A hit single can be a huge boon for a new band. It can launch their career like a jet engine, putting them in front of a huge audience.
But it can also be an albatross, painting listeners’ perception of your work. Perhaps there’s no greater example of this curse than Men At Work’s “Down Under,” which hit number one in a handful of countries around the world—despite being a poor representation of their debut album.
In the end, it’s another sad story of corporate meddling. “Down Under” was originally released as a B-side to their first single “Keypunch Operator,” which was only released in their native Australia. When Columbia Records came around with a record deal, they loved the novelty song, and requested it be recorded on the group’s debut album.
While it’s certainly a fine song (lawsuit notwithstanding), it’s maybe the weakest track on here. A much better representation is the first single, “Who Can It Be Now,” which sold fewer copies but is a much better representation of the urgent, bopping new wave/reggae rock that fills the rest of the record.
If “new wave/reggae rock” reads like “The Police soundalike,” you’d be absolutely right. In fact, I have mistaken “Who Can It Be Now” for the Police on more than one occasion. And I mean that as high praise.
There’s a ton of great stuff on here. “I Can See It In Your Eyes” pairs an urgent beat with an almost mournful melody, and the results are gorgeous. “Helpless Automaton” is a fast-paced new wave tune that lands somewhere near Devo. The album closes with two restrained tracks that are absolutely gorgeous. “Catch a Star” puts a beautiful ballad to a laid back reggae beat filled with glassy lead guitar licks and led by Colin Hay’s acrobatic voice. “Down By the Sea” nearly hits the seven-minute mark as the band rides a relaxed groove that somehow manages to be anthemic at the same time.
It’s not a perfect album. It’s not without its abrasive or forgettable tracks. But this album certainly has its moments—even if they live in the shadow of the band’s novelty hit.