Sequined jumpsuits and oversized sunglasses were once Neil Diamond's trademark. And his music had always complemented his image — flashy, fancy and flamboyant. Even after the turning of the century and the graying of the hair, Diamond still donned the glitter and equally outlandish music that only senior citizens seemed to enjoy. However, his latest album, 12 Songs, thankfully and finally transforms Diamond from an overproduced '70s guilty pleasure to a sincere and lonely man capable of heart-wrenching music rich with emotion and void of simplicity.

Rick Rubin produced the album, and it is the singer/producer collaboration that makes this record such a success. Diamond may have disagreed with Rubin's desire to soften the sound, but a compromise was reached, resulting in an album that sounds neither overly acoustic nor excessively bombastic.

Rubin, known most recently for his work with Johnny Cash in American Recordings, stripped Diamond not only out of his jumpsuit, but also away from his pop star sound and image. Rubin reintroduced Diamond, in the same way as was done with Cash, as a fresh and authentic musician, ready for a rebirth.

Diamond's resurrection into the music world comes at competitive timing; veterans like The Rolling Stones and Paul McCartney have recently released new albums and, like Diamond, will be spending the remainder of the year on the road. But unlike his ticket-sale rivals, whose latest releases have been deemed as their best in decades, 12 Songs is considered Diamond's best ever. And true, he's hasn't reached the legend-status rendered to his rivals, but Diamond has finally ditched the kitsch and, consequently, found his niche.

12 Songs opens with "Oh Mary," a sweet and beautifully composed ballad that sounds more like a prayer than a song. It is followed by the reflective "Hell Yeah," arguably the album's most inspiring track in which Diamond describes himself as a "lucky old dreamer" and poetically states that he has "found the life that he was after/ filled it up with love and laughter/ finally got it right and made it fit." Still resonant of Diamond's crooner era, this track establishes a delicate balance between the bold and the subtle, allowing fans to see through the shades and gain clarity to the real Diamond.

"Hell Yeah" and the succeeding tracks "Delirious Love" and "Save Me a Saturday Night" best represent the stripped-down sound Rubin had envisioned. Instruments don't play a pivotal role in this album; the lyrics, melody and voice are the centerpiece. The missing instruments are, however, not missed; while their presence is not heard, it is still felt, and this minimalist-style is revolutionary not only to Diamond's career, but modern music in general.

The guitar, as subtle as it is, should still not be left out of the discourse of this album. Feeling like an amateur in comparison to the more skilled guitarists of his generation, Diamond hasn't plucked on an album in decades. But under Rubin's guidance, Diamond unlocked his guitar case for 12 Songs, and with little to no other background music, the picking of the strings resonates with listeners long after the album is over.

It is with the help of fellow guitarist and crooner Brian Wilson that Diamond really shines. Wilson accompanied Diamond on the bonus track edition of "Delirious Love," and their vocal duet sparked a song so smooth and melodious that listeners are guaranteed to forget their surroundings as this song sails them away.

Rougher waters, however, are felt with the choppy "Captain of a Shipwreck." The nautical references and play on words like, "If you're captain of a shipwreck/ I'll be first mate to your shame" may leave listeners seasick, but the viral melody discourages disembarking.

The entirety of 12 Songs reflects Diamond's mentality as a 64-year-old, twice divorced bachelor. The yearning lyrics reveal a man who is honest and humble, yet still hopeful. He recognizes his mortality, accepts his mistakes and still envisions a happy ending. His music may still reflect the sound of the schmaltz that made him famous, but with 12 Songs, Diamond has broadened his fan base and proved to skeptics that there is substance behind the saccharinity.

Symbolically, the album closes with the elementary "We." It's a Mr. Rogers inspired track that proves Mr. Diamond is as optimistic as always, and although both his wardrobe and music may have matured over the years, he is the same good-hearted, "Cherry Cherry" singing icon that he has been for the last four decades.

Caroline sure was sweet (bah bah bah), but with 12 Songs, Diamond proves his music sparkles more than his name, even though his sequined jumpsuit is left hanging in the closest.

Grade: A