"The main objective in any song, the songs that I write, has always been that it reflect the way I feel, that it touch me when I'm finished with it, that it moves me, that it can take me along with it and involve me in what its saying"
About this Quote
Neil Diamond isn’t dressing up songwriting as some mystical public service. He’s describing it as a private test of authenticity: if the song doesn’t physically register on him when it’s done, it’s not finished. That’s a surprisingly bracing standard in pop, where craft can easily become a factory setting and performance can start to feel like the point. Diamond puts the emphasis back on the moment of contact: the song has to “touch” and “move” him first, before it can plausibly do the same to anyone else.
The phrasing matters. He repeats “that it,” like a checklist, but it’s an emotional checklist, not a technical one. No talk of hooks, radio, market, or even audience. The subtext is almost defensive: don’t judge the work by its sheen, judge it by whether it changes the artist while he’s making it. When he says a song should “take me along with it,” he’s hinting at the paradox of good writing: you’re in control, but the best material starts to feel like it has momentum of its own. You stop arranging feelings and start discovering them.
Contextually, Diamond’s career sits at the crossroads of commercial pop and earnest confession. He’s often been dismissed as middlebrow while quietly mastering something harder: making big, singable songs that still feel like a person is in them. This quote is him insisting that emotional credibility isn’t an accessory to craft; it’s the engine. If it doesn’t move the maker, it won’t move the room.
The phrasing matters. He repeats “that it,” like a checklist, but it’s an emotional checklist, not a technical one. No talk of hooks, radio, market, or even audience. The subtext is almost defensive: don’t judge the work by its sheen, judge it by whether it changes the artist while he’s making it. When he says a song should “take me along with it,” he’s hinting at the paradox of good writing: you’re in control, but the best material starts to feel like it has momentum of its own. You stop arranging feelings and start discovering them.
Contextually, Diamond’s career sits at the crossroads of commercial pop and earnest confession. He’s often been dismissed as middlebrow while quietly mastering something harder: making big, singable songs that still feel like a person is in them. This quote is him insisting that emotional credibility isn’t an accessory to craft; it’s the engine. If it doesn’t move the maker, it won’t move the room.
Quote Details
| Topic | Music |
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