Split Enz True Colours by: Helen Stasa Mon:30-Jul-07 Label: Mushroom Year: 1980 WB rating 84 out of 100

Prior to the release of True Colours in 1980, Split Enz could scarcely be described as a “successful” band. Despite their best efforts, they remained largely unknown outside Australasia and even within this sphere, the Enz were more likely to be mentioned for their art-school aesthetic (years before Franz Ferdinand made such an approach fashionable) than for their musical prowess. After all, could listeners be expected to focus on the quality of Split Enz’s music with the band members’ bizarre hair cuts, unusual costumes, and penchant for make-up vying for their attention?

However, the departure of Phil Judd and the arrival of Neil Finn in the late 1970s saw a gradual change in their approach, and an increase in popularity. There are two main reasons for this. First, the band’s costumes and make-up were toned down somewhat, meaning that less attention was focused on their (somewhat unusual) image, and more directed towards their music. Secondly, they began to head in a more commercial direction, away from their previous experimental approach and six-minute epic tracks, such as ‘Matinee Idyll (129)’ from Second Thoughts (1976), towards shorter, hookier and more accessible songs, such as ‘My Mistake’ from 1977’s Dizrythmia. The resulting changes saw an increase in both popularity and recognition.

True Colours, released in 1980, most clearly demonstrates this transformation from rock oddities to mainstream success. One of the most immediately noticeable features being the sense of urgency and purpose that underlies many of the songs. From opening track ‘Shark Attack’, Tim Finn’s anguished vocals and the sound of bubbling water create a sense of threat and danger, accompanied by Eddie Rayner’s lightning fast piano lines, tripping down the keyboard.

This intense atmosphere is married to the catchy-chorus writing of the younger Finn on ‘I Got You’, one of the Enz’s better known tracks. The sparseness of the drumming, and in particular the use of the snare, ensures that the focus remains on the lyrics and guitar line, as the slightly ominous verses build up to the catchy chorus of “I don’t know why sometimes I get frightened/You can see my eyes/You can tell that I’m not lying.”

‘I Got You’ is followed by the two weakest tracks on the album. ‘What’s The Matter With You?’ is somewhat repetitive, and the instrumental ‘Double Happy’ is similarly unimpressive. Whilst showcasing the virtuosity of pianist/keyboardist Eddie Rayner, the latter sounds dated, as though it has been lifted straight from the soundtrack of a corny 1970s space invaders-style movie. You almost expect to see a flying saucer cruise past as Rayner tries out all the sound effects on his keyboards. The track also sounds overproduced and sterile, especially when compared to the musical anarchy of the early Enz.

Although ‘I Got You’ was written by Neil Finn, it is the quality of Tim Finn’s songwriting which sets True Colours apart from other Enz albums. Less immediately hooky than his younger brother, the elder Finn’s work has an emotional depth which Neil songs often lacks. Tim’s skill lies in his ability to capture the darker side of love, especially the anxieties and regrets associated with it, and there are ample examples of this emotional power on True Colours. One notable being ‘I Hope I Never’, where Tim sings in his high tenor “it should be possible, I know/ To see you without stress” and “I hope I never have to see you again”, underneath a slightly overwrought orchestra.

However, perhaps the best examples of Tim’s ability to write affecting songs is ‘Poor Boy’ and ‘How Can I Resist Her’, which are the two standout tracks. The deceptively simple progression in the verse of ‘Poor Boy’ serves to highlight the sense of isolation that accompanies “an interplanetary Romeo.” In contrast, the rockier ‘How Can I Resist Her’ perfectly encapsulates the frustration of an unrequited infatuation, with the ardent lover “trembling at the knees” whilst all he wants to do is “listen to her say ‘yes’;” Neil Finn’s brilliant guitar solo also definitive, and among his best musical work.  

Certainly, True Colours is not a perfect album. In parts, it sounds dated, and the presence of weaker tracks such as ‘Double Happy’ undermine the overall impression of the release. However, the quality of Tim Finn’s song writing, particularly on tracks such as ‘How Can I Resist Her’, and the talent displayed by Neil Finn in his ability to pen catchy singles like ‘I Got You’, serve to set True Colours apart as a landmark album.