There are albums that arrive in your life right on time. There are also albums that feel as if they have been waiting for you all along.

Neil Diamond’s Gold is that kind of record for me.

It was recorded live at the Troubadour on Santa Monica Boulevard in July of 1970. Just about ten miles away, in Inglewood, I was two months old and brand new to the world. I did not know it then, but something meaningful was happening nearby. A voice was finding its footing. A performer was stepping into himself. A bridge was being built toward what would come next.

I did not discover Gold until my junior year of college. I found it in a used record store in Washington, D.C., sometime around 1990 or 1991. I remember taking it back to my dorm room. I lowered the needle and felt something familiar. It was something I could not yet name. Even then, it sounded like an album caught between chapters. Confident, yet searching. Grounded, yet reaching.

That feeling has only deepened with time.

Gold captures Neil Diamond in a liminal season. He was between record labels. He had experienced success in the 1960s, yet the full arc of his 1970s creative breakthrough had not fully arrived. This was not a greatest hits collection, even though the title suggests one. It was something far more human. It was a document of becoming.

The band matters here. Carol Hunter’s guitar work has a raw edge. It gives the music a sense of forward motion. Her style was shaped by time alongside artists like Bob Dylan. Eddie Rubin’s drumming, informed by deep jazz roots and work with artists like Billie Holiday, brings both restraint and release. Randy Sterling’s bass provides an anchor that allows everything else to breathe. This was a group capable of listening, responding, and taking risks in real time. That truth is audible.

Then there is “Lordy.”

That song feels like a door being pushed open. Gospel-inflected. Theatrical. Unfiltered. It hints at the ambition that would soon fully emerge on Tap Root Manuscript. On this album, “Cracklin’ Rosie” would become Neil Diamond’s first number-one hit. “The African Trilogy” placed on Side 2 of that album would expand his songwriting into something expansive and cinematic. “Lordy” is not the destination. “Lordy” is the signal.

This is why Gold resonates so deeply with me right now.

I find myself in my own in-between season. Years of experience remain present. Familiar structures are loosening their grip. Listening has become more important than certainty. This album reminds me that the middle matters. The bridge is not wasted time. Confidence is often built quietly in rooms that do not yet resemble arenas.

My connection to Gold also brings to mind the film Song Sung Blue. I love that movie deeply. The film is based on the real life story of Mike and Claire Sardina, who form a Neil Diamond tribute band known as Lightning & Thunder. Watching the two main characters played by Hugh Jackman and Kate Hudson is profoundly life-affirming. They challenge the impossible until it becomes possible. The film honors persistence, hope, and belief without irony. It treats becoming with dignity. The music performances are truly “so good, so good!”

That same spirit lives inside Gold.

This record honors the becoming.

This post accompanies the latest episode of #LeadershipLinerNotes. In it, I share more about this album and the Troubadour. I explain why this particular season of my life feels so closely tied to it. You can listen to the podcast version here:
Spotify/Megaphone:

YouTube

Apple Podcasts

I would love to know what your Gold has been. Was there an album, moment, or season that met you in the middle? Did it quietly remind you that something meaningful was still unfolding? Please share in the comments. I would love to hear from you.

Sometimes the gold is not found at the beginning.
Sometimes the gold is not waiting at the end.
Sometimes the gold lives right in the in-between.