Neil Diamond's five-decade career as a singer, songwriter, and performer has certainly been a successful one by any standard. He’s sold well over 115 million records worldwide to date and has had eight number one singles ("Cracklin Rosie," "Song Sung Blue," "Desiree," "You Don't Bring Me Flowers," "Love on the Rocks," "America," "Yesterday's Songs," and "Heartlight"), and if he hasn't always generated the kind of critical respect he probably deserves, he’s been a steady and dependable artist who has managed to keep his large core audience happy. This 23-track set surveys the whole of Diamond's recording career, collecting his key and signature sides, beginning with his first hits for Bang Records in the mid-'60s through his commercial peak for Uni/MCA between 1968 and 1972, cuts from 1980’s The Jazz Singer (a soundtrack album that went platinum five times over on Capitol Records), and ending with tracks from Diamond's two Rick Rubin-produced albums, 2005’s 12 Songs and 2008’s Home Before Dark, on Columbia Records.
Stages: Performances 1970-2002 is one of the most cynical box set projects ever issued. While producers Neil Diamond and Sam Cole don't exactly offer untruth in their presentation of this five-CD live retrospective, they might as well have. For starters, this entire project seems like an excuse to issue a new double-CD live album from Vegas in December of 2002, and a live Christmas album (like anyone ever needed that to happen). The other two discs in this set are a compilation of live tracks, from "Lordy" in 1970 (easily the best thing here) to a cloying "I Believe in Happy Endings," from New Year's Eve 2001. The majority of the cuts from these discs come from Diamond's '80s and '90s shows and do not showcase him at his best.
”I'm Glad You're Here with Me Tonight” is the eleventh studio album by Neil Diamond, released on Columbia Records in 1977. It includes a solo version of the song "You Don't Bring Me Flowers". Diamond would score a #1 hit with a new version recorded as a duet with Barbra Streisand the following year.
Featuring "Stones", "I Am…I Said", "Crunchy Granola Suite", etc.
Neil Diamond, normally a quick worker, spent four months agonising over the lyrics of I Am… I Said, and it shows. That’s why the song lingers. There are lines which don’t quite ‘fit’ at first, and seem almost fragmentary coming from such a craftsman, but they’re the lines which – once the penny drops – give it its confessional greatness. People magazine hailed the song as "Art at its best, which moves the audience to self-investigation". Certainly it’s a masterpiece of introspection which transcends conventional pop limitations. Diamond himself rambled, "It tells of feeling lost and questions and doubts and insecurities… and realising that you can never go back home".
L'inégalité dans la répartition des richesses entre les sociétés est liée aux différences de milieux, pas aux différences génétiques. Mobilisant des disciplines aussi diverses que la génétique, la biologie moléculaire, l'écologie des comportements, l'épidémiologie, la linguistique, l'archéologie et l'histoire des technologies, Jared Diamond montre notamment …