Released in 1979, Neil Diamond’s thirteenth studio album, September Morn, is somewhat tarnished by the theist perspective of The Good Lord Loves You and the Caribbean/reggae-styled cover of I’m A Believer. Yet, even with these missteps, September Morn is a magnificent release with the title track and The Sun Ain’t Gonna Shine as the draw-cards that hold the album together, thereby permitting it to become one of my favourite albums from the era. 

Disappointingly, September Morn has remained largely out-of-print for those of us who like owning music physically, although there was a CD reissue by Capitol Records in 2014. While some may argue that September Morn isn’t one of Diamond’s greatest releases, I’d question that assumption for it was successful upon release selling over a million copies and it, therefore, surprised me that its 40th Anniversary came and went without a whimper. 

One would have expected a short-run vinyl reissue at the very least but it simply wasn’t forthcoming. What has been, however, was a remastering of Diamond’s back catalogue in 2016 whereby 36 albums, including this one, were remastered for iTunes (formally Mastered for iTunes [MFiT], now Apple Digital Master) and HRA (High-Resolution Audio).  All albums were thankfully remastered by Diamond’s longtime audio engineer, Bernie Becker, from the original source tapes and they sound simply magnificent with clarity and crispness that isn’t overly shrill for the mid-range and low-end has been finely crafted to ensure that when you listen to September Morn in (Hi-Res) Lossless, via Apple Music, you’ll become fully immersed in the music and likely won’t long for any other edition. In fact, from a sonic perspective, the only thing a vinyl re-issue could add to this remastering would be the analogue warmth that’s common with the format.

September Morn is worthy of being the title track. It’s classic Diamond; a simple vocal and piano-focused composition that builds progressively. Diamond & Gilbert Bécaud certainly penned a masterpiece. While September Morn is somewhat wistful, I choose to look at it from a positive perspective as I don’t feel the intent was to focus on what was but instead to reflect on a glorious moment of life. Nevertheless, for some, it may be too forlorn. 

Mama Don’t Know is a little more upbeat than September Morn, but it flows seamlessly from the title track. It’s a killer tune with some interesting rhythmic instrumental aspects and Diamond’s vocal delivery is perfect; especially with regards to the pitch increase at the end of the word whole. 

That Kind, again, shifts the tempo but it doesn’t disrupt the flow of the album. It’s a beautiful song and while the composition may be sparse, it amplifies Diamond’s exceptional vocal dexterity. 

Jazz Time is, pardon the pun, jazzy! There’s a solid tune to be heard here but it is closer to a musical interlude than a song in and of itself for the lyrical aspects are simply a repetition of the same three words; proving that sometimes less is more. It works, quite well, but isn’t a song that you’ll likely seek out, outside of the album format. 

The Good Lord Loves You is one of those songs that will drive agnostics mad. If you can look past the overly religious undertone of the song, it isn’t as corny as it initially appears. Yes, the chorus most certainly is but the verses are potent in the sense that Diamond is asking the listener, from all walks of life, to contemplate the negativity of society and the divisive nature of people the world over. With that in mind, one can appreciate The Good Lord Loves You on a different level, even though it’s a little preachy. 

Dancing In The Street is intriguing for its faux live recording adds to the style of the song and while it’s perfectly suited to Diamond, I do question if it’s a little too disco-driven. Yes, it was applicable to the era but I can’t help but wonder if Diamond could have turned it into a pop-rock tune, thereby making it even more suitable to his style. Admittedly, this rendition pays homage to the original Martha Reeves & The Vandellas Motown recording, but it does lose the horns which I feel are a trademark of the song. You may also wish to take a listen to Human Nature’s modernised recording; a truly wonderful rendition!

The Shelter Of Your Arms is a magnificent song with an incredible composition to boot. As a cover of the Sammy Davis original, Diamond’s interpretation has a slower tempo, with a bolder musical presentation, which makes it a stronger song than the original. Diamond’s recording is, in my mind, the definitive version of this classic tune. 

I’m A Believer is blasphemous for the original recording, by The Monkees, is a masterpiece. Why Diamond chose to record it, with a reggae-vibe, is a mystery. Yes, it’s his original composition, but this particular interpretation is a second-rate effort at best. It wouldn’t be the only time Diamond re-interpreted this classic, for it was also included on Dreams; a lovely acoustic-styled recording. He also recorded it in the original style to The Monkees and whichever version you prefer there is no doubt in my mind that they’re all superior to the recording featured on September Morn.

The Sun Ain’t Gonna Shine is the bookend to September Morn and I do wish that it had been the closing track for the album as I consider it to be stronger than Stagger Lee. I also consider this interpretation to be the definitive version of Bob Crewe and Bob Gaudio’s classic. Yes, there are other notable renditions but none come close to this exceptional recording. 

Stagger Lee is a solid toe-tapper with a swinging chorus and Diamond does an admirable job on this popular folk tune. While I still contend that it doesn’t close the album out as well as The Sun Ain’t Gonna Shine could have, it is far from the worst closer I’ve ever heard. 

September Morn from start to finish is excellent, even with the missteps noted above. Subsequently, September Morn is one of those albums within my collection that I can’t listen to just once for I find myself putting it on repeat several times before I’m ready to move on; an indication of a truly great album.