Davies and Icehouse extended the use of synthesizers particularly the Sequential Circuits Prophet-5 ("Love in Motion", 1981), Linn drum machine ("Hey Little Girl", 1982) and Fairlight CMI (Razorback trailer, 1983) in Australian popular music. Their best known singles on the Australian charts were "Great Southern Land", "Hey Little Girl", "Crazy", "Electric Blue" and "My Obsession"; with Top Three albums being Icehouse (1980, as Flowers), Primitive Man (1982) and Man of Colours (1987).
Icehouse's iconic status was acknowledged when they were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame on 16 August 2006. ARIA described Icehouse as "one of the most successful Australian bands of the eighties and nineties... With an uncompromising approach to music production they created songs that ranged from pure pop escapism to edgy, lavish synthesised pieces..." Icehouse has produced eight Top Ten albums and twenty Top Forty singles in Australia, multiple top ten hits in Europe and North America and album sales of over 28 times Platinum in Australasia alone. As of 2006, Man of Colours was still the highest selling album in Australia by an Australian band.
Flowers were formed in Sydney in 1977 by Iva Davies (vocals, guitar, bass guitar, keyboards, oboe), a classically trained musician, and their main creative force; with bass player Keith Welsh. Davies was working as a part-time cleaner at a squash court managed by Welsh's mother, they lived nearby and were both interested in forming a band. Additional musicians used by Flowers in 1978 were Michael Hoste on keyboards and Don Brown on drums. The band built up a strong following as a live act around the pub circuit, providing distinctive cover versions of songs by Roxy Music, David Bowie, Lou Reed, T-Rex, Ultravox and Brian Eno. By the middle of 1979 John Lloyd (ex-Paul Kelly and the Dots) replaced Don Brown on drums, with Anthony Smith (who was sometimes called Adam Hall), on keyboards, replacing Michael Hoste who remained associated with the band and later rejoined. After signing to the independent Regular Records label, distributed by Festival, Flowers released their debut single in May 1980, "Can't Help Myself" (written by Davies), which hit the Australian Top 10 in June 1980. This was followed by their debut album Icehouse, which reached #4 on the National albums chart and became one of the year's biggest selling albums in Australia. The album, co-produced by Cameron Allan (Mental As Anything's producer) and Davies, made use of synthesisers, including the Minimoog, Solina Strings and Oberheim OB 1. Hoste co-wrote four tracks with Davies and played additional keyboards, with Smith continuing to provide the main keyboards. Further singles "We Can Get Together" and "Walls" from Icehouse also hit the Top 20.
Flowers' popularity was recognised when they were awarded the 1980 TV Week / Countdown Rock Awards 'Johnny O'Keefe New Talent Award' ahead of The Dugites, INXS and Karen Knowles. They were also nominated for 'Best Album' and 'Best Album Cover' for Icehouse but lost on both to Cold Chisel's East, Iva Davies was nominated as 'Best Songwriter' but lost to Cold Chisel's Don Walker. At the award ceremony, Flowers performed "Icehouse" with Davies framed within a cube of white neon tubing. In early 1981, Flowers signed to Chrysalis Records for European, Japanese, UK and U.S. releases; they had to change their name due to legal restrictions and to prevent confusion with a Scottish group The Flowers. Their last performance under the name Flowers was on 27 June 1981 at the Capitol Theatre in Sydney, they chose the name of their album to become known as Icehouse.
Walls
Ice House Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If you listen
You will hear an endless heartbeat
On the inside
Through the walls
The sound is crawling
Down the corridors and halls
It cracks the ceiling
All the rest won't listen
Though the walls have ears
But they never really look
They just stand and stare
They're all standing
Staring at the walls
Who put the writing on the walls?
Will no-one ever know?
Oh, well I don't mind the walls
Tell me
Why don't you tell me?
Have you got nothing to say?
Tell me where in hell this place is
Tell me why I get no answers
Am I talking, taking to the walls?
So it's running, jumping, standing still
Well I think I've had enough of it all
Get your hands up
Up against the wall
(Well, I'm never going back to the factory
No I'll never be a part of the machinery)
Who put the writing on the wall?
Who fights and runs away?
The minutes and the hours pass him
Tracing out the days
The days and nights drag into years
And no-one ever knows
Oh, well I don't mind the walls
Oh, well I don't mind the walls
I don't mind the walls
In Ice House's song "Walls," the lyrics convey a sense of frustration and isolation. The singer can hear a "heartbeat" on the inside that seems to be crawling through the walls and ceilings, but no one else seems to notice. The singer begs for someone to tell them where they are and why they get no answers. They wonder if they are just talking to the walls. The song suggests a feeling of being trapped and powerless, with no escape from the monotony and constraints of their surroundings. The repeated question of "Who put the writing on the walls?" adds to the sense of confusion and disorientation, as no one seems to know the source or meaning of the words.
One interpretation of the song is that it is about the modern workplace and the feeling of being stuck in a job with no agency or control. The "factory" mentioned in the song could be a reference to the oppressive nature of many industrial-era jobs. The repeated refrain of "Well I don't mind the walls" suggests a sort of resignation or acceptance to the situation, even if it is bleak and suffocating.
Line by Line Meaning
Listen
Pay attention
If you listen
If you focus your attention
You will hear an endless heartbeat
You can hear a constant, rhythmic sound
On the inside
Coming from within
Through the walls
Even though there are barriers
The sound is crawling
The sound moves gradually
Down the corridors and halls
Through the passageways
It cracks the ceiling
The sound breaks through the upper limit
The windows and the doors
The sound penetrates the openings
All the rest won't listen
Others are not paying attention
Though the walls have ears
Even though things may be overheard
But they never really look
People ignore what's happening around them
They just stand and stare
Individuals don't take action, they just observe
They're all standing
Everyone is present, but inactive
Staring at the walls
Looking at the structure
Who put the writing on the walls?
Who is responsible for the graffiti?
Will no-one ever know?
Is the truth forever hidden?
Oh, well I don't mind the walls
The singer accepts the situation
Tell me
Share with me
Why don't you tell me?
Why aren't you communicating?
Have you got nothing to say?
Do you have no thoughts or opinions?
Tell me where in hell this place is
Share the location of the troubling environment
Tell me why I get no answers
Explain why there is no response or solution
Am I talking, taking to the walls?
Is the artist addressing inanimate objects because there is no one else to talk to?
So it's running, jumping, standing still
The situation continually changes but never progresses
Well I think I've had enough of it all
The singer is no longer willing to tolerate the situation
Get your hands up
Raise your hands
Up against the wall
Position yourself against the vertical surface
(Well, I'm never going back to the factory
The artist is determined to avoid returning to an unpleasant environment
No I'll never be a part of the machinery)
The singer will not become a cog in the machine, lacking individuality
Who put the writing on the wall?
The question is repeated, seeking an answer
Who fights and runs away?
Who retreats from conflict?
The minutes and the hours pass him
Time progresses, but someone is not taking action
Tracing out the days
Quietly marking the passage of time
The days and nights drag into years
Time moves slowly and monotonously
And no-one ever knows
The truth remains a mystery
Oh, well I don't mind the walls
The singer has again come to accept the situation
Oh, well I don't mind the walls
The previous line is repeated, emphasizing acceptance
I don't mind the walls
The singer has fully embraced their environment
Lyrics © Kobalt Music Publishing Ltd.
Written by: Ivor Arthur Davies
Lyrics Licensed & Provided by LyricFind
@every1665
To think this is over 40 years old now (1981) and still sends shivers up my spine.
@scottchristensen8458
TEAR DOWN THE WALLS OF PRIDE HATE AND GREED✨HALLELUYAH✨MERE EXISTENCE IS OUR GREATEST GIFT 💝
@hairymonkey390
This song reminds me of my dad we both used to listen to it on the way to our fishing trips.
He died 2016 ❤️
I will always fish to continue his legacy ❤️❤️❤️
@scottchristensen8458
✨THINK LOVE✨
@scottchristensen8458
BREAK THE WALLS OF PRIDE EGO HATE AND GREED… EMBRACE LOVE ….GOD IS LOVE OUR MOST GRACIOUS LORD ✨JESUS CHRIST✨♾✨😉💛
@ohsorrypluto
Another one of those great Australian bands from the 1980s - millions of Aussie kids in their late 30s to early 40s and beyond would well and truly know these guys!!
@adambrunton123
21 keepin it real
@andymayers8588
Hmm hmmm. And 50s. I love icehouse
@fruittree1670
mate i'm 13
@nigelliam153
I saw them as Flowers in Meriden in 1980