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It seems appropriate, in these dark and depressing times, that Neil Diamond like Elton John turns to somber Leon Russell, among others, for comfort with serious music that soothes the soul. The aging superstar once again delivers another solid collection of simply arranged songs that, as with his 12 Songs and Home Before Dark, reflects America in decline.

Dreams is his album of cover tunes, a personal selection of 14 of Neil Diamond’s favorite songs, encased in a handsome CD with a booklet, his brief introduction, and photographs. Songs include: Bill Withers’s lonely “Ain’t No Sunshine”, Russell’s gentle “A Song for You” and a more pronounced version of Diamond’s own “I’m a Believer”. Other tracks are written by Lennon and McCartney, Randy Newman, and Harry Nilsson. Everything here is in order, with guitars, horns, piano and percussion set to Diamond’s familiarly scratchy voice, and, with nothing to prove, he freely interprets these songs in his own way. Standouts include his version of Gilbert O’Sullivan’s “Alone Again (Naturally)”, which is more thoughtful here, and a beautiful rendition of Leonard Cohen’s “Hallelujah”, in which Neil Diamond sings a hymn to life in long, tender notes.

In a remarkably interesting new recording by Elton John, The Union, the pop star aims to revive an appreciation for Leon Russell, a musician and songwriter whose work influenced Elton, one of rock’s greatest artists. In doing so, Elton may also revive awareness of the merits of the record album. Listening to this 14-song collection, produced by T Bone Burnett and reviewed on compact disc (CD), is a special experience. With help from his longtime writing partner, Bernie Taupin, Leon Russell, and Neil Young, Elton has created a rare and impressive accomplishment. The Union honors one of his vocal and piano heroes and offers some of his best work at once, neatly packaged in an underrated art form that presents his work with Russell in an effective sequence.

Read the liner notes before inserting the disc for Elton’s compelling story of how he broke down and reconnected with Russell’s music while traveling in South Africa with his iPod-listening partner, David Furnish, remembering how Russell had attended one of his 1970 shows at the Troubador in Los Angeles, the city where The Union was recorded. The tunes, which were recorded pretty much as they were originally performed in the studio, are best consumed as an album, in this order, and they take some getting used to. The piano-driven songs about life range from ballads to rockers. Each song is distinctively strong and layered, though the modern ear accustomed to crisp production will strain for clarity at times. The Elton John/Bernie Taupin tracks are outstanding, a mature continuation of their stories in melody. “Never Too Old (To Hold Somebody)” sounds like something from Madman Across the Water. This is Elton coming back to his blues and honky tonk roots, and the only place he’s over the top is in the liner notes, where he thanks too many people and wastes space that could have been used for lyrics.

“The Best Part of the Day” and “When Love is Dying” are a couple of the Elton/Taupin duo’s best songs, with insightful lyrics and soaring music, flawlessly performed. Elton never sounded better. Be sure to enjoy their rocking “Monkey Suit” which grinds and struts its way into a guitar-lickin’ groove. Elton writes that he and Leon Russell, a Nashville, Tennessee-based artist from days gone by who describes himself as bi-polar and seems revitalized here courtesy of Elton John, were awkward in the studio at first. Then, he says, talk turned to Mahalia Jackson and the two of them let loose on a number like a couple of masters in perfect sync. Their union succeeds in a spirit of reflection and, on their songs, jubilation, appropos of their affinity for gospel music, and it is wonderful to share in one man’s admiration for another man’s achievements, especially in such a well-crafted form.

Eight songs for seven dollars, that’s the idea behind Verve’s Standards series of compact discs (CDs), and it’s an enormous value. I am enjoying listening to jazz artist Stan Getz (“Pennies from Heaven”, “The Way You Look Tonight”) performing works by composers Jerome Kern, Richard Rodgers and Oscar Hammerstein, and Lorenz Hart. With digital remastering by Kevin Reeves, the music almost sounds as if it’s being played live. Priced under $7, Standards (“Great Songs, Great Performances”), which introduces a new batch in mid-July, is a better value than iTunes or other outlets. I hope Verve maintains the quality and keeps the collections coming. Liner lists song titles, composers, and performance and production notes. The plain disc is encased in plastic, not paper.

Recent releases include Ella Fitzgerald singing Irving Berlin tunes “Blue Skies” and “Always” and George Gershwin’s “I’ve Got a Crush on You”, “How Long Has This Been Going On?” and Somebody Loves Me”. The mini-collection offers Ella’s less maudlin, more enchanting version of “Over the Rainbow”, an infectious “Dream a Little Dream of Me” and her explosive take on Johnny Mercer’s “Something’s Gotta Give”. This CD makes a perfect introductory gift or for adding finely remastered works to your own stash.

Billie Holiday is among those featured in the series. Though I am not a huge fan, her talent is undeniable on these familiar songs, which range from Sammy Cahn’s and Jimmy Van Heusen’s “All the Way” to “Blue Moon” and songs from Porgy and Bess. But I really notice the quality of the remastered songs on the Fred Astaire collection. These recordings are superior to Sony’s Essential Fred Astaire CD and others. The magnificent dancer could carry and craft a tune with his own distinctive style. Here, he sings the usual, “Night and Day” (Cole Porter), “Nice Work If You Can Get It” (George & Ira Gershwin) and “Puttin’ on the Ritz” (Irving Berlin), among others. With fewer scratches, his vocal skills come through.