matches her more mature vocal of today with classics songs new and old, like "Isn't It A Pity" and "If You Ever Leave Me". I am hoping that if Barbra does release a 3rd single that "If I Didn't Love You" is it, I just can't get Barbra's beautiful lower notes out of my mind! Naturally, I would love to hear Barbra also record an album of new contemporary music, even to have some of her songs remixed for club play... but I have to say that those who are reviewing this album negatively have very little real sense of exactly what kind of music made Barbra famous in the first place. Personally, I am looking forward to seeing Barbra perform some of these new songs at her New Years Eve concert! Thanks for never letting us down Barbra! This album will surely shine as one of your very best works!

I was a mere lad when my entire family sat around our black & white tv on a Sunday night and once again tuned in to "The Ed Sullivan Show." Ed introduced this gangly, strange looking girl...I remember my dad saying: "Boy...she's homely! " My two sisters & mom were already ripping apart her hair and fashion statement. Then...the VOICE. I looked around the room at my parents, then my siblings, even my younger brother...they were ALL silent! Out of this strange, eccentric looking girl came this voice. My mom and oldest sister were obviously spellbound. As Barbra came to her crescendo, then haunting conclusion, my very macho dad, just barely audible, exclaimed: "My God, can that girl sing." I glared at my sisters & my brother, then mom & dad again & then was distracted by what had to be tumultuous, thunderous applause...maybe her very first standing ovation? I'd never seen such a thing! My mom said to my sisters:"That young lady has her wagon hitched to a star...she's going to be the next Judy Garland." The Beatles hadn't quite arrived yet, but I was singing along with "The Four Seasons" and Lesley Gore...those who remember the very early 60's remember the tunes well. But, that evening, sitting spellbound with my family, I fell in love with a girl who was 9 years older than me! My entire family did as well. Years later, we saw the girl again in "Funny Girl." My dad managed to get us all tickets to see the voice in action! It was an evening I shall remember forever...This time, my entire family joined in that ovation at the end. It was her very last night as Fanny Brice. Tears flowed from the stage out to the audience. The girl had them all...her tears were poignant; no one wanted the evening to end. As a young teen now, I remember holding my ears at one point because the applause was so deafening. Barbra was leaving Broadway and the crowd refused to let her go! The Tony, the Emmy, the Grammy, the Golden Globe, the Oscar...say it all. 40 years later, I'm still in love with the greatest entertainer in U.S. history. This CD is but one more example of her brilliance...and that VOICE.

No matter how legendary she might be, Streisand still has it hard -- some fans want her to stick to orchestral ballads, while others complain that she is playing it safe; some want her to catch up with the times, while others will accuse her of overstepping her boundaries musically. But above all-- and this has been pointed out countless times-- she has that mysterious ability to evoke mean-spirited quips by those who form opinions of her and her music before they write a review (as many of the below reviews prove.

On A Love Like Ours, Streisand-- contrary to the popular assertion that her vocal quality has deteriorated and that this latest work is self-congratulatory-- projects a sincerity and passion for words that is woefully missing in a pop music world where caterwauling equals talent. On Isn't It a Pity and I've Dreamed of You, her voice remains calm and crystalline and when she belts a note, the listener feels that she is doing so to project her innate passion for the lyric, and not merely because she is trying to dazzle us with her vocal prowess. And on If I Never Met You and Wait, she shows a delicacy for phrasing that rivals Sinatra and Fitzgerald.

My advice to those who buy this album: give it a few listens and don't judge it based on your perception of Streisand's off-stage persona. In doing so, you will understand why it is that Streisand is in a league of her own.

Isn't it a pity that there are people out there (such as the reviewer below me and other hacks) who think that good singing depends upon how high and loud you can hit a note? Of course, Streisand detractors oftentimes suffer from taste deficit disorder-- victims of the more-is-more mentality that pervades the music scene.

But on to a more interesting topic: Streisand's album, which is further proof of her ability to give even the most trite, sentimental lyrics nuance and shading. Contrary to Ricky Wright's assessment that the title track is overly emotive, "A Love Like Ours" perfectly encapsulates the virtues of Streisand's singing throughout this album: it is sung with a moving straightforwardness, devoid of excessive vocal thrills and sung straight from the heart.

This is one of those albums that may disappoint you the first time you hear it. At first listen, you may only hear the sentimentality and be quick to dismiss it as a schmaltz-fest (as many critics did). But with repeated listens, you will find yourself struck by the sweet-yet-unadorned imtimacy of "We Must Be Loving Right" and "Isn't It a Pity?" as well as the enduring vocal power made clearly evident on the Arif Mardin-produced tracks "It Must Be You" and "Just One Lifetime." And although you might initially percieve this album as an unremarkable collection of Prozac-happy love songs, take a good listen at "If I Didn't Love You," "Wait," "If I Never Met You," and "If You Ever Leave Me," and you will hear a voice imbued with hard-earned wisdom and true vulnerability.

In an era where female singers are liberally termed "divas" simply because VH1 tells us they are, it's nice to know that we still have singers such as Streisand who prove that intelligence and consideration of lyrics and phrasing go a long way in earning such a lofty title.

Although not quite as commercially successful BACK TO BROADWAY or HIGHER GROUND (both of which hit #1 and went multi-platinum), A LOVE LIKE OURS was still a certifiable hit, peaking at #6 on the Hot 200 and going Platinum within a month. This is Barbra's first contemporary pop album since 1988's TILL I LOVED YOU, and she delivers a recording that is very melodic and entertaining.

The disc's biggest asset is Barbra's voice - she sounds absolutely incredible! I thought she sounded great on HIGHER GROUND, but here she sounds even better. Without a doubt, this is the best she has sounded since her peak-years in the early `80's. She has also selected a slate of songs that are significantly stronger than on some of her past pop outings. The production is also well done - even with seven producers credited, it sounds remarkably cohesive for this type of record. Many of the best tracks were produced by Barbra herself, including the hit "I've Dreamed Of You" (#24 Pop), the lovely "Wait" (which was written by Michael Legrand and the Bergmans), and Barbra's fantastic new rendition of the FUNNY GIRL standard "The Music That Makes Me Dance," which easily eclipses the original 1964 version.

Barbra successfully ventures into some new territory with her delightful, jazz-infused cover of country music star George Strait's "We Must Be Loving Right," and country vocalist Vince Gill drops by for the Richard Marx-penned "If You Ever Leave Me," which is an above-average MOR recording. Even Walter Afanasieff (whose work I don't always care for) comes up a winner with the blissfully sensual track "The Island." My personal favorite tracks were produced by Arif Mardin - "It Must Be You," written by Steve Dorff and Stephanie Smith and "Just One Lifetime," by Melissa Manchester and Tom Snow. Both songs are soaring ballads (with just the right amount of sentiment), and Barbra performance of these songs are two of the best vocals she's given since 1985's THE BROADWAY ALBUM.

Unfortunately, most music critics unfairly panned the album (most of their negative comments focused on the gushy photos of Streisand and husband James Brolin rather than on the actual music itself), and it is usually not considered one of her best efforts. However, the well-chosen songs and outstanding vocals actually make it a slightly better album than HIGHER GROUND, and most listeners would highly enjoy it if they would focus on A LOVE LIKE OURS' music and not it's packaging.