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)

Big Wheel
Icehouse Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Mmm, alright
Yeah, hot
Revolution in the city
Revolution in the street
When the circle is in motion
Then the circle is complete, yeah

I`m watching a big wheel

Inside of a big wheel
That`s part of a big wheel
Turn it round
Turn it round

The sun is up there every morning
The moon is up there every night
Revolution keeps us growin` and
Could be yellow, red
Could be black or white

I`m watching a big wheel
Inside of a big wheel
That`s part of a big wheel
Turn it round
I`m hooked on a big wheel
Stuck on a big wheel
In my mind there`s a big wheel
Turn it round
Turn it round

Revolution in the city
Revolution in my mind

I`m watching a big wheel
Inside of a big wheel
That`s part of a big wheel
Turn it round
I`m hooked on a big wheel
Stuck on a big wheel
In my mind there`s a big wheel
Turn it round
Turn it round

Revolution
I`m watching a big wheel
Inside of a big wheel
In my mind there`s a big wheel
Turn it round
Turn it round
Revolution in the city
Turnin` it around
Revolution in the city
Turn it round
Watching a big wheel
Turn it round
Watching a big wheel
Watching a big wheel

Big wheel

Big wheel
Big wheel

Overall Meaning

The lyrics to Icehouse's song "Big Wheel" express a message of change, growth, and revolution. The opening lines state: "Revolution in the city, revolution in the street / When the circle is in motion, then the circle is complete." The song highlights the importance of progression and how everything is interconnected. The singer describes watching a big wheel, which represents the cycle of life and the world, turning and changing. The chorus repeats the phrase "I'm watching a big wheel, inside of a big wheel, that's part of a big wheel, turn it round." This emphasizes how each individual's life is a small part of something greater, and by making changes and revolutions, we can impact the larger picture.

The lyrics also mention the sun and moon, representing the cycle of time, and how the world keeps moving forward through transformation. The line "Could be yellow, red, could be black or white" also emphasizes how change and growth can come from anyone, regardless of race or background. The repetition of the phrase "turn it round" emphasizes the importance of taking action and making changes, rather than being stuck in one place.

Overall, "Big Wheel" is a powerful call to action for revolution and change. It encourages listeners to take action and make a difference, showing that every small effort can impact the larger world.

Line by Line Meaning

Mmm, alright
Expression of agreement and approval

Yeah, hot
Affirmation of the intensity of the situation

Revolution in the city
Change happening in the urban area

Revolution in the street
Transformation happening in the local community

When the circle is in motion
When things are moving forward

Then the circle is complete, yeah
Achievement of something significant

I'm watching a big wheel
Observing the dominant force that drives change

Inside of a big wheel
Embedded within a larger system and influenced by it

That's part of a big wheel
Connected to a greater whole and affected by it

Turn it round
Keep the momentum of change going

The sun is up there every morning
The natural cycle of life