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2006-10-06 - 10:49 a.m.

And then there’s the matter of Neil Finn.

Like everyone, I bought Split Enz’s True Colours, mostly for the laser-etching, but fell in love with “I Got You,” and “Shark Attack,” etc. But I was young and angry and got side-tracked by punk and stopped caring about the pretty stuff.

Years later, “Don’t Dream it’s Over” and the entire Crowded House era eluded me. That was a great song, but overplayed and just part of the cultural zeitgeist wallpaper so I didn’t pay attention.

Then Neil Finn seemed to have had a third act as a respected singer/songwriter, embraced by exactly the kind of people (and bloggers and magazines) whose taste I share.

But when so many people recommend something to me, something happens that I call the Motherless Brooklyn Phenomenon: I just don’t feel like I need to hear/read/see said work of art, because I already know I’ll like it, and it’ll always be there, like the Statue of Liberty, or the Empire State Building or the World Trade Cen—oops. See? Not good.

So lately I’ve finally been giving Neil Finn a chance, one download at a time, and have been rewarded with some really lovely songs. If any Finn-heads can expound on how to approach his catalog, please do!

Here’s a good’un: “Hole in the Ice.” I love that he’s singing this intense and kind of angry song while wearing a dorky suburban dad shirt:

Two other things I’m appreciating today:

  • The British label Ace Records, their passion and aesthetic. They are archivists of great, early r&r and jump blues and garage rock, most of it American.

  • From Wales: the proggy/psych Man.

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