Neil Finn - everything is coming into focus

EXCLUSIVE: One Nil is Neil Finn's second solo album. Mike Gee goes out on a limb a declares it his best record yet - and takes you through it track-by-track.

Neil Finn's second solo album, One Nil, is a victory for the songwriter and musician who has arguably done as much or more to set a standard for pop music in the pat two decades. One Nil is a lovely, satisfying work that overcomes most of the problems of his debut solo set, Try Whistling This, itself an, at times, remarkable work.

Most noticeably, Finn has begun to find a real voice and persona as a solo performer. Where he was awkward or tentative on Try Whistling This, he is assured and relaxed on One Nil; where he tried too hard on Try Whistling This, he is now suitably confident and no less imaginative; here he plays to his strengths - quality songs with strong lyrics and memorable lyrics - while experimenting subtlety yet cleverly. The structure of many of these dozen new songs is quite intricate and full of surprises yet they all flow as part of the whole. Very little jars on One Nil, and he is well served by some stellar performances from the musicians he's assembled, particularly his collaboration with producers, musicians and songwriters Wendy and Lisa, formerly of Prince fame, and makers of several excellent albums from the mid-'80s to the mid-'90s and key figures in Seal's excellent debut. Their mark is all over One Nil, from Wendy's five co-writes and stunning guitar textures to Lisa's spellbinding piano fills and colourings. Her jazzy, exquisitely phrased ending to the murderously clever Secret God is the highlight of one of the album's finest moments.

However, what really comes through on One Nil, perhaps more so than on any other record he's made, is Neil Finn. Sure there are dark and contemplative songs here - Driving Me Mad is the inner struggle in a tormented nutshell and Anytime looks death square in the eye much like Dylan on Time Out Of Mind and Scott Walker on Tilt - but there's an equal dose of celebration, wry humour and pure romance on One Nil that balances out Finn's more murky drifts.

Musically, he opts for a warm production (delivered masterfully by Tchad Blake) that's both spacious and adventurous; listen to what is going on in the background in many of the songs. The little touches are so sublime yet vital to what makes One Nil work so well. They are the right sounds and colours for the right songs. Unlike on Try Whistling This, where such shadings sometimes felt out of place or unnecessary, there's nothing presumptuous or heavy-handed on One Nil.

At 42, Neil Finn is finding a stronger voice with every album he makes. At the risk of being over-run by Crowded House and Split Enz fans all of whom have strong cases to make about several albums, I'd venture as far to say that this is the best album Neil Finn has ever made. Having said that, it's a fair bet that his next one will be even better. Now wouldn't that be something so strong.

TRACK-BY-TRACK

1. The Climber: opens One Nil on strummed guitar, picked mandolin (or banjo) and a buzzing bass guitar in the background. The melody and chorus are absolutely exquisite and the harmony vocals add a sweetness that's just right. "Tried to reach the top most everyday/ and hope I turn my face up to the sky/ and the cover hangs so low I see no sign of life ... Here we are/ there's a smile between us and it's going on/ You and me, we've always got it through/ anyone can tell you that its true/ you feel it everytime you drive away from home/ the headlights hypnotise/ they take you off towards the sea/ to the night you runaway from thoughts you cannot hide ... " Life's struggle and beauty. Listen to the guitar textures towards the end of the song. Marvellous.

2. Rest Of The Day Off: First single that flows straight off the ending of The Climber with a quirky backbeat and lots of sonic guitar in the background. It's toe-tapping pop that's burnished by a fabulous offbeat piano centrepiece that Finn sings against. Reminds in a strange way of the old Ian Hunter song Once Bitten Twice Shy. A feel good song that rolls perfectly.

3. Hole In The Ice: Very clever song that pits an aggressive verse vocal that's very Beatlesque (Lennon) against an absolutely sublime and oozy chorus that has insouciant harmonies while the middle is a concise guitar solo that lasts just long enough. "Your freedom, now it's so precious that it makes me hurt", "Your wisdom can be passed on by the one who's left". Again, lyrically satisfying and positive. And another atmospheric ending. Great song.

4. Wherever You Are: Is going to be an all-time favourite with Finn fans. Classic mid-tempo pop ballad that harks back to his Crowded House sound yet is all the better for the strong bottom end that drives it. "Wherever you are it's 3am and I'm awake/ Imagine the light upon your blue transparent face/ through coloured glass that filters down through all mystery/ faded/ I'm the one who reads your mind/ see my life in your design/ true companion at your side ..." Lisa's subtle piano is just right throughout. Four-and-a half minutes of the most beautiful music you'll hear this year. Lovely.

5. The Last To Know: Strummed and picked guitar and percussion introduce a moody, folky song enhanced by heartfelt violin, background keyboards and a strong chorus that spirals vocally. Lyrically contemplative exploring the title. Clocking in at just under three minutes, it's a precise statement.

6. Don't Ask Why: Real strutter that's quite Sheryl Crow if you're looking for comparisons. The opening line draws you straight in: "I've never been to heaven but it feels all right/ And I woke up this morning with a permanent smile ..." It's all about love and getting down. Funky and fun, it's going to be real raver live and an irresistible toe-tapper for months to come. "Where does love come from? I don't know/ So come on baby you're the chosen one/ You know exactly what I need .. " Lisa rolls those keys at the end. Fabulous.

7. Secret God: "Lets go climb up on the roof/ In the twilight, 360 degree views/ as we lie down/ watch the fading light turn into stars/ secret god stir up the dust, breathe my name/ secret god stir up the dust, whisper my name". Classic singer/songwriter tune that busts out on a lovely fuzz guitar break which builds in intensity before dropping off on a massive harmony background vocal. Hot. The ending is even better as the song devolves into a jazzy piano piece from Lisa which the guitar cuts against and the drums run into and along side of. Utterly fabulous.

8. Turn And Run: Opens on strummed guitar, a tambourine in the right speaker, Neil's voice and moves into harmony vocals with piano and subtle bass underneath before breaking into the full chorus. It's classic Finn, almost rural with a beautiful country feel and atmosphere and some of his best 'relationship' lyrics. Even better is the subtle build throughout the song so that it literally storms to the finish, the harmony vocals carrying the way. Addictive.

9. Elastic Heart: Tribal opening that evolves into a heavily rhythmic piece (it's nearest, but distant relative is probably Dirty Creature in essence) that becomes melodic as it grows. The middle with its brilliant drums and wailing vocals that subtlety switches tempo only to be cut by violin and keyboards before moving back into the rhythms is just stunning. The whole thing then gets nicely out of control at the end as a voice cuts through the mix and it ends on a tribal chant. Another classic.

10. Anytime: For a song about death and the passing of time (quickly)- "I could go anytime/ there's nothing safe about this life" - it's remarkably upbeat and beautiful strummed pop, carried by more fine piano. There's also a positive note "Fear is contagious/ but I'm not afraid to laugh". The accordion in the middle is brief and heart-rending. Just a great song.

11. Driving Me Mad: Another dark song lyrically. "Deadlines again, feel like hiding out/ no sounds come again/ hiding out while no-one's looking/ bring some inspiration to the man in my head". "Year after year the demons always come" Finn sings in one of the most honest songs about the creative struggle - spiritually and mentally - that's been written. And the middle and end are a surprise. Shuffling strummed pop with some great textures and fills (particularly the accordion from Sheryl Crow).

12. Into The Sunset: If there could be a perfect ending, this is it. Classically beautiful Finn pop, with a great rhythm pattern, aching harmonies a melody to kill for, and one of those songs about love and relationships he does so well. The phased centrepiece is gorgeous. Really, it's the perfect song, as well, and there's a guitar chord two-thirds of the way through to die for. Destined to be yet another classic. And as 'she' fades into the sunset so does the album.

One Nil is released in March.