This is a story about a song recorded by two artists, close to one another, that unexpectedly became a huge duet single—though neither realised it at first. In fact, the singles potential wasn’t realised until a radio programmer who was handy at editing decided to merge the songs. This week, The Beat Marches On to the 17th October 1978, when You Don’t Buy Me Flowers is released by Neil Diamond and Barbra Streisand.
Neil Diamond is most likely known now, at least in the UK, as the singer of Sweet Caroline. He is, however, a prolific songwriter, most famously writing The Monkees’ hit I’m a Believer, Solitary Man, and Red, Red Wine among others. When it comes to You Don’t Buy Me Flowers, it’s a unique story.
The original idea for the song was to be a TV theme song. With the potential for syndication, if the show is successful, it could yield the songwriter a healthy pay packet.
After the initial idea for the song, Neil Diamond agreed to write the theme song for All That Glitters, with lyrical help from Marilyn and Alan Bergman. However, by the time it was completed, the show’s concept had changed, and the song was no longer viable as a theme. Still fond of the piece, Diamond included it on his next album, I’m Glad You’re Here With Me Tonight, and thought little more about it at the time.
Barbra Streisand had a different course than Neil Diamond; her career started on the Broadway stage. Appearing in shows like Funny Girl and I Can Get It For You Wholesale, as well as the late-night show circuit, the singer was dubbed the most exciting talent since Elvis.
Streisand had worked with the Bergmans before, and while she was recording her Songbird album, a couple of songs were needed to complete it. They suggested the Diamond song. They were unaware that Diamond recorded the song. Barbra recorded it in the same key, which became key to its future success.
It wasn’t until a Kentucky radio station programmer heard the two songs that the potential for a duet was realised. Gary Guthrie decided to splice the Streisand and Diamond versions together as a going-away present for his wife, as they were in the process of divorce.
It was decided to be played on the radio, and the new duet gained momentum. So much so that the two artists themselves heard the new version. Capitalising on the newfound fondness for the track, the label sent the pair to the studio to record a new ‘official’ version, even though Guthrie had sent a copy of his spliced version.
The single was released in October 1977, and after a slow burn, it gave the duo a number one hit by that Christmas (in the US, in the UK it peaked at number five). The single went platinum and went on to sell over a million copies.
As the two artists were getting all the plaudits, Guthrie was left in the dark. He had been the one who had created this successful single and wasn’t getting any recognition. In the following year, he sued the record label, CBS, for five million dollars, but the two settled out of court. He did get recognition from the artists later on, with a telegram from Streisand and a gold record from Diamond.
Fast forward to the 1980 Grammy Awards. The show was just about to end. All the awards had been given out, and there was a feeling that something was going to happen, but no one knew what.
Then the spotlights shone atop the parallel staircases, and out came Diamond and Streisand. The pair wasn’t even scheduled to appear at the ceremony, let alone perform. It was dubbed as one of the first musical moments at the Grammys.
They performed the song to a standing ovation, etching themselves in Grammy history and to some TV history. Marking the pair, if not already, as two of the biggest stars in the industry.
There was a plan to turn the idea of the song into a film starring the duo, but Diamond had already committed to star in The Jazz Singer. They did think to revisit the idea afterwards, but it never happened.
Although it is a common thing now, there are pages on Instagram dedicated to mixing songs together; it’s rare to have the same song by two different artists mixed together. Generally, when bands and artists cover a previously recorded song, they like to put their own spin on it. The planets aligned to make this filler song into a platinum-selling duet, and it’s one of those amazing things that make the history of music so interesting.
The Beat Marches On is a music blog written by Jimmy Whitehead. Jimmy has been blogging for nine years, specialising in Sports (especially American Football). If you want to follow Jimmy on Twitter: @Jimmy_W1987
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Websites used for research were:
Greatest Grammys moment ever: Neil & Barbra – David Carroll’s Chattanooga Radio and TV
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