Looking to follow up on this success, the band began to collaborate on songs for their next album. Though Tim Finn was still the band’s major writer, penning five of the ten tracks on the new album, Neil again contributed four and keyboardist Eddie Rayner the two instrumental tracks of the album. It helped to give the album a more rounded sound and one where all of the best elements of the band were utilised.
The band’s original concept for the title of the album was give it a native name for each country it was released. Called “Waiata” in New Zealand, which a Maori term for song and singing, their idea was to have the album in each country of its release relate to a native name of that country that corresponded to song and singing. For what we can only assume are obvious reasons, the record label did not go through with this idea, and the name was retained as the title for all countries – except one, where in Australia it was named after the first nations people’s word for song and singing, that word being “Corroboree”.
The album moves off on a sure footing with Tim’s “Hard Act to Follow”, a brisk and punchy song with Tim’s vocal driving the song onwards and upwards. The bass line and keys provide the major basis of the track giving it a softer tone as a result with the guitar sitting in the background. Lyrically the song can be read in general terms though it certainly feels as though the subject may have come up when it came to trying to create an album that would be the equal of their previous effort “True Colours” which had performed so well. This is followed by Neil’s first composition on the album, “One Step Ahead”, the first single released from the album and also the song that proved the band had nothing to worry about when it came to following their previous album. Neil’s sweeter vocal fits beautifully in the softer music he composed for the song. The bittersweet melody and the emotional hesitation of the lyrics create what has become one of the band’s best known and most beloved tracks. And then the album moves into “I Don’t Wanna Dance”, a song that again picks up the pace to move out of that style, and Tim’s in his head-wobbling lyrical kind of frenzy that mimics the style of Split Enz song he produces so easily and comfortably. He sings in melancholy about the loss of his girl, and of not wanting or being able to dance without her. You can read deeper here to take more meaning from the song, but musically it offers up a wonderfully emotional aspect while still creating a song that is trying to get you to move around despite itself. This is one of the album’s best songs and one of the bands most underrated gems. The opening three songs on the album combine together beautifully in every aspect.
“Iris” is another quieter Neil Finn new wave ballad state of affairs, and is followed by “Wail” which is Eddie Raynor’s first instrumental of the album, combining the sounds of the band’s past with a modern new wave polish. The band’s art-rock roots all seem to get a chance to re-establish themselves herein Raynor’s piece, with lots of layered keys combining with a solid bass line and the interjection of guitar. The first side then closes out with Tim’s “Clumsy”, another of his songs that channel the style that made Split Enz stand out from the crowd. Its quirky nature brings back the memories of the band’s best eccentricity. Musically it touches the heights of mania, each instrument pushing tiself beyond the normal to incorporate a touch of zaniness about it, and in doing so creates a sound that is quintessentially Splitz Enz.
“History Never Repeats”, the third of Neil’s songs, opens up the second side of the album, and the brightness and energetic shine of the music and his vocals make this such an easy listen, and
“Walking Through the Ruins” has a touch of The Police about it, in the way it moves from a moody introspection to a faster and more frenzied approach, including the Stewart Coupland like drums from Malcolm Green, the bass line from Nigel Griggs and guitar from Neil Finn. It offsets against the previous track by moving through those different corridors, all motivated by Tim’s vocals that express the undertones of the lyrics. In some ways it might be tied to the era but overall it offers a great impass to the style of the album.
“Ships” is Neil’s final track of the album, one that shares a more melodic sound and offers a swaying motion that mimics the title of the track. The dual vocal of the Finn brothers comes together here beautifully to give the nautically themed song a vision that is matched by the vocals. “Ghost Girl” moves along in an eerie atmosphere, one motioned by wailing guitar set in the background to the keys and synth of Eddie Rayner. Tim’s vocals soar and wail as he rides the waves of the music presented, and produces another song here much like the previous track that does amazingly offer up a musical piece that has you imagining the images that the lyrics are offering. The album then concludes with the second Rayner composed instrumental “Albert of India” that completes another beautifully toned album from the band. The album moves comfortably along in the new wave era that had come with the commencement of the 1980’s decade, with the Finn brothers in particular taking on the movement and infusing it deep into their music on this album. The immediately noticeable tracks are the ones that appear to have been composed for a commercial setting, and they do so without affecting the quality or the output of the remainder of the album.
Growing up in Australia, Split Enz was a band that you would hear on the radio on occasions, depending on if a song had been recently released. More appropriately, they were a band that you saw on the ABCTV music program Countdown on a Sunday night, dressed up and regaled in their outstandingly garish outfits and make up, jumping around the stage and miming with intense energy and fun whatever song they were currently promoting. And that’s who they were, a fun and energetic band whose performances and songs were infectious. And in Australia and their native New Zealand, they were as popular as any other band going around.
I had copies of this album and “True Colours” and at least one other that I can’t remember now through the mists of time, and once the band broke up and the plethora of greatest hits albums came out, I definitely had that. Still do, as it turns out. The albums didn’t always all agree with me, but I still enjoyed them.
In recent times I have made an effort to try and restock my Split Enz collection on vinyl when I attend the various record fairs that now pop up around the place. This album was one of those, about a year ago, and when I first listeneed to it again I was mesmerised. There is so much on this album that identifies with the era of music when it was released. The new wave scene of our part of the world still drew on the same influences as the UK and US, and some of those sounds are definitely still here. In particular, as I mentioned here, The Police and their sound is certainly prevalent in places. But more than anything else, it is the Split Enz sound that still comes though in many places that pricked up my ears. It isn’t there on every song. Indeed, it mostly comes from the Tim Finn composed and sung songs than those of Neil Finn. Neil is already at this point in time showcasing his own style, one that he would fully develop in the band he formed after the conclusion of this band. But the combination of the two is what gives this album a terrific sound, melding between one Finn to the other, and able to do so without compromising the sound and style of the band or this album.
Over many listens again this week, I still find everything I love about this band covered here. The upbeat and positive fun tones that often cover the underlying mood of the lyrics. And then vice versa, the moodiness of the music that belies the positive lyrics. They were an incredible band, the New Zealand band (one of many really) that Australians called their own. This still stands as one of their finest albums in a loaded catalogue. And 45 years on it still has that freshness and vitality that make it worth listening to still.
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