Barbra Streisand scored her second Top Ten hit in early 1971 by treating Laura Nyro's recording of her song "Stoney End" as a demo and copying it practically note for note. "Mama, let me start all over," she sang, and her wish was granted. The followup album of the same title was, in its own way, as surprising as Streisand's debut album eight years earlier. Where that record had redefined the role of the traditional pop singer in contemporary terms for the early '60s, Stoney End redefined Streisand as an effective pop/rock singer, which her last outing, What About Today?, had failed to do. Maybe she listened as closely to Nyro and Joni Mitchell as she had to Ethel Merman and Judy Garland a decade earlier, but somehow she re-oriented her approach to music, adapting herself to vocal demands that were very different in terms of dynamics, expressiveness, and especially rhythm from the traditional pop and theater music she had sung previously. Producer Richard Perry may have eased the transition by using sessionme