Icicle Works Albums (6)
What The Critics Say
Though they're routinely filed under new wave, the Icicle Works, on this, their final album together, appear to owe more to American heartland roots rock and power pop than to the synth-dominated sounds that new wave has routinely been associated with. One listen to the echo-laden guitars on "What She Did to My Mind," a song that could have come off a Neil Young and Crazy Horse album, will tell you that. Permanent Damage is accomplished, if not consistently so. It is also among the more bleak albums by the band; most of the songs are about relationships in various stages of collapse. The first release by the Icicle Works after the move from Beggars Banquet to Epic, it is the only one to feature the short-lived third and final lineup, before singer/guitarist Ian McNabb went off looking for solo success. In the absence of the two Chrises, drummer Sharrock and bassist Layhe, McNabb's singing and writing maintain the connection to the Icicle Works of old. Permanent Damage finds McNabb turning a sharp, often deliciously bitter, eye on heartbreak. He's in fine voice for the most part, imbuing the songs with an achy desolation that suits them down to the ground. The band's playing, though not incendiary, shows that their yen for hooks and singalong choruses remains intact. The first three tracks, "I Still Want You," "Motorcycle Rider," and "Melanie Still Hurts," are fast, fine, poignant, and pop as anything. Somewhere around the halfway mark, though, the quality takes a dip. "One Good Eye" and "Woman on My Mind" are slack-jawed rants, infested by hammy writing that sound as if the Works switched to autopilot after tossing off the good songs. A pity, really, because it renders uneven what could otherwise have been a fine farewell release to remember one of the great lost bands by. ~ Leslie Mathew, All Music Guide
'The Small Price of a Bicycle'
Release Date 1/1/1989
Tracks 10
Label Beggars Banquet
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What The Critics Say
There's actually nothing small about the Icicle Works' second album. Like early U2, Big Country, and Simple Minds, the Icicle Works paint with a large canvas; on The Small Price of a Bicycle, the Icicle Works don't stray from their formula of mammoth guitar riffs and epic choruses. While the LP doesn't have the bewitching wintry feel of the group's self-titled debut, Ian McNabb's husky voice compensates for the overall lack of immediate hooks. The galloping bass and sweeping vocals of "Hollow Horse" should've been as successful in the U.S. as the band's only American hit, "Birds Fly (Whisper to a Scream)." "We'll be as we are/When all the fools who doubt us fade away," McNabb bellows defiantly on "Hollow Horse," lyrics that are as catchy as the "We are, we are/We are but your children" singalong of "Birds Fly." Filled with high drama and a ceaselessly driving beat, "Hollow Horse" nearly stomps the rest of the album into mashed potatoes. "Perambulator" exposes the Icicle Works' more aggressive side, one that McNabb would explore further on his Head Like a Rock LP, while "Seven Horses" is more of the same, McNabb's throaty voice riding on a wave of colossal guitars and thumping basslines. The Small Price of a Bicycle has its boring moments, such as "All the Daughters (Of Her Father's House)," but McNabb's passion breathes life into every lyric. Even when the Icicle Works falter, McNabb goes down with guns blazing. ~ Michael Sutton, All Music Guide
What The Critics Say
As early as the Icicle Works' second album, it became obvious that singer/songwriter Ian McNabb had little interest in further pursuing his career as a new wave tunesmith in the manner of his only U.K. hit, "Love Is a Wonderful Colour." Still, stylistic nods to Neil Young, Van Morrison, and Motown on post-1984 recordings could have hardly prepared the causal Icicle Works fan for the all-over-the-map musical journey that represented the original lineup's fourth and final album, Blind. There's not even a hint of new wave on this record; beginning with a full-on Led Zeppelin-style rave up ("Shit Creek"), Blind then proceeds to careen wildly through several anthemic Waterboys-inspired folk-rockers ("Here Comes Trouble," "Starry Blue Eyed Wonder"), a Caribbean-style pop tune ("What Do You Want Me to Do"), a Prince-meets-INXS lite-funk workout ("The Kiss Off"), a raunchy blues-metal parody that even Zodiac Mindwarp might have found too over the top ("Two Two Three"), and even a short doo wop-flavored number ("One True Love"), among other stylistic detours. While the attempt to branch out is laudable, it must be noted that not everything here works, and as a consequence, the album doesn't really hang together. But Blind does contain some of the Icicle Works' best individual tracks, including the singles "High Time" and "Little Girl Lost," and is, if nothing else, seldom dull. As a bonus, fans of drummer Chris Sharrock will find Blind to be the best showcase for his considerable talents since the Icicle Works' first album; it's hard to think of another drummer who could mimic all the musical styles represented on this album with both the sensitivity and creativity shown here. This album, then, is not the place for the neophyte Icicle Works or Ian McNabb fan to start, but for committed fans who want to hear the extent of the original Icicle Works' range -- warts and all -- Blind is definitely worth a look-see. ~ Rudyard Kennedy, All Music Guide
'If You Want to Defeat Your Enemy Sing His Song'
Release Date 1/1/1987
Tracks 14
Label RCA
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What The Critics Say
The Ian Broudie-produced Defeat Your Enemy brought out the band's varying influences in different ways, resulting in a varied record touching on everything from funk to folk. But as successful as earlier works? Yes and no. Unquestionably, the band's knack for big, uplifting but not hollow performances was still in fine flower, as the smash single "Understanding Jane" showed. A quick, fierce rocker with an instantly catchy pop vibe and a brilliant chorus, it's a '50s tearjerker filtered through the Ramones with fantastic results. Another winner is the opening cut, "Evangeline," with a lovely chorus consisting of overdubbed vocals from the band and guest singer Alison Limerick and a quick, Motown-touched rhythm supporting McNabb's powerful singing. Then there's "Up Here in the North of England," a slow, string-touched waltz winningly sung while bitterly ripping into the political state of the nation line for line. McNabb's vocals throughout the album are deeper than before, but still with the same general sense of control and projection; if anything, he was doing a better David Bowie croon than Bowie himself could do at the time. However, elsewhere the elements are in place but the performance isn't quite there. Part of this can be laid at Broudie's feet as well as the various mixers on the record, who bring things to a too commercially ready punch and sheen. Consider the arena-level pound of Sharrock's drums on "Hope Springs Eternal," where earlier his performances wouldn't need such overamping to make their impact. It's not just a technical question, though; McNabb's guitar here aims for a classic rock style that the band doesn't really need. Other songs like "When You Were Mine" bury a good song and performance with technically accomplished but cold results. In the end, Defeat Your Enemy half defeats itself, but not without some blazingly brilliant results on the way. ~ Ned Raggett, All Music Guide
What The Critics Say
The Icicle Works' self-titled debut as a whole is an excellent example of post-punk power and beauty. "Chop the Tree" alone is something of a lost classic, with Hugh Jones' note-perfect production, Sharrock's pounding, complex rhythm attack, and McNabb's exquisite singing providing one heck of a start. Indeed, McNabb here sounds like a clear precursor to singers like Neil Hannon of the Divine Comedy and the equal of the precise diction and passion of Edwyn Collins. When it comes to the hits, "Love Is a Wonderful Colour" is another prime vocal showcase, with a sparkling guitar/keyboard lead arrangement and a constantly shifting but never pointlessly show-off bass/drums pace. Frankly, the members of U2 must have wished they could be so emotional and so soaring at this point in their careers. As for "Birds Fly," the song stands as a joyous rave-up of quick drums and shimmering guitars with an inspiring, frenetic chorus tempered by a gentle, half-whispered conclusion. Further examples of the group's abilities crop up song for song: the amazing guitar break and serene conclusion of "Reaping the Rich Harvest," the clean crisp flow of "As the Dragonfly Flies" interrupted by a down and dirty guitar line, the soft pipe start to "Lovers' Day," and more. Concluding with the slow burn fire of "Nirvana," The Icicle Works is early-'80s U.K. rock at its considerable best. ~ Ned Raggett, All Music Guide
