Australian new wave band Icehouse was formed in 1977, initially called 'Flo… Read Full Bio ↴Australian new wave band Icehouse was formed in 1977, initially called 'Flowers', by Iva Davies (born Ivor Arthur Davies, on 22 May 1955, in Wauchope, New South Wales, Australia). Inspired by art rock and avant-garde pop, Davies was the main creative force behind the band, being a classically trained musician. Band member Keith Welsh joined him on bass. For a number of years they also obtained the services of Bob Kretschmer, until he was replaced by young guitarist Paul Gildea.

Since 1980, Icehouse has released seven albums, several compilations, and music from collaborations with other artists including dance companies. Their 1987 album 'Man of Colours' was released at the apex of their fame and international success. It is considered by many to be the band's magnum opus.

As 'Flowers', Icehouse built up a strong following as a live act around Sydney, Australia, noted for their distinctive cover versions of songs by a wide range of acts including T-Rex and Brian Eno. After signing to the independent Regular Festival Records label, they released their debut single, "Can't Help Myself", which hit the Australian Top 10 in June 1980. This was followed by their first album 'Icehouse', which also made the Top 10 and became one of year's biggest selling albums in Australia. The album made use of synthesisers, especially the Sequential Circuits Prophet 5.

Further singles "We Can Get Together" and "Walls" both hit the Top 20. A European single from this album, "Icehouse", created some interest in the U.K., partly because of a memorable music video. Sensing the possibility of international success, the band decided to change their name in early 1981 to avoid confusion with Scottish group The Flowers. As Icehouse, they spent most of 1981 touring the UK, Canada and US, where "We Can Get Together" hit #62. A single release, "Love In Motion", recorded by Davies alone but the first to be credited to the band's new name, duly hit the Australian Top 10 in November 1981.

In January 1982, the band's original line up split, resulting in Davies recording Icehouse's much-anticipated second album, 'Primitive Man', on his own, with assistance from Keith Forsey, who later worked with Simple Minds. Released in August 1982, Primitive Man was another huge Australian hit and became Icehouse's international breakthrough. The hit single "Hey Little Girl" reached the UK Top 20 and has remained their most regularly played song. Another strong track from this album was "Great Southern Land", which made the Australian Top 5 and was later featured in the late 1980s film 'Young Einstein'.

In 1985, Davies' musical standing was further enhanced when he was commissioned to compose and record the score for the acclaimed Sydney Dance Company production of Graeme Murphy's dance work 'Boxes'. Icehouse's third album, 'Sidewalk', was far more sombre and reflective, featuring the tracks "I Don't Believe Anymore" and "Someone Like You". After this album the band made further inroads into the U.S. market with their 1986 release 'Measure for Measure', which featured none other than Brian Eno as a listed band member.

Icehouse's next work, 'Man of Colours', was their best-selling album. It contained the hit singles "Crazy" and "Electric Blue" (a song co-written by John Oates from the band Hall and Oates). Both singles reached the US Top 20, with "Electric Blue" hitting the #7 slot. With this album, the band reached an international zenith, never surpassing this level of popularity and exposure again.

In 1995, Davies was again involved with the Sydney Dance Company's production of Berlin. The musical score is a collection of cover versions of songs by David Bowie, Brian Eno, Simple Minds, The Psychedelic Furs, Frank Sinatra, Lou Reed, Roxy Music, XTC, Talking Heads, The Velvet Underground, PiL, The Cure and Killing Joke, which saw him collaborating with pianist Max Lambert in the development of the music.

As well as recording the score to the ballet, Davies performed these songs live with Icehouse at each show. He was an intrinsic part of the ballet, in a role similar to the one in Boxes. Iva was extremely successful in creating a translation from the dancers to the audience. Berlin was an instant success and ran for two seasons. Both shows were the most commercially successful that The Sydney Dance Company have had to date.

On 16 August 2006, Icehouse were inducted into the ARIA Hall of Fame along side acts such as Midnight Oil, Divinyls and Rose Tattoo. Also in 2006, Icehouse featured prominently on the Triple M Essential 2006 Countdown with 14 songs selected including:

*"Man Of Colours"
*"Electric Blue"
*"We Can Get Together"
*"Don't Believe Any More"
*"Great Southern Land" (which came in at number 12)

All Tomorrow's Parties
Icehouse Lyrics

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And what costume shall the poor girl wear
To all tomorrow's parties
A hand-me-down dress from who knows where
To all tomorrow's parties
And where will she go and what shall she do
When midnight comes around
She'll turn once more to Sunday's clown
And cry behind the door

And what costume shall the poor girl wear
To all tomorrow's parties
Why, silks and linens of yesterday's gowns
To all tomorrow's parties
And what will she do with Thursday's rags
When Monday comes around
She'll turn once more to Sunday's clown
And cry behind the door

And what costume shall the poor girl wear
To all tomorrow's parties
For Thursday's child is Sunday's clown
For whom none will go mourning
A blackened shroud, a hand-me-down gown
Of rags and silks, a costume

Fit for one who sits and cries
For all tomorrow's parties

Overall Meaning

The lyrics to Icehouse's song All Tomorrow's Parties are a haunting exploration of the cyclical nature of poverty and struggle. The song begins with the lines "And what costume shall the poor girl wear / To all tomorrow's parties," which immediately sets the tone for a tale of despair and hopelessness. The "poor girl" is forced to make do with a "hand-me-down dress from who knows where," further emphasizing her lack of resources and options. As the song continues, we see the contrast between the silks and linens of yesterday's gowns and the rags and shrouds that the "poor girl" is left with.

Despite the bleak lyrics, there is a sense of resilience and determination in the final line, "For all tomorrow's parties." The repetition of the phrase throughout the song further highlights this sense of endurance in the face of adversity. The image of the "Sunday's clown" crying behind the door is a poignant one, as it suggests that despite putting on a brave face, the pain and struggle of poverty cannot be fully hidden.

Overall, All Tomorrow's Parties is a powerful and introspective look at the impact of poverty on individuals and communities, and a reminder of the need for compassion and systemic change.

Line by Line Meaning

And what costume shall the poor girl wear
What attire should the unfortunate girl wear

To all tomorrow's parties
At every celebration in the future

A hand-me-down dress from who knows where
A recycled, old frock from an unknown source

To all tomorrow's parties
At every celebration in the future

And where will she go and what shall she do
And where will she wander and what actions will she take

When midnight comes around
As soon as the clock strikes twelve

She'll turn once more to Sunday's clown
She'll transform again into her sad, foolish self

And cry behind the door
And weep, hiding behind a closed entrance

Why, silks and linens of yesterday's gowns
Oh, high-quality, refined fabrics from past dresses

And what will she do with Thursday's rags
And what will she do with clothes that are old and worthless

When Monday comes around
On the first day of the new week