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Tap Root Manuscript is the sixth studio album recorded by Neil Diamond, released in October 1970. It was one of the most experimental albums he ever recorded, featuring rock music fused with prominent African sounds and instruments. The album was a commercial success, going Gold in three months, eventually certified Platinum by the RIAA.[1] The album's success was powered primarily by "Cracklin' Rosie", his first number 1 single, with help from Diamond's cover of "He Ain't Heavy, He's My Brother", which rose to number 20.[4] The latter song had been a major hit for the Hollies the previous year.
While the first side of the LP contained five pop rock songs, Side Two was a conceptual suite of related songs expressing an African theme, titled "The African Trilogy". Within this suite was the song "Soolaimon", which rose to number 30 in the US.[4] The 19-minute suite saw African folk styles twined with blues and gospel elements to create what Diamond called "a folk ballet".[5] This effort predates many Western pop artists' interest in world music, for instance Peter Gabriel's 1980 founding of World of Music, Arts and Dance (WOMAD), and the African-influenced album Graceland by Paul Simon in 1986.[6]Tap Root Manuscript was one of the most novel experimental recording projects of its time, and the Uni label, to which Diamond was then under contract, initially was not sure whether it would be commercially viable.
Selection listing
All selections written and composed by Neil Diamond except "He Ain't Heavy, He's My Brother," written and composed by Bob Russell and Bobby Scott.
Vocals: Alexander Hale, Aubrey Porter, Bill Lee, Billie Barnum, Christopher Hale, Clydie King, Dean Porter, Donald Wyatt, Douglas Schwartz, Dwayne Moody, Ed Wallace, Ekundayo Paris, Evelyn Meyer, Fred Burton, George Bledsoe, Graynston Hale, Gwen Johnson, H.B. Barnum III, Jean Sewell, Jessie Kirkland, Joe Greene, John Woodson, Kevin Parker, Lewis Johnson, Mabel Bishop, Marjorie Cranford, Matthews Muhoberac, Merry Clayton, Molly Halloran, Nancy Adams, Oma Drake, Phillip Whigham, Ricky Porter, Sean Engerman, Sherlie Matthews, Sherill Atwood, Stacey Johnson
^Plasketes, George (2016). B-Sides, Undercurrents and Overtones. Routledge. p. 86. ISBN9781317171133.
^Joseph K. Adjaye; Adrianne R. Andrews, eds. (1997). Language, Rhythm, & Sound: Black Popular Cultures Into the Twenty-first Century. University of Pittsburgh Press. p. 253. ISBN9780822939672.
[2]
