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)
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)
The Great Divide
Icehouse Lyrics
Jump to: Overall Meaning ↴
THE GREAT DIVIDE (I. Davies)
----------------------------
Where the moon sinks low in the southern sky
On the open plains, where the river runs dry
Well, his feet are bare, bare and dusty brown
And a hot wind blows over sacred ground
And a new day brekas
On the mountainside
Reaching out, reaching out
Over the great divide
It?s a long, long road
Stretching out ahead
Step by step, step by step
Over the great divide
On a dead end street in a border town
Where the stray dog sleeps in the midday sun
Now the headline news is old and worn
The pages stained with blood and rain,
And cheap red wine
And his skin is black
The last of his tribe
And he turns his back, turns his back
On the great divide
And a new day breaks
On the mountainside
Reaching out, reaching out
Over the great divide
Solid rock and burning sand
Weathered by the hand of time
Standing high above the storm
Cutting deep against the grain
And the years have come and gone
Leaving all their scars behind
Where the hills begin to climb
there's a legend carved in stone
And a new day breaks
On the mountainside
Reaching out, reaching out
Over the great divide
It?s a long, long road
Stretching out ahead
Step by step, step by step
Over the great divide
And his skin is black
The last of his tribe
And he turns his back, turns his back
On the great divide
It?s a long, long road
That leads him home again
Step by step, step by step
Over the great divide
Harbour Town (Iva Davies)
Well, you can see these people
At the end of every working day
Down at the local bar
Or maybe hanging out in some dark café
Down on the waterfront
As the big grey boats come steaming on home
It?s anybody?s guess
Where the night begins and the party ends
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
And anywhere you look
there's a smooth operator just playing the game
Got the blue jeans, baby,
His hands in his pockets and the same old lines
Looking for a good time
Waiting ?til the ship comes in
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
On the corner of the street where it meets the lane
there's a message on the wall near the telephone
It says, "honey, you can call...call me anytime..."
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
Knockin ?Em Down (Iva Davies)
Well, there's no way out of Marrickville
For the son of the hard working man
Where the punk who has the muscle
Is the leader of the local gang
Well, there's ain't no time for discussion
And there ain't no time to waste
You just take him on single handed
You just push him, ?til it breaks
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
So he grew up wild and reckless
And he grew up quick and mean
?til an enterprising gentleman
Put his talents in the ring
He said, "boy, you're just a renegade
You got no place left to hide"
I can make you fame and fortune
Maybe champion of the world..."
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
I can stand here and hold my ground
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
Well, there's blood on the canvas and leather
And he learned his lesson well
But the boy keeps swingin? those punches
?til he hears that final bell
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
I can stand here and hold my ground
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
You can give me your best shot, baby
But the boy, hey!
But the boy keeps knockin ?em down..."
----------------------------
Where the moon sinks low in the southern sky
On the open plains, where the river runs dry
Well, his feet are bare, bare and dusty brown
And a hot wind blows over sacred ground
On the mountainside
Reaching out, reaching out
Over the great divide
It?s a long, long road
Stretching out ahead
Step by step, step by step
Over the great divide
On a dead end street in a border town
Where the stray dog sleeps in the midday sun
Now the headline news is old and worn
The pages stained with blood and rain,
And cheap red wine
And his skin is black
The last of his tribe
And he turns his back, turns his back
On the great divide
And a new day breaks
On the mountainside
Reaching out, reaching out
Over the great divide
Solid rock and burning sand
Weathered by the hand of time
Standing high above the storm
Cutting deep against the grain
And the years have come and gone
Leaving all their scars behind
Where the hills begin to climb
there's a legend carved in stone
And a new day breaks
On the mountainside
Reaching out, reaching out
Over the great divide
It?s a long, long road
Stretching out ahead
Step by step, step by step
Over the great divide
And his skin is black
The last of his tribe
And he turns his back, turns his back
On the great divide
It?s a long, long road
That leads him home again
Step by step, step by step
Over the great divide
Harbour Town (Iva Davies)
Well, you can see these people
At the end of every working day
Down at the local bar
Or maybe hanging out in some dark café
Down on the waterfront
As the big grey boats come steaming on home
It?s anybody?s guess
Where the night begins and the party ends
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
And anywhere you look
there's a smooth operator just playing the game
Got the blue jeans, baby,
His hands in his pockets and the same old lines
Looking for a good time
Waiting ?til the ship comes in
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
On the corner of the street where it meets the lane
there's a message on the wall near the telephone
It says, "honey, you can call...call me anytime..."
He says, "come on, baby, take a hold of my hand
?cause it?s Saturday night in the Harbour Town
And the city lights up when the sun goes down
It?s Saturday night in the Harbour Town"
Knockin ?Em Down (Iva Davies)
Well, there's no way out of Marrickville
For the son of the hard working man
Where the punk who has the muscle
Is the leader of the local gang
Well, there's ain't no time for discussion
And there ain't no time to waste
You just take him on single handed
You just push him, ?til it breaks
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
So he grew up wild and reckless
And he grew up quick and mean
?til an enterprising gentleman
Put his talents in the ring
He said, "boy, you're just a renegade
You got no place left to hide"
I can make you fame and fortune
Maybe champion of the world..."
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
I can stand here and hold my ground
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
Well, there's blood on the canvas and leather
And he learned his lesson well
But the boy keeps swingin? those punches
?til he hears that final bell
He said, "hey, that's alright
I can take it for one more round
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
I can stand here and hold my ground
You can give me your best shot, baby
But the boy keeps knockin ?em down..."
He said, "hey, that's alright
You can give me your best shot, baby
But the boy, hey!
But the boy keeps knockin ?em down..."
The Great Divide by Icehouse portrays the struggles of different characters who are all trying to overcome obstacles in their own lives. The use of vivid and evocative imagery easily paints images of different settings like dusty plains and dimly lit bars. The track talks about a man who is the last of his tribe and is forced to endure the hardships of the harsh environment all alone. The lyrics add emotional weight to the song as it describes the man's plight who has no one to turn to or rely upon. The Great Divide also speaks about the passage of time and the scars it leaves behind. The lyrics' overall message is one of perseverance and resilience despite facing insurmountable challenges.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Ivor Arthur Davies
Lyrics Licensed & Provided by LyricFind
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