Tap Root Manuscript
Tap Root Manuscript is the sixth studio album by American singer-songwriter Neil Diamond, released in November 1970 on Uni Records.[1] Co-produced by Diamond and Tom Catalano, it blends pop, folk, and rock styles across eleven tracks, with the A-side featuring accessible hits like the chart-topping "Cracklin' Rosie" and the B-side presenting an ambitious 19-minute experimental suite titled "The African Trilogy (A Folk Ballet)".[2][3][4] The album marked a commercial breakthrough for Diamond, achieving gold status within two months of release and confirming his status as a major recording artist.[5] Notable for its genre experimentation, particularly the African-inspired conceptual elements on the second side—which include tracks such as "Childsong", "I Am the Lion", "Madrigál", "Soolaimón", "Missa", and "African Suite"—Tap Root Manuscript highlighted Diamond's evolving artistic ambitions during a pivotal phase of his career.[3][1] The record's success was driven primarily by "Cracklin' Rosie", Diamond's first number-one single on the Billboard Hot 100, alongside other strong entries like "Done Too Soon" and covers such as "He Ain't Heavy, He's My Brother".[4]Background
Album conception
Following the commercial success of his late-1960s pop singles like "Sweet Caroline," Neil Diamond turned toward more ambitious and experimental territory with Tap Root Manuscript, marking a deliberate shift from conventional pop structures to incorporate global influences. Conceived in early 1970 as the direct follow-up to his 1969 album Touching You, Touching Me, the project reflected Diamond's desire to expand his artistic scope beyond mainstream hits, drawing on folk traditions and rhythmic complexities to create a multifaceted work.[6] Central to the album's conception was Diamond's fascination with African music, which he explored through rigorous research rather than direct cultural immersion, including consultations with the Kenyan Mission to the United Nations. He collaborated with UCLA's African Studies Center to authenticate elements like Swahili lyrics and traditional instrumentation, ensuring an informed fusion of these sounds with his rock foundations.[7][8] This approach allowed for a conceptual framework that traced a narrative arc from individual reflection to collective expression, embodied in the album's second side. Producer Tom Catalano, a longtime collaborator who had worked with Diamond since the mid-1960s, played a pivotal role in realizing this vision, blending rock arrangements with world music motifs.[9] The resulting structure centered on the 19-minute "African Trilogy" suite—a seven-part sequence including "Soolaimon," "Missa," and "Madrigal"—which served as the album's metaphorical core, symbolizing a "manuscript" of musical roots and evolution.[10] From initial writing to completion, the suite alone took approximately 14 months, underscoring the project's depth and innovation.[7]Pre-production context
In 1968, Neil Diamond signed a contract with Uni Records, a division of MCA, which marked a significant shift in his career following his departure from Bang Records and afforded him greater creative control over his output. This deal came at a pivotal moment, as Diamond had already achieved commercial success with earlier hits, setting the stage for more ambitious projects.[11][12] Tap Root Manuscript represented Diamond's sixth studio album, building on a series of top-40 singles from 1968 to 1970—including "Holly Holy" (peaking at No. 6), "Sweet Caroline" (No. 4), and "Cracklin' Rosie" (No. 1)—that solidified his status as a pop star capable of blending heartfelt lyrics with broad appeal. These successes, released under Uni, demonstrated his rising stardom and provided the leverage for experimental endeavors. By this point, Diamond had transitioned from songwriter-for-hire to a major recording artist, with Uni supporting his evolution toward more personal and innovative material.[13] The early 1970s music industry was characterized by a surge in eclectic and experimental sounds, influenced by the countercultural movement's emphasis on global influences and artistic boundary-pushing, as artists explored folk, rock, and world music fusions to distinguish themselves from mainstream folk-rock acts like Simon & Garfunkel. Diamond, seeking to carve a unique niche amid this landscape, drew on these trends to infuse his work with diverse elements, reflecting broader shifts toward cultural exploration in popular music. Initial songwriting for the album took place in Los Angeles, where Diamond had relocated in mid-1969, and he began sketching African-inspired themes drawn from his fascination with the continent's folk music traditions, informed by related readings and studies.[6][14]Production
Recording sessions
The recording sessions for Tap Root Manuscript took place primarily at Sound Recorders in Hollywood, Los Angeles, beginning in the spring of 1970 and spanning approximately three months leading up to the album's October release.[15][16] Neil Diamond and producer Tom Catalano oversaw the multi-track recording process, placing a strong emphasis on live instrumentation to capture the raw energy of the album's African suite, known as the "African Trilogy." This conceptual sequence of tracks drew on tribal influences to create a narrative arc, with overdubbing employed to enhance the seamless flow between segments.[17][18] Specific recording techniques included the integration of congas, flutes, and choral arrangements to evoke primal, tribal atmospheres, particularly in the trilogy sections. Percussion elements featured congas played by King Errison, while woodwinds like flutes were handled by musicians such as Jim Horn and Jay Migliori, and choral vocals were provided by groups including The Blossoms.[17] A notable challenge arose in achieving authentic African percussion sounds, prompting consultations with music advisors from diverse cultural backgrounds, including Kenyan consultant Kinya Njui, who contributed expertise to the trilogy's rhythmic authenticity.[17][19]Key personnel
Neil Diamond served as the lead vocalist and guitarist on Tap Root Manuscript, while also composing the lyrics and music for every original track on the album.[3] Tom Catalano co-produced the record alongside Diamond, contributing to its arrangements and overall production direction.[3] Armin Steiner handled the engineering, capturing the album's diverse sonic elements during recording sessions.[3] The album drew on renowned session musicians, many from the Wrecking Crew collective, to realize its eclectic sound:- Hal Blaine: drums[20]
- Carol Kaye: bass[20]
- Al Casey: guitar[20]
- Mike Deasy: guitar[20]
- Larry Knechtel: keyboards[20]
- Gary Coleman: percussion[20]
Musical style and content
Experimental elements
Tap Root Manuscript showcases experimental elements primarily through its second side, which features the 19-minute suite titled "The African Trilogy (A Folk Ballet)," consisting of seven components: "Childsong," "I Am the Lion," "Madrigal," "Soolaimon," "Missa," "African Suite," and "Childsong (Reprise)."[3] This conceptual piece fuses pop-rock with African folk, blues, and gospel influences, creating a "folk ballet" as described by Diamond himself.[22] The suite's innovations include call-and-response vocals, polyrhythmic percussion, and a narrative progression that evokes oral storytelling traditions, drawing from cultural roots to build a cohesive epic.[22] In contrast to the accessible pop-rock songs on Side A—such as the hit "Cracklin' Rosie" and covers like "He Ain't Heavy... He's My Brother"—Side B's structure represents a bold departure from conventional album formats, presenting a unified conceptual narrative rather than standalone tracks.[22] This dichotomy highlights Diamond's exploration of deeper thematic layers, influencing subsequent pop artists' incorporation of world music elements into mainstream compositions.[22] The album's overarching concept employs the "tap root" metaphor to symbolize profound cultural and personal excavation, tying the diverse styles and themes across both sides into a unified manuscript of artistic growth and heritage.[22]Track listing
The original 1970 vinyl release of Tap Root Manuscript features five tracks on Side A and an uninterrupted suite titled "The African Trilogy (A Folk Ballet)" on Side B, comprising seven components that flow continuously without breaks.[3] The total runtime of the album is 35:30.[23] All songs were written by Neil Diamond, except for the cover "He Ain't Heavy... He's My Brother", which was composed by Bobby Scott and Bob Russell.[3] Later CD reissues split the suite into individual tracks while preserving the original sequencing.[5]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| Side A | |||
| 1. | "Cracklin' Rosie" | Diamond | 2:58 |
| 2. | "Free Life" | Diamond | 3:12 |
| 3. | "Coldwater Morning" | Diamond | 3:18 |
| 4. | "Done Too Soon" | Diamond | 2:32 |
| 5. | "He Ain't Heavy... He's My Brother" | Scott, Russell | 4:06 |
| Side B (CD reissue sequencing) | |||
| 6. | "Childsong" | Diamond | 2:10 |
| 7. | "I Am the Lion" | Diamond | 2:16 |
| 8. | "Madrigál" | Diamond | 1:43 |
| 9. | "Soolaimon" | Diamond | 4:05 |
| 10. | "Missa" | Diamond | 2:32 |
| 11. | "African Suite" | Diamond | 4:58 |
| 12. | "Childsong (Reprise)" | Diamond | 0:50 |
Release and promotion
Singles
The album Tap Root Manuscript yielded three commercial singles, a notable output for the period that helped propel Neil Diamond's rising profile ahead of and following the LP's November 1970 release. These tracks showcased Diamond's versatility, blending original compositions with a cover version, and collectively achieved significant airplay and sales, with all three reaching the top 30 on the Billboard Hot 100.[22] The lead single, "Soolaimon," was released in April 1970 with "And the Grass Won't Pay No Mind" as the B-side. Drawing from the album's experimental African-inspired suite, it peaked at number 30 on the US Billboard Hot 100 in June 1970, marking an early indicator of the project's commercial potential ahead of the full album's debut.[24] "Cracklin' Rosie," issued in late July 1970 and backed by "Lordy," became the album's breakout hit. The track's infectious, celebratory rhythm drove it to number 1 on the Billboard Hot 100 for one week on October 10, 1970, representing Diamond's first chart-topping single in the US and selling over a million copies.[25][26] The third single, a cover of the Hollies' "He Ain't Heavy, He's My Brother," followed on November 5, 1970, with "Free Life" as its B-side. Diamond's rendition, emphasizing the song's themes of brotherhood and support, climbed to number 20 on the Billboard Hot 100 by late 1970, providing continued momentum for the album in the post-release period.[27]Marketing and packaging
Tap Root Manuscript was released in November 1970 by Uni Records, with the initial pressing issued on vinyl in a gatefold sleeve.[3] The packaging featured a 12-page lyric and credit booklet inserted within the gatefold, providing detailed track information and photography.[28][29] Album cover photography was handled by Larry Barione, with additional book photography by Jim Metropole; art direction and concept were by John C. LePrevost, design by Virginia Clark, and calligraphy by Jon Zarr Haber.[20] Marketing efforts focused on building anticipation through the lead single "Cracklin' Rosie," released in July 1970, which served as the primary promotional vehicle ahead of the album launch.[22]Commercial performance
Chart positions
Tap Root Manuscript achieved moderate commercial success on international album charts following its release. It peaked at number 13 on the US Billboard 200 in December 1970 and charted for 45 weeks, indicating sustained interest bolstered by the performance of its lead singles.[30][31] The album also performed respectably in other markets, reaching number 13 on the Canadian RPM Top Albums chart, number 18 on the UK Albums Chart, and number 31 on the Australian Kent Music Report.[32][33]| Chart (1970–1971) | Peak position |
|---|---|
| Australia (Kent Music Report) | 31[33] |
| Canada Top Albums/CDs (RPM) | 13 |
| UK Albums (OCC) | 18[32] |
| US Billboard 200 | 13[30] |