尼爾·戴蒙德（Neil Diamond），1941年1月24日出生於紐約的布魯克林。他在紐約大學醫學院學習過一段時間，而後綴學從事音樂工作。最初，戴蒙德以作曲家的身份出現並為他贏得了聲譽。1965年底開始唱歌。1966年，他創作了一系列的熱門歌曲，如：埃爾維斯·普萊斯利和"深紫色"樂隊都演唱過的《肯塔基婦女》（Kentucky woman）等作品使他名聲大增。1978年，他和芭芭拉·史翠珊（Barbra streisand）的二重唱單曲《你別給我帶來鮮花》（You Don't Bring Me Flowers）在美國排行榜名列第一。1980年，戴蒙德在電影《爵士歌手》（The Jazz singer）中的精彩表演使他的明星地位進一步得到了鞏固。
專輯介紹：by William Ruhlmann
Up on the Roof: Songs from the Brill Building is Neil Diamond's equivalent of, say, one of Barbra Streisand's Broadway albums. It's Broadway that Diamond is returning to as well; specifically, the corner of 49th Street, where he and many others turned out songs for music publishers. Some of these songs were written there; most were only in the spirit of that modern Tin Pan Alley. Handling the work of his then-rivals, such as "Spanish Harlem," "A Groovy Kind of Love," and "River Deep, Mountain High," Diamond adopts his usual hammy style. Peter Asher patented a neo-'60s production style in crafting oldies for Linda Ronstadt in the '70s, and he does the same thing here. Actually, this record sounds exactly like you would expect: just call to mind a familiar song like "Will You Love Me Tomorrow" and imagine what it would sound like if Neil Diamond sang it. Fans can decide for themselves whether it's valid and, perhaps more problematic, necessary.
Neil Diamond的藝人檔案
回覆刪除尼爾·戴蒙德（Neil Diamond），1941年1月24日出生於紐約的布魯克林。他在紐約大學醫學院學習過一段時間，而後綴學從事音樂工作。最初，戴蒙德以作曲家的身份出現並為他贏得了聲譽。1965年底開始唱歌。1966年，他創作了一系列的熱門歌曲，如：埃爾維斯·普萊斯利和"深紫色"樂隊都演唱過的《肯塔基婦女》（Kentucky woman）等作品使他名聲大增。1978年，他和芭芭拉·史翠珊（Barbra streisand）的二重唱單曲《你別給我帶來鮮花》（You Don't Bring Me Flowers）在美國排行榜名列第一。1980年，戴蒙德在電影《爵士歌手》（The Jazz singer）中的精彩表演使他的明星地位進一步得到了鞏固。
專輯介紹：by William Ruhlmann
Up on the Roof: Songs from the Brill Building is Neil Diamond's equivalent of, say, one of Barbra Streisand's Broadway albums. It's Broadway that Diamond is returning to as well; specifically, the corner of 49th Street, where he and many others turned out songs for music publishers. Some of these songs were written there; most were only in the spirit of that modern Tin Pan Alley. Handling the work of his then-rivals, such as "Spanish Harlem," "A Groovy Kind of Love," and "River Deep, Mountain High," Diamond adopts his usual hammy style. Peter Asher patented a neo-'60s production style in crafting oldies for Linda Ronstadt in the '70s, and he does the same thing here. Actually, this record sounds exactly like you would expect: just call to mind a familiar song like "Will You Love Me Tomorrow" and imagine what it would sound like if Neil Diamond sang it. Fans can decide for themselves whether it's valid and, perhaps more problematic, necessary.