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About Neil Diamond
Gowing up in Brooklyn, New York, in the 1940s and 1950s, Neil Diamond found inspiration in the music of Pete Seeger, but ended up going to college to study medicine. Ditching his studies to write songs, Diamond eventually partnered with Jack Packer (as Neil & Jack) and landed both publishing and record deals.
Their first vinyl single was released in 1960 with another following in 1961. Because they didn't find any success, the duo parted ways and pursued their respective college studies. On the side, Diamond continued to push his songs to publishers. Eventually, he was part of a 10-man team who penned “Ten Lonely Guys” for Pat Boone. The cut made in to number 45 on the singles chart in late 1962.
The following year, Diamond signed with Columbia Records to issue singles on his own. His first time up at bat resulted in "Clown Town"/"At Night” and he was dropped. He kept at it, though, and started to gain a little traction in the UK come 1965.
Soon enough, he got signed to a short-term deal with Jerry Leiber and Mike Stoller's Trio Music. When the Jay & the Americans version of his "Sunday and Me" climbed to number 18 on the Billboard chart, Diamond had found his footing, though without Trio.
Teaming up with Jeff Barry and Ellie Greenwich to form Tallyand Music, Diamond landed yet another record and publishing deal combo and issued “Solitary Man.” The singled hit number 55 in July of 1966 and was quickly followed with “Cherry, Cherry” which made it all the way to number six.
That cut led to Don Kirshner soliciting "I'm a Believer" from Diamond for the Monkees. It presold more than a million copies and wasted no time topping the charts for seven weeks in 1967. The Monkees did a few more Diamond tunes and continued to find success.
Lulu jumped on the Diamond bandwagon, as well, covering "The Boat That I Row," one of his early singles, with great success in the UK. Ronnie Dove followed suit with “My Babe.”
Meanwhile, Neil continued to release his own records with cuts like "Girl, You'll Be a Woman Soon," "Thank the Lord for the Night Time," and "Kentucky Woman" all cracking the Top 20. However, as the '60s wore on, Diamond wanted to move away from fluffy pop tunes toward more hardy works. This stance caused a rift between the artist and his producers and label. Lawsuits ensued.
His former label, Bang Records, continued to mine singles from his releases and sessions, including “New Orleans” and “Red Red Wine.” Neither did great business at the time, but the latter has gone on to be recorded by numerous other artists, including UB40.
In fact, many of Diamonds tunes have had lives of their own with covers by Chet Atkins, Shirley Bassey, Harry Belafonte, Glen Campbell, Johnny Cash, Petula Clark, José Feliciano, the Four Tops, Dizzy Gillespie, Chris Isaak, Patti LaBelle, Liberace, Elvis Presley, Smash Mouth, and Tina Turner, among many others.
At his new label home, Uni Records, Diamond set about recording more introspective works like “Brooklyn Roads,” “Two-Bit Manchild,” and “Sunday Sun.” Unfortunately, Bang Records was releasing older tunes simultaneously with the new material, forcing Diamond to compete with himself on the charts.
Diamond headed to Memphis to try out a new sound. First up was Brother Love's Travelling Salvation Show which included the title track and "And the Grass Won't Pay No Mind," later recorded by Elvis Presley. Also added to the album was "Sweet Caroline (Good Times Never Seemed So Good)." With that number four single, Diamond was back in business. "Holly Holy" followed with a number six seat.
Once the 1970s rolled in, Bang Records was back to reissuing old tunes, sometimes with new backing tracks. Diamond tried his best to keep ahead of that curve and found his biggest success yet with "Cracklin' Rosie."
His live Gold album, recorded in early 1970 at the legendary Troubadour in Los Angeles, included new versions of his early Bang hits. It went on the become his first gold album, eventually reaching double-platinum status. His next set, Tap Root Manuscript, replicated that gold standard.
Next out of the gate was "I Am...I Said" in March of 1971. A number four chart placement and a Grammy nomination for Best Male Pop Vocal Performance resulted. Stones kept his gold-status momentum going later that year.
In the spring of 1972, the number one "Song Sung Blue" served as the lead single for Moods. More Grammy nominations came for Record of the Year, Album of the Year, and Song of the Year. That summer, Diamond staged 10 nights at L.A.'s Greek Theatre for the live double-LP Hot August Night.
Another label shift came with Diamond moving back to Columbia Records. The song score he composed the ill-fated Jonathan Livingston Seagull film was turned into a solo record and barely missed topping the album chart. However, it won a Grammy in 1973 for Best Album of Original Score Written for a Motion Picture or TV Special.
Though Diamond had stopped touring, his releases always did well. Albums in this era included Serenade which featured the singles "Longfellow Serenade," "I've Been This Way Before," and "The Last Picasso."
After a new bout of international touring, Diamond issued Beautiful Noise, produced by Robbie Robertson. In 1977, both of his albums were companions to their live television concert counterparts – Love at the Greek and The Neil Diamond Special. A third, I'm Glad You're Here with Me Tonight, stuck to the same formula.
When Diamond's label failed to release "You Don't Bring Me Flowers" as a single, Barbra Streisand recorded a version. After a radio DJ spliced the two together to make a rough duet, the two singers went into the studio to do it up right as a number one platinum single. Diamond threw together some other tunes to make an album of it, including "Forever in Blue Jeans."
Late 1979 saw September Morn just prior to Diamond signing on to star in the film version of The Jazz Singer. The film flopped, but the music – including "Love on the Rocks,” “America,” and "Hello Again" – did just fine.
Next out were On the Way to the Sky, Heartlight, and Primitive. During that time, new collaborative partnerships with David Foster, Burt Bacharach, and Carol Bayer Sager resulted in some solid hits, as well as some solid misses.
To re-work his next project in 1986 – The Story of My Life which became Headed for the Future – Diamond leaned on Maurice White, Bryan Adams, and Stevie Wonder. An accompanying television special helped the album go gold, but not much more. His live shows, though, continued to sell like gangbusters as evidenced by the recording of Hot August Night II in 1987.
Both The Best Years of Our Lives and Lovescape did moderate business, mostly in the Adult Contemporary world, so Columbia tried to reposition Diamond as a legacy artist with The Greatest Hits (1966-1992), The Christmas Album, and Up on the Roof: Songs from the Brill Building. ,
Because his concerts never faltered, Diamond issued yet another double live set with Live in America in June 1994. Its meager success was followed by The Christmas Album, Vol. 2.
For his 1996 Tennessee Moon, Diamond headed to Nashville to work with country artists and writers. Naturally, a television special, Under a Tennessee Moon, accompanied the release on ABC. More legacy release followed with the three-disc set In My Lifetime and The Movie Album: As Time Goes By in the late 1990s.
In 2001, Three Chord Opera marked a return to new, original material composed only by Diamond. The set made it to number 15 and paved the way for more retrospective collections, The Essential Neil Diamond and Stages: Performances 1970-2002.
Diamond put producer Rick Rubin at the helm of his 12 Songs in 2005 and Home Before Dark in 2008. Both entered the charts at high spots, number four and number one, respectively. The latter's success was a milestone in his six decades-long career.
A Cherry Cherry Christmas came in 2009 with Dreams in 2010.
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