12 Songs [Deluxe Version] [Digipak] [Limited]

Performer: Neil Diamond
Artist: Brian Wilson
Engineer: Mark Linette; Greg Fidelman; Andrew Scheps; Jason Lader
Producer: Rick Rubin; Rick Rubin
Distributor: Sony Music Distribution (

Notes: Personnel: Neil Diamond (guitar); Neil Diamond (vocals, acoustic guitar); David Campbell (strings, horns); Roger Joseph Manning Jr. (piano); Billy Preston (organ, Hammond b-3 organ); Brian Wilson (vocals); Jonny Polonsky (guitar, upright bass); Mike Campbell , Pat McLaughlin, Smokey Hormel, Jason Sinay (guitar); Benmont Tench (piano, organ); Larry Knechtel (piano); Patrick Warren (chamberlin); Lenny Castro (percussion). Audio Mixers: Dana Nielsen; Greg Fidelman. Liner Note Author: Neil Diamond. Recording information: Akademie Mathematique Of Philosophical Sound Research,; ArchAngel Recording Studio, LA, CA; Oceanway Recording tudio, LA, CA; Sound City Studios, Van Nuys, CA; The Sound Factory, LA, CA. Editor: Jason Lader. Photographer: Martyn Atkins. Arranger: Jimmie Haskell. Calling 12 Songs Neil Diamond's best album in three decades may be a little misleading: truth be told, it doesn't have much competition in his discography. While Diamond never stopped making albums, he did seem progressively less interested in recording sometime after the Robbie Robertson-produced 1976 album Beautiful Noise. Following that weird, ambitious album, he pursued a slicker, streamlined course and started writing less original material. For a while, this paid off great commercial dividends, culminating in his 1980 remake of the Al Jolson film The Jazz Singer, but after 1982's Heartlight he slowly drifted off the pop charts. Over the next two decades, he toured regularly, turning out a new album every three or four years, and their patchwork nature of a few covers and a few originals suggested that Diamond wasn't as engaged in either the writing or recording process as he was at the peak of his career. With 2001's Three Chord Opera he delivered his first album of all-original material since Beautiful Noise, which was also his first non-concept album since 1991's Lovescape (he spent the interim cutting theme albums, such as a record devoted to Brill Building pop or a country-oriented collection). While it was uneven, it did suggest that Diamond was re-engaging with both writing and recording, and as he prepared material for a new record, he received word that producer Rick Rubin -- the man responsible for Johnny Cash's acclaimed '90s comeback, American Recordings -- was interested in working with him, and the two combined for the project that turned out to be 12 Songs. Rubin was the first producer to push Diamond since Robbie Robertson, but where Robertson indulged the singer/songwriter, Rubin drove Neil to strip his music down to his essence. As Diamond's candid liner notes reveal, Rubin wasn't a co-writer, he was a precise and exacting editor, encouraging Neil to rework songs, abandon some tunes, and to keep writing. The process worked, as Diamond wound up with a set of 12 songs (actually, 13 on the special edition that contains two bonus tracks, including an alternate version of "Delirious Love" featuring a delirious Brian Wilson contribution) that result in his most consistent set of songs ever. This is entirely Rubin's doing, since he's the first producer to exercise such tight control over one of Diamond's albums. Where Tom Catalano, the producer of Neil's '60s and early-'70s work, let Diamond indulge in flights of fancy and sheer weirdness, Rubin keeps him on a tight leash, only allowing a couple of light, cheerful songs into the finished product. Instead of encouraging Neil to write these rollicking, effortlessly hooky pop songs, Rubin brings the moody undercurrents of "Girl, You'll Be a Woman Soon" and "Solitary Man" to the forefront, pushing Diamond toward somber, introspective territory that his music suggested but never truly explored in the past. To highlight this mood, Rubin keeps the arrangements spare, even skeletal, reminiscent of the monochromatic nature of his Cash collaborations. 12 Songs also shares with American Recordings a creeping sense of mortality, but where that sounded natural coming from Johnny Cash, it's slightly affected here, since even when Diamond attempts to reach inward it's offset by his natural inclination toward hamminess. And that flair for the theatrical almost begs out for arrangements that are a little bit more fleshed out than what's here -- not something as slickly cold as what he did in the late '70s, but something similar to the rich yet fruity orchestrations Catalano brought to Diamond's best songs. But if 12 Songs does occasionally come across as slightly affected in its intent and presentation, it also is inarguably Neil Diamond's best set of songs in a long, long time. Diamond's writing is not only more ambitious than it has been in years, but it's also more fully realized; the songs are tightly written, with the melodies bringing out the emotions in the lyrics. Similarly, Diamond also sounds engaged as a performer, singing with passion and unexpected understatement; it's his most controlled, varied vocal performance ever, and even if Rubin's production is a bit too stark, it does force listeners to concentrate on the songs, which makes this a better case for Diamond's talents as a songwriter than most of his other albums. And that's why 12 Songs is, in a way, even more welcome than American Recordings. Where Cash's comeback confirmed what everybody already knew about him, this presents a side of Neil Diamond that's never been heard on record and, in the process, it offers a new way of looking at the rest of his catalog -- which is a pretty remarkable achievement, but the best thing about 12 Songs is that it's simply one of the most entertaining, satisfying albums Diamond has ever released. ~ Stephen Thomas Erlewine In the 1990s, producer Rick Rubin (renowned for his work with acts ranging from Run-DMC to Slayer) helped to reinvigorate the career of country legend Johnny Cash by bringing him back to the basics of his sound. On 2005's 12 SONGS, Rubin facilitates a similar streamlining with pop crooner Neil Diamond, a not entirely surprising move, as Rubin steered Cash toward covering Diamond on AMERICAN III: SOLITARY MAN. The Brooklyn-born performer returns to his singer/songwriter roots, leaving the glitzy bombast of past outings behind, in favor of a warm, organic atmosphere that often highlights Diamond's own acoustic-guitar playing. This setting allows his emotive voice and distinctive phrasing to carry the tunes, whether he's pining away on "Oh Mary" or reveling in unrestrained affirmation on "Hell Yeah." Although many of the tunes are strikingly spare, there is room for contributions by stellar backing musicians, including Billy Preston (organ) and Heartbreakers Mike Campbell (guitar) and Benmont Tench (piano and organ). An assured album that features Diamond playing to his strengths, 12 SONGS is a welcome return to form for a beloved American pop artist. One has to feel some empathy for the depression Neil Diamond underwent as a result of Sony's dreaded rootkit fiasco. (Rootkit was potentially malicious anti-piracy software Sony installed on a number of its compact disc titles.) Right at the crest of the press acclaim and rising sales -- and the beginning of Diamond overcoming the initial disbelief of aging hipsters that the album was one of his very best recording efforts and not one of his easy listening exercises -- the outcries against Sony's folly caused them to yank the album from retail. Ugh! Thankfully, Diamond gets a second chance just as he and Rick Rubin get to work on a second offering. Along with the original 12 Songs comes a pair of bonus cuts including "Men Are So Easy," and "Delirious Love," the latter of which features Brian Wilson doing his Beach Boys best with rich multi-layered "ooh" harmonies, staggered chorus lines, and handclaps. It's not stellar, and the original is better, but it's certainly worth hearing. In addition, there is a second disc that contains alternates, demos and outtakes from the 12 Songs sessions. They are placed in the same order as the tracks on the finished recording, and therefore add dimension and information about how certain choices were made. This is especially true of the demos. The unadorned versions of opener "Oh Mary," "I'm on to You," and "Face Me" offer an intimate and raw view of an artist whose work has been wildly polished since the mid-'60s. Here are the songs as they emerged and became clear to the songwriter; they become full-bodied in his voice as he moves and struggles to come to grips with them and make them real. Likewise, "Save Me a Saturday Night," with its tentative voice expresses a vulnerability not often evident in Diamond's finished efforts. Likewise, an early take of "Man of God," is chilling in its slowly wandering way, as if the singer is trying to convince himself more than the listener. The alternate take of "Create Me," is among the most moving and tenderly naked pieces the songwriter has ever offered. There is no tentativeness in his delivery; it's perfectly convicted, confidently delivered sung poetry. Likewise, the demo of "Face Me" doesn't just contain the requisite drama of Diamond's best downer love songs; there is real anger here along with utterly believable pain: the realization that this is most assuredly the same songwriter who gave us "Solitary Man" 40-plus years on is a bit shocking at first, but it's a few steps down the road. This is what happens when we need and want, it seems to say, and unless the Beloved looks him straight in the eye and says the words he dreads, he refuses to accept that it's happened yet again. This is Neil Diamond not as a self satisfied musician looking through his past, but the sound of a songwriter hungry for the spark, with an editor, Rubin, who won't let him veer from the path. If you missed this the first time around, get it. If you bought it the first time around, give your copy away and dig into this thing hard. You may find yourself playing the bonus disc more than the original. If you're merely a cynic, then try to pull yourself away from the Bright Eyes and Sufjan Stevens records and try not being cool for a change. You'll most likely be surprised and delighted. ~ Thom Jurek

Rolling Stone (No. 987, p.132) - 4 out of 5 stars - "...[H]e's as direct as he's ever been with his lyrics, which give them an extra poignancy...." Entertainment Weekly (pp.140-143) - Ranked #6 in Entertainment Weekly's 'Top Ten Records of the Year' -- "Conor Oberst could take a few tips on song structure and understated vocal projection from the old-schooler comeback of '05." Entertainment Weekly (No. 849, p.67) - "...[T]he singer's well-preserved, Corinthian-leather voice and softy strummed chords are the focus...." - Grade: A Q (p.125) - Ranked #19 in Q Magazine's "100 Greatest Albums of 2006" -- "Diamond rediscovered the simple joys of guitar and voice..." Uncut (p.66) - 4 stars out of 5 -- "Responding to the intimacy of the settings, Diamond eschews bombast in his performances in favour of a melancholy that seems earned, even Dylanesque..." Mojo (Publisher) (p.94) - 4 stars out of 5 -- "What makes 'Oh Mary', and much of this album so good, and in many ways shocking, is that it's all about the voice and the song....Consistently engrossing."

With a career as a hitmaker stretching across the decades, Neil Diamond has purveyed catchy, three-chord pop/rock, progressive singer/songwriter material, middle-of-the-road balladry, and even traditional country. He started out as a Brill Building hitmaker; a songwriter for hire, he worked alongside the likes of Carole King and Gerry Goffin, and penned hits for the Monkees and Jay & the Americans. His solo career took off in the mid 1960s and made him one of America's most successful recording artists and concert attractions for a long time to come. Even decades down the road, younger groups such as UB40 in the '80s, Urge Overkill in the '90s, and Smash Mouth in the 2000's were still scoring hits with Diamond's evergreen compositions.

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