Tracks such as "Hell Yeah" are mid-tempo or slower lopes in which Diamond growls authoritatively over bare-bones accompaniment framed around his strumming. Many of the songs have their melodramatic moments, but their similar pacing becomes a drag over the long haul, as does Rubin's decision to tamp down Diamond's hookier instincts. That's especially unfortunate given the effectiveness of the few tunes that show off his finger-poppin' side. The irresistible "Delirious Love" and the semi-jazzy "I'm On to You" could have been smashes during the "Solitary Man" era.
A full album of numbers like these would have justified the historical revisionism Rubin seeks. Instead, the cuts are bright spots in a worthy effort that bogs down in its own seriousness.
