The appeal of Dreams is that it’s an album of cover material by an artist who’s been extensively covered by others.
Neil Diamond, who originated from the Brill Building school of pop song-craft, even covers himself here.
I’m a Believer is a song that should be retired from active use, as another track here should (more on that later.) Anyway, I’m a Believer is shifted down from frenetic pop to a calmer, thoughtful reading.
This definitely sounds different than the usual, so Diamond is flexing his creativity here in interesting ways.
Diamond’s take on Ain’t No Sunshine preserves the autumnal mood of the original Bill Withers song, and it fleshes out the arrangement with sympathetic guitar and keyboards.
Blackbird and Alone Again (Naturally) don’t fare so well: The Beatles’ track is unsuccessfully countrified with fiddles, and Alone Again sticks too close to the insipid sentiments of the original –– a better choice could’ve been considered.
The best part of Diamond’s ideas for these songs seems to be the angle he approaches them from: they sound best when he smooths them over –– no posturing, hype or flash.
Midnight Train to Georgia benefits from the melancholic hint of resignation that is found in Diamond’s voice when he relaxes in ballad mode.
He redeems his own cover of Hallelujah (please, stop – even Leonard Cohen has called for a “moratorium” on the song) with Yesterday and Desperado.
Diamond finds a kindred spirit in the McCartney side of the Fab Four, and his Eagles’ track realizes the muted grandeur that is lurking in the original.
Except for a few duds, Diamond brings out some gems that need another listening.
