Background:
Jon Casimir, a respected journalist for the Sydney Morning Herald interviewed Neil Finn on May 19th.
As Jon is a friend of mine, I proposed the following: why not see what questions the member of the “Tongue in the Mail” maillist would like to ask Neil … Jon being very ‘net savvy agreed!
Results:
Jon Casimir’s first article appeared in Wednesday 20th May’s Sydney Morning Herald: Out of the house, Neil Finds a New Muse
There is an article slated for the “Metro” section of the Sydney Morning Herald in about 4 weeks time. Stay tuned.
My Question for Neil:
‘Try Whistling This’ marks a transition from the acoustic ‘Finn’ album to a more digital sound; how has the digital age altered your craftmanship?
Here are the Questions Submitted:
With Crowded House it often felt like attempts to be loud and rocky never quite came off, they sounded kind of self-conscious and polite, wheras on your new album it seems to happen much more easily and successfully – what changes have brought this about?
Though I’m sure everyone else will be asking this – why funky dancey grooves now when you’ve never used anything like that before in 20 yrs of making music? is it the radical development it sounds like with respect to your previous work or just a different feel to experiment with?
Why is Twisty Bass called Twisty Bass?
What event/s inspired the song Try Whistling This?
I’m a songwriter, and would like to ask Neil which instrument he composes on primarily, and what kind of acoustic guitar(s) he has in his home/studio (not looking for brand endorsement; I just know that there’s usually a single favorite guitar that’s usually close at hand for songwriters).
How do you see your writing abilities progressing now the new album has been released and was the split of Crowded House any inspiration to the writing of your new material ? How do you feel when you hear Split Enz come on the radio these days ?
One feature of all your work to date has been the banter at your live shows, either with Tim or with Paul or Nick. Is that changing now you’re solo, or have you already got a ‘banter groove’ happening with your band? And will you be encouraging paper planes?
The new album is really impressive. What Iâve found interesting is how much my 14 year-old daughter loves your new material. How do you feel about reaching such a young audience and how have you maintained this appeal over the last 20 years?
There are always a group of lines in your songs that, along with a goosebump inducing melody, really stand out, hit home and play on the mind. Do you start with these lines and build the song around them or do you start from the top and they follow naturally from the original idea?
How do you feel about the success and recognition you’ve earned?
Do you yearn for more high-profile, world-wide recognition (i.e. American success)?
John Lennon is supposed to have said (about music): “If it’s real, it’s simple usually. And if it’s simple, it’s true.” It is bound to be possible to achieve this no matter what technology you avail yourself of to make your recorded music. It is. It’s not the arrangements or approach or even structure of the song that makes this happen. So what is it? What makes something ring true? And something not? Even different projects by the same person. What do you think is the essence of this simplicity?
Can you have strong personal ambition for your musical career and still maintain integrity as an artist?
Each time we hear about the death of a celebrity, more recently Linda McCartney – and bearing in mind your contribution to the Princess Diana tribute album – do you ever feel inspired to write songs for the recently departed?
How do you react when a fellow musician/artist has played you a really good demo (or live version) of a new song of theirs and then when you hear the final version, it has been over produced – even ruined – in the studio? Do you tell them what you think?
When you are in the studio, how much of a perfectionist are you? i.e., do you find yourself recording vocals or other parts over and over again until you get it “just right”? Has your level of perfectionism changed over time in your career (are you more or less of a perfectionist now)?
How does the sound of the new album compare with Crowded House? Did you intentionally start out writing songs that would not sound like Crowded House, did the difference largely come out in the studio, or are there compelling similarities between your solo work and Crowded House albums?
Tim visited Burlington, Vermont in 1989/90, opening for 10,000 Manaics. Have you ever considered visiting or, better yet, playing here?
Do you wish to write an album with any other artists in the future?
In terms of Crowded House, would the songs ‘Black and White Boy’ and ‘In My Command’ and ‘Instinct’ best represent your new songs?
I can’t remember you having any one word titles for your songs. It is the kind of thing i’d expect to see on an REM, Pearl Jam or Radiohead album. Is this because you have focused more on the music and worried less about the lyrics?
From Split Enz, with songs like ‘Years Go By’ ‘Voices’ ‘History Never Repeats’ and through Crowded House with ‘Love This Life’ ‘Distant Sun’ ‘Private Universe’ ‘Everything Is Good For You’ and ‘Instinct’ for example, it seems you take life as it comes, always looking at the past while wondering what the future holds in a light-hearted manner, while cherishing those special places and moments in your life. Is this true in any way?
The songs ‘Kare Kare’ and ‘Private Universe’ could not have summed up better the place attachment I have to our families bach in the Marlborough Sounds, and the general scenery, memories and atmosphere present there. Is ‘Private Universe’ about place attachment to you?
Neil, even though you have been a solo songwriter for much of your career, you have always been a musical collaborator with your brother or with a band. How different was writing and recording this solo album from those experiences? Were you expecting to feel more liberated and able to carry through on your own vision, or did you miss the sounding boards that you used to work with?
Any plans for a few shows in the US?
How does the sound of the new album compare with Crowded House? Did you intentionally start out writing songs that would not sound like Crowded House, did the difference largely come out in the studio, or are there compelling similarities between your solo work and Crowded House albums?”
Tim visited Burlington, Vermont in 1989/90, opening for 10,000 Manaics. Have you ever considered visiting or, better yet, playing here?
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