Tim Finn Albums (9)
What The Critics Say
The Conversation is an appropriate name for Tim Finn's eighth solo album: the music has a hushed, intimate quality that evokes the feeling of a conversation with a close friend. Old friends surface throughout The Conversation, either in their presence -- Eddie Rayner, Finn's old Split Enz cohort plays piano throughout -- or their absence, as in the case of Phil Judd, whose absence haunts "More Fool Me," a song that contains a direct quote from an early Enz song, "Matinee Idyll (129)." All of The Conversation feels as if it were built on this kind of reflective introspection or, failing that, a bit of subdued relaxation, as on the lighter "Snowbound," but it's all tied together by its quietness. Nothing about The Conversation is loud: there are no crashing drums -- there's barely any percussion -- and the arrangements are so spare they sometimes seem like nothing more than an acoustic guitar and piano graced by another vocal harmony, although closer inspection reveals some subtle, crucial texture and shading, usually derived from woodwinds or violins. Finn has never quite had an album this gentle or delicate before -- there are echoes of his melancholy 2004 collaboration with brother Neil, Everyone Is Here -- and the effect is striking: this is as naked and emotional as Tim has been on record, and its coziness feels like a secret shared between two close friends. ~ Stephen Thomas Erlewine, All Music Guide
'Imaginary Kingdom'
Release Date 10/16/2006
Tracks 12
Label EMI/Capitol
See Album Tracklist and Review
What The Critics Say
Best known for his work with Split Enz, Crowded House and the Finn Brothers, Tim Finn's nearly 25-year solo career has been overshadowed by his band projects and, to a certain extent, by his brother Neil's international success. Imaginary Kingdom should change all of that. To say that this album is magical is an understatement! Imaginary Kingdom is an atmospheric and joyous collection of beautifully written songs that embrace the listener with warmth and emotional honesty. Piano moves back to centerstage again (it was, for the most part, sadly neglected on his two previous solo releases, Say It Is So and Feeding the Gods) and Finn's vocals are a wonder to behold. When his voice takes flight, as it often does on this release, it becomes an instrument of the angels. It's a stunning thing to experience. His songwriting is stronger and more focused than it's been in years, every song filled with thought-provoking lyrical images and spine-tingling chord changes. Imaginary Kingdom's main strength is how well the songs fit together as a whole. This is not an album to take apart piece by piece, looking for a hit. This is an album that should be heard as a single piece of art. That's not to say that there aren't any possible hits here, though. "Couldn't Be Done," the album's first single and lead track recalls other great Finn album openers like "Hit the Ground Running" and "Fraction Too Much Fiction." "Winter Light," originally released on the soundtrack to The Chronicles of Narnia, is one of the most hauntingly beautiful ballads that Finn has ever written, and his emotional performance is stunning. "Astounding Moon" and the touching "Salt to the Sea" are in a similar musical vein, reaching out and pulling the listener deeper into the album with each listen. "Still the Song" celebrates the inspirational healing of music. "Resting (Your Hands Lightly)," "Midnight Coma" and "Horizon" are pure Finn pop nuggets with melodies sent down from the heavens. Although Imaginary Kingdom is fantastic, it does have its flaws. "Dead Flowers" has a nice Enigma-like groove but the melody doesn't reach out and grab you like the other tracks do. "Unsinkable" does have a great melody but the song doesn't really go anywhere before drifting from view. But honestly, there is no perfect piece of art, and the minor flaws will always add to its undeniable charm. Imaginary Kingdom should shift the spotlight back to Tim Finn as one of the most gifted and extraordinary singer/songwriters of his generation. ~ Stephen SPAZ Schnee, All Music Guide
'Feeding the Gods'
Release Date 9/25/2001
Tracks 11
Label What Are Records?
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'Together in Concert: Live'
Release Date 2/13/2001
Tracks 15
Label Epic
See Album Tracklist and Review
What The Critics Say
Three of New Zealand's most talented and treasured singer/songwriters, Tim Finn, Dave Dobbyn, and Bic Runga, embarked on a 26-date theater tour of their homeland in August 2000; Together in Concert: Live offers a sampling of these highly successful performances. The three musicians share the stage while performing some of the best-known songs from each man's catalog, including Tim Finn's "Six Months in a Leaky Boat" and "Persuasion", Bic Runga's "Sway" and "Drive", and Dave Dobbyn's "Whaling" and "Just Add Water", among others. While this show has the warmth one would expect, it's far from being just an "evening with" nicety; playing with a tight band, minus the expected acoustic guitars, they rock really hard at times, especially on the Split Enz classic "I See Red". ~ Chris Woodstra, All Music Guide
What The Critics Say
Seven years separated Tim Finn's fourth album, 1993's Before & After, and his fifth, Say It Is So, by which time he was left without a label. With a backlog of songs and inspiration from American alt-country acts, Finn went to Nashville in late 1998 to record with producer and multi-instrumentalist Jay Joyce, lacking any clear idea where or when the record would be released. He eventually put it out himself, through Sonny's Pop Records, and it certainly sounds like his first full-fledged independent release. For the first time, Finn sounds entirely unconscious of the charts, which, coupled with his voice's new deep, gravelly texture, may be disarming at first. Although he hasn't concentrated on writing shiny pop songs, he also hasn't abandoned melody -- it's just that this time, he writes melodies like singer/songwriters do, resulting in songs that take a little longer to take hold. They're coupled to production that is fairly stripped down, yet also atmospheric, with its blend of dry guitars, old keyboards, muted drums, and the occasional distorted meaning -- an apt match for Finn's most shaded lyrics to date. All of these sonic textures and elliptical, yet vaguely rootsy songs are quite different from any of Finn's previous solo works. Consequently, Say It Is So may take some time before it reveals its rewards, but it eventually emerges as one of Finn's finest efforts. There may not be any initial standouts, but overall, there are no weak moments, and it's some of the sturdiest, most consistent songwriting he's ever done on one record. Some listeners may miss the pop sheen or Finn's good humor -- this is a relatively sober affair, unlike much of his catalog -- but Say It Is So feels like one of his strongest and most personal records. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
On his fourth solo album, Finn dabbles in dance-pop, pseudo-reggae, and folky ballads, with a different set of producers on nearly every track. While this leads to a certain lack of consistency, Finn's songwriting has never been stronger. He has the most success on the self-produced, stripped-down tracks where his strong sense of melody and knack for catchy pop hooks are allowed to be in the forefront. "Persuasion," co-written by Richard Thompson and "In Love With It All," written with his brother Neil Finn (Crowded House) are highlights. ~ Chris Woodstra, All Music Guide
What The Critics Say
Perhaps in response to the failed big production of Big Canoe and the success of brother Neil's back-to-basics outfit, Crowded House, Finn simplified his approach for his self-titled album, joining forces with Crowded House producer Mitchell Froom. A touching and intensely personal album, Finn bares all, revealing self-doubts, regrets, and a failed relationship with intricate detail. And despite the subject matter, the album has an optimistic, uplifting overall tone, with tasteful adult-pop arrangements perfectly complementing his strongest melodies and finest songwriting to date. Though the sound and sentiments could have (and should have) easily found an audience in the emerging "adult alternative pop" format, the album went virtually ignored. ~ Chris Woodstra, All Music Guide
What The Critics Say
Tim Finn teamed up with playwright Jeremy Brock for his second solo outing, Big Canoe. Although the collaboration is predictably ambitious -- probably Finn's most ambitious since the early days of Split Enz -- beneath all the overblown arrangements and slightly dated production lie some terrific songs. Material like "No Thunder No Fire No Rain," "Hyacinth," and "Carve You in Marble" deserves a better setting, but the album is still able to shine, and some minor flaws are forgivable, especially to diehard fans. Big Canoe also marks a welcome reunion between Finn and ex-Enz collaborator Phil Judd, who contributes sitar and rhythm guitar to a couple of tracks. ~ Chris Woodstra, All Music Guide
What The Critics Say
Following Split Enz's Time & Tide, Tim Finn took his first break from the band with Escapade, a collection of light pop songs, some of which dated back to the late '70s but never seemed to quite fit in the Enz format. A flawed though fun album, Escapade managed several hits in Australasia and Europe and revealed a considerably brighter, more mainstream aspect to Finn's writing. And while the album was successful and a satisfying diversion, it unquestionably served to derail the forward momentum of Split Enz and led to Finn's leaving the band the following year. ~ Chris Woodstra, All Music Guide
