By the early 1970s, as the counterculture was dissolving and reconfiguring, there were new pop-star archetypes on the horizon that we still tend to think of — the glam rocker, the sensitive singer-…
I walked out of the grimy ’80s multiplex I was in with the heart-on-the-sleeve valor of that song — theof it — ringing in my head, and it stayed there for days. That’s the power of a certain kind of pop: not art pop, but unabashed shlock pop, the kind that bypasses all toughness and reason. At a moment like that, a song like “Glory of Love,” in its way, can be as transporting as anything by the Beatles or Bach.
We don’t get much detail about how Foster forged a wall of synthesizers to create Barbara Streisand’s 1985 cover version of “Somewhere,” though there’s a good story about how he drove over to her house in Malibu to play it for her , and when he did, Babs swooned. She was right to. The Foster sound can be an awfully lush layer cake, but its ethereal secret is the air that’s built into it — the way the sound breathes.
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