Of course, this record was Icehouse‘s commercial peak, the one that spawned megahits like Electric Blue and Crazy. Oddly, these two songs are among the lesser tracks on the record.
On Man of Colours, Iva Davies manages to sound like Once Upon a Time era Simple Minds while still hanging on to his David Bowie kink. He definitely was not shy about wearing his influences openly. Anyhow, the record is full of big 80s synths and drums and if anything is a definitive product of its time, this would be it. If you were wondering what that “new wave” thang is you keep hearing about, check this album out – it’s a key indicator.
For all intents and purposes, it’s a sequel to Measure for Measure. As I said in the review for that record, Man of Colours is pretty much more of the same, though in its defence, it is a tad rockier. It is also a better record, with marginally less filler. The album highlight would be the dreamy The Kingdom, which seems like a sequel to Measure for Measure‘s Angel Street, and Davies is probably singing about the same woman here. The same woman caught in the same blah limbo, anyway. Perhaps she’s the Hey Little Girl from Primitive Man, too.
Other choice cuts include the charging Nothing Too Serious and Anybody’s War. The title track could be Icehouse’s most atmospheric outing, reminding me a bit of the first album‘s tack-on instrumental Paradise Lost. Other grand tracks include the single My Obsession and the hazy record closer Sunrise.
Icehouse reached the recording artist apex with this record, taking Australia and parts of the world by storm. They would never again scale such heights. The following album Code Blue is a bland and just there record that died in the charts and Big Wheel which followed later…well, nobody’s ever heard of it.
Davies has sporadically kept the Icehouse name alive, releasing an album of covers, music for an opera and other bits and pieces but for mine, he effectively brought the band’s thing to a logical end with Man of Colours.