For the first time Barbra Streisand curated a release of her previously unreleased material. In her long career, Barbra had accumulated over 100 previously unreleased recordings. She and Jay Landers painstakingly reviewed those recordings to come up with this collection — Release Me.
Landers told All About Barbra magazine, “For at least two months, every other day, I went to this vault to unearth the gems which Barbra had either recalled from her various lists, or to find something that I'd heard about but never actually heard.”
The vault Jay Landers speaks of is located at Iron Mountain in Germantown, New York. Landers wrote in his liner notes for the album that upon entering “the first thing you’ll notice are the floor-to-ceiling shelves with tape boxes from every era of her recording career – People, Color Me Barbra, A Star Is Born, The Bon Soir, Daniel Ellsberg Fundraiser, Judy Garland Show, The Hungry-I, McGovern Concert, Guilty, Yentl…on and on…”
Jay likened the gathering of Streisand's unreleased material to Indiana Jones searching for the lost ark. “On more than a few occastions, I'd find myself standing on the uppermost rung of a ladder with a heavy tape box in one hand and my cell phone in the other, talking with Barbra aficionado Matt Howe. Matt would try to help me identify certain mislabelled titles ... or remind me if there were multiple unreleased versions of the same title ... then he'd help me figure out which one I was barely holding onto at the moment!”
(Note: I can tell you, taking one of Jay's calls was exhilarating! “You're in THE VAULT now?!” One particular call I remember was about “Didn't We.” Jay was searching for the song, and I reminded him it was recorded for an abandoned album called The Singer, so probably around 1970. — Matt Howe)
After Jay Landers collected the material, he and Barbra sat together in Grandma's House (on her Malibu property) and reviewed it one night until late. “To my delight,” Landers wrote, “the epiphany occured when she realized there was actually something rather perfect about the so-called imperfections of these tracks.”
Landers also confessed, “I actually felt that in several instances these ‘castaway’ songs were better than some of the cuts which had made their way onto the final albums!”