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Read Ebook {PDF EPUB} --Once Removed by Neil Finn – “Don’t Dream It’s Over” It starts with that magical guitar riff, so unmistakable that it takes us back to the Fab Four days of the sixties—but no it’s not The Beatles but ’s Crowded House; Unbeknownst to Neil Finn who penned this already tender classic— “Don’t Dream It’s Over,” to my ears, is a modern day, 1980’s reimagining of ’s “A Day in the Life.” When asked about his Beatles influence Finn replied, “ Not directly, although I’m sure he’s in there somewhere – he’s always in my thoughts. My songs never have clear narratives. I describe moments, work in some feelings and hope for empathy. Growing up, that was my appreciation of . When I first heard John Lennon singing Help! I thought he sounded really happy; I didn’t know he was seriously in trouble. To me, a good song is about intent, delivery and little resonances. I’m not interested in an intellectual process .” When talking about his craft, Neil Finn said this about songwriting, “I t’s like working with clay. You’ve just got to mould the words until they fit the type of rhythm and meter of the song really well. That’s where the craft comes in .” Neil delved further inside his gift of song when he told writer Graham Reid, “ I like to incorporate different events into the one thing, the formula of truth and reality and in-between is different for every song, but there’s always an element of all three. I have been uncomfortable when people assume my life is a certain way because they hear my songs. I like the feeling the songs inhabit spaces that are difficult for people to talk about, and so they gain some degree of empathy or comfort from listening to them. The songs express emotions that are the awkward ones, the ones that are betwixt and between .” When it came to composing his most famous song, “Don’t Dream It’s Over,” Neil Finn said this to Goldmine, “ I wrote that on my brother’s piano. I’m not sure if I remember what the context was, exactly, but it was just about on the one hand feeling kind of lost, and on the other hand sort of urging myself on: Don’t dream it’s over. That one actually fell out literally, without me thinking about it too much .” Finn once reminisced further about the inspiration behind his first hit single when he explained, “ It was a day when I was feeling anti-social. A whole bunch of people where at the house and I didn’t feel like mixing but I went it and got a song out of it. And as with a lot of them, it came out really quickly, all in one piece, the words, and the music—everything. It’s one of those things you wonder what you did right. It’s one of those days and I can’t remember. It’s Don’t Dream It’s Over .” What did Neil Finn do right? He listened, he wrote and he created one of the most memorable pop songs that even the Beatles would be impressed with. No surprise, Neil Finn once named John Lennon and Paul McCartney two of his favorite of all time. Finn said this about Lennon, “em>Beyond those exquisite melodies and chords he made words sound so good and revealed his innermost feelings — equal parts pain and joy .” And Neil described his feelings about Macca’s songwriting like this, “ No Lennon without McCartney — he added the melancholy, the art and the wandering bass to the greatest band ever, and he gave us tunes that will live forever .” There’s speculation that Macca actually call Neil Finn the greatest living alive. I believe it’s because Finn actually has the unique ability of creating actually Lennon/McCartney songs; the best example with it’s Macca-esque tenderness and Lennon like ironic wit making “Don’t Dream It’s Over” the best eighties song Paul & John never wrote. Paul probably hears it too. This must be why according to Paul Tingen of Performing Musician Magazine eloquently wrote, “ While many write melodic rock songs in the tradition of the Beatles, very few manage to do so with the degree of inventiveness and originality that hallmarks Finn’s work. This is so obvious to anyone with ears that stories of McCartney saying he wished he could write music like Neil Finn and praising Finn as “the greatest songwriter alive” seem entirely credible, even if confirmation is impossible to find .” Whether of not Neil Finn is the greatest living songwriting is inconsequential, the thing is it’s almost thirty years since Finn wrote and Crowded House recording their top five hit single “Don’t Dream It’s Over.” I guess the question is Finn’s classic song a poignant or uplifting song? One fan of Neil’s most famous song is none other than Megadeth’s Dave Mustaine who once said, “ Well, I’m influenced by The Beatles a little bit. Same thing with a band called Crowded House. They have that song “Don’t Dream It’s Over”? I can be anywhere and be totally sad and hear that song, and my mood will brighten right up. I don’t know why, but that song just cheers me up, and there’s not a lot of songs that do that. I know Neil and know Tim and I told them that I really dug their music and they were pretty surprised. I like Crowded House and we actually became friends .” Dave Mustaine, the lead singer of Megadeth, can’t be wrong. Just press play and let Neil Finn’s eternal chord guide you back with his reimagining of A Day In The Life;” drift away within the chorus, where you really belong inside Neil Finn’s timeless “Don’t Dream It’s Over.” Record Release Rundown: The Latest From Neil Finn, , & More. Feb. 16, 2014 -- intro: This week, Crowded House leader Neil Finn issues "Dizzy Heights," while New York art rockers Cibo Matto triumphantly return after a 15-year recording hiatus. Band of Horses issue an acoustic live and the Cardigans' Nina Persson makes her solo debut. It's a week full of new surprises from rediscovered friends from the past. Neil Finn's "Dizzy Heights" **** As the leader of Crowded House and a key member of , Neil Finn has spent the last thirty-some years establishing himself as one of best songwriters around. Internationally, the New Zealand native is a respected master of his craft. In the U.S., however, he is basically known for three songs. "I Got You" by Split Enz still gets an occasional spin here, while Crowded House's "Don't Dream It's Over" and "" are rightfully considered classics. But Finn is a musician's musician, counting , , and members of among his friends. In fact, that's Finn singing backup on Crow's hit, "Everyday Is A Winding Road." (Crow then returned the favor by singing on his great 2001 single, "Driving Me Mad.") If you are looking for the pleasing, straight-forward pop hooks of Finn's past on his new album, "Dizzy Heights," you'll probably be disappointed. The album delivers a dense, highly experimental song-set, no doubt due to the presence of famed Flaming Lips producer Dave Fridmann, who makes the most of every element he can. Yes, Finn may be mellowing as a songwriter, but he has always been his strongest in ballad-mode. But here, he is experimenting like a sonic mad-scientist. His voice is often covered with a ton of reverb and echo and he's frequently singing at a near- whisper. This is a strange record, but upon repeated listens it proves to be rewarding and adventurous. Finn deserves credit for not taking the easy or expected route. He explored areas like this before on his solo debut, 1998's "," but that album still had a pop core. On "Dizzy Heights," Finn is more concerned with making an arty sonic masterpiece. This will be a polarizing record for some, but it deserves patience and close attention. At this point in his career, Finn has nothing to lose by experimenting and in doing so, he refreshes his craft. Focus Tracks: "Pony Ride" The album's one true rock song, "Pony Ride" sounds more like the work found on his son Liam's records. (Considering Finn's sons and his wife also play on various tracks throughout the album, maybe this shouldn't be a surprise.) This track is a grunge-soaked dance-groove covered in a number of psychedelic layers of shoegaze-guitar. While Finn's voice is buried in echo, deep in the mix, the track still manages to be the brightest moment of the record. "White Lies And Alibis" This song should do well with the people who enjoy the artier side of . (In other words, the ones who have gone beyond "Someone That I Used To Know.") Finn delivers an ominous, plodding melody here. With different production, this probably could've been a Crowded House hit, but Finn and Fridmann punctuate it with guitar squelches, echo-drenched organs and laser-gun sounds. Stripped down, though, the melody is quite strong. "Better Than TV" A bouncy tune, punctuated by a Latin-flavored, syncopated piano-line, "Better Than TV" is a building number. Like many of the songs on here, it plays to Finn's more unsettled side. If you are looking for major-key melodic pop anthems, this album isn't the place. This is darker, meticulously stirred terrain. "Lights Of New York" This track finds Finn delivering an intimate vocal with a piano playing distantly in the background. All around, the track is flavored with ambient street sound and manipulated and pitch-shifted synth strings. Finn deserves credit for taking what could have been a straight- forward late-night cabaret lament and turning it into something more interesting. "Flying In The Face Of Love" This is the closest this album has to something that sounds like a traditional single. It's a driving, slightly funky groove with a straight ahead chorus. Finn avoids going for the pop jugular here. He dodges the obvious highpoints, because even in a pop-leaning mood here, he's in search of something moodier. Fridmann's production adds some echoes and phantom crashing sounds. "Dizzy Heights" This jazzy title track is more like an electro-leaning offspring of the Bee Gees and Steely Dan. It is woozy, lulling lounge music in the best sense. title: Cibo Matto's "" ****1/2. It has been a long 15 years since and issued a proper Cibo Matto record. We last heard them on their diverse 1999 album "Stereo Type A." That album infinitely widened the scope of their 1996 classic "Viva! La Woman." Naming their album "Hotel Valentine" and releasing it this week was a wise and well-planned move. A quick listen to the album proves that the group picks up right where they left off. Like the rest of their work, this is experimental hip-hop flavored music with hints of lounge and . In many ways this album plays like a wacky Japanese cousin to 's latest album "Magic Hour." And that's not surprising considering that the two bands emerged from the same -centered New York scene in the '90s. Effectively, this record fuses the art-house, left-field experimentation of "Viva! La Woman" with the more polished pop stabs of "Stereo Type A." Interestingly, in the history of the group, the former is a more respected record and this album's legacy should be equally as strong. Although the music scene is strikingly different now than it was in the mid-nineties, one hopes there is still a new audience open to something this groundbreaking and experimental. In 2014, a record like "Hotel Valentine" seems remarkably freeing and fresh. The women of Cibo Matto need to stick around this time and continue to make more records this weirdly entertaining. Focus Tracks: "10th Floor Ghost Girl" This is everything you want a Cibo Matto track to be. It is a funky dance number with a heavy guitar riff during the chorus. Along the way, there are flecks of hip-hop loops and even a left-field horn-solo. This is post-punk and post-rap disco in its highest form. "Emerald Tuesday" The funky drummer, woozily elastic bass-line, echo-assisted organ notes and spattered bits of freaked-out horn-play all come together with an impressive sense of cohesion on this dazzling track. To say there is a lot going on here is an understatement, but it all fits together very well. "Hotel Valentine" The whole album has a loose narrative about a female ghost living in the "Hotel Valentine." This title track is essentially her theme set upon a sly bossanova beat. Over a series of horn bits and drum scratches, Hatrori explains (from the ghost's point of view) the plight of being the hotel's invisible resident. "Housekeeping" This is a smooth bit of electro-flavored hip-hop, which should please those fans who loved classics like "Know Your Chicken" and "Sugar Water." It earns bonus points for its guest appearance from musician and comedian Reggie Watts. "Déjà Vu" Perhaps the name of this track is intended to play on the fact that Hatori and Honda themselves are playing with long-lost sounds of their past. This would've sounded great on "Viva! La Woman," and the electric piano chording underneath the chorus adds a jazzy flare. Band Of Horses' "Acoustic At The Ryman (Live)" *** The evolution of Band of Horses has been somewhat disappointing. After two excellent rock for , the band signed with Columbia to issue two forgettable country and folk-soaked records that sounded like they were trying to recreate AM lite-radio gold from the mid '70s. On those later records, the band removed the harder side that had made their work interesting. In other words, they lost their "alternative" edge. On those earlier records, even the softer songs were stronger and better written than their later work. In the live, acoustic setup, the tracks from the latter "" and "" are improved by the removal of their production sheen. But in the end, the majority of the strongest tracks here are from those first two records. But this does serve as a revisionist document to some degree. and company are tight live performers and the album is mixed for an authentic live feel. In other words, this would actually be a decent starting point for anyone interested in exploring the band's uneven discography. Focus Tracks: "The Funeral" This is still the band's signature (and best) song and in this framework it shines quite brightly. Bridwell's voice is as clear as a bell as he sings over a piano. Without the loud guitar riffing outbursts heard in the studio version, the song doesn't lose a bit of momentum as it gains a newfound vulnerability. It's still a remarkable bit of songwriting. "Detlef Schrempf" A tender ballad named for the famed basketball player, this was originally a highlight on the band's second album, "." Again, with a sparse piano backing, Bridwell is able to get to the song's tender center. "No One's Gonna Love You" Taken from the same album, "No One's Gonna Love You" possesses a similar brand of sweetness. And Bridwell is singing his heart out here. You can hear the heartbreak in his voice. "Slow Cruel Hands Of Time" This track from "Mirage Rock" is given more vitality in the sparse acoustic setup. The studio version sounds like elevator music, whereas there is a live energy here that gives the song more of a campfire glow. It's a fine line, I know, but a small touch can make a difference. Nina Persson's "Animal Heart" ***1/2. text: Nine years after the last album by her band, The Cardigans, Nina Persson re-emerges as a solo artist, and "Animal Heart" is a shiny bit of mature Swedish pop. Hearing Persson's voice brings back immediate memories of the immensely popular "Lovefool," off her band's 1996 classic, "First Band On The Moon." Sure, there is nothing here as funny and endearing as the Cardigans' cheery interpretation of Black Sabbath's "Iron Man," but this album easily earns its place. If one were to look for a Cardigans single that most foreshadows the majority of "Animal Heart," it would probably be "Live And Learn" from 2004's "Long Gone Before Daylight." Persson spends the majority of this record alternating between low-key dance pop and warm, soaring ballads. These songs never hit you over the head. They are meant to be gentle compositions, but in their own subtle way they continue in Sweden's long-standing pop tradition. Synths are all around, but often as subtle accents. Even though this isn't really an "alternative" record, the intelligent songwriting is what you would expect from a veteran of the '90s alternative scenes. Persson may be remembered most for her Cardigans work, but on "Animal Heart" she begins to set her own path. Focus Tracks: "Jungle" The most immediate song here, "Jungle" marries a mid-tempo, semi-sultry dance beat with a catchy melody. Persson's protagonist seems to be on the run as she declares, "It's getting kind of hard to hide in the jungle." "Silver" A sweet lullaby of sorts, "Silver" becomes a slightly orchestral waltz as Persson sings with great love and devotion. The organ outro is a nice touch. "Burning Bridges For Fuel" This is a slow-building ballad and it plays to all of Persson's best qualities. She's always been an ace at masking harsh or dark sentiments in beautiful, sweet-sounding tunes. "The Grand Destruction Game" This is a country-reggae sing-along with some great organ accents. The chorus finds a wonderfully unexpected semi-psychedelic lift. "Animal Heat" This title track is straight out of an '80s pop production book, but it has the kind of new-wave shine that is back in vogue now. It's another anthem that appears to be about escaping. Next week we'll listen to the latest from buzz-band Phantogram, Tom Petty & The Heartbreakers' keyboardist Benmont Tench and more. Neil Finn. On November 24, 1996, the decade-long career of the group Crowded House was celebrated with a final concert before an estimated 150, 000 fans on the steps of the in . Although the group ’ s greatest hits package had just hit number one in Australia and Britain and the band remained popular in the , Canada, and Europe, Crowded House founder Neil Finn felt the time was right to move on. “ I crave a new context to draw something special out of me as a songwriter, ” Finn had commented in Billboard when the band ’ s demise was announced during a British concert tour in June, although he gave no details about his future plans out of respect to his bandmates. After the dramatic final appearance with the stunning view of Sydney Harbor as a backdrop, Finn retreated to his native New Zealand and took up painting, a pastime that removed him from the hype of the music world. Within two years, however, Finn made a return to the recording studio and began another chapter in his already celebrated musical career. Neil Mullane Finn was born on May 27, 1958, in , New Zealand. Known as the “ Rose Town of New Zealand, ” Te Awamutu was a small community on the country ’ s North Island, about 90 miles (140 kilometers) south of the major city of . Finn ’ s parents ran an orchard together with their four children: Neil, Tim, Carolyn, and Judy. The Finns enjoyed performing music at informal family gatherings. Neil was also a devoted pop music fan, citing Donovan and the Beatles as profound influences on his development as a musician and songwriter. Tim, six years Neil ’ s senior, was the first Finn sibling to pursue a musical career. Performing with bands during his stint at Auckland University, Tim formed Split Enz in 1972 with some college friends. The band enjoyed limited success from its new base in , Australia, but verged on breaking up. When one of the band ’ s founding members left the group in 1977, Tim asked Neil to join the band. The younger Finn ’ s first notable contribution to Split Enz, the international hit single “ I Got You, ” brought the group to a new level of success. Several more hits followed, including “ , ” but by 1984, Split Enz had broken up. Neil Finn paused momentarily before assembling a new set of musicians under the name Crowded House in 1984. For the next ten years, he enjoyed even greater success with hit singles such as “ Don ’ t Dream It ’ s Over ” and “ Something So Strong. ” joined Crowded House for its 1991 album , but later decided to pursue a solo career. The brothers remained close, however, and collaborated again on the 1996 song “ Mary of the South Seas, ” a tribute to their mother who had emigrated as a child to New Zealand from Ireland. The brothers also released the collaborative work Finn in 1996, an album that Q magazine summarized as “ Some lovely songs … , a few rather. For the Record … Born Neil Mullane Finn on May 27, 1958, in Te Awamutu, New Zealand. Joined Split Enz, 1977; formed Crowded House, 1984; dissolved band, 1996; released debut solo album, Try Whistling This , 1998; released One Nil , 2001. Addresses: Record company — Parlophone/EMI, Manchester Square, W1A 1ES, England, website: http://www.parlophone.co.uk; EMI Music New Zealand, Limited, P.O. Box 864 Auckland, New Zealand, website: http:www.emimusic.co.nz. Website — Neil Finn Official Website: http://www.nilfun.net. ordinary ones and a lot of fun, particularly for the Finns. Fortunately, the fun and the spirit of the whole affair is mostly infectious. ” As the brothers ’ collaborative efforts took precedence over Crowded House, Neil Finn realized a greater need to work as a solo artist. Announcing the end of Crowded House in June of 1996 during a British tour to support the group ’ s greatest hits collection, , Finn and his bandmates capped the band ’ s success with the farewell concert at the Sydney Opera House in November of 1996. Crowded House had sold over six million albums during its career, and although some critics bemoaned the fact that Finn was quitting a band that had yet to peak in terms of its artistic accomplishment, the disappointment was matched by anticipation over what his solo career would produce. “ There ’ s nothing that gets you more than a skillfully crafted melody and beautifully supporting chords, ” Finn told CNN.com upon the release of his first solo album in 1998, Try Whistling This . “ So I ’ ll be addicted to that for the rest of my days. ” Indeed, the album enhanced Finn ’ s reputation as a wordsmith and melodic craftsman, albeit with more sparse, more somber arrangements than featured on Crowded House and Split Enz songs. Time South Pacific welcomed Try Whistling This as evidence of “ an evolving New Zealand sound — one that combines darkly gothic lyrics with Polynesian sway. ” Finn — by now living with his wife and two sons in Auckland — agreed, telling the magazine that “ it ’ s in the end to do with something which seeps in from the land and the light and the indigenous cultures here. ” Although Try Whistling This sold well enough in New Zealand, Australia, and England to secure the release of a follow-up album, it was decidedly less successful than his past efforts. Yet Finn refused to be compromised by his past triumphs. As he commented in a press release on his own website, “ I haven ’ t discovered fully what the Neil Finn sound is, but I ’ m enjoying the exploration. ” This exploration included writing the score for the New Zealand film Rain , expected to be released in 2001, and collaborating with the Australian Chamber Orchestra on musical pieces inspired by the poems of cartoonist Michael Leunig. The songwriter also prepared to publish a book focusing on his song ’ s lyrics. Most of all, Finn retained his sense of fun on the concert stage. A tour of New Zealand in early 2001 featured amateur musicians who auditioned by sending tapes of their performances to Finn. He also enjoyed having his son, Liam, join the tour as a drummer and bassist. In all, Finn wears his reputation as a pop star lightly. As he told the Australian in February of 2001, “ I like being in the music industry, but I don ’ t like being immersed in it all the time. ” Finn ’ s second solo album, One Nil , went to the top of New Zealand ’ s charts immediately after its March of 2001 release, although it received a critically cooler reception than his past efforts. A British Skipmusic.com reviewer was disappointed with Finn ’ s increasingly introspective direction, claiming that One Nil “ has seen him plumb the depths of mediocrity and climbed [sic] the stunted peaks of averageness ” with the album ’ s muted passions. Yet Finn was pleased with his second solo album, telling the Australian before its release, “ I think it ’ s a romantic record. It ’ s more consistent than the first solo record. It ’ s got a more consistent groove running through it. ” Despite the album ’ s mixed reception, Finn conducted a well received series of concerts in New Zealand to support its release. Assembling a stellar cast of musicians that included lead singer Eddie Ved-der; former Smiths and Electronic guitarist Johnny Marr; Ed O ’ Brien and Phil Selway of Radiohead; celebrated violinist and keyboardist ; and Finn ’ s son, Liam, Finn and company held a five-day, sold-out concert series in Auckland that became a celebration of his entire career. Vedder had been a fan since Finn ’ s Split Enz days, and the other musicians were longtime friends of the performer; Germano had also been a guest musician on One Nil . Onstage, the chemistry among the musicians and their love of performing together showed. called one concert “ three-and-a-half hours of the stuff that makes you fall in love with your record collection all over again. ” In addition to his book publishing, orchestral work, and score writing in 2001, Finn scouted for a record deal to release One Nil in America where he had released Try Whistling This through an independent label. Finn also prepared to tour Europe before returning for another tour of Australia where he maintained his reputation as one of the region ’ s most notable songwriters and performers. In his home country, of course, he was known simply as “ New Zealand ’ s King of Pop, ” an epithet bestowed upon him by the New Zealand Music website. Despite Finn ’ s self- effacing character, it is a label that he had earned with over 20 years of outstanding contributions to popular music. Selected discography. (Contributor) Common Ground: Voices of Modern Irish Music , EMI Premier, 1996. Neil Finn on the return of Crowded House: ‘I am ultimately very optimistic about the world’ Neil Finn, New Zealand music’s jovial elder statesman, is remembering his best friend and bandmate . He recalls the Crowded House drummer holding Finn’s baby son Liam up to the heavens, recreating a scene from the 70s TV show Roots; how Hester taught Liam’s younger brother, Elroy, to play the drums. But Hester’s gone now – he took his own life in 2005. “Paul is a very constant presence in my life – I think about him all the time,” Finn says over Zoom from his home in Auckland, New Zealand. “A lot of the good memories and good associations with Paul resonate easily as much as the sadness of losing him.” For Finn, Hester’s spirit lives on in Crowded House’s new lineup, which officially includes Liam and Elroy (now in their 30s, the brothers have played solo, together and with their father for years); founding bass player ; and longtime producer , who joined the band after decades of convincing. Together they’ve released Dreamers Are Waiting, the band’s first album in more than a decade. “I know Paul would be delighted,” Finn says. “It would have made perfect sense to him, because everyone in this [lineup] has got a really strong connection to the whole history of Crowded House, the whole ethos, the humour and the musicality. In some ways it’s a return, as much as it’s a new phase, to a spirit that existed from the very beginning.” With just one international hit, 1986’s Don’t Dream It’s Over, international readers may not fathom the occasion of a new Crowded House album; how thoroughly the band’s 80s and 90s catalogue is entwined in the cultural fabric of Australia and New Zealand. In 1996 more than 100,000 bereft fans packed the Sydney Opera House’s forecourt steps to farewell the band’s original lineup of Finn, Seymour and Hester. (When told of this assignment, one colleague texted me: “I would crumble. He is a god to me.”) For antipodeans, those early albums are akin to Graceland or Born in the USA, with the prolific Finn our version of Tom Petty. Since starting in his brother Tim’s beloved new wave band Split Enz (Tim played in Crowded House for a time too), Finn has released seven Crowded House records and at least a dozen others. Two charity albums corralled lauded admirers including ’ Johnny Marr, Pearl Jam’s Eddie Vedder, Radiohead’s Phil Selway and Ed O’Brien, and KT Tunstall. And it was the attention of another famous and longtime fan, Mick Fleetwood, that spurred the creation of Dreamers Are Waiting. When ’s longstanding lead guitarist was ousted, Finn was unexpectedly called to their ranks for a tour of North America, Europe, New Zealand and Australia. “It was just crazy really – although it’s amazing how things become normal,” says Finn. “[You’re] standing in rehearsal and singing with Stevie [Nicks] and Christine [McVie]; with John McVeigh and Mick Fleetwood, one of the greatest rhythm sections of all time. But within a week or two, you’re just making music with people. It was an unfamiliar role for me … being a part of the machine.” ‘It was just crazy really’: Neil Finn, centre, flanked by John McVie, Christine McVie, , Mick Fleetwood and of Fleetwood Mac. Photograph: Kevin Winter/Getty Images for iHeartMedia. Playing Fleetwood Mac’s propulsive songs kickstarted Finn’s desire to record an “outgoing”, rather than introspective, album; and a move to Los Angeles for his new gig aligned a nexus of collaborators. Liam was living in LA with his wife and young sons, and Elroy and Froom had moved there too – with Seymour travelling from his home in Ireland. Rehearsals began in mid-November 2019, the very day after the 13-month Evening With Fleetwood Mac tour finished. “There is momentum off the road … there’s a good energy for music. You’ve taken a lot in, absorbed a lot. Somehow there’s this willingness to express yourself and aspirations are set high, because you’re fresh from the sound of applause,” says Finn, poking fun at his profession’s desire for adulation. Dreamers Are Waiting is a richly textured record about treasuring loved ones and securing their future, the myths we indulge to make it all seem OK. “Our generation being in control has really fucked things up,” Finn says. Recording it in the US, in the final year of the Trump presidency, has woven threads of anxiety and portent through it. The gossamer Show Me the Way, for instance, is filled with vivid imagery Finn says crept in subconsciously: handguns under pillows, red and blue, sugarcane plantations and burning crosses. The album is bombastic, absurd and hilarious at points too, with Finn playing the exasperated town crier, bewildered at society’s ambivalence to its impending doom. And on Whatever You Want (the video for which stars Mac DeMarco) he tears down charlatans and their enablers: ‘This is not right; this man is a fake!’ But they will follow him down to the edge of the cliff And if he tells them to jump They will jump right in. “It’s not just the obvious big orange one in America,” Finn says. “It’s not new. People who achieve power through dubious means are usually surrounded by a coterie of arse lickers who love their little piece of the power structure, who hang on to it and do anything they can to be in that mix. “I don’t normally venture into those areas [lyrically] because far better minds than me are able to express it … but I was compelled, and that song just found its way out.” Nine-tenths of the rhythm tracks were recorded in those LA sessions, at Valentine Recording Studios – a treasure trove of analogue vintage equipment and perfectly preserved 70s interiors. Eventually though, surging Covid-19 cases forced the band to retreat to their corners of the world. For Finn, that meant finishing the album remotely in New Zealand, affording him “the time to ruminate and dream away with [the songs]”, dismantle and reassemble them, before adding in contributions from the band ​– flourishes of lockdown-induced tinkering – like French horn samples sent in by Seymour that Finn says may not have materialised under a recording studio’s time constraints. Dreamers is not a “pandemic album” but its songs have an uncanny relevance to today’s cataclysms, particularly in relation to New Zealand – a place its people (including Finn) once clamoured to leave for opportunities abroad, it’s now perceived as a progressive, Covid-free, island- sanctuary of Hobbit holes and billionaire apocalypse bunkers. But like anywhere, New Zealand has its dualities. The Indigenous Māori culture is resurgent but wildly overrepresented in prisons and poverty statistics; it has a low population and a crippling housing crisis; agriculture is poisoning its waterways; and Finn sees growing isolationism and a fear of immigration. “Come to the island / Where we can save our souls / It’s just the right size / The world is beyond us / It’s too enormous / But oh the island is just right,” sings Finn on To the Island, an uneasy reverie of shimmering fantasias. “I’m not downplaying what is important in ordinary people’s lives, but some of the bigger picture items – you would expect New Zealand to be doing much better at,” Finn says. “Like the environment, poverty and mental health, and acknowledging the incredibly important role of teachers and nurses. ‘There is something elemental and essential about New Zealand.’ Photograph: Steve Dykes/Supplied: EMI Music. “All the right noises are being made here now, but I think there’s a really big readjustment that needs to take place for New Zealanders to really feel proud, in a holistic sense, of where we are in our development.” Which isn’t to say Finn doesn’t love the country, even if he rejects its conservatism and jingoistic flag waving. “It’s my home, and I feel it when I’m in the presence of nature – there is something elemental and essential about it, that’s not imagined,” he says. Having grandchildren gives him resolve. “The great thing about having these two beautiful boys to consider is that you have to be optimistic. You can’t just overindulge the morbid thoughts. I am ultimately very optimistic about the world, because I know so many amazing young people and there are just so many good brains out there.” Finn’s in his 60s now and on Playing with Fire’s first verse you can hear the anxiety of living in a world that feels worse than the one he entered: “ Lately I’ve been lying frozen in my bed / feeling like the end isn’t far away. ” But by its end, it seems his capacity for hope hasn’t been entirely engulfed by flames: And some may say We’ll turn it round If you believe such a thing I’ll believe such a thing. Dreamers Are Waiting by Crowded House is out Friday 4 June. Crowded House: Live From the Island – a performance filmed in March in New Zealand – is streaming globally on Saturday 12 June. Neil Finn--Once Removed by Neil Finn. 1980 Produced by . Shark Attack Tim Finn. I Got You Neil Finn. I got you – that’s all I want I won’t forget – that’s a whole lot I don’t go out – not now that you’re in Sometimes we shout – but that’s no problem. I don’t know why sometimes I get frightened You can see my eyes, you can tell that I’m not lyin’ Look at you – you’re a pageant You’re everything – that I’ve imagined Somethings wrong – I feel uneasy You show me – tell me you’re not teasin’ I don’t know why sometimes I get frightened You can see my eyes, you can tell that I’m not lyin’ I don’t know why sometimes I get frightened You can see my eyes, can you tell me you’re not lyin’ There’s no doubt – not when I’m with you When I’m without – I stay in my room Where do you go – I get no answer You’re always out – it gets on my nerves. I don’t know why sometimes I get frightened You can see my eyes, you can tell that I’m not lying (But) I don’t know why sometimes I get frightened You can see my eyes, can you tell me you’re not lyin’ I don’t know why sometimes I get frightened You can see my eyes, you can tell that I’m not lying. What’s The Matter With You Neil Finn. What’s the matter with you? Look down on everything we do I really wonder if you see today like I do What’s the matter with you? What’s the matter with you? You don’t look cool in shades of blue I really wonder if you see today like I do What’s the matter with you? When I got up today I felt so much brighter My head was swimming with delight and I told her But she said “What’s so good about today?” And she walked away She’s down in the dumps without a reason why. What’s the matter with you? Look down on everything we do I really wonder if you see today like I do What’s the matter with you? Gonna keep an eye on you, I’ll be your dictator So you better buck up or I’ll deal with you later So beat the drum and let the trumpet blow You gotta let go In the heat of the moment you reap what you sow. What’s the matter with you? Look down on everything we do I really wonder if you see today like I do What’s the matter with you? The worried look that’s on your face makes you older You realise that things have never been better Yes sir, the weather’s clear There’s Eskimos, in summer clothes I don’t suppose you’d like to laugh with me. What’s the matter with you? You look down on everything we do I really wonder if you see today like I do What’s the matter with you? Double Happy . I Wouldn’t Dream Of It Tim Finn. Tim Finn. Nobody Takes Me Seriously Tim Finn. Missing Person Neil Finn. Home too sweet home, It just occurred to me To be on my own, In search of bitter treats I get so removed But you never notice it Step in my shoes, You’ll see that I don’t fit. I walk home, The wrong way, Hoping I’ll go astray I’d like to be a missing person. Eyes open wide, But all I see is black You thought I was alright Just wait ’til you get back There’ll be no one home And they’ll stay up all night Everyone I know, I’m wishing you goodnight. I walk home, The wrong way, Hoping I’ll go astray I’d like to be a missing person I wander the highways, Asleep in your doorways I’m wanted but I’m a missing person. (Missing Person) (Missing Person) And I fly by night, Fighting to get away Under neon lights I slip down alley ways Only safe and sound When silence brings a chill Now my back is turned I know I can’t stand still. I walk home the wrong way, This time I’ll go astray I like to be a missing person I wander the highways Asleep in your doorways I’m wanted but I’m a missing person.