User talk:Shigpit/Split Enz
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things i want to keep
The Enz initially were at first scorned by the fashion-fixated UK music press, due to the polarising effect of punk on the English music scene. The Enz' theatrical trappings and complex music were suspiciously reminiscent of the "dinosaur" progressive rock bands so reviled by the new wave of music critics. Gradually though, as the Enz fine-tuned their image, and the punk scene gave way to the less strident, more stylish and more musically substantial 'New Wave' scene, Split Enz began to draw larger crowds in the UK.
The group's career falls into two distinct phases. The first was firmly rooted in the progressive rock scene of the early 1970s. The Enz started out as an adventurous, flamboyant art-rock band -- although their music was generally far more accessible than some of their more grandiose European 'prog-rock' counterparts. This first incarnation lasted about five years, through their move to Australia and the early part of their stay in England, and closed with the departure of co-founder Philip Judd in 1977. During the transitional period of 1978-79, a new line-up consolidated behind Tim Finn, and though they struggled to survive, they gradually reined in the more extreme aspects of their music and presentation without sacrificing their individuality. In 1980, Split Enz (Mark II) scored major successes with a superb trio of early 80's albums — True Colours, Waiata (released as Corroboree in Australia) and Time & Tide — which made them one of the most successful and popular Australasian groups, a position they held until their final split in 1984.
The combination of the dramatic changes in the English music scene, the relatively poor commercial performance of Frenzy and their precarious financial state forced the Enz to re-assess their music and image. The Luton tapes and the Nambassa show had proved to the band that the more melodic 'power-pop' side of their music was a winner, so they worked hard on making the songs for their fifth album much more commercial, melodic and accessible, while they reined in the more outre aspects of their image. The wild makeup and hairstyles were also toned down (well, sort of); Tim's performance persona (a demented cross between Harold Lloyd and an escaped lunatic) was shelved, and Neil began to emerge from behind the horn-rimmed glasses and painted-on freckles of his original "nerdy schoolboy" image.
