When Man Of Colours hit record stores in September 1987, it immediately hit the top of the charts for 11 weeks, went 7x platinum in Australia, and won two ARIA (Australian Recording Industry Association) Awards in 1988. Yes, on the world scale, that may not seem overly impressive for our international readers, but success like that for an Australian band, in their own backyard, is often unheard of. However, it didn’t come out of nowhere and was a slow buildup for the band as Icehouse had been an active member of the Australian Music scene since their debut release, Icehouse, under their original band name, Flowers, in 1980, and was a musical force never to be underestimated with Man Of Colours being their crowning achievement.
This era would, ultimately, be Icehouse’s most successful, with worldwide sales of Man Of Colours exceeding 795,000 units worldwide. To say they were also at their creative peak would be an apt assessment, but that statement also negates the masterstrokes of creativity throughout the band’s entire career. Still, it’s difficult to deny the album’s high production qualities, for Man Of Colours saw the band deviate slightly from the rawer new wave stylings of their earlier releases to a much more radio-friendly sound across the entire record. This sleek, synth-pop-focused rock style merged with a melodic overture that leaned strongly into the zeitgeist, ensuring that it was primed for success. In many respects, Man Of Colours was the right record at the right time, and while that doesn’t take away from the high-quality production and songwriting of this release, it does help with understanding why this album alone was such a standout success.
While the music itself is the most important aspect of any album release, the iconic artwork for Man Of Colours has ensured that this record has remained memorable throughout the years. Thankfully, Icehouse has always had exceptional cover art, and while variant releases go in and out of style, Man Of Colours would also feature inverted cover art, but you’ll need to seek it out as it remains out of print, much like the original tri-coloured vinyl release that fetches crazy money on the secondhand market. While the 2017 reissue attempted to appease those of us interested in a tri-colour record, it simply wasn’t the same. First world problems, I know, but music lovers and record collectors will attest to just how important these aspects are when adding to our collections. At least the solid colour reissues were done exceedingly well, even if they didn’t match the original releases with their transparent colour styling.
From a sonic perspective, while I’ve been fortunate to have listened to all mastering variants, from the original Australian cassette, to the 2002 remaster, to the latest 2012 remastered edition, I have to say that I am smitten with the latest release as Steve Smart, from Studios 301, remastered the latest releases so well that I now consider them to be the standard for Icehouse’s impressive back catalog and I do hope that they’re never remastered again as, to my ears, they sound perfect.
Speaking of perfection, the original album’s track listing, sans the bonus tracks, is the best way to appreciate this classic release. As such, below you’ll find a shared playlist with that intent. However, one can’t deny just how good the bonus material is, particularly Touch The Fire, and while I’d love to see Icehouse reissue the 1989 compilation Great Southern Land, which featured this incredible song and another new tune, Jimmy Dean, at least these songs can be heard on the fully featured reissue of Man Of Colours. Additionally, if you’ve only got the CD reissue, you may notice that it omits Track 18, Last Cut, a Simon Lloyd composition. It’s interesting that this has been included, particularly as Icehouse is primarily a vehicle for Iva Davies’ creativity, but it’s still an interesting inclusion on streaming and digital download versions of the record.
Crazy is the epitome of 80s rock in that the opening lick and sonic quality of the recording not only set the tone for the record, but are perfectly aligned with the era’s overarching style. Driven by synths and a melodic chorus that hooks you instantly, Crazy is amongst Icehouse’s most radio-friendly tunes and is a song that will see you coming back for more, for you’ve gotta be crazy if you don’t listen to this song, and the album, more than once.
Electric Blue is the perfect follow-up to Crazy and is Icehouse’s crowning achievement from Man Of Colours. Co-written with Davies and John Oates, Electric Blue is a pure masterpiece and is one of the most polished pop tunes in all of recorded music history. Oates, coincidentally, also performs backing vocals on this track, but it is Lloyd’s saxophone performance that takes the song to another level entirely, as this lush and melodic performance is pure perfection.
Nothing Too Serious is a short, punchy, tongue-in-cheek number that is a throwback to Icehouse’s new wave roots, while also melding a little funk and punk into the mix. The result is an energetic tune that will see you toe-tapping and head-bopping throughout.
Man Of Colours is a stunningly beautiful title track that will initially take you off guard as the atmospheric production, while extraordinary in its own right, is considerably different to the opening tunes on the record. Still, its contemplative nature is beautifully tracked and showcases some of Davies’ more classical arrangement skills as well as his talent on the oboe.
Heartbreak Kid transitions smoothly as it builds towards a slow-tempo rocker. The punchy synths and delicate edginess help keep the listener focused, but upon repeat listens, you’ll likely appreciate the various sonic layers that make up this unassuming tune, for Heartbreak Kid is stunning from the first note to the last.
The Kingdom continues the masterful production and songwriting, and while Icehouse’s 1990 follow-up, Code Blue, is my favourite album from the band, I have to admit that it doesn’t have the songwriting or production qualities that Man Of Colours has.
My Obsession is 80s pop/rock gold with addictively good hooks, an incredible vocal performance, and an arrangement that is highly compelling. It’s little wonder then that My Obsession was chosen as the album’s third single, for this song is another of Icehouse’s most radio-friendly numbers.
Girl In The Moon is unique in its styling for the production qualities, synth elements, and Davies’ vocal presentation, along with the mix, is something that has to be heard to be fully appreciated. Interestingly, Girl In The Moon would have been an ideal song for Crowded House, particularly during the Temple Of Low Men era, as there’s an undeniable synergy between styles.
Anybody's War picks up the pace significantly, yet despite its driving rhythms, Anybody’s War is perfectly positioned within the linear structure of the album, ensuring that you’re set up for the expansive experience that is the closing track.
Sunrise is a beautiful closer that allows for not only appreciation of the song, but contemplation of the entire record. Its complex, yet layered production, rewards repeat listens, and Davies’ vocal is arguably at his finest on this recording. The result is that Sunrise is a hidden gem contained within an extraordinary record that will compel you to play the album again.
Man Of Colours is undoubtedly a masterpiece, and while it would represent Icehouse’s most commercial release, the creativity of this 80s synth-pop/rock record knows few peers, for despite being released within a year of incredible heavy hitters from around the world, it not only stands out but is amongst the greatest albums of the era. While the hits will most certainly resonate with those of us who lived through the 80s, it really is the album-only numbers that ensure Man Of Colours is an exceptional album experience.
