Icehouse Albums (16)
What The Critics Say
Originally released in Australia in 1995 as The Berlin Tapes, an album that arrived in at least three different versions with a variety of different songs, most notably a Japanese collection that added four more covers, this 2004 release on Diva Records opens and closes with the David Bowie/Brian Eno classic as bookends, putting the majority of Iva Davies' album of cover tunes in between. Missing is Public Image Ltd's "Disappointed" from the original lineup, but otherwise Icehouse's nod to influential music by Lou Reed, Frank Sinatra, Bowie, XTC, Roxy Music, the Psychedelic Furs et al., appears obvious to those musicoligists who were attracted to the tunes in their first incarnation. What Davies has created is a textbook for the next generation, his grasp of Lou Reed playing Sinatra with the original song "Berlin," only Davies quotes the whacked-out version from the Berlin album and fuses it with Sinatra's "All The Way." That's the most glaring mistake on this reconstituted disc, as the song in its primary state is one of Reed's most commercial. Thus, as a textbook, that lesson is like a chapter missing for the kids of the new millennium. There's no doubt the Icehouse singer has impeccable taste, combining "Loving the Alien" and "Sister Europe" on record with the Velvet Underground classic "All Tomorrow's Parties" is like going hunting with Dick Cheney -- the targets are easy and right in front of you, but there's always the chance of getting sprayed. Clocking in at 50 minutes, the five tracks from the Japanese version -- covers of music by John Lennon, Free, Brian Eno, the Human League, and that aforementioned PIL song would've made this truncated re-release even more fun. ~ Joe Viglione, All Music Guide
'The Berlin Tapes'
Release Date 12/24/2002
Tracks 18
Label WEA International
See Album Tracklist and Review
What The Critics Say
Berlin Tapes collects Icehouse's most recent new recordings, although why it is credited to Iva Davies & Icehouse is a mystery, as they are effectively one in the same (even Davies has difficulty differentiating the two). Like Boxes from ten years previous, this is a ballet score, but in a very different way. Boxes comprised new work; these are covers of Bowie and Ferry yes, but more surprisingly perhaps, also of Killing Joke, PiL, Frank Sinatra, and the Cure. Berlin can also claim to be an unplugged album. "Heaven" (the Talking Heads song) is, as the title suggests, just that. XTC's "Complicated Game" remains faithful to the original, but it's the darker, menacing powers of "Disappointed" and the baroque "All Tomorrow's Parties" that are striking. The band's subsequent release also drew on this period, featuring collaborations with Andy Partridge and 808 State. ~ Kelvin Hayes, All Music Guide
What The Critics Say
A remix album is a slightly more refreshing alternative to the cumbersome greatest-hits packages. Eight years after the remix album Full Circle, Meltdown offers various takes on Icehouse classics by the cream of Australia's DJs. Great efforts are made to update the Icehouse sound to a dance rather than art-obsessed generation and, as Iva Davies was one of the first Australian electro-pop pioneers, he is better placed than most for the treatment. However, only a few of these pieces really succeed. Most striking are the new "Lay Your Hands on Me" with Speed of Light and the reincarnation of the band's first single, "Can't Help Myself," beautifully reconstructed as a dreamy trance-like anthem by beXta, as is Ivan Gough and Colin Snape's "Cafe Latte" mix of "Don't Believe Anymore." "Street Cafe" and Skipraiders' take on "Electric Blue" also translate well, the latter's poppy-ness actually sounding more like Icehouse now than its shameless original '80s rock version. There are casualties, though, and the Germanic disco thump of "Hey Little Girl," "Icehouse" itself, and the normally fabulous Josh Abrahams' dark variant of "Crazy" don't bode well at all. Interesting but for diehards and dance slaves only. ~ Kelvin Hayes, All Music Guide
What The Critics Say
Icehouse's early material is compiled on Diva, which features the singles "No Promises," "Taking the Town" and "Dusty Pages." A good introduction for new fans. ~ Jason Ankeny, All Music Guide
What The Critics Say
This was Iva Davies return from courtroom hell with former label Chrysalis. Someone should annoy Davies more often, because the result is the most energizing, electric music of his career. From their opener, Icehouse -- essentially the trio of Davies, Paul Wheeler, and David Chapman -- treat us to a frenzy of guitars, loops, filmic links, and drumming likened to John Bonham. Though lyrically weak, the title song bounces along in jolly mode. Bowie affiliations come again in the form of "Satelite" and "Stolen Guitar." "Judas" and "Cadillac" are more stodgy but still rock; the latter is similar to the more recent Suede material. The album initially came with a computer disc -- the first interactive disc in Australian rock history -- while others came as standard with the Spin One EP attached, which leads nicely to its parent album. ~ Kelvin Hayes, All Music Guide
What The Critics Say
Full Circle, being a remix album, can only be a patchy affair, and this is mainly because tracks are remixed by a variety of mixers, including Manchester-based 808 State. In addition there are new Davies recordings, a cover of Marc Bolan's "Desdemona," and a three-part collage, "Melt Steel..." sampling fragments of a Bolan interview. Of the mixes, some are better than others: "Colours" (as in man of..) and "Blue Noise" ("Electric Blue") are among the best. Elsewhere, Sidewalk's "Shot Down/The Mountain" gets a re-jig (or a good kick up the pants, as you like it) as "Kilamanjaro," and Bill Lsswell's play on "Love in Motion" has the Divinyls' Christina Amphlett in fine form vocally and verbally. Monstrosities appear as "MLK" and "She Comes," ironically the ones Davies cites as best, but then he said that about Code Blue too. ~ Kelvin Hayes, All Music Guide
'Great Southern Land'
Release Date 1/1/1989
Tracks 16
Label Chrysalis
See Album Tracklist and Review
What The Critics Say
While not as comprehensive as it could have been, Great Southern Land does contain a few of Icehouse's better songs, but as a best of it comes up way short. Taking tracks from Icehouse, Primitive Man, Sidewalk, and Measure for Measure, this 11 song compilation does present listeners with a firm feel of the band (smooth, engaging vocals atop rich keyboards and electric guitar), but at the same time leaves plenty of material out. Not included here are their two catchiest songs, both from Man of Colours, "Crazy" and "Electric Blue," replaced with a dance mix version of "No Promises" when the original would have been better welcomed. To it's advantage, Great Southern Land starts off with the vibrant "Touch The Fire," expressing the relaxed power of Iva Davies voice. Other stand-outs include "Hey Little Girl" and "Can't Help Myself," proving that the comparisons to Roxy Music can't be avoided. The best song on the album is by far the title-track, which conjures up mysterious yet beautiful images of Australia as a continent tucked away from the rest of the world. This album acts as a firm starting point when it comes to investigating Icehouse's sound and style, but is inconclusive as far as a hits package is concerned. ~ Mike DeGagne, All Music Guide
What The Critics Say
On their fifth album, the smooth pop style of Australia's Icehouse is garnished with even more bouncy synthesizers and lavish melodies than their earlier work. Lead singer Iva Davies elaborated slant is immediately forthcoming in all the tunes on this album, but is truly the best working part behind the group. Man of Colours' first two tracks attached themselves to the Top 40, with "Crazy" peaking at number 17 in 1987 and "Electric Blue" reaching number seven in 1988, a song co-written by John Oates. ~ Mike DeGagne, All Music Guide
