Neil Diamond, born on January 24, 1941, in Brooklyn, New York, has left an indelible mark on the landscape of popular music. Over the course of a career spanning six decades, he has released thirty-two studio albums and dozens of hits that have become timeless standards. With a signature blend of rock, folk, pop, and a touch of soul, Diamond’s music has touched millions, his lyrics often reflecting themes of love, yearning, and the complexities of human emotion. From his early days as a Brill Building songwriter in the 1960s, penning hits for artists like The Monkees, to his ascent as a solo artist with a string of chart-toppers such as “Sweet Caroline” and “Cracklin’ Rosie,” Diamond has demonstrated an uncanny ability to craft songs that resonate deeply with audiences across generations.
This article explores some of the most compelling cover versions of Neil Diamond’s songs—each a unique interpretation that showcases the breadth and versatility of his songwriting. From the Monkees’ effervescent “I’m a Believer” to the reggae-infused twist of UB40’s “Red Red Wine,” these covers span a diverse range of genres and highlight the varied personalities of the artists who took on Diamond’s material. Frank Sinatra’s somber rendition of “Dry Your Eyes” brings a contemplative depth, while Deep Purple’s hard-rock version of “Kentucky Woman” shows how Diamond’s songs can be reimagined with a completely different energy and attitude.
By examining these covers, we gain insight into the unique ways different artists have approached Diamond’s work, infusing his songs with their own distinct styles while remaining true to the emotional core of his writing. Whether it’s the laid-back charm of Smash Mouth’s “I’m a Believer” or Johnny Cash’s introspective take on “Solitary Man,” each entry on this list serves as a testament to Neil Diamond’s lasting influence and the universal appeal of his music. These covers not only celebrate Diamond’s impact but also reveal the many layers and interpretations his songs inspire, proving that his music continues to be a fertile ground for artistic expression across genres and generations.
# 10 – Girl, You’ll Be a Woman Soon – Urge Overkill
“Girl, You’ll Be a Woman Soon,” originally penned and performed by Neil Diamond in 1967, found a new lease on life with its cover by Urge Overkill in 1992. This version gained iconic status after being featured in Quentin Tarantino’s 1994 film, Pulp Fiction, which not only revitalized interest in the song but also introduced it to a new generation.
Urge Overkill, a band known for blending rock elements with a polished, almost cinematic quality, recorded their version of “Girl, You’ll Be a Woman Soon” for their 1992 album Stull EP. Recorded at Chicago Recording Company, the cover features Nash Kato on vocals and guitar, Eddie “King” Roeser on bass and additional vocals, and Blackie Onassis on drums. The production, handled by the band with the help of Kramer, showcases a sleek, modern rock interpretation of Diamond’s original, marked by Kato’s distinctive baritone that adds a layer of urgency and raw emotion absent from the original.
The track starts with a haunting guitar riff that immediately sets a moodier tone than Diamond’s more straightforward pop approach. Kato’s delivery conveys a sense of yearning and desperation that complements the lyrical content, which speaks to the transformative moment of a young girl standing on the precipice of womanhood. The production is minimalistic yet polished, with a focus on guitar textures and a rhythmic drive that supports the vocal narrative, making it a staple on alternative rock stations following the movie’s release.
# 9 – Solitary Man – Johnny Cash
https://www.youtube.com/watch?v=-GjLZyT7ZmM
# 8 – And the Grass Won’t Pay You No Mind – Elvis Presley
Elvis Presley’s rendition of “And the Grass Won’t Pay No Mind,” written by Neil Diamond, is a testament to Presley’s ability to infuse songs with his unique vocal charm and emotional depth. Featured on his 1969 album From Elvis in Memphis, this track showcases a mature period in Elvis’s career, characterized by a soulful and introspective style that differed from his earlier rock and roll persona.
Recorded at the American Sound Studio in Memphis, Tennessee, the album represented a significant return to form for Elvis. Produced by Chips Moman, who was pivotal in reviving Elvis’s passion for music-making, the album includes a mix of country, soul, and gospel influences that were central to Presley’s musical roots. “And the Grass Won’t Pay No Mind” stands out as a gentle, melodic ballad that focuses on the themes of love and nature’s indifference to human affairs.
Elvis’s interpretation is tender and poignant, with his vocal delivery perfectly complementing the song’s lyrical sentiment. The arrangement includes lush orchestration and a soft piano accompaniment, enhancing the emotional landscape of the song. This track not only highlights Elvis’s versatility as a musician but also demonstrates Neil Diamond’s strength as a songwriter capable of crossing genre boundaries. In the broader context of Elvis’s discography, this song is a subtle yet powerful piece that captures the reflective nature of his later works.
Read More: Elvis Presley, Censorship, And The Power Of The People
# 7 – Holly Holy – Manfred Mann’s Earth Band
Manfred Mann’s Earth Band brings a distinctive rock interpretation to Neil Diamond’s “Holly Holy,” a song originally released on Diamond’s 1969 album Touching You, Touching Me. The Earth Band’s version transforms the gospel-tinged ballad into a dynamic and expansive rock anthem, showcasing the band’s ability to adapt and energize existing songs.
The cover features a powerful arrangement that includes a driving bass line, robust synthesizers, and emphatic vocals, all of which mark a sharp departure from Diamond’s more subdued and orchestral original. Recorded at the Workhouse Studios in London, the production was handled by Manfred Mann himself, who is known for his keen ability to fuse rock with progressive elements. The musicianship on this track is particularly notable for its complexity and energy, which helps reinterpret the song’s themes of spiritual awakening and human connection.
Lyrically, “Holly Holy” speaks to themes of love and transcendence, and Manfred Mann’s Earth Band amplifies these aspects through a more forceful and dramatic musical delivery. This approach brings a new level of intensity to the lines like “Call the sun in the dead of the night and the sun’s gonna rise in the sky,” turning the song into a celebration of rebirth and renewal. This cover stands in contrast to other covers on the list, such as Johnny Cash’s introspective take on “Solitary Man,” highlighting how different artists extract and emphasize varied emotional resonances from the same songwriter’s catalog.
The Earth Band’s version of “Holly Holy” not only pays homage to Neil Diamond’s songwriting prowess but also demonstrates the band’s skill in reimagining the song through a progressive rock lens. It serves as a vibrant example of how Diamond’s work can be transformed across genres, retaining its lyrical potency while gaining new energy and interpretation through rock music’s expansive possibilities.
Read More: An Interview With Chris Slade, Founding Member Of Manfred Mann’s Earth Band
# 6 – The Boat That I Row – Lulu
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# 5 – I’m A Believer – Smash Mouth
Smash Mouth’s cover of “I’m a Believer” breathes new life into Neil Diamond’s classic pop song, originally made famous by The Monkees in 1966. Written by Diamond and first released on his album Just for You in 1966, “I’m a Believer” quickly became one of the defining pop hits of the decade, thanks to its infectious melody, relatable lyrics, and feel-good vibe. More than three decades later, Smash Mouth revived the song for a new generation, bringing their unique blend of ska-punk and pop-rock to this iconic tune.
Recorded in 2001 at H.O.T. Studios in Los Angeles and produced by Eric Valentine, Smash Mouth’s version of “I’m a Believer” was featured prominently on the soundtrack of the animated film Shrek. The recording featured Steve Harwell on lead vocals, Greg Camp on guitar, Paul De Lisle on bass, and Michael Urbano on drums. The band’s lively arrangement and energetic performance gave the song a fresh, modern twist while retaining its joyful essence. Unlike the original Monkees version, which was driven by bright pop instrumentation, Smash Mouth’s take added a punchy, rhythmic guitar line and a bouncy beat, infused with the irreverent, feel-good attitude that characterized the band’s music in the late 1990s and early 2000s.
The inclusion of “I’m a Believer” in Shrek exposed the song to a broad, multi-generational audience, catapulting it back into popular culture. The soundtrack album, released in May 2001, went on to become a multi-platinum success, with “I’m a Believer” receiving considerable airplay on both pop and alternative radio stations. The song charted on the Billboard Hot 100 and became one of the standout tracks from the movie, capturing the hearts of younger listeners while also tapping into a sense of nostalgia for those familiar with the original.
Critically, Smash Mouth’s version of “I’m a Believer” was praised for its playful energy and lightheartedness, aligning perfectly with the whimsical tone of Shrek. Unlike other covers on this list, such as UB40’s reggae-infused “Red Red Wine” or Johnny Cash’s soulful take on “Solitary Man,” Smash Mouth’s cover is more of a faithful homage than a reinterpretation. It retains the core elements that made the original a hit while adding a contemporary flair that suits the band’s sound. In this way, “I’m a Believer” by Smash Mouth stands as a testament to Neil Diamond’s songwriting brilliance, proving that a great pop song can transcend eras and musical styles, remaining vibrant and relevant for decades.
Read More: Paul De Lisle of Smash Mouth: The ClassicRockHistory.com Interview
# 4 – Dry Your Eyes – Frank Sinatra
Frank Sinatra’s rendition of Neil Diamond’s “Dry Your Eyes,” recorded in 1976, stands out as a particularly poignant cover among the top ten Neil Diamond tributes. Originally released by Neil Diamond on the album Beautiful Noise in June 1976, the song reflects a deep emotional response to the loss of John F. Kennedy, a moment of collective grief etched into American memory. While Diamond’s version carries his signature mix of theatricality and introspection, Sinatra brings a uniquely heartfelt interpretation that transforms the song into a solemn, reflective meditation on loss, resilience, and the power of song to heal.
Sinatra recorded “Dry Your Eyes” at Columbia Recording Studios in New York, under the production of Don Costa, a longtime collaborator known for his lush, orchestral arrangements that complemented Sinatra’s voice. Accompanied by a team of accomplished musicians, including Al Viola on guitar, Bill Miller on piano, and a full string section arranged by Costa, Sinatra’s version takes on a more intimate, chamber-like quality compared to Diamond’s grander, folk-rock approach. The recording took place over several late-night sessions, an environment Sinatra famously preferred, allowing him to draw out the raw emotion needed for such a delicate interpretation.
What makes Sinatra’s version so captivating is the way he leans into the lyrics, delivering them with a soft yet deliberate cadence. When Sinatra sings, “Dry your eyes and take your song out, it’s a newborn afternoon,” he seems to embody a man reconciling with the past, urging listeners to move forward with grace and remembrance. Unlike other tracks on this list—such as the boisterous, upbeat cover of “Sweet Caroline” by The Monkees or the moody, introspective take on “Solitary Man” by Johnny Cash—Sinatra’s “Dry Your Eyes” resides in a space of quiet mourning. It doesn’t rush; it breathes, allowing each lyric to settle deeply, much like a confession whispered in a dimly lit room.
Critically, Sinatra’s cover was well-received for its sincerity and restraint. While it did not chart as prominently as some of his other work, the emotional weight of the performance resonated with many of his fans and Neil Diamond’s followers alike. It stood apart as a tender homage, not only to the song itself but also to the era it reflects—a reminder of a time when music served as both solace and remembrance. Sinatra’s “Dry Your Eyes” is less a reinterpretation and more a reverent nod to the power of music to encapsulate collective memory, standing alongside other entries on this list as a testament to the enduring influence of Neil Diamond’s songwriting.
# 3 – Kentucky Woman – Deep Purple
Deep Purple’s rendition of “Kentucky Woman” injects a fiery, hard rock intensity into Neil Diamond’s original hit, transforming it from a pop-folk tune into a full-blown rock anthem. The song, initially released by Diamond in October 1967 as a single and later featured on his album Just for You, carries a breezy, Southern charm in its original form, characterized by Diamond’s rich baritone and a rhythmic, almost hypnotic arrangement. Deep Purple’s cover, recorded in 1968 at De Lane Lea Studios in London and produced by Derek Lawrence, takes that same charm and amplifies it with distorted guitars, driving drums, and a punchy organ line, capturing the band’s early experimentation with blending rock, blues, and progressive elements.
The recording sessions for Deep Purple’s version of “Kentucky Woman” took place over several days in October 1968, during which the band members—Ritchie Blackmore (guitar), Jon Lord (organ), Nick Simper (bass), Ian Paice (drums), and Rod Evans (vocals)—collaborated to craft a sound that would mark a definitive step toward their heavier style. Blackmore’s searing guitar riffs and Lord’s swirling organ create a dynamic interplay that brings a new urgency to the song’s melody, while Evans’ gritty vocal delivery provides a stark contrast to Diamond’s smoother tone. This reinterpretation showcases Deep Purple’s knack for taking a familiar song and pushing it into uncharted territory, much like their later work with covers like “Hush” and “River Deep, Mountain High.”
Released as a single in 1968, Deep Purple’s “Kentucky Woman” achieved modest chart success, reaching number 38 on the Billboard Hot 100. While it didn’t match the commercial heights of Diamond’s original, which peaked at number 22, it remains a significant entry in Deep Purple’s discography, illustrating their transition from a psychedelic pop band to the pioneers of heavy rock. The cover also stands in stark contrast to other entries on this list, such as the delicate acoustic reimagining of “Red Red Wine” by UB40 or the soulful rendition of “Girl, You’ll Be a Woman Soon” by Urge Overkill, highlighting the breadth of Diamond’s influence across genres.
Critically, Deep Purple’s take on “Kentucky Woman” has been praised for its raw energy and innovative arrangement. It serves as a bridge between the band’s early experimental phase and their later, more definitive heavy metal sound. The track’s aggressive rhythm section, combined with the band’s signature organ and guitar interplay, pushes the boundaries of what a cover can achieve, turning a straightforward pop song into a complex rock piece. In the context of this list, Deep Purple’s “Kentucky Woman” stands out as a powerful example of how Neil Diamond’s songwriting can be reshaped into something entirely new and invigorating, proving that his music’s adaptability extends well beyond its original genre confines.
Read More: Ian Paice of Deep Purple: The ClassicRockHistory.com Interview
# 2 – Red Red Wine – UB40
UB40’s cover of “Red Red Wine” is perhaps one of the most successful transformations of a Neil Diamond song, catapulting the melancholy ballad into a global reggae hit. Originally released by Neil Diamond in 1967 on his album Just for You, “Red Red Wine” was written in the classic pop-folk style, with Diamond’s heartfelt lyrics exploring themes of longing and loss through the lens of a man seeking solace in a glass of red wine. UB40 took this deeply personal ballad and, in a surprising twist, infused it with a laid-back reggae rhythm that revitalized the song for a new generation.
UB40 recorded their version of “Red Red Wine” in early 1983 at DEP International Studio in Birmingham, England, with the band themselves acting as producers. The recording featured the full lineup of the band’s classic ensemble: Ali Campbell on lead vocals, Robin Campbell on guitar, Earl Falconer on bass, Brian Travers on saxophone, Jimmy Brown on drums, Norman Hassan on percussion, Mickey Virtue on keyboards, and Astro adding to the unique blend with his toasting—a reggae style of vocalization. The song was initially released on the band’s Labour of Love album, which exclusively featured reggae covers of songs the band admired. UB40’s interpretation of “Red Red Wine” was built around a steady reggae beat, enriched with the band’s signature horns and keys, turning the reflective lament into an anthem for carefree days and nights.
“Red Red Wine” became a defining track for UB40 and saw great commercial success, topping the UK Singles Chart in 1983 and later reaching number one on the Billboard Hot 100 in 1988 after a live performance at Nelson Mandela’s 70th Birthday Tribute revived interest in the song. This resurgence five years after its initial release is a testament to the song’s cross-genre appeal and the band’s ability to reinterpret Diamond’s original with a fresh perspective. Unlike other covers on this list, such as Frank Sinatra’s reflective “Dry Your Eyes” or Deep Purple’s hard rock take on “Kentucky Woman,” UB40’s “Red Red Wine” stands out for its ability to seamlessly merge Diamond’s introspective lyrics with a sunny, reggae sensibility that appealed to a wide and diverse audience.
Critically, UB40’s version was praised for its innovative approach and its ability to bring a new emotional dimension to a song already well-loved in its original form. Their rendition managed to retain the melancholy undertones of Diamond’s lyrics while infusing them with a relaxed, almost celebratory feel, bridging the gap between contemplation and upliftment. The cover’s widespread popularity helped solidify “Red Red Wine” as one of Neil Diamond’s most versatile songs, proving that his songwriting could not only withstand genre shifts but thrive in them. Alongside other dynamic covers on this list, such as Johnny Cash’s hauntingly stripped-down “Solitary Man,” UB40’s “Red Red Wine” exemplifies the adaptability and timelessness of Diamond’s catalog, making it a standout in the world of music covers.
Read More: Top 10 UB40 Songs
# 1 – “I’m a Believer” – The Monkees
The Monkees’ rendition of “I’m a Believer” remains one of the most iconic covers of Neil Diamond’s work, transforming his straightforward pop tune into a global phenomenon. Originally penned by Diamond and released in 1966 on his album Just for You, “I’m a Believer” was a catchy, upbeat love song that captured the essence of 1960s pop-rock. When The Monkees released their version later that same year, the song skyrocketed to the top of the charts, becoming an enduring anthem of youthful exuberance and the spirit of the era.
Recorded in October 1966 at RCA Victor Studio B in New York, “I’m a Believer” was produced by Jeff Barry, a noted figure in the Brill Building pop scene, who had also co-written hits like “Be My Baby” and “Da Doo Ron Ron.” The session featured Micky Dolenz on lead vocals, with the instrumental backing provided by the studio’s famed “Wrecking Crew”—a group of seasoned session musicians including guitarist Al Gorgoni, drummer Buddy Saltzman, and pianist Stan Free. Their polished performance brought a rich, full sound to the song, elevating it beyond Diamond’s original with a more dynamic arrangement and infectious energy.
Upon its release, “I’m a Believer” became a cultural touchstone, reaching number one on the Billboard Hot 100 and remaining there for seven weeks. It was the biggest-selling record of 1967 in the U.S., with over ten million copies sold worldwide. The song’s massive success can be attributed to its universal appeal: a blend of straightforward, relatable lyrics—“I thought love was only true in fairy tales”—with a driving beat and an unforgettable melody that resonated across age groups. While other covers on this list, like UB40’s reggae-infused “Red Red Wine,” reinterpret Diamond’s material in new and unexpected ways, The Monkees’ “I’m a Believer” remains the definitive version that solidified the song’s place in pop history.
Critically, The Monkees’ cover was lauded for its bright, feel-good vibe and infectious chorus, which captured the band’s essence as television stars-turned-pop icons. Unlike the more introspective covers on this list, such as Frank Sinatra’s mournful “Dry Your Eyes,” The Monkees’ take on “I’m a Believer” is unabashedly upbeat and joyous. It stands as a prime example of how Neil Diamond’s songwriting could transcend his own performances to become a significant cultural marker in the hands of other artists. The song’s lasting popularity, from its original release to its inclusion in various films and television shows, attests to its timeless charm and the continued relevance of Neil Diamond’s music across generations.
Read More: Top 10 Songs From The Monkees
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