COURTESY PHOTO
Now in his third decade as a recording artist,
Neil Diamond has another gem on his hands.

Veteran entertainer still
Diamond to be cherished

"Three Chord Opera"
Neil Diamond (Columbia)

---

Review by Gary C.W. Chun
gchun@starbulletin.com

Now's the time to reconsider the career of Neil Diamond.

The 60-year-old Brooklyn native's place in the history of American pop music is already secured, if only for his work dating from 1966 to 1972. Part of the tradition of the Brill Building, he's always been, at the very least, a decent rock songwriter.

But, when inspired, some of his songs have been permanently etched into the public's consciousness. Let's list them, shall we? "Cherry, Cherry," "Kentucky Woman," "Brother Love's Traveling Salvation Show," "Solitary Man" and the four songs that made him particularly popular locally in '72, "Sweet Caroline," "Holly Holy," "Cracklin' Rosie" and "Song Sung Blue."

And how can we not mention "Red Red Wine"? That's right, he's the man who wrote it, and UB40 and every other local act since then has played it dutifully in its reggaefied version. Plus, Diamond wrote "Girl, You'll Be a Woman Soon" (a very cool cover by Urge Overkill from the "Pulp Fiction" soundtrack) and his pop masterpiece "I'm a Believer," the second charting hit for the Fabricated Four, the Monkees, and just recently covered by Smash Mouth in this year's animated hit movie "Shrek."

After '72, things were a little more sporadic for Diamond. He did a well-received concept album in 1976 called "Beautiful Noise," about his days as a contracted songwriter in the Brill Building, that was produced by then-Band member Robbie Robertson. Two years later, he teamed with Barbra Streisand on his self-penned hit "You Don't Bring Me Flowers." In 1980 he appeared in the film biography of Al Jolson, "The Jazz Singer," opposite Sir Laurence Olivier.

But with a recording career now in its third decade, with more than 100 million worldwide sales and a dependable concert bestseller, Diamond through the '90s was just that: dependable but not spectacular, his reputation preceding him, his longtime fans still loving him, but little else songwise.

Until now. He once again has worked with producer Peter Asher (who made his reputation producing albums by James Taylor and Linda Ronstadt) and brought in a man who was part of the Frank Sinatra recording process, Alan Lindgren, on this latest album, "Three Chord Opera."

The album's the first totally written and co-arranged by Diamond since his 1974 effort, "Serenade." That gravelly voice of his, while not the most expressive rangewise, has aged, and Diamond certainly knows how to get the most out of it.

And he continues to mine the musical influences he's most comfortable with, whether they be Latin, Broadway or gospel. All the songs are very straightforward, with the music easy on the ears and the lyrics simple in their statement and sentiment. "Three Chord Opera" is an "up" album in the best sense.

While the album is filled with optimism, there's no smell of overbearing treacle or the sticky feel of schmaltz. "You Are the Best Part of Me" says it all, but there are nice little instrumental touches to it, such as using a solo violin and pairing a cello with steel drums to complement Diamond's singing.

The only song that approaches rock 'n' roll's energy is "Baby Let's Drive," which would probably make a fine cover for some up-and-coming act. But they'd probably have to up the speed limit a bit, as Diamond sounds like he'd be more comfortable cruising with his baby well below 55 mph.

Speaking of comfy, it's hard to suppress a goopy look on your face listening to songs with titles like "I Believe in Happy Endings," "My Special Someone" and "A Mission of Love." But that last song in particular is a perfect example of what a well-crafted pop song should be.

It's an amazing song structurally, as Diamond builds through his first two verses about a friend in dire need of love and support, to a sing-along chorus just this side of corny (the ol' give me a L, an O ...), back to a serious-minded bridge and then lyrics that build to the triumphant final chorus. And the Tower of Power horn section adds to the emotional punch.

"Three Chord Opera's" last three songs end the album on a fine note. "Elijah's Song" liberally cribs from Bruce Springsteen and even Ian Hunter (to be honest, the song structure sounds suspiciously like Hunter's "I Wish I Was Your Mother" from his Mott the Hoople days). Then there is gospel fervor in "Leave a Little Room for God" and a lovely lullaby variation of "Turn Down the Lights," filled with all the comfort of a children's song and a worthy successor to "Song Sung Blue."

Here's hoping this is the start of a new appreciation for one of America's beloved singer/songwriters.

Click for online
calendars and events.