Code Blue (1990)
Icehouse's album Code Blue marks a departure from their trademark sound and focuses more on guitar-driven rock. While the band's willingness to evolve and experiment is commendable, the album falls short and almost seems intentionally done. From my understanding, Iva Davies, after the success of Man Of Colours, no longer wanted to be a global rock star. Following the pressure to create another hit record from their international record label, Chrysalis, Icehouse decided to create a record they knew Chrysalis wouldn’t want to release overseas. In creating Code Blue, Icehouse sabotaged their international success in order to no longer have to tour around the world. They managed to remain popular in Australia and New Zealand, though.
If you had never heard the previous five Icehouse records and started with this one, you would think it is a fine, average late 1980s rock band album. Judging the album for what it is reveals that the record is just fine. Nothing great, but nothing too too offensive ... Kind of … Judging the album for what it is not reveals that Code Blue is a wildly disappointing venture for the band after knowing what they’re capable of. We have to accept what Iva Davies did to throw away the bands international success, but we should be allowed to feel disappointed that we may have been slighted from potentially great work that could have followed Man Of Colours.
The opening track Mercy on the Boy features heavy guitars and synth accents in the chorus, but it fails to capture the essence of Icehouse's sound as it strays far far away from what we have grown accustomed to. Harbour Town, on the other hand, fares better, with its catchy sing-along chorus and rock-driven synth accents. However, the simplistic and commercial lyrics prevent it from being an all-time great Icehouse track.
The Great Divide is the highlight of the album, with its American western guitar intro and pop rock anthem feel. The song combines Icehouse's trademark sound with a more rock-focused approach, making it a more than memorable entry. Wind and Sail takes an atmospheric approach, with a bagpipe intro mixed with eastern world music flutes that build up to a climactic guitar and drum-driven chorus. The verses even have a 1990s Pink Floyd sound.
Miss Divine is the album's commercial single, but it lacks musical interest and it’s simplistic lyrics drop it in the “if it’s on I won’t skip it, but I’m not going to seek it out” category. On the other hand, Yo Ho Ho Ho Big Fun sucks. That’s all I need to say. Iva Davies defended this song for awhile. I don’t know if he still does, but don’t worry ... I won’t defend it. Avoid this song at all costs.
Knockin' Em Down, Miracle Mile, Jericho Bay, and Charlie’s Sky are all average rock songs, and they lack the standout elements to be replayed. Although, Where the River Meets the Sea offers a unique Christian rock sound that stands out from the rest of the album, putting it in a tier just slightly above the previously mentioned songs.
Anything Is Possible offers an Australian, more brassed-up version of the classic Stand by Me, making it an enjoyable listen in comparison to the rest of the album.
Code Blue is a guitar-driven album that strays away from Icehouse's trademark sound. While some songs, like The Great Divide and Wind and Sail, offer a unique blend of Icehouse's sound and rock-focused approach, other tracks like Miss Divine and Big Fun fail to deliver. With the latter making me want to commit arson to a big pile of Big Fun 12” singles.
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Highlight Song:
The Great Divide
Wind and Sail
Harbour Town
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Own it, Stream it, Forget about it?
Yeah, I say stream this one. You will find some songs enjoyable and perhaps worth saving to your music library, but I would not suggest going out and seeking a hard copy of this record. If you listen to it and find yourself enjoying “Big Fun”, just know that you will be sentenced to 25+ years in jail for your poor taste in music. Don’t worry, it’ll be big fun.
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Overall Rating:
2.5 Stars
