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)
Walls
Icehouse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If you listen
You will hear an endless heartbeat
On the inside
Through the walls
The sound is crawling
Down the corridors and halls
It cracks the ceiling
All the rest won't listen
Though the walls have ears
But they never really look
They just stand and stare
They're all standing
Staring at the walls
Who put the writing on the walls?
Will no-one ever know?
Oh, well I don't mind the walls
Tell me
Why don't you tell me?
Have you got nothing to say?
Tell me where in hell this place is
Tell me why I get no answers
Am I talking, taking to the walls?
So it's running, jumping, standing still
Well I think I've had enough of it all
Get your hands up
Up against the wall
(Well, I'm never going back to the factory
No I'll never be a part of the machinery)
Who put the writing on the wall?
Who fights and runs away?
The minutes and the hours pass him
Tracing out the days
The days and nights drag into years
And no-one ever knows
Oh, well I don't mind the walls
Oh, well I don't mind the walls
I don't mind the walls
Icehouse's song "Walls," from their debut album "Icehouse" released in 1980, is a song about feeling trapped and isolated within oneself. The lyrics describe an endless heartbeat that can be heard through the walls, but no one else seems to hear it or care. The singer is frustrated and confused, wondering why they are getting no answers and feeling as though they are talking to the walls.
The first stanza suggests that the sound "crawling" down the halls and cracking the ceiling, windows, and doors is the singer's restless energy, but no one else seems to hear it. Everyone else is just standing and staring at the walls, refusing to listen or look. The second stanza poses questions: who put the writing on the walls and why won't anyone answer the singer's questions? The third stanza describes the frustration and exhaustion of the situation, as the singer has had enough and feels trapped. The final stanza refers to the passage of time and the inevitability of being forgotten or ignored. In the end, the singer doesn't mind the walls because they have become a familiar comfort in their isolation.
Line by Line Meaning
Listen
Pay attention to what I am about to say
If you listen
If you pay close attention
You will hear an endless heartbeat
You will hear a constant, rhythmic beating
On the inside
From within
Through the walls
Even though they are obstacles
The sound is crawling
The noise is slowly traveling
Down the corridors and halls
Through the passages and rooms
It cracks the ceiling
It breaks through the barriers overhead
The windows and the doors
As well as the openings
All the rest won't listen
Everyone else is ignoring this
Though the walls have ears
Despite the notion that walls can hear
But they never really look
They don't take the time to observe
They just stand and stare
They simply watch without any action
They're all standing
Everyone is just upright and still
Staring at the walls
Looking at the barriers around them
Who put the writing on the walls?
Who wrote on these walls?
Will no-one ever know?
Will the identity of the writer never be discovered?
Oh, well I don't mind the walls
I don't have any issues with the physical barriers
Tell me
Give me information
Why don't you tell me?
Why are you refusing to share with me?
Have you got nothing to say?
Do you have no words to offer?
Tell me where in hell this place is
Tell me the location of this terrible place
Tell me why I get no answers
Explain why my questions continually go unanswered
Am I talking, taking to the walls?
Am I directing my speech towards the barriers?
So it's running, jumping, standing still
So it's a mixture of movement and stillness
Well I think I've had enough of it all
I believe I have reached my limit and can't take it anymore
Get your hands up
Raise your hands
Up against the wall
Against the barrier
(Well, I'm never going back to the factory
(I will never return to the place of work where I was controlled)
No I'll never be a part of the machinery)
(I refuse to become a part of the monotonous system)
Who put the writing on the wall?
Who left these words on the barrier?
Who fights and runs away?
Who escapes from the difficult situations?
The minutes and the hours pass him
Time continues to move forward
Tracing out the days
Marking the passing of the days
The days and nights drag into years
The years pass by slowly
And no-one ever knows
And no one ever becomes aware
Oh, well I don't mind the walls
I am unaffected by the physical barriers
Oh, well I don't mind the walls
The walls do not bother me in any way
I don't mind the walls
I am content with the constraints of this space
Lyrics © Kobalt Music Publishing Ltd.
Written by: Ivor Arthur Davies
Lyrics Licensed & Provided by LyricFind
@hairymonkey390
This song reminds me of my dad we both used to listen to it on the way to our fishing trips.
He died 2016 ❤️
I will always fish to continue his legacy ❤️❤️❤️
@scottchristensen8458
TEAR DOWN THE WALLS OF PRIDE HATE AND GREED✨HALLELUYAH✨MERE EXISTENCE IS OUR GREATEST GIFT 💝
@ohsorrypluto
Another one of those great Australian bands from the 1980s - millions of Aussie kids in their late 30s to early 40s and beyond would well and truly know these guys!!
@adambrunton123
21 keepin it real
@andymayers8588
Hmm hmmm. And 50s. I love icehouse
@fruittree1670
mate i'm 13
@nigelliam153
I saw them as Flowers in Meriden in 1980
@somebloke3869
And those of us in our 50's have this as part of the soundtrack of our teenage years.
@whaghht
God, this takes me back....
@paulwarren1613
Yea man