Category: (Music)
31 new, starting at $5.84
89 used, starting at $0.39
After gradually assuming a front-and-center role in brother Tim's band Split Enz, native New Zealander and transplanted Australian Neil Finn moved firmly into a leadership position with Crowded House, a trio whose debut album appeared in 1986. Slightly more mainstream than his new-wavy Split Enz work, the record nonetheless evinced signs of darkness ("Don't Dream It's Over," "World Where You Live," "Hole in the River") among more chipper numbers such as "Something So Strong." Often gorgeous, Crowded House proved to be the group's biggest release in America, which didn't seem to have a radio home for them after the success of "Don't Dream" and "Something." They disbanded in 1996. --Rickey Wright
The soundtrack of my teenage years.Reviewed by Ignacio Litardo, 2010-01-08
It's not usual to re listen to an album you used to listen to a lot
twenty years from now and feel, instantly, the same frenzied
ecstasy some dare to call "happiness".
I suppose part of its pop power is that it sounds raw, young,
unaffected. If you're over 30, it may help us connect with that
aspect, and feel we could be like that. That's part of pop's magic,
I guess, how it can tie a specific album with an epoch in the world
at large. Irrevokably, this epitomizes the 80s as Nirvana means the
90s for me.
Since the first notes I felt I had to raise the volume, and more,
till I realized of how bad the recording is... Even with my brand
new Krell (advantages of being not-so-young :)) it soulds muddled,
damp, well, the opposite of modern.
In spite of that, I'd like to think, its quick impact was still
intact. Yes, I love "Don't dream it's over", but I can also quote
by heart tracks 1-9. While the lyrics are not as deep as they
pretend, they're solidly built. English being my second language, I
am surprised of how this album touched me. It was not at all in
fashion with my mates, definitely. So it wasn't "peer pressure" or
"the song that played on the radio all summer". I suppose it's
varitey with a catchy tune. From ethernal love in "Something so
strong", doubts in "Can't carry on", despondency in "I walk away"
(I wish I had this CD at hand when I needed it :)) to what I assume
it's "grievance" and "family" in "hole in the river". I can't say I
understood the lyrics, but yes, the music has, definitely, a place
in my head. Now, thanks to internet and Amazon, I realize they were
Australian, and consequently what I took to be "cockney accent"
must be something else :).
I never read who the singers were, I must have opened the booklet
only twice, and I listen to classical music 90% of the time. Not
being exactly a fan, when I listen to my favourite, "Mean to me" I
remember this idea that "a classic changes with you". Now the same
song means different, richer things to me. Great drums. As is the
bass on "World", another instant classic.
I can't understant why such a good band made bland albums like
"Woodface" later... Definitely, sometimes first albums are the
best, the most authentic. As usual, the Amazon reviewer R. Wright
is right that there are chipper numbers like "Something ...", and
in my opinion the last 2 tracks are the least memorable.
Amazon customer comment by "Doctor Beth" is also accurate in that
the album is cohesive.
The guitar ending on "Can't carry on" tied to the beginning of the
next track shows their ductility and changing genres and yet
remaining masters of the "pathos".
Buy with confidence. When you least expect it, you'll realize you
know it, and can sing it until having a sore throat, like I do.
"Feels like teen spirit" :)!
DVD-Audio Review: Most ImpressiveReviewed by D.C. Hanoy, 2009-11-16
A review of 'Crowded House,' the DVD-Audio title by the group with
the same name, ought to begin with something of a confession: Yes,
it's been out for over a year, and, despite full knowledge of its
quality, there has been no review. The explanation is fairly simple
- once you start to listen to this disc, you only want to continue
listening, not write about it.
'Crowded House' is among the best DVD-Audio discs available. The
special quality of the music, and its technical merit as an example
of the DVD-Audio format are, to this listener, irresistible.
Between 1986 and 1993, Crowded House released four albums (there
were two subsequent releases, a "best of" collection called
`Recurring Dream', and, as All Music Guide puts it, a 1999 album of
"Crowded House leftovers and rarities," entitled `Afterglow'). The
band was launched in Australia as a trio, although its actual
genesis was in New Zealand as an offshoot of the band, Split Enz.
There were a few personnel additions and interim substitutions
(including the addition of former Split Enz founder, Timothy Finn)
throughout its existence, which ended in 1996. At all times,
however, Crowded House featured the obvious musical genius of
Timothy Finn's younger brother - native New Zealander, composer,
lyricist, guitarist, and pianist, Neil Finn.
In the latter years of Split Enz, Neil Finn joined his older
brother Timothy and became its chief songwriter. In 1985, after
older brother Timothy had decided to launch a solo career, Neil
disbanded Split Enz and with drummer Paul Hester, went on to form
Crowded House, recruiting bassist Nicholas Seymour as its third
member. At that point, the Split Enz offshoot was transplanted from
New Zealand to Australia.
`Crowded House' was the band's first and most commercially
successful effort, with two of its singles reaching the American
Top Forty - `Something So Strong' and `Don't Dream It's Over'.
Reviewers commonly refer to the music of Crowded House as either
new wave or something close to that - songs that are short in
length, short on instrumental solos, and, to an extent, compatible
with music videos. Much of that is actually true of `Crowded
House', but the only real description gets offered by stopping the
talk, and turning on the music. The album is one snappy yet
alluring melody after the next, music that variously earns the
description of soulful, emotional, often a celebration but
sometimes solemn. Beneath it all, one detects in Neil Finn's music
a passion and meticulous respect for the art he is creating. The
lofty quality of his work not only applies to the music - his
deceptively simple lyrics always emerge from the music, never the
other way around.
Before commenting on the specific tracks, however, the sonic
attributes of the disc should be noted. Particularly when compared
to its Compact Disc counterpart, as well as its own two channel
advanced resolution version, this offering from Capitol Records
underscores in particular the possibilities inherent in the
DVD-Audio format, and surround music generally.
For purposes of comparison, I had on hand the 1986 Capitol Records
Compact Disc version. Although there is nothing at all wrong with
the CD, there is likewise nothing subtle about the comparison
between its 44.1kHz red-book audio and any of the alternative
tracks on the DVD-Audio disc. Purely from a fidelity standpoint,
the high-resolution disc takes you a few notches "closer" to the
music, and the DVD-Audio version will likely spoil for you any
further listening of the CD. This is true not just of the 96kHz
24-bit multi-channel track on the newer release, but, to a lesser
degree, also its other options - the 96kHz 24-bit two-channel
advanced resolution mix, the Dolby Digital track, and the DTS
track, the latter pair being DVD-Video backward compatible. It
should also be mentioned that the advanced resolution stereo track
is available to DVD-Video players, some of which will be able to
output the signal digitally at 96kHz.
The 5.1 surround mix on Crowded House is among the most discrete
mixes available on either DVD-Audio or multi-channel SACD. In fact,
when it comes to use of the center and LFE channels, it is more
discrete than any disc I've yet heard, judging the pair in contrast
to the sounds that come from the other channels. The center is
restricted exclusively to the vocals of Neil Finn - you won't hear
another thing from it - and the powerful bass response on this disc
comes almost exclusively from the subwoofer. The bass extension is
noteworthy not merely because it is almost exclusively directed to
the subwoofer (as opposed to "sharing" much of it with the front
main speakers), but also for the tight, calm thunder it
delivers.
The surrounds are used aggressively, yet there is a beautiful and
simple symmetry to the manner in which they get put in play -
something that mirrors the style of Crowded House's music. The
surrounds are almost always "reactive" to the front array, not
duplicative - they're not pumping out the same thing that's coming
from every other speaker. Instead, where there is an acoustic
guitar from the front mains, there is the response of an electric
piano in the surrounds. Where there is the lead vocal from the
front center, the background vocals come from the surrounds.
Various percussion accents like cymbals are more prominent from the
surrounds. There is sometimes a hypnotic melding of rhythm guitar
and organ, delicately but clearly divided from front soundstage to
surrounds.
The album was originally recorded in 1986, apparently in separate
sessions - some at Platinum Studios, in Melbourne Australia, and
some at Capitol Recording Studios. The surround mix was done by
Steve Genewick of Capitol Studios in 2002, and was mastered for
surround by Robert Vosgien, also of Capitol.
There are eleven cuts on `Crowded House', and, if your listening
experience is anything like mine over the last year, each one might
prove your favorite at any given time. While I only had a passing
acquaintance with Crowded House prior to the past twelve months, it
says a lot to me that, after numerous listening, I still find
something new in the music nearly every time I spin the disc (and I
now have all of their material). This is particularly true of the
5.1 mix.
Time will not permit me to discuss each selection in the track
listing, because I can only gush for so long - but each track is
worthy of superlative comment. In `World Where You Live', the
simple rhythm and catchy melody of the first verse - Neil Finn
singing from the center channel, cymbals and background vocals only
from the surrounds - the dynamic staircase of the music is mirrored
by the involvement of the surrounds. During the chorus, the vocal
harmonies fill the room entirely, but with sounds converging in
balance and discrete identity. I should point out that listening
from the general area of one's "sweet spot" is probably more
important on this disc than most others, but I'll go out on a limb
here and say that there's usually only one audiophile per home, and
that's probably the location of the music-listening culprit in any
case.
The same type of momentum or crescendo gets pulled off in `Now
We're Getting Somewhere', as it begins with just the slow strumming
of chords on an acoustic guitar and Neil Finn's lead vocals,
increasing in speed and presence from verse to verse, getting
joined by what sounds like an accordion or squeezebox of some kind.
Interestingly, the credits indicate that Joe Satriani appears on
that cut - as a background vocalist. I don't know if that is the
Joe Satriani, but that's the name on the credits.
`Hole in the River' is a song about the suicide of Finn's aunt. The
autobiographical nature of it is well known, and the somber nature
of the lyrics become responsible for some unusual treatment in
surround. In the song, Finn sings:
"There's a hole in the river where my Auntie lies
From the land of the living to the air and sky
Left her car by the river left her shoes beside
Through the thorns and the bushes I hope she was...
Dreaming of Glory
Miles above the mountains and plains
Free at last"
So what do the lyrics of `Hole in the River' have to do with a
unique surround experience? They provide the context that enables
it. Throughout the song, and especially toward the end, there is an
unusual refrain of background vocals - for lack of a better
description, the "wailing" of ghosts, as if in a haunted house.
Without granting it the context of the music, as well as its
artistic premise, one might suspect an effect that is off-kilter.
Instead, the shrieking surround mix presents these "ghostly" voices
in a fairly wild but striking surround experience. Ghostly shrieks
are flying about the room in the midst of horns, low piano chords,
and the cold subject of ice and death.
All of the music and the surround mix are simple and clean
statements of sound. Often, there is a sudden-but-natural dynamic
progression in both the melody and the mix. The
straight-from-the-center lead vocals split the room sharply and
discretely, as each channel delivers something unique to the
overall presentation. To reiterate, this is the most "discrete"
surround mix I've heard, reminding me of how I used to be
fascinated by shifting left and right balance controls in later
Beatles recordings.
The music of Crowded House seems to me to contain an obvious pop
influence of The Beatles, although this is an observation commonly
noted. Indeed, Finn's lyrics are particularly reminiscent of Paul
McCartney's lyrics in an important respect - they are poetic, but
not poetry: Instead, the lyrics are truly music, not
literature.
Finn's lyrics have been published in a separate volume, `Love This
Life', so named from a song he authored on the 1988 Crowded House
album, `Temple Of Low Men'. As I reflect upon the themes and spirit
contained in his lyrics, I could not think of a better title. His
lyrics seem to emerge from the music, rather than the music being
written around the lyrics. They can be playful without being
frivolous and can be witty despite somber or even devout trappings
- such as `Hole in the River', or `Tombstone' ("roll back the
tombstone . . . let the saints appear").
I listened to the disc in each of its offerings. I actually started
with the CD followed by the two-channel advanced resolution version
on the DVD-Audio disc because I prefer to "start" the comparison
with the first chronological mix, simply to note if subsequent
surround mixes leave something out, or change the emphasis. What I
discovered was that the surround mix made everything else seem
limited in comparison. This not only caused me to prefer the 96kHz
24-bit 5.1 version over the two channel counterpart - it also meant
that I preferred the Dolby Digital and DTS versions over the
two-channel advanced resolution track. While the latter is several
steps above the Compact Disc purely from a standpoint of fidelity,
it is the surround mix that really takes this great music to the
next level.
The extras on the disc comprise lyrics, two music videos (`Don't
Dream It's Over', and `Something So Strong'), as well as an
interesting version of a "discography" that scrolls from the cover
art of Crowded House's first album - this one - to its last. While
it scrolls, there is a portion from one cut of each album played in
two-channel PCM. For those who believe that everything in the world
has at least one fault, I can point out two of them on this
DVD-Audio - namely the two music videos. There could not have been
much money in the budget back then, and, with flying dishes, irons,
vacuum cleaners, and the smiling guys in the band cramping one
another - after all, this is a "crowded house" - it is every bit as
bad as it sounds, although the effort is one of obvious parody.
Fortunately, it's completely irrelevant to anything
meaningful.
This is, and has been, one of the most impressive DVD-Audio discs I
have heard. The music is always radiant and the surround mix is
unique in its go-for-it approach to discrete surround. Buy this
now, because Capitol Records needs a nudge - we need to tell them
that we'll buy all of the `Crowded House' titles on DVD-Audio. --
Nicholas D. Satullo, High Fidelity Review 04/10/03
Smashing DebutReviewed by Pat Lamorgese, 2009-04-24
Nick Finn stepped out of his brother Tim's shadow of Split Enz, and formed Crowded House. Production and keyboards by Mitchell Froom accurately capture the band's wit and musicianship. "World Where You Live" cuts with a catchy keyboard riff, and ends with strong choral harmonies. "Mean To Me" is a straight ahead rocker, with an interesting change in the middle and strong backbeat by drummer Paul Hester. "Now Where Getting Somewhere" has an accordian patch and mellow acoustic guitar introduction, and becomes a feel good, sing along. The dark hit, "Don't Dream Its Over" stands the test of time, and was the band's signature. Cutting organ by Froom is an essential part of the song in both the middle break solo and at the conclusion, over the "Hey Now"s sung by the trio. An unusually tense cut, "Love You Till the Day I Die" follows, with atonal vocals and thrusting guitar that shift the tune into a melodic chorus full of trademark Crowded House harmonies. "Something So Strong" is a traditional pop song, which is colored by Froom's reedy organ and production, another hit which stands the test of time. "Hole In the River" takes a darker, more dramatic path, with interesting orchestration, strong vocals and great dynamics that help build the tension. "I Walk Away" and "Tombstone" are well written, enjoyable numbers. "That's What I Call Love" is ranting ending to a wonderful debut. This is a debut that showcases the wit and musicanship of Finn, Hester, and Seymour, who were a great trio. Get it!
In it for the long haulReviewed by Howlinw, 2009-03-09
If there's any band that's grown on me over the years, it's Crowded
House. Sadly, I was never really a fan during their peak era. I was
too young perhaps to really get what makes for great pop music,
preferring instead something louder, darker or more overtly edgy in
its image. Plus due to poor marketing in America, this band seemed
like a few-hit wonder (or even a novelty act) rather than the
phenomenon that they became worldwide. I had no idea what I was
missing.
I listen to the Crowded House albums now more than nearly anything
else from that era, and am continually awestruck by the subtle,
intelligent songwriting on this album and the ones that followed
it. Not the most prolific band parhaps, but quality surpasses
quantity sometimes and this is the case here. This first album is
the most overtly "poppy" effort in a conventional sense, and gained
them their reputation as 80s hitmakers. However, although the
production does seem somewhat similar to other then-current acts
(not surprisingly), the sound isn't stuck in that era at all. In
fact, this material is closer to a cross between early 90s alt-rock
(such as Matthew Sweet) and rootsier acts such as the Smithereens
and the Plimsouls. There is a unique sense of quirky humor here but
also some darker lyrical material which balances off the upbeat and
often pretty melodies. This also can evoke comparisons to Matthew
Sweet and other alt-rockers from the early 90s who tried the same
technique, albeit with somewhat more grit. The obvious standouts
like "Don't Dream It's Over" and "Something So Strong" made them
stars, but other songs like the haunting "Hole In The River" leave
an impression long after the last notes fade away. There is no
filler here as the band moves from strength to strength. I am also
amazed that this is a debut record, since the sound is so
fully-formed. Perhaps the collective experience of some of these
musicians in past bands (like Split Enz) allowed them to reach
these heights so quickly.
Judging from Neil Finn's famous fans, it seems like Crowded House
touched the lives of many. From Eddie Vedder to the members of
Wilco, younger musicians are giving this master songwriter the
credit he deserves. Although they had millions of fans worldwide, I
still feel like Crowded House is underrated, at least here in the
States. This is the album that started it all, and every subsequent
release has been nothing short of stellar.
crowded houseReviewed by Kathleen G. Murphy, 2007-09-25
This album is an oldie but a goody. It really brings back a lot of memories, and proves that some music is timeless. I feel, in fact, that they were ahead of their time.