"Sing And Perform "Funny Girl" by Diana Ross & The Supremes (1968)

One really had to admire determination of Berry Gordy, Jr. who strived to establish his artists as all-round entertainers - someone else might be content to have them recording hit singles but Gordy wanted his stars to be equal to anybody around, so if the biggest stars commanded big fees in places like Las Vegas, London's Talk Of The Town and New York's The Copacabana Nightclub, he made sure The Supremes got the same treatment. If this music direction seems a bit odd today, don't forget it was all about breaking the racial barriers and placing Afro-American musicians on the same footing as everybody else, even if it means that girls had to sing "Rock-A-Bye Your Baby With A Dixie Melody" for jaded supper club audiences. Ever unstoppable Gordy arranged for them the whole album of Rodgers & Hart show tunes and the next step was "Motown" take on biggest Broadway sensation of the day.

Appreciation of such project really depends of listener's familiarity with the original and I have my doubts about it today, but back in the day "Funny Girl" was perhaps the last true Broadway smash hit, with songs that were actually chart hits and it was not a coincidence that Gordy wanted this album released just when cinema version by William Wyler hit the big screens. It was clear message that "Motown" set its ambition towards Hollywood and label pulled all stops to prove that they are equal to anybody - quite a daring challenge, coming from guy whose grandfather was a son of white plantation owner and his female slave - one can't help but be impressed with Gordy's capacity for dreaming big dreams. Diana Ross relishes the chance to step in Streisand's shoes and her small voice works surprisingly well in what is basically showcase for female lead, while The Supremes are reduced to occasional noise in the background. Insignificant and obscure when compared to their better known hit singles, it is still little obscure gem and to this day the only time anybody came dangerously close to Streisand in her most famous role. The only criticism would be that music sticks too closely to original and chance was missed to add that particular "Motown" upbeat touch to Broadway original - only "If A Girl Isn't Pretty" is updated to a dance number, while the rest cautiously follows Jule Styne music note by note.