Emotion 1984 Album

Streisand / Discography

Emotion (1984)

Emotion original album cover, scan by Kevin Schlenker.
Below: Gallery of album back cover and CD artwork .... Click arrows to navigate.

  • ABOUT THE ALBUM
    • Released: October 1984
    • Executive Producer: Charles Koppelman for the Entertainment Music Company in Association with Barwood Productions
    • Recorded at: The Record Plant (Hollywood, Calif.); Evergreen Studios (Burbank, Calif.); Studio 55 (Los Angeles, Calif.)
    • Production Coordinator for Barbra Streisand: Kim Skalecki
    • Production Coordinator for The Entertainment Music Company: Linda Gerrity
    • Mastered by: Stephen Marcussen at Precision Lacquer (Hollywood, Calif.)
    • Mastering Supervised by: John Arrias
    • Front Cover Photography: Greg Gorman
    • Back Cover Photography: Steve Schapiro
    • Barbra's Thank Yous: “I'd like to thank John Arrias for all his help, and a special thank you to R and the two J's for their constant love and support. B.”




  • CATALOG NUMBERS
    • OC 39480 (1984 LP)
    • OCA 39480 (8-Track Tape)
    • OCT 39480 (Cassette)
    • CK 39480 (CD)





  • CHARTS
    • Debut Chart Date: 10-27-84
    • No. Weeks on Billboard 200 Albums Chart: 28
    • Peak Chart Position: #19
    • Gold: 12/18/84
    • Platinum: 12/18/84

    Gold: 500,000 units shipped


    The Billboard 200 is a ranking of the 200 highest-selling music albums in the United States, published weekly by Billboard magazine.


Tracks

  • Emotion [4:59]

    Written by: Peter Bliss


    Produced by: Richard Perry


    Track Engineered by: Gary Skardina


    Vocals & Overdubs Engineered by: John Arrias


    Remixed by John Arrias


    Additional Engineering: Alex Schmoll & Roger Paglia


    Recorded & Mixed at Studio 55 (Los Angeles, Calif.)


    Date Recorded: June 24, 1985


    Drum Machine programmed by: Peter Bliss


    Bass: Nathan East


    Guitars: Peter Bliss, Howie Rice, Dennis Herring


    Synthesizers: Howie Rice, Steve Mitchell, Richard Ruttenberg


    Percussion: Paulinho da Costa


    Background Vocals: The Pointer Siters (Anita, Ruth, & June)


    Barbra's track notes: “It was a real kick to have The Pointer Sisters sing with me on this record. Thank you, Anita, Ruth and June. Love, Barbra.

  • Make No Mistake, He's Mine (Duet with Kim Carnes) [4:12]

    Written by: Kim Carnes


    Produced by: Bill Cuomo and Kim Carnes


    Track Recorded at Record One (Sherman Oaks, Calif.)


    Date Recorded: June 21, 1984


    Engineer: Niko Bolas / Second Engineer: Richard Bosworth


    Additional recording at: Ocean Way Studios (Hollywood, Calif.)


    Engineer: Rik Pekkonen / Second Engineers: Judy Clapp & Steve Krimmel


    Strings Recorded at: Evergreen Studios (Burbank, Calif.)


    Engineers: John Richards & Mike Hatcher


    Mixed at Studio 55 (Los Angeles, Calif.)


    Mixed by: John Arrias / Second Engineer: Glen Holguin


    Piano: Bill Cuomo


    Bass: Leland Sklar


    Drums: Gary Mallaber


    Guitar: Craig Hull


    Strings & Synthesizer: Bill Cuomo


    Cello: Ray Kelly


    Strings Arranged by: Bill Cumo


    Concertmaster: Sid Sharp

  • Time Machine [4:54]

    Written by: Maurice White, Martin Page, Brian Fairweather


    Produced by: Maurice White for Kalimba Productions


    Recorded at The Complex Studios (West Los Angeles, Calif.) and Sound Castle Recording Studios (Los Angeles, Calif.)


    Date Recorded: May 17, 1984


    Recorded by: Jeremy Smith and Dennis McCade


    Asst. Engineers: Mitch Gibson, Sharon Rice, Paul Ericksen, and Murray Dvorkin


    Keyboards: Robbie Buchanan and Michel Colombier


    Synthesizers & Synthesizer Programming by: Robbie Buchanan / Additional Synthesizer Programming by: Gary K. Chang


    Drums: John Robinson


    Bass: Abraham Laboriel


    Guitar: Paul M. Jackson, Jr.


    Percussion: Paulinho da Costa


    Background Vocals: Maxine Waters Willard, Julia Waters Tillman, Clydene Jackson Edwards and Maurice White


    Vocal Arrangements by: Maurice White


    Horn Arrangements by: Robbie Buchanan


    Rhythm Arrangements by: Martin Page, Brian Fairweather, and Maurice White



  • Best I Could [4:20]

    Written by: Bobby Whiteside, Richard Parker


    Produced by: Charles Koppelman and Barbra Streisand


    Engineered by: John Arrias


    Recorded Live at Capitol Recording Studio “A” (Hollywood, Calif.)


    Date Recorded: May 21, 24, 1984


    Assistant Engineer: Hugh Davies


    Mixed at Studio 55 (Los Angeles, Calif.)


    Assistant Engineer: Glen Holguin


    Additional Recording: The Village Recorder (Los Angeles, Calif.)


    Piano/Rhodes: Ed Tossing


    Drums: Tom Radtke


    Guitars: George Doering, Bruce Gaitsch


    Bass: Bob Lizik


    Synthesizer: Randy Waldman


    Percussion: Steve Forman


    Drum Programmer: Vince Gutman


    Arranged & Conducted by: Bobby Whiteside


    Concertmaster: Andre Granat

  • Left In The Dark [6:19]

    Written by: Jim Steinman


    Produced by: Jim Steinman


    Engineered by: Neil Dorfsman


    Associate Producer: John Jansen


    Recorded at The Power Station (New York); and The Village Recorder (Los Angeles, Calif.)


    Date Recorded: June 18, 1984


    Assistants: Bruce Lampcov, Dave Greenberg, Nelson Ayres, and Steve Hirsch


    Mixed by: Neil Dorfsman, John Jansen and Jim Steinman at The Power Station (New York)


    Production Coordinator: Don Ketteler


    Piano: Roy Bittan


    Drums: Max Weinberg


    Synthesizers: Larry Fast


    Lead Guitar: Rick Derringer


    Bass: Steve Buslowe


    Percussion: Jimmy Maelen


    Additional Guitars: Jeffrey Southworth


    Background Vocals & Arrangements: Rory Dodd, Holly Sherwood and Eric Troyer


    Arranged by: Jim Steinman

  • Heart Don't Change My Mind [4:54]

    Written by: Diane Warren, Robbie Buchanan


    Produced by: Maurice White for Kalimba Productions


    Recorded at The Complex Studios (West Los Angeles, Calif.) and Sound Castle Recording Studios (Los Angeles, Calif.)


    Date Recorded: June 22, 1984


    Recorded by: Jeremy Smith and Dennis McCade


    Asst. Engineers: Mitch Gibson, Sharon Rice, Paul Ericksen, and Murray Dvorkin


    Keyboards: Robbie Buchanan and Michel Colombier


    Synthesizers & Synthesizer Programming by: Robbie Buchanan / Additional Synthesizer Programming by: Gary K. Chang


    Drums: John Robinson


    Bass: Abraham Laboriel


    Guitar: Paul M. Jackson, Jr.


    Percussion: Paulinho da Costa


    Background Vocals: Maxine Waters Willard, Julia Waters Tillman, Clydene Jackson Edwards and Maurice White


    Guitar Solo by: Dann Huff


    Vocal Arrangements by: Maurice White


    Horn Arrangements by: Robbie Buchanan


    Production Staff for Maurice White: Geri White, Leonard Smith and Chip Croop

  • When I Dream [4:40]

    Written by: M. Colombier / K. Wakefield / R. Baskin


    Produced by: Maurice White for Kalimba Productions


    Recorded at The Complex Studios (West Los Angeles, Calif.) and Sound Castle Recording Studios (Los Angeles, Calif.)


    Date Recorded: May 21, 24, 1984


    Recorded by: Jeremy Smith and Dennis McCade


    Asst. Engineers: Mitch Gibson, Sharon Rice, Paul Ericksen, and Murray Dvorkin


    Keyboards: Robbie Buchanan and Michel Colombier


    Synthesizers & Synthesizer Programming by: Robbie Buchanan / Additional Synthesizer Programming by: Gary K. Chang


    Drums: John Robinson


    Bass: Abraham Laboriel


    Guitar: Paul M. Jackson, Jr.


    Percussion: Paulinho da Costa


    Background Vocals: Maxine Waters Willard, Julia Waters Tillman, Clydene Jackson Edwards and Maurice White


    Saxaphone Solo by: Earl Lon Price


    Vocal Arrangements by: Maurice White


    String Arrangements by: Michel Colombier


    Production Staff for Maurice White: Geri White, Leonard Smith and Chip Croop

  • You're A Step In The Right Direction [3:54]

    Music by: John “Cougar” Mellencamp


    Lyrics by: Barbra Streisand


    Produced by: Albhy Galuten


    Engineered by: Jack Joseph Puig


    Additional Engineering by: Don Gehman


    Assistant Engineers: David Schober, Judy Clapp, Mark Ettel, and Greg Droman


    Recorded at Bill Schnee Sutio, Ocean Way Recording, and Rumbo Recorders (Los Angeles, Calif.)


    Date Recorded: June 21, 1984


    Mixed by: Jack Joseph Puig, Don Gehman and Albhy Galuten


    Production Coordinator: Ivy Skoff


    Drums: Russ Kunkel


    Bass: Nathan East


    Guitar: Steve Lukather, Don Felder


    Keyboards: Albhy Galuten, James Newton Howard


    Vocal Synthesizer: Albhy Galuten


    Percussion: Joe Porcaro


    Background Vocal: Monty Byrom

  • Clear Sailing [3:56]

    Written by: Peter McIan, Anne Black Montgomery


    Produced by: Albhy Galuten


    Engineered by: Jack Joseph Puig


    Additional Engineering by: Don Gehman


    Assistant Engineers: David Schober, Judy Clapp, Mark Ettel, and Greg Droman


    Recorded at Bill Schnee Sutio, Ocean Way Recording, and Rumbo Recorders (Los Angeles, Calif.)


    Date Recorded: June 24, 1984


    Mixed by: Jack Joseph Puig, Don Gehman and Albhy Galuten


    Production Coordinator: Ivy Skoff


    Keyboards: James Newton Howard, Albhy Galuten


    Vocal Synthesizer: Albhy Galuten


    Strings Arranged by: Albhy Galuten, James Newton Howard

  • Here We Are At Last [3:20]

    Music by: Barbra Streisand


    Lyrics by: Richard Baskin


    Produced by: Richard Baskin & Barbra Streisand


    Engineers: Mick Guzauski, Ed Cherney, John Arrias


    Assistant Engineer: Paul Wertheimer


    Recorded at The Record Plant (Hollywood, Calif.); Evergreen Studios (Burbank, Calif.); and Studio 55 (Los Angeles, Calif.)


    Date Recorded: unknown


    Production Coordinator: Kim Skalecki


    Drums: John Robinson, Vinnie Colaiuta


    Bass: Neil Stubenhaus


    Guitar: Paul Jackson, Jr.


    Volume Pedal Guitar: Art Johnson


    Saxophones: Jerry Peterson, John Phillips


    Synthesizer: Robbie Buchanan, Michel Colombier


    Rhythm Arrangement by: Michael Colombier


    Orchestra Arranged and Conducted by: Lee Holdridge


    Concertmaster: Sid Sharp

About the Album

Columbia Records ad for Barbra's album, Emotion.

Emotion was Barbra Streisand’s first pop studio album since 1980’s huge hit, Guilty. Barbra was busy for three years producing, writing, directing, and starring in her movie passion project, Yentl, and it was now time to return to the studio for a new album for Columbia Records. 


The Emotion album may have suffered from “too many cooks in the kitchen” and an abundance of producers (nine), whereas Guilty had the singular vision of Barry Gibb.


Streisand and her team began collecting songs for the album. One song considered was by Roger Edelman and titled “Over and Over (Am I Strong Enough).” Also considered was “Why Let It Go?” (which was used, instead, on 1988's Till I Loved You album). Meetings were held with Styxx's Dennis DeYoung to record his song, “The First Time” and a new song he was to write for Streisand. Another song, “Dreams on Hold” (writer unknown), was also worked on.


Ironically, the title track, “Emotion,” was the last to be recorded. Richard Perry (Stoney End; Barbara Joan Streisand albums) was brought in to produce it. He tried to replicate Peter Bliss’ original demo tape for Barbra’s version of “Emotion.” Bliss told The Barbra Streisand Music Guide, “Only three days into our recording sessions during the last week of June, Barbra arrived to sing. The track I did in the studio for Barbra was three keys higher than the demo, and I sang the guide vocal for her,” he recalled. “She had a little difficulty finding the phrasing of the song in her first four run-throughs. She took me aside in the control room and asked me to be honest with her regarding her performance. Barbra commented on how great she thought my voice was (something I wish I had on tape) and listened carefully to my instructions. Finally, she thanked me for the song itself and my honesty, then proceeded to sing it better than ever. Because it felt right to Barbra and me, I didn’t mind Barbra changing my line, ‘Sometimes I need to turn the beat around’ to ‘Sometimes I need to turn it all around.’”

Kim Carnes and Barbra Streisand. Photo by: Steven Schapiro

“Make No Mistake, He’s Mine,” a duet with Kim Carnes, was recorded June 21, 1984 at Bill Schnee Studios.


Kim Carnes told Rolling Stone that “ Barbra Streisand had already cut two songs of mine, ‘Love Comes From Unexpected Places’ and ‘Stay Away.’ I'd gotten a call from Jon Peters [Streisand's then-manager] to write a duet to sing with her. While I was extremely flattered, I said, ‘Let me think about it. I'll try my best.’ As I hung up the phone, I thought, ‘That is so bizarre and it will never work in a million years because our voices are so different. I can't pull this off.’”


But Carnes persisted at the piano and admitted “an hour later the song was written. It's a love triangle and these two girls are singing back and forth to each other about being in love with the same dude. It just wrote itself. I knew as I sang it that it was the perfect song for Barbra's voice and for my voice. I could sing it the way I sing ballads. She could sing it the way she sings ballads. Nobody had to be another person.”


Producer Bill Cuomo and Carnes created a demo the next day and Streisand loved it ... and invited them to her home to rehearse.


“It's just the three of us,” Cuomo said. “I'm in her living room playing piano. I got Barbra and Kim singing. You could have hit me with a feather and knocked me off that piano stool! I'm listening to them sing and I'm thinking, Oh, man! This is going to be great. It was just fantastic. It was like they were whispering in your ear.”


Cuomo explained that “Barbra loved the demo and the string/synth parts so much that she wanted the exact feel on the master only with a real orchestra,” he said. “[Kim] and Barbra sounded amazing together,” said Cuomo. “It was like silk and gravel, in a sense. It worked great.”


Incidentally, the song was re-recorded as “Make No Mistake, She’s Mine” by Ronnie Milsap and Kenny Rogers. The male version hit number one on the Country charts in 1987.


“When discussing any album by Barbra Streisand, it would be somewhat redundant to mention her unquestionable vocal talents. The issue then becomes the material itself, which in this case is dominated primarily by soft, emotional ballads from a variety of writers and producers, including Kim Carnes, Richard Perry and Streisand herself. Overall, there appears to be little doubt that Emotion is destined for tremendous retail and radio success.



....Cash Box Magazine


R&B/pop legend Maurice White produced three tracks on Emotion: “Time Machine,” “When I Dream,” and “Heart Don’t Change My Mind.”


White was the leader of the Grammy-winning group Earth, Wind & Fire. “I was brought in at the very end of the project,” White wrote in his 2016 memoir, My Life with Earth, Wind, & Fire . “Columbia felt it did not have a strong first single. For a project like this, in many cases, the company will give you the songs it wants you to record. That wasn't the case this time. I was kind of shocked that they didn't have it together; this was Barbra's first studio/pop album since Guilty in 1980. I had to find the songs and get going in a hurry.”


Maurice White explained that they recorded five songs for Emotion but only released three. (The unreleased songs: “When the Lovin’ Goes Out of the Lovin’” and "How Do You Keep the Music Playing?")


He recalled driving to Streisand's house in Malibu to pitch the idea of “Time Machine” — the song he wrote with Martin Page, Brian Fairweather — to Barbra. “I explained that it was a story about having the ability to look back over your life and understand its changes, the theme being that your life makes sense in the end.”


Martin Page recalled that “it was a thrill to go to Streisand’s home to do some pre-production. When she entered the room she immediately gravitated to Brian [Fairweather] and me — she loved our irreverent humor and we got on with her like ‘a house on fire.’’


White enjoyed working with Streisand in the recording studio. “Streisand is a perfectionist, and so am I, and I was happy with our work ... Streisand doesn't need any particular producer to do a good record. The bell-like purity of her voice stands alone in pop music.”


Maurice White was ultimately frustrated that Columbia never released his tracks as the album's singles. “They could have been hits,” he told the L.A. Times , “I know it. I talked to Columbia about it but they didn't have the final say on the selection of singles. The whole thing was very frustrating.”

The pink sweater that Barbra wore on the cover of Emotion.
On top of that, White was upset that Barbra “had gone back into the studio and remixed my songs. This was after I thought they were completely finished,” White explained. “They snuck back and did it and didn't tell me. I wasn't happy with that at all. Obviously she didn't like the way she sounded. That I can understand. But if you change my work at least have the courtesy to let me know.”

Barbra's engineer, John Arrias, told writer Karen Swenson that on the song “Heart Don't Change My Mind,” “Maurice [White] was in San Francisco working on another project and he couldn't come down to work on it, so we called him. Barbra wanted a certain section of the song to have a short string passage ... and at the end of the song she wanted her vocal to continue with the orchestra—Maurice had turned her vocal off.”

Jim Steinman wrote “Left In The Dark.” Steinman had hits by Bonnie Tyler (“Total Eclipse Of The Heart”) and Celine Dion (“It’s All Coming Back To Me Now”). Steinman’s fans, however, were divided over Streisand’s version of “Left in the Dark.” Meatloaf, who recorded the song in 1995, was not a fan of Barbra’s cut. “The first time I heard ‘Left in the Dark’ I laughed. I’ve never heard a song that pointed about jealousy. When Barbra Streisand did it, she just blew right by it.”

“Heart Don’t Change My Mind” by Diane Warren and Robbie Buchanan was one of the stand-out tracks on Emotion. “Diane actually wrote a lot of the melody,” Robbie Buchanan told Barbra Archives. “I wrote all the music, and then she started messing with the melody based on that music and then we finished the melody together and she wrote all the lyrics. That’s the first song I ever wrote with her, actually.”
Boots worn on back cover of album.
Streisand, photo by Steve Schapiro.
“You’re A Step in the Right Direction” featured music by John Mellencamp and lyrics by Barbra Streisand—her first lyrics on an album since co-writing “Wet” in 1979 and “Don’t Believe What You Read” in 1977.

Monty Byrom (sounding a bit like John Mellencamp) performed the background vocals on “You’re A Step” and enacted the spoken bridge on this song:

Streisand: Now listen baby…

Byrom: What do ya want?

Streisand: I’m sure glad you came along.

Byrom: That’s nice.

Streisand: But don’t push your luck honey.

Byrom: Who me?

Streisand: Mm-hmm, ‘cause our love is not that strong!

“I’ve had to live that one down ever since,” Byrom wrote on his web site. “Three years earlier I’m hangin’ with the Grateful Dead and recording Brent Mydland's solo record... To most of my fans it must have seemed like the ultimate sellout but, hey! Babs was just trying to break into the MTV crowd and I was just young and broke enough to accommodate her. They paid me A LOT of MONEY!!!”

John Mellencamp revealed in an interview that Streisand “wanted me to produce that album for her,” he said. “And I just wasn’t up for the task of making, you know, an entire record. I was on tour. I had other things that I was doing. And then all of a sudden, you know, Barbra Streisand wanted me to produce this record, and it was like, ‘Wow, I don’t know if I can do that or not. I think you can probably find somebody better to do that than me.’” 
But Streisand persisted and asked Mellencamp to write a song with her. “I was in L.A. and, so, I went over to her house about — for maybe, I guess, a week, and we messed around with the song,” said Mellencamp. “And she was quite — you know, I got to say, of all the people I’ve ever written with, she was the most fun.

“You know, you don’t become Barbra Streisand and not be colorful and charming and witty and, you know, be able to get what you want from somebody. And she was — of all the people I’ve ever met, she was the most — I guess the word could be manipulative, too,” Mellencamp stated. “But I didn’t mind, you know … the thing that I remember about her more than anything was she was so beautiful. I had no idea that she was so beautiful just in an exotic physicality — skin. You know, that nose was so — she was just so beautiful, and when she smiled. And then I walked out after the experience and go, ‘I know why she’s Barbra Streisand now.’ Because she just had it. I mean, she was captivating for me sitting in a room just bullshittin’ with her. She was great.”

Barbra wrote “Here We Are At Last” with her boyfriend, Richard Baskin. “I’d originally written the melody as a theme for The Main Event,” Streisand wrote in her Just For the Record liner notes, “but put it on the shelf after recording an uptempo song, which was more appropriate for a comedy. Eventually, my friend Richard Baskin put lyrics to it, and the song found a home on my Emotion album. The melody for ‘Here We Are At Last’ underscores a bar scene in Nuts.”

Emotion peaked on the Billboard charts at number 19. Although it’s commonly accepted that Emotion was a dud for Streisand, it should be noted that it was awarded platinum status by the Recording Industry Association of America – meaning that it sold more than 1,000,000 copies.

Singles ...



“My Emotion” 

by Peter Bliss

Note: This article originally appeard on Mark Iskowitz's Barbra Streisand Music Guide site, which is no longer online. It appears on this page with Mark's permission.


I had the greatest thrill of having Barbra Streisand sing and record my song "Emotion" in 1984. I had previously released a solo album on United Artists Records and was writing songs primarily for myself. I can't remember if there was any particular thing that made me write this song. It really isn't a love song, but more about the need to feel alive. I was lucky to work with another music great, producer Richard Perry, helping to fashion the record from my original demo. I worked with Barbra on her very first vocal session of the song before The Pointer Sisters and all the synths were added. What an amazing voice!


In May-June 1984 I was working with Rondor Music as a songwriter and had written a song called "Emotion," which Rondor immediately brought to Richard Perry. He loved the song and placed it with Burton Cummings (formerly of The Guess Who) whom he was about to begin recording. Two weeks later, Barbra called Richard to ask if he would produce some music for her new album. He agreed, submitting my "Emotion" demo tape and four others. She chose "Emotion," and they were very excited, because it was one of the few uptempo songs they had for her album. I produced the demo in my home studio, singing and playing all the instruments, except for the signature horn figure, which my good friend and talented synthesist, Irwin Fisch, performed.


Within two weeks, I flew to Studio 55 in LA. Richard believed in the magic of my original demo and attempted to recreate the tracks as closely as possible and built from there. This was a key to his successful work on The Pointer Sisters records. Again, with Richard, as on the demo, I played guitar, including a similar solo, and programmed the prominent drum machine. Only three days into our recording sessions during the last week of June, Barbra arrived to sing. The track I did in the studio for Barbra was three keys higher than the demo, and I sang the guide vocal for her. She had a little difficulty finding the phrasing of the song in her first four run-throughs. She took me aside in the control room and asked me to be honest with her regarding her performance. Barbra commented on how great she thought my voice was (something I wish I had on tape) and listened carefully to my instructions. Finally, she thanked me for the song itself and my honesty, then proceeded to sing it better than ever. Because it felt right to Barbra and me, I didn't mind Barbra changing my line, "Sometimes I need to turn the beat around" to "Sometimes I need to turn it all around." "Emotion" was more R&B than dance on my demo, and only upon leaving LA during the initial sessions did it begin to take on its synth dance arrangement. Once the song grew with instrumental overdubs and The Pointer Sisters' background vocals, Barbra later returned to the studio to record additional vocals.


In August my manager told me that "Emotion" didn't just make the album but would also be Barbra's album title — icing on the cake. The album was released a few months later, with "Emotion" planned as the second single in early 1985 after "Left In The Dark" had its run. When that single faltered, however, in November Columbia released "Make No Mistake, He's Mine" as the second single, because Barbra was still in England working on the "Emotion" music video.

Album Cover

Greg Gorman photographed the cover of Barbra's album, Emotion. Here's outtakes from that session, including the full, uncropped cover photo.
Below:   Use the arrows to click through some of the alternate photographs ...


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