Walls was an interesting choice to open the live performance. I’m unsure if I agree with the helicopter introduction. Yes, it works well, but how does it apply itself to the music? Given many of Icehouse’s recent live performances have been in theatres, I’m struggling to see the relevance. Nevertheless, Walls is an excellent song that has always been a favourite of mine since first being released on Icehouse and this live performance maintains the energy of the original, ensuring the listener knows exactly what to expect from the entire live album.
Mr Big has a sensational rhythm, but that chorus-driven drum element is a little too shallow for my liking. It isn’t bad, it’s just different to the way the original studio release sounds and my preferred live performance of this song can be found on Live From The Ritz, available on the 25th Anniversary CD+DVD release of Man Of Colours.
Love In Motion is sensational and while the Chrissy Amphlett duet was off-the-charts good; sadly Amphlett is no longer with us, but her legacy with the Divinyls lives on as does her spirit, captured on the 1992 re-recording of Love In Motion for the compilation album Masterfile. While Masterfile is long out-of-print, you can find this exceptional version of Love In Motion on White Heat: 30 Hits.Yes, Love In Motion was written and recorded well before the Amphlett/Icehouse collaboration, but she really added something special to the song and while I don’t think there was a ever a live performance of the song with Amphlett, she is remembered fondly when listening to this live rendition.
Crazy has one of my all-time favourite guitar hooks. So good! The live performance is perfect as it is reminiscent of the original studio recording, while being unique in its own right.
Hey, Little Girl is a song that I have a love/hate relationship with. That’s a subjective viewpoint and not indicative of the song itself, but sometimes I feel this song is simply too campy and other times I thoroughly enjoy it. The live performance is excellent, minus the spoken word elements before the start of the song. However, if you really like this song, you’ll definitely want to track down a copy of the Hey Little Girl (’97 Remixes) as the remixes are seriously good on that long out-of-print maxi single. It also has one of the most unique CD designs I’ve ever seen as the CD is partially clear.
Electric Blue is iconic; such an 80s song! It’s one of my favourites and you may remember earlier that my son woke up the household singing Electric Blue as it is also one of his favourites. Electric Blue makes you want to sing and while my son still gets some of the lyrics wrong, he’s giving it his all, not worried about how he sounds and how much taunting his sister dishes out to him. It would be a proud moment for this music-loving father if he did something music related when he grows up. If not as a career, certainly as a hobby. I’m thinking about an Icehouse cover band, what do you think, dear reader?
Baby, You’re So Strange is a fun song and I love the live rendition on In Concert as it really takes the song to another level of moody and brooding musicality.
Heartbreak Kid is lovely. Davies decision to talk about the history of the song, prior to commencing the performance, is invaluable as it’s fascinating to hear about the origins of the tune and see just how smoothly Davies transitions from a Bob Dylan impersonator to Iva Davies. Exceptional!
Dusty Pages has always been a favourite song of mine. It’s the best song off Sidewalk with the exception of Don’t Believe Anymore. This acoustic-based rendition is absolutely lovely and complements the original perfectly.
Street Café had a great music video when first released in 1982. No, it wasn’t quite as epic as Great Southern Land, but this live interpretation is. It’s magnificent and a pleasure to listen to, as are all the acoustic-based songs on side three of the vinyl collection.
Man Of Colours is Davies’ song, so I was quite surprised to find that Michael Paynter was the lead vocalist on Man Of Colours. His performance is absolutely stunning, but I still miss Davies performing this masterpiece. Sure, Davies is there in a backing vocal capacity, also allowing him to play the Oboe while Paynter vocalises the song, but it isn’t quite the same. That, of course, shouldn’t take anything away from Paynter as he is incredible, and I look forward to following his career in the years to come. He really did pay homage to the original while making it his own.
Miss Divine is one of the best songs off Code Blue and I have always thoroughly enjoyed it. However, I’m torn over this live performance as I feel it’s a little disjointed in the vocal department and that acoustic guitar strum is too forward in the mix. Of course, loving the original as much as I do, I could simply prefer the studio recording which I believe is impeccable. Subsequently, this live performance just doesn’t do it for me.
Don’t Believe Anymore would have to be my all-time favourite Icehouse song. Okay, perhaps I have a few that that could be said about, but the saxophone element in both this live performance and the original studio release is nothing short of spectacular as it captivates me beyond belief.
Great Southern Land is the quintessential Icehouse song and requires no hyperbole.
Can’t Help Myself has an addictive beat, but it’s one Icehouse song that I neither love nor hate. It merely exists. It isn’t a bad live recording, but it isn’t great either.
Nothing Too Serious is one of Icehouse’s best and is certainly a highlight from Man Of Colours. It’s a great live performance but the tuning on those cymbals sound a little off as they’re very shrill. I’d love to say it is only on the vinyl edition, but I’ve heard it both on the TIDAL Hi-Fi and Apple Music streams.
We Can Get Together is another fantastic song from Icehouse and I’m consistently amazed as to just how good the debut, by Flowers at the time, really was. This live performance is incredible and has all the energy that one would expect from the song. Incredibly, while it may be over three decades old, We Can Get Together remains timeless.
SIDE SIX / FIRST ENCORE
Icehouse, of course, became the band’s name following the shift from Flowers to Icehouse in 1981. I don’t know about you, dear reader, but I’ve never heard a better version of Icehouse than that which appears on In Concert. Exceptional!
Cross The Border is another of my all-time favourites. It has a sensational rhythm and is the best song from Measure For Measure. This live performance isn’t bad either. It doesn’t stray far from the original composition, but that isn’t necessarily a bad thing, especially when the song was perfect to begin with.
/ SECOND ENCORE
Sister closes the live album nicely with the energy that has always existed in this song. It, without a doubt, encourages me to listen to the album again and stay within Icehouse’s extensive catalogue of music.
In Concert is an exceptional live album with a selection of songs that cover the greatest eras of the band. However, it’s a little disappointing that nothing from Big Wheel or The Berlin Tapes was included. Satellite would have worked well before or after Nothing Too Serious. Heroes, the David Bowie song that Davies performs immaculately well, would have been perfectly suited to appear after Man Of Colours. Nevertheless, for whatever reason, these songs were excluded and while they are missed, it doesn’t detract from the astonishing performance and album that is In Concert.
In Concert is available on Vinyl, CD, the TIDAL Store (16/44.1kHz FLAC), and iTunes (Mastered for iTunes).
If you prefer streaming, In Concert is also available on TIDAL Hi-Fi and Apple Music.