Brother Love’s Travelling Salvation Show – NEIL DIAMOND****

Brother Love’s Travelling Salvation Show/Dig In/River Runs Newgrown Plums/Juliet/Long Gone/And The Grass Won’t Pay No Mind/Glory Road/Deep In The Morning/If I Never Knew Your Name/Memphis Streets/You’re So Sweet Horseflies Keep Hangin’ Round Your Face/Hurtin’ You Don’t Come Easy

Featuring the stirring spoof gospel title track, Neil Diamond’s Brother Love’s Travelling Salvation Show was re-released a few months later as Sweet Caroline. (US:82)

“Neil Diamond was pop from the start, and when he goes all red dirt cowboy, I just don't quite buy it. Still, if you can get past that, he does write some good tunes that have at least a nodding acquaintance with folk, blues and country. Overall, I give this a thumbs up.”

“At this point he could still sing the highs and he seemed to have an endless reservoir of songs to draw from. Besides the electrifying title track and the underappreciated, should have been a hit, Glory Road, he connected on a handful of simple romantic tunes like Juliet and Grass Won’t Pay No Mind. Diamond still showed the magic he had in his Bang Records days.”

“You're So Sweet dumbs down an otherwise solid album with a silly novelty track. But you have to take Diamond warts and all, the corn is part of what makes him. And The Grass Won't Pay No Mind is a good ballad, but of course the title track is the real barn-burning classic here.”

“This is first-rate countrypolitan pop, with Diamond delving further into the stylistic ingredients of the genre. The 'gospel' title song, the lazy blues of Dig In and Deep In The Morning and the straight country of Long Gone all profit from the considered songwriting technique of the master craftsman. His raspy baritone is also on peak form, especially on the gorgeous Glory Road and the beautiful ballad And The Grass Won't Pay No Mind."

“Although not an exceptional album, it manages to be consistently enjoyable and fun. The simplicity of the songs, both thematically (new love, wandering throughout the country, revival preaching), and instrumentally (classical guitar, drums, faint strings, moog) blend perfectly with Neil's deep, raspy, impassioned voice. Throughout, it clearly showcases the early Diamond's inborn talent for song composition.”