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DISCID=b5096a0d
DTITLE=Neil Diamond / Sweet Caroline: Brother Love's Traveling Salvati
DTITLE=on Show (Japanese Pressing)
DYEAR=1969
DGENRE=Rock
TTITLE0=Brother Loves Traveling Salvation Show
TTITLE1=Dig In
TTITLE2=River Runs, New Grown Plums
TTITLE3=Juliet
TTITLE4=Long Gone
TTITLE5=And The Grass Won't Pay No Mind
TTITLE6=Glory Road
TTITLE7=Deep In The Morning
TTITLE8=If I Never Knew Your Name
TTITLE9=Memphis Streets
TTITLE10=You're So Sweet, Horseflies Keep Hangin' Round Your Face
TTITLE11=Hurtin' You Don't Come Easy
TTITLE12=Sweet Caroline (Good Times Never Seemed So Good)
EXTD=Sweet Caroline: Brother Love's Traveling Salvation Show (Japanese
EXTD= Pressing)\n\nOriginally Released April 1969\nCD Edition Released
EXTD= June 1987\n\nAMG EXPERT REVIEW: Neil Diamond's second album for 
EXTD=Uni offered the typical strengths and weaknesses of his LPs for t
EXTD=he label. The strengths? A good single (the title track) and a ra
EXTD=ther remarkable stylistic diversity. The weaknesses? The failure 
EXTD=of any of the other tracks to stand out nearly as much as the sin
EXTD=gle, and the feeling that sometimes Diamond was doing something j
EXTD=ust to prove he could do it, without the quality material to just
EXTD=ify the experimentation. Although taken by itself almost any trac
EXTD=k sounds normal, running all together the record sounds kind of w
EXTD=eird. There's a rather respectable Dion-esque bluesy groove on "D
EXTD=ig In" (cool stuttering organ on this one); "River Runs, New Grow
EXTD=n Plums" has the stop-start rhythm and crisp AM production of ear
EXTD=lier singles like "Kentucky Woman," but isn't as strong a tune. L
EXTD=ess impressively, "Long Gone" is tinged with country-rock; "And t
EXTD=he Grass Won't Pay No Mind" and "Juliet" are above-average MOR po
EXTD=p; "Hurtin' You Don't Come Easy" is introspective singer/songwrit
EXTD=ing; and "You're So Sweet Horseflies Keep Hangin' 'Round Your Fac
EXTD=e" is dumb country satire. At other points, it just sounds like h
EXTD=is late-'60s singles, without being strong enough to justify incl
EXTD=usion on a 45. The album was improved considerably when the hit "
EXTD=Sweet Caroline" was added after its initial release, and the titl
EXTD=e changed to Sweet Caroline: Brother Love's Traveling Salvation S
EXTD=how.  -- Richie Unterberger \n \n\nAMAZON.COM CUSTOMER REVIEW\nSi
EXTD=mple, but More Genuine, March 30, 2001\nReviewer: Nathan Southern
EXTD= (Santa Monica, CA)\nThis isn't a tremendous or exceptional album
EXTD=-- but it manages to be consistently enjoyable and fun. The simpl
EXTD=icity of the songs, both thematically (new love, wandering throug
EXTD=hout the country, revival preaching), and instrumentally (classic
EXTD=al guitar, drums, faint strings, moog) blend perfectly with Neil'
EXTD=s deep, raspy, impassioned voice. Throughout, the album clearly s
EXTD=howcases the early Diamond's inborn talent for song composition. 
EXTD=\n\nListeners may be surprised to discover that the album doesn't
EXTD= rely heavily on filler, all of the songs on par with the two tit
EXTD=le numbers (the AM radio staples "Sweet Caroline" and "Brother Lo
EXTD=ve's Traveling Salvation Show"). A few numbers (notably "Juliet" 
EXTD=and "Deep in the Morning") arguably stick in the mind longer than
EXTD= the overplayed, three-chord title tracks. \n\nIf "Sweet Caroline
EXTD=/Brother Love's" falls through or wears thin with repetition, it 
EXTD=only happens when one considers the fascinating, eclectic, ground
EXTD=breaking musical experimentation that began to emerge in 1969. In
EXTD=strumentally, this album could never stand up, for instance, to "
EXTD=Abbey Road" or "Tommy" -- it isn't as sophisticated. It's more li
EXTD=ghthearted, more breezy and fleeting. But Diamond perfectly captu
EXTD=res an idiosyncratic, late sixties, middle American flavor so muc
EXTD=h more clearly than his rock contemporaries (just as Sergio Mende
EXTD=s does, in a much different way) -- that he establishes a more ge
EXTD=nuine sound and a more believable record of how it felt to come-o
EXTD=f-age in 1969-1970. \n\nHighly recommended for Diamond fans, and 
EXTD=those interested in the late sixties and/or the late Brill Buildi
EXTD=ng period.\n\n\nAMAZON.COM CUSTOMER REVIEW\nFor Neil Diamond, Goo
EXTD=d Times Never Seemed So Good!, September 22, 2000\nReviewer: Davi
EXTD=d Hugaert (Honolulu, HI United States)\nWhere it began for Neil D
EXTD=iamond...the Brill Building, Bang Records, then leading up to the
EXTD= Uni years, beginning with "Velvet Gloves And Spit". Next in line
EXTD= is "Sweet Caroline/Brother Love's". Each and every song here was
EXTD= written by Neil, and all of them are favorites! The best here ar
EXTD=e probably "Brother Love's Travelling Salvation Show", "Dig In", 
EXTD="Long Gone", "And The Grass Won't Pay No Mind", "Glory Road", "De
EXTD=ep In The Morning", "If I Never Knew Your Name", "Memphis Streets
EXTD=" and "Sweet Caroline". If you're a Neil Diamond fan, or just an 
EXTD=incurable romantic, this CD is for you. Don't delay, buy it today
EXTD=!\n\n\nHalf.com Album Notes\nProducers: Chips Moman, Neil Diamond
EXTD=, Tom Cataland, Tommy Cogsbill.\n\nAlso available with "Touching 
EXTD=You, Touching Me" on 1 cassette.\n\nThis early Neil Diamond recor
EXTD=d offers a nice glimpse into the singer/songwriter's developing c
EXTD=raft. Released in 1969 on the heels of his first Top 40 hit, "Bro
EXTD=ther Love's Traveling Salvation Show" (the lead-off track here), 
EXTD=SWEET CAROLINE is somewhat rootsier than many of Diamond's later 
EXTD=releases. Intimate, introspective ballads such as "Juliet" are pl
EXTD=aced alongside acoustic, R&B-flavored numbers like "Dig In" (whic
EXTD=h sounds like it might have been the result of an informal jam se
EXTD=ssion), though the whole is unified by an understated, rhythmic m
EXTD=ood.\n\nBy and large, SWEET CAROLINE bears the influence of the l
EXTD=ate-'60s folk-rock boom, with a focus on Diamond's songwriting, p
EXTD=laying, and singing. Still, there is evidence of the dramatic fla
EXTD=ir that would characterize the artist's later work on cuts like "
EXTD=And the Grass Won't Pay No Mind" with its string-enhanced arrange
EXTD=ments, backup vocals, and building crescendos. Country parody ("Y
EXTD=ou're So Sweet, Horseflies Keep Hangin' Round Your Face") notwith
EXTD=standing, one can hear Diamond developing his later persona here,
EXTD= especially on the dynamic "Brother Love's Traveling Salvation Sh
EXTD=ow" and the title track (which was added to the album, along with
EXTD= its new title, at a later pressing).
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