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Review ... Neil Diamond's "12 Songs"

Neil Diamond
“12 Songs”

It only took 35 years, but Neil Diamond has finally released the singer songwriter album that we would get the occasional glimpse of. “12 Songs” offers the proverbial journey back in time when Neil delivered unplugged style, scaled down songs regularly. Think … “Girl, You’ll be a Woman Now” … “Brooklyn Roads” … “Solitary Man” … and you get the idea. “12 Songs” is an exceptional recording and is Neil’s best work since 1988’s “The Best Year of Our Lives” and his most listenable since 1996’s “Tennessee Moon.”

“12 Songs” finds Neil writing about his usual topics of love, vulnerability, and relationships … but from the point of view of a 64 year old man who is knowingly in the autumn of his years. The overall mood that is created is similar to Frank Sinatra’s “September of My Years” … Sinatra’s coming to terms with his life and marriage to Mia Farrow upon his turning 50 years old. In the album opener, “Oh Mary,” Neil gently asks, … “Oh Mary, can you hear my song/Does it make a mournful sound?” In “Create Me” Neil pleads, … “How many seasons have we endured?” “Save Me a Saturday Night” finds Neil pondering, …”How did I ever find you?”

The stripped down instrumentation, Neil’s closely miked vocals, the aging of his singing voice, and the directness of his lyrics make for a moving, emotional listen. There is no mistaking this album for the over the top theatrics of his live arena shows. For the fan of “Love on the Rocks” and “Hello Again,” this is the album for you.

So much of the buzz surrounding “12 Songs” centered on Rick Rubin acting as the producer. Rubin had worked with Johnny Cash during the last decade of his life and was instrumental in bringing out the brooding, creative artist from inside of Cash, which was sometimes overlooked with his outlaw image. Suffice it to say, Rubin has worked his magic here and has created the space for Neil to re-invent himself. Treat yourself to “12 Songs” … easily one of the ten best albums of 2005.

Required Listening – a half dozen of Neil’s best recordings

Classics (Columbia – 1990)
The Best Years of Our Lives (Columbia – 1988)
And the Singer Sings His Songs (MCA - 1976)
Serenade (Columbia – 1974)
Hot August Night (MCA – 1972)
Gold: Live At the Troubadour (MCA – 1970)
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rar1's avatar
rar1 OP
1,769 posts
 
Hooper:

I very much agree (obviously) with your thoughts. Since he started out, Neil has looked to stretch himself as an artist. The "African Suite" that comprises the second side of "Tap Root Manuscript," as well as "Songs From the Brill Building," come immediately to mind. I remember his interviews over the years and Neil would always speak about evoking some type of theme in his songs. I had just thought that his stage persona got in the way of making an album like "12 Songs." For a long time, he was determined to record schlock like "Headed to the Future" (you really have to hear this one live to appreciate its schlock value) and emotional, moving songs like those that comprise "The Best Years of Our Lives" never made it to his stage show. But now, we have "12 Songs" to appreciate and I am not complaining.

Regards, Rich
tomryan
796 posts
 
Anyone remember Neil's new wave/leather metal phase from about 20 years ago?
pehare's avatar
pehare
835 posts
 
No, but I do remember "the Band" saying who invited him? to their Last Waltz celebration concert.
rar1's avatar
rar1 OP
1,769 posts
 
Tomryan and Pehare:

There is no reason to flame Neil for either his "Last Waltz" appearance or his "Headed to the Future" phase. If you read his interviews over the years, Neil has agonized over being relevant and that sometimes saw him going down some strange paths. But I am also sure that there have been other artists caught up in this same type of quandry (the Rolling Stones did do disco you know and I seem to remember Sinatra singing "Bad Bad Leroy Brown").

About 15 years ago, there was a TV Guide article about a Neil Diamond prime time TV special featuring his "Headed to the Future" songs. The TV producer was choreographing a number of modern dance segments that quite frankly, Neil could not relate to and it left him wondering just what he was doing there. It is interesting that you mention the Band's comments, because afterwards the Band and others did feel that Neil belonged on the stage with them. They were initially reacting to his pop star image and not recognizing Neil as a musician.

Regards, Rich
tfkaudio
591 posts
 
Robbie Robertson invited him to "The Last Waltz". That must count for something. He produced what is Neil's (arguably) best album, "Beautiful Noise". I grew up on Neil. My parents played his records a lot. I actually read this thread yesterday and decided to play some of those old records that I stole from my parents. I listened to "Serenade", "Moods", and "Taproot Manuscript", and it was a joy. That music has LIFE in it. A lot of what you might call "serious" or "important" music doesn't have it. I think I need to get "12 Songs". Is it out on vinyl?

Cheers.
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