Album: Temple of Low Men. Artist: Crowded House. Released: July, 1988
Is it a function of my growing older that finds me diving deeply into the back catalogue of albums that played a role in forming my musical life? For example, a snapshot of the past week or so reveals that I have repeatedly played Dire Straits’ Communique, Led Zeppelin’s Houses Of The Holy, and the Eagles Greatest Hits. Who could possibly say what led me in these particular directions? On the Australasian front, I have been diving into the library of Crowded House, and finding myself being very well-rewarded indeed by Neil Finn’s genius in particular. The Crowded House album I have been celebrating with the most gusto is their sophomore effort Temple Of Low Men, a situation I found of interest because the third album Woodface has always been one of my great favourites.
I wasn’t enraptured by the self-titled debut album, finding it patchy and uneven, particularly Side 2. But when I acquired Temple Of Low Men on its release in mid-1988, I played it regularly. It was a period of change for me. I was 22, single, and still living with my parents. They had purchased a house in Little River, and I was finding the commute between the town and my life in the city wearying. The situation precipitated the purchase of my first home.
It was the warmth and depth of the music on tracks such as the wonderful opener I Feel Possessed, the melodic When You Come, mellow Love This Life and the gorgeous Into Temptation that enveloped me initially. Neil Finn was surely nearing his peak as a songwriter, I thought. And the follow-up Woodface, with older brother Tim Finn assisting and collaborating would suggest I may have been correct. Was the well running dry? Of course, I wasn’t to reckon on the many iterations of Crowded House and the younger Finn’s extraordinary career, which is still flourishing almost forty years on.
All these years later, Temple of Low Men still maintains its warmth, despite the political nature of some lyrics (Mansion In The Slums), and the darkness in others (Kill Eye, which Finn claims was a direct result of watching too much news on tv). The big hit Better Be Home Soon is timeless, showcasing Neil Finn’s almost peerless ability to pen ballads. Sister Madly is a sizzling jazzy tune (drummer Paul Hester’s brushes are outstanding), while the afore-mentioned I Feel Possessed is extraordinarily luscious. In fact I believe Into Temptation contains some of Finn’s best lyrics – lines such as The sentence is all my own/ The price is to watch it fail are simply brilliant.
Of course, the Crowded House which exists today is a very different beast to both the one formed in Melbourne in the mid-1980s, and what I call version 2 (the line-up assembled following Hester’s tragic passing). But I am unsure if it is because Neil Finn and Crowded House are still relevant that the freshness this album exhibits does not make it feel ‘old’ or ‘classic’; or is it because it is simply a great album, full of tracks that have aged extremely well? Probably both. I also suspect that it is because there is something almost eternal about Neil Finn and his songmanship.
Regardless, if it has been some time since you revisited Temple Of Low Men, all I can do is suggest that you make the effort to take a listen.
You can read more from Smokie HERE
To return to The Footy Almanac home page click HERE
Our writers are independent contributors. The opinions expressed in their articles are their own. They are not the views, nor do they reflect the views, of Malarkey Publications.
Do you enjoy the Almanac concept?
And want to ensure it continues in its current form, and better? To help keep things ticking over please consider making your own contribution.
Become an Almanac (annual) member – CLICK HERE
I can’t remember where I read it or who was responsible, but the suggestion was that Crowded House have the best sense of melody behind The Beatles. I’m happy to run with that. Thanks, Smokie.
Thanks Smokie, I will take you up on that recommendation.
Nice revisit Smokie ~ as you say, Neil is one of the most remarkable lyricists of the past 60 years and the band always captured his words most impressively.
Fine work, Smokie. I remember a guy who was chasing my big sister bought her this cassette. I pinched it from her room and listened to it incessantly in ’88, applying it to my pathetic life of unrequited love, particularly the opening song.
Smokie, Temple of Low Men is a masterpiece. It has aged beautifully and holds up extraordinarily well.
And how good is the album cover!
Paul Hester’s loss still makes me very sad, though I absolutely love what Neil has done with Crowded House version 2.