Yet straight away, before a note was sung, there was an ego problem. Bee Gee manager Robert Stigwood demanded three quarters of the royalties; three Gibbs, one Streisand, he figured. "They all sound alike," she snapped. "How much for just one?" The compromise was that Barry alone would complete the album with her.
Though Streisand was famously exacting, Gibb soon found her to be a pussycat in the studio. The one thing that riled him was her habit of making two cups of tea with one teabag: "my roots are in Brooklyn, we came from a poor family" she protested, "you don't just use a teabag once and throw it out!"
The first single from Guilty, Woman In Love, is all minor key, with an eastern European feel, and it sounded ageless as soon as it hit the airwaves. "Life is a moment in space - when the dream has gone, it’s a lonelier place" has been decribed as "metaphysical cheese" on Tom Ewing's Popular blog but for me it's one of the most desolate opening lines to any pop song, and Streisand is entirely believable as a middle-aged woman who refuses to give up on her elusive, lifelong dream - what world could exist beyond it? She'd rather not know.
The album contains a couple of makeweights in the showy Love Inside and Life Story, which includes the curiously culinary line "You boiled me over, now you're cold as ice." But all is forgiven on What Kind Of Fool, another duet which this time has Gibb chasing in between the stentorian Streisand's lead, and chastising a lost lover with a suitably heartbreaking melody.
But there was a bonus DVD, which included live footage shot in Malibu, in 1986, of Guilty and an especially fragile What Kind Of Fool. The duo are all in white, so clean, all mutual respect. Gibb is the cowardly lion, Streisand is Miss Bighearted Brooklyn of 1980, the Jewish matriarch with a bowl of chicken soup for her younger charge. "Make it a crime to be lonely and sad" they coo, "make it a crime to be out in the cold." With blue-eyed soul this persuasive, they could teach the law commission a thing or two.