Neil Diamond – I'm Glad You're Here With Me Tonight (Album Review)

Neil Diamond's 1977 release, I'm Glad You're Here With Me Tonight, is a remarkable blend of heartfelt ballads and pop-rock anthems. This record showcases Diamond's signature style along with his ability to convey raw emotions through his distinctive voice. With 11 tracks that traverse love, longing, and introspection, this is one timeless gem from Diamond's extensive discography.

It’s, however, disappointing that I'm Glad You're Here With Me Tonight has been out-of-print for decades, with the last official physical reissue being released on both CD and Vinyl in 1988. While purists and collectors will suggest seeking out a used copy, I prefer to make my own memories with music and subsequently look forward to classic albums being reissued. While one can never say never, the massive reissue and remastering campaign of much of Diamond’s back catalogue (circa 2014-2016) was primarily focused on delivery via the iTunes Store and other Hi-Res digital download stores such as HDTracks. While I don’t have a problem with that, for the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite, I do wish legacy formats weren’t omitted for music lovers should always be given a choice. That said, the Apple Music stream is so good that I dare say, from a sonic perspective, there is no need to look elsewhere. Although, I do really want this album on the larger vinyl canvas if for no other reason than the incredibly well-designed album artwork. 

God Only Knows is one of the greatest songs ever written and as an original Beach Boys tune, from their acclaimed 1966 album Pet Sounds, nothing really compares; that is, until you listen to Diamond’s rendition. Yes, dear reader, I’m going to frustrate many dedicated fans of the Beach Boys, but as lovely as their original is, I do feel that Diamond recorded the song with the highest level of respect and covered it in such a way that it not only pays homage to the original but it becomes his own. Diamond also sings the song in a slightly lower register and the more lush orchestration plays a key role in my preference here for Diamond’s interpretation simply sounds right. If nothing else, God Only Knows is the perfect opening track for the album. 

Let Me Take You In My Arms Again is a warm and soulful love song. Diamond is, of course, renowned for this style of music, but I never tire of it for songs like Let Me Take You In My Arms Again are instant classics.

Once In A While presents a shift in tempo, but captures the essence of nostalgia. They don’t make music like this anymore is an apt assessment, but music lovers also don’t need imitators when we have such emotive and poignant ballads to appreciate til the end of time.

Let The Little Boy Sing is a catchy, upbeat, jazzy song that brings a sense of hope and optimism. It may be an album-only tune, but don’t let that deter you for it’s the strength of the filler material that ensures this album is one of the very best released in 1977.

I'm Glad You're Here With Me Tonight is a lovely title track that is a declaration of love. While love songs are a dime a dozen, Diamond ensures his sincerity shines through and that aspect alone is a partial reason for his success over the years. Linda Press’ backing vocals are also beautifully mixed into this song, although I do wish she was featured more prominently. 

Lament In D Minor / Dance Of The Sabres is nothing short of a masterpiece. The lengthy instrumental introduction showcases Diamond's versatility, blending classical elements, with a contemporary rock sound, to add depth to the album's overall presentation. It’s also one of Diamond’s most overlooked tunes and that’s an incredible shame for I consider it to be not only one of his greatest, but one of the best songs in all of recorded music history. 

Desirée is iconic! Diamond is absolutely captivating as he delivers this passionate and dramatic love song. 

As If has an air of simplicity with a folksy charm, but it isn’t great. It’s not so bad, however, that it detracts from the overall album experience, but it just doesn’t sing to me as the other songs from the album do. 

You Don't Bring Me Flowers (Solo Version) is simply beautiful, and as incredible as Diamond’s duet with Barbra Streisand is, from his 1978 album You Don’t Bring Me Flowers, this original composition is still magnificent.

Free Man In Paris is a cover of Joni Mitchell’s original. My only quibble with the song is the unnecessary first minute. If it could have started at the one-minute mark, I feel it would have been a stronger closer.

Overall, I'm Glad You're Here With Me Tonight is an incredible album that effortlessly weaves through various emotions, from love and longing to optimism and celebration. Diamond's powerful vocals and compelling songwriting shine throughout, as do the cover songs, thereby making this album a must-listen for fans and a timeless addition to Diamond's remarkable discography.

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Neil Diamond – September Morn (Album Review)

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. 

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