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)
Nothing Too Serious
Icehouse Lyrics
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Mountain ranges sliding into the sea
Rivers of blood, running red
I got a broken heart and a broken head
[Chorus]
I had a little accident
Nothing too serious
Nothing too serious
If you close your eyes it may go away
Nothing too serious
We could do it again some other day
Nothing too serious
Well, I shook myself and I fell out of bed
I can't remember a thing, oh, was it something I said
Well, I don't know my name and I don't know my place
There's a crack in the mirror, cracking my face
(Baby is blue) she had a heavy night
(Baby is blue) she's gonna be alright
(Baby is blue) she'll never the same
You better take her home
[Chorus]
The lyrics of Icehouse's "Nothing Too Serious" may seem like a stream of consciousness, but it's actually a metaphorical representation of a personal crisis that the singer is facing. The first verse describes the world collapsing around him, which could be interpreted as the events in his life spiraling out of control. The "rivers of blood, running red" could be symbolic of mental or emotional pain, while having a broken heart and head could represent a broken spirit and mind.
The chorus, on the other hand, reveals that despite the chaos and destruction, the singer is trying to downplay the situation to himself and others. He describes the disastrous events as "nothing too serious," and if you "close your eyes it may go away." It could be his way of trying to avoid confronting the reality of his problems, which often lead to further destruction.
The second verse includes hints of the singer's bad decisions, possibly fueled by drugs and alcohol, as he wakes up not remembering anything. The crack in the mirror cracking his face is a metaphor for the loss of his self-identity and the facade he's been putting up. The ending, with the repetition of "baby is blue," suggests that someone else is affected by his behavior and that he needs to take responsibility for his actions.
Overall, "Nothing Too Serious" is a powerful commentary on the human tendency to ignore one's problems and mask them with a false sense of optimism.
Line by Line Meaning
Twenty story buildings coming down on me
I am feeling overwhelmed and burdened by the weight of my problems, as if tall buildings were collapsing on top of me.
Mountain ranges sliding into the sea
The magnitude of my troubles is so immense, it's as though entire mountain ranges are disappearing before my eyes, much like their destruction could only be caused by a seismic event such as landslides and earthquakes.
Rivers of blood, running red
My emotions are intense and raw, like a river of blood flowing uncontrollably and staining everything in its path.
I got a broken heart and a broken head
I am emotionally distressed and my thoughts are confused and muddled, representing my broken heart and my inability to think clearly.
[Chorus]
Despite the gravity of my problems, I am downplaying them and trying to convince myself that they are not too serious and that I will be able to handle them.
Well, I shook myself and I fell out of bed
I am trying to snap out of my state of despair and confusion, but in doing so, I am metaphorically falling and failing to get control of the situation.
I can't remember a thing, oh, was it something I said
My memory is failing me, and I am questioning whether my actions or words might have contributed to my current state of distress.
Well, I don't know my name and I don't know my place
I am feeling disoriented and lost, both in terms of my identity and my sense of purpose in life.
There's a crack in the mirror, cracking my face
I am forced to confront my flaws and imperfections, symbolized by the crack in the mirror that reflects my own face.
(Baby is blue) she had a heavy night
In the midst of my own troubles, I am aware of someone else who is also suffering and feeling blue after a night of indulgence (possibly referring to drug abuse).
(Baby is blue) she's gonna be alright
Despite her current state, I am optimistic that she will recover and be okay in the end.
(Baby is blue) she'll never the same
However, I also recognize that her experience has changed her in some fundamental way, and she won't fully return to her former self.
You better take her home
As a friend or caregiver, it is my responsibility to ensure her safety and wellbeing by taking her away from this environment and back to her own home.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Ivor Arthur Davies
Lyrics Licensed & Provided by LyricFind