A Streaming Pile of Hit: The Icicle Works - The Icicle Works

"Whisper to a Scream" was one of those songs that was so good once it got under your skin it stayed there. I also recall buying the album and listening to the it all the way through probably a grand total of one time, then passing judgment: in these grooves there be nothing but filler. So on this instalment of A Streaming Pile of Hit - where you put the "s" in hit is up to you, I present for my revisionist listening pleasure the 1984 debut album from The Icicle Works, coincidentally also called The Icicle Works.

Since I lost my original copy, this was an album I wanted to find on vinyl. Over the last few years I've come up empty. It's not like I was trying super hard, but I looked. Every so often I'd hear "Whisper to a Scream" and think, there had to be more to the band than just this one song. So I kept looking ... until I gave up and just found it on my streaming service. Why not? It doesn't have to be hard, and while there are a lot of golden nuggets that have been lost to history (always makes me sad when I find a something worthwhile and it's unavailable), most stuff somehow manages to find its way online.

Over the years little nuggets would drop about the band. Probably the most curious for me centred on drummer Chris Sharrock, who was the creative manic pounder who anchored the band. He would later be behind the kit when The La's dropped "There She Goes" and then later go on to drum with Robbie Williams, Oasis, and heck even worked with both Gallagher brothers first with Beady Eye, then Noel's High Flying Birds.

Chris was my gateway back into the band. The band at this point was a classic power trio, and was fronted by Ian McNabb whose voice and guitar playing was fitted perfectly for the early new wave that was hitting the shores of North America from the UK. In addition to Sharrock, and McNabb, bass player Chris Layhe rounded out the band's early line-up.

When I looked this up to stream it was a deluxe edition that contained more bonus material than the original release contained tracks. Interesting, this could go one of two ways. It could be like Brian May's re-issue of the Star Fleet Project, which took the albums initial three tracks, and somehow managed to stretch it out with alternate takes and studio outtakes to a mind numbing two and a half hours. Now, I have that original record, and it's still one of my treasures, but seriously less is more in this case. It was borderline excruciating. So I'm waiting to see what I get with this one. Or it could go the other way and showcase a band who had more to offer and this would be a delightful case of more is more.

As is so often the case with streaming and re-issues we get the original version of the record. Which depending on where you were at the time, isn't the "original" we're familiar with. In North America the US version differed from the Canadian version, and both were variations on the original UK release. Here we get the version as intended. Doesn't really matter as this is still sort of new to me, other than any minor variations on the mix for "Whisper to a Scream" or to be accurate to the credits, "Birds Fly (Whisper to a Scream)" I really won't know the difference.

Having listened through the original album, I have to say that there was so much more here than I remember. Starting with the opening track "Chop the Tree" which was a great way to start, it was one solid track after another. There was something about this era of British new wave that was so special. It's very dated now of course but is still so good. There other standouts like "Love is a Wonderful Colour" and the moody textures of "Out of Season" that showcase a band who was looking to make a statement. As I listened to the songs I kept thinking, "I missed the boat on this one" and then of course came the song, and I could see why I was so harsh on the album. Back in the day I was about the big song, and this song leapt out of the grooves. It cast a shadow over the rest of the songs. Even now as I listen to this it cuts through everything that came before and after, which is actually a pretty nifty trick because it is a really good album.

Then the extra tracks came on, and this is where we find out if the band has more in the tank. I had expected the "B" sides, and remixes to be like a handful of Bertie Bott's Every Flavour Beans. I was pleasantly surprised. Starting with "Reverie Girl" the songs were solid, and there were no boogers, or vomit tinged tunes to be had. Sure, some of the remixes didn't seem that different from the album tracks, which made me wonder why remix at all. 

For an hour and forty five minutes I was transported back in time. As I listened to the tracks, each one was a little nugget (not a booger one) of '80s goodness. Then I started to realize that this was the side of the '80s I wasn't as exposed to as much as I like to think I was back in the day. Bands like Echo & the Bunnymen, The Cure and the like were bands I was aware of, but it was a cursory awareness. They were more for the alternative crowd. I liked some of the songs, sure - but I was more into the rock side of things. This again will support my love for "Birds Fly" as it appealed to my rock side, but the rest of the songs were on the periphery of what I was actively listening to ... of course over the years I've expanded my horizons, and I often find myself leaning more into the alternative side of things, as it feels less played out to me.

I can't rewrite history, but I can at least try to add an asterisk to a few things.