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Measure for Measure

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Album Review

Based on the principles of balance, Measure for Measure is half-produced by David Lord, half by Rhett Davies. American and European editions benefit from a better track list, which opens with the Davies-produced "No Promises." A little too close to Bowie and Metheny's "This Is Not America," perhaps, but very nice all the same. "Cross the Border" resembles and continues the close relationship with Simple Minds, and features a strong Brian Eno back vocal motif. Another of the RD-produced pieces, "The Flame," although about the struggles in South Africa, opens with a watery, orient-like synth treatment before a strong beat, courtesy of Steve Jansen, and a Talk Talk-sounding synth take charge. Newer realms are visited by Spanish guitar on "Angel Street," but the Bowie references can't be shaken, with much of the later part relying on squally glam rock ("Regular Boys" and the career-reviving "Baby You're So Strange"). Had the color of bonus CD cuts "Too Late Now" (a definitive Icehouse sound) and "Into the Wild" been included, how different things might have been. A few blocks up from the bland Sidewalk but a few buildings short of Man of Colours.

Biography

Formed: 1980 in Sydney, Australia

Genre: Rock

Years Active: '80s, '90s, '00s, '10s

Though it has had varying personnel, Icehouse was essentially a vehicle for the work of Australian Iva Davies. Davies formed the first version of the band under the name Flowers in 1980 and began scoring hits in Australia with the group's first single, "Can't Help Myself." (Icehouse was the name of Flowers' first album, but the group changed its name as it went international, to avoid conflicts with another band.) They first reached the U.S. charts in 1981 with "We Can Get Together"...
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Measure for Measure, Icehouse
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