Crowded House Albums (6)
What The Critics Say
Although Neil Finn was always the undisputed leader of Crowded House, they also possessed an undeniable band chemistry, most apparent on their freewheeling live shows but also evident on their four studio albums, each possessing a distinct identity from each other. When Neil pulled the plug on Crowded House after 1994's Together Alone, it was clear that it was for musical reasons, that he wanted to step out and try some new things, resulting the kaleidoscopic Try Whistling This and the hazy One Nil, both book-ended by albums with his brother Tim. Neil planned to follow that second Finn Brothers album with another solo project, but as he started work, tragedy struck: his longtime friend Paul Hester, the drummer for Split Enz and Crowded House, committed suicide in 2005. In the wake of his death, Finn reconnected with the other founding Crowded House member, bassist Nick Seymour, and slowly the third solo album turned into a Crowded House album, with latter-day second guitarist/multi-instrumentalist Mark Hart brought in along the way, working alongside guests like Johnny Marr and Enz keyboardist Eddie Rayner. It was an organic reunion -- and not uncommon in the Enz universe, either, as the band keeps falling together for occasional anniversary concerts and popping up on each other's albums -- that arose perhaps as part of the grieving process, or perhaps Neil realizing he'd rather be part of a band than a solo act and, in his words, "what other band could I be in." So, the very fact that Crowded House re-formed made sense, but the resulting 2007 album Time on Earth feels considerably different than the band's first four, often betraying its origins as a Neil Finn solo album. To begin with, it's streamlined where their previous albums were ragged, and the most notable element that's been trimmed is the humor that ran throughout each of their albums. This curtailing of good spirits is an appropriate, even expected, reaction to Hester's death, and his ghost does linger over the whole of Time on Earth, beginning with its very title and carrying through to Seymour's artwork, but most apparent in the subdued, contemplative tone of the album. Finn's lyrics are littered with allusions to Hester -- sometimes deceptively so, as on "Silent House," co-written with the Dixie Chicks prior to the drummer's death and first appearing on their 2006 album Taking the Long Way -- and this mildly mournful vibe is enhanced by the subdued tone of the album. This set of songs takes its time, relying heavily on ballads and meditative, mid-tempo pop tunes, and even the brighter numbers like "She Called Up" are far from sprightly. Finn may in a ruminative mode but Time on Earth is not heavy-handed or oppressively sorrowful: it's contemplative and sweetly melancholy. Given this hushed vibe, it's not surprising that the album, as a whole, is a bit of a grower, as Finn's tunes take some time to reveal their gifts. A few songs have an immediate impact -- such as the gently propulsive "Don't Stop Now," the snappy, jangly Marr collaboration "Even a Child" (the closest this record comes to a rocker) and the spacy, tongue-in-cheek "Transit Lounge," featuring Beth Rowley as vocal support -- but most of these are subtle songs that unfold at their own speed. It may take some time for the songs to catch hold, but once they do, they dig deep, sticking around in the memory like much of Finn's best work. But even if the best of this album does stand proudly alongside the best of Finn's music, Time on Earth is still quite unlike any of his other records: strangely, it feels more like a solo album than either of his solo albums, partially because it's such an introspective work, partially because it sustains a bittersweet tone from beginning to end, whereas his other solo efforts careened wildly between moods. But even if this is unquestionably Neil Finn's show, this also does feel like the work of a band, since there is a warmth here, a feeling of support, that sounds like a group, not a one-man-band. This curious intermingling of sounds and intent makes Time on Earth a haunting yet comforting affair that is quite unique in Neil Finn's body of work, yet functions as an oddly appropriate, utterly worthy, comeback as Crowded House. [The CD was also released with a bonus DVD.] ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Crowded House called it a day on November 24, 1996, with a farewell concert at the Sydney Opera House attended by well over 100,000 people, making it one of the largest concerts in Australian history. The double-disc set Farewell to the World was released a decade later to commemorate the ten-year anniversary of the event, and while the performance lacks the loose energy and off-the-cuff banter that made Crowded House's concerts memorable, it has aged well, and not just because Neil Finn's songs sound every bit as fresh and sharp as they did upon their initial release. That much can be discerned from a listen to any of the group's albums, or their excellent hits compilation, Recurring Dream, but what Farewell to the World reveals is what a tight, professional live band Crowded House could be if the occasion called for it -- and certainly, this farewell show was an occasion that called for it. This was a large-scale, historic performance, and it sounds like it: the band plays all the hits and standards, with none of the left-field detours that could characterize their live shows (and are well documented on the many fan club-only live releases over the years), and they play with focused precision that may not be as exciting as some of their other live shows, but it certainly is easy to enjoy, whether it was in person at the Sydney Opera House in 1996 or hearing it on record years later. This may not be a major release, but for fans it is a welcome one: a souvenir of a fine farewell show, and a nice reminder of the strengths of Crowded House as a live band. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
More experimental and musically varied than any of their previous releases, Together Alone finds Crowded House branching out into traditional Maori music and heavy guitars, as well as the shining pop songcraft that is Neil Finn's trademark. Picking up a new guitarist and adding the production skills of ex-Killing Joke member Youth, Crowded House energize their sound without losing sight of Finn's classic pop songwriting, as "Locked Out" and "Distant Sun" prove. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Where Crowded House's previous album, Temple of Low Men, showcased the often dark side of a man alone with his thoughts, Woodface represents the joy of reunion and the freedom of a collaborative effort -- more than half of the album was originally conceived as a Finn Brothers project, which was Tim and Neil's first crack at writing together. The songs are easily their finest to date, combining flawless melodies and the outstanding harmonies of the brothers' perfectly matched voices. ~ Chris Woodstra, All Music Guide
What The Critics Say
Following the success of Crowded House's debut and the band's grueling promotion schedule, Neil Finn was clearly showing signs that he was no longer happy being New Zealand's zany ambassador to the U.S. While the material on Temple of Low Men demonstrates great leaps in quality over its predecessor, it is a darkly difficult album, especially for those expecting Crowded House, Pt. 2 -- in short, there are no immediately accessible singles. Instead, Finn digs into the depths of his emotional psyche with obsessive detail, crafting a set of intense, personal songs that range from the all-too-intimate look at infidelity of "Into Temptation" to the raucous exorcism of "Kill Eye." Through all of this introspective soul-searching, Finn reveals most of all his true mastery of melody. ~ Chris Woodstra, All Music Guide
What The Critics Say
Split Enz needed to end, particularly since founding member Tim Finn found his little brother Neil's growth spurt uncomfortable, but also because Neil was no longer writing tunes that made sense within the context of a band that ran the gamut from art rock to eccentric new wave. Neil was now writing songs that were undeniably totems of popcraft, but infused with the spirit and introspection of a singer/songwriter. This formula would later become quite popular with artists from Matthew Sweet to the legions of basement auteurs in the pop underground, but this sensibility was relatively unheard of in the mid-'80s -- hence the birth of Crowded House. Neil retained Paul Hester from Enz, added Nick Seymour for the trio, and recorded one abandoned attempt at an album before joining with Mitchell Froom for the band's eponymous debut. At the time, Froom's clean production seemed refreshing, almost rootsy, compared to the synth pop dominating the mainstream and college scenes at the time, but in retrospect it seems a little overreaching and fussy, particularly in its addition of echo and layers of keyboards during particularly inappropriate moments. But Finn at his best overshadowed this fairly stilted production with his expert songcraft. As it happened, the record was blessed by good timing, and the majestic ballad "Don't Dream It's Over" became an international hit, while its follow-up, the breezy "Something So Strong," also turned into a hit. Both revealed different sides of Finn's talents, with the first being lyrical and the second being effervescent, but perhaps the truest testaments to his talents are "Mean to Me," "World Where You Live," and "Now We're Getting Somewhere," songs where the lyrics meld with the melody in a way that is distinctive, affecting, and personal. If the rest of the record doesn't reach those heights, it's still good, well-constructed pop, and these aforementioned highlights point the way to Temple of Low Men, where Crowded House (and particularly Finn) came into its own. ~ Stephen Thomas Erlewine, All Music Guide
