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)
Shakin' the Cage
Icehouse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well, we walk like thieves
On the cutting edge.
And we breathe like animals
And we think like men
Beyond the law.
With our best shades on
We look so respectable.
But we think like men
Hmm yeah
Beyond the law.
Oh baby, don’t you hear the call?
Don’t you hear the call? (hear)
The sound of that raw nerve screaming
Well it’s a hot night, hot night
(down below, down below)
In this big city, big city
(movin’ on, movin’ on)
We gotta get goin’, get goin’
(celebrate, celebrate)
Shake down, shake down
Shakin’ the cage
Well, the monkey see
And the monkey do
It’s so predictable.
Monkey shakin’ the cage (cage)
This monkey needs
Something more.
Oh baby, don’t you hear the call? (hear the call?)
Don’t you hear the call? (Hear the call?)
(Ooh ooh ooh)
Oh baby, baby, don’t you hear the call? (hear the call?)
Don’t you hear the sound? (hear the sound?)
(Ohhhhhh) The sound of that raw nerve screaming
Well it’s a hot night, hot night
(down below, down below)
In this big city, big city
(movin’ on, movin’ on)
We gotta get goin’, get goin’
(celebrate, celebrate)
Shake down, shake down
Shakin’ the cage
Well it’s a hot night, hot night
(down below, down below) Wooo
In this big city, big city
(movin’ on, movin’ on) Mmm
We gotta get goin’, get goin’
(celebrate, celebrate)
Shake down, shake down
Shakin’ the cage
And it’s a hot night, hot night
(down below, down below) Mmm, yeah
In this big city, big city
(movin’ on, movin’ on) Mmm
We gotta get goin’, get goin’
(celebrate, celebrate) Mmm yeah
Shake down, shake down
Shakin’ the cage
And it’s a hot night, hot night...[fade]
The lyrics to Icehouse's song "Shakin' the Cage" describe a group of people who are living outside the law and thinking beyond societal norms. They walk and breathe like animals, look respectable in their suits and ties, but think like men beyond the law. The song encourages listeners to hear the call, to feel that "raw nerve screaming," and to join in shaking the cage. The people in the song are celebrating, moving on, and shaking off restrictions as they make their way through the big city on a hot night.
While the lyrics of "Shakin' the Cage" are somewhat ambiguous, they seem to be referencing a kind of rebellion against conformity and societal expectations. The idea of shaking the cage suggests a desire to break free from constraints and live life on one's own terms. The chorus encourages listeners to hear the call and feel the urge to join in this movement.
Line by Line Meaning
Well, we walk like thieves
On the cutting edge.
We move and operate in ways that challenge or push the limits of society's norms and expectations.
And we breathe like animals
And we think like men
Beyond the law.
We operate with a sense of animalistic freedom and do not feel necessarily obligated to conform to the expectations of the law or social norms.
With our best shades on
And a suit and tie
We look so respectable.
But we think like men
Hmm yeah
Beyond the law.
Despite our outward appearances of respectability and conformity, we still operate in ways that exist outside the boundaries of law and social norms.
Oh baby, don’t you hear the call?
Don’t you hear the call? (hear)
The sound of that raw nerve screaming
Can't you hear the inner voice that calls to us, motivating us to act in ways that challenge our surroundings and break free of societal expectations?
Well it’s a hot night, hot night
(down below, down below)
In this big city, big city
(movin’ on, movin’ on)
We gotta get goin’, get goin’
(celebrate, celebrate)
Shake down, shake down
Shakin’ the cage
It's a time and place where we need to take action; to move, celebrate, and break free from the constraints of societal confines that keep us boxed in.
Well, the monkey see
And the monkey do
It’s so predictable.
Monkey shakin’ the cage (cage)
This monkey needs
Something more.
Societal norms and expectations are predictable and unfulfilling, and require the monkey, or individual, to act outside of their natural tendencies to achieve fulfillment.
Oh baby, don’t you hear the call? (hear the call?)
Don’t you hear the call? (Hear the call?)
(Ooh ooh ooh)
Oh baby, baby, don’t you hear the call? (hear the call?)
Don’t you hear the sound? (hear the sound?)
(Ohhhhhh) The sound of that raw nerve screaming
Can't you hear the raw energy and drive within us, compelling us to action and fulfillment outside of societal expectations?
And it’s a hot night, hot night...[fade]
The energy and spirit to break free of societal constraints and norms remains strong and unyielding, even as the song fades away.
Contributed by Olivia A. Suggest a correction in the comments below.