In his anthology In My Lifetime, Diamond described this as "a Rock & Roll song with some black music influence" adding, "I've always been moved by gospel music and 'Thank the Lord for the Night Time' is probably as close as this white Jewish kid from Brooklyn could come to being a gospel singer."
Mike From Atlanta from GeorgiaIt's a shame that there is no information to be found for the musicians that played this song.
Jerry from Dunreith, InThe first time I heard it I thought it said "a time to screw"...
Meocyber from Alma. Co.When this came out it was one of my first initial catchy pop/rock songs. Along w/ King of the Road , Downtown and What's new Pussycat?. This was definitely the rockenist of my early faves.
Barry from Sauquoit, NyOn July 9th 1967, "Thank the Lord For the Night Time" by Neil Diamond entered Billboard's Hot Top 100 chart at position #86; and August 20th, 1967 it peaked at #13 (for 2 weeks) and spent 11 weeks on the Top 100... Between 1966 and 1988 he had fifty-six Top 100 records; thirteen made the Top 10 with two reaching #1, "Crackin' Rosie" (for 1 week in 1970) and "Song Sung Blue" (for 1 week in 1972)... He just missed having his third #1 when "Love On The Rocks" peaked at #2 (for 3 weeks) in 1981... Mr. Diamond will celebrate his 74th birthday this coming January 24th, 2015.
Coy from Palestine, TxAt the very end of this record you can hear Diamond say "Ah s**t" on the fade out!
Matthew from Toronto, OnOne of the ultimate rebukes of the conventional work week. The singer [Diamond] can't wait to break away from the dull routine he finds himself in & let thing fly loose & high. Lyrically, it's in the same vein as "Five O'Clock World," "16 Tons," "Working in the Coal Mine" & "Workin' for the Weekend." Oh, how we want to break free & do something with our lives! Please shake us free of our devotion to a steady paycheque each week.
Drew from B\'ham, AlThis song sounds like a simple continuation of "Cherry, Cherry". Same key, same riff, 4/4 time again, & saying pretty much the same thing again. Jim Croce sorta did the same thing by making "You Don't Mess Around With Jim", followed by "Bad, Bad Leroy Brown", only Jim shifted keys & riffs. Neil carried almost *everything* over into this one. I'm not bored with it, though.
Phil Oakey recorded his vocals for "Don't You Want Me" in the studio bathroom. The recording was disrupted by guitarist Jo Callis reaching through an open window from outside to repeatedly flush one of the toilets.