Dez's Record Guides: Men At Work & Colin Hay

JMW recently suggested that I veer away from the obvious on some of these Album Guides, specifically suggesting that I tackle Men at Work and leader Colin Hay’s solo work. I’ve carried the torch for these guys since their heyday in the early 80’s (well, pretty much their whole career as a band was the early 80’s), so it is my pleasure to finally bring you the definitive Men At Work and Colin Hay Record Guide. Their debut record holds a special place in my heart, as it is the first rock record that I appreciated and loved as a complete album (beyond KISS records, that is. The first two non-KISS albums I owned were Duran Duran’s debut and Business as Usual). I probably know the ins and outs of Business as Usual more than any other album. It is in my DNA at this point. Their time at the top of the charts was brief, but the music has endured and aged extremely well, I think. Part of it is because they took the best of New Wave and injected their quirky sense of humor. They are somewhat guilty as charged of ripping off The Police in both bringing reggae rhythms to New Wave rock and in some of the sonics, but at the same time, you’d never mistake the two bands for each other. Men At Work also stands the test of time because underneath the goofy and endearing videos and pop hits are some very good musicians and pop/rock songwriters. Rock solid rhythm section of John Rees (bass) and Jerry Speiser (drums), underrated pop guitar work from Ron Strykert, different sonic colors from the sax/flute/keyboards and “fiddly things” of the dearly departed Greg Ham. But most importantly is the incomparable vocals and solid songwriting from Colin Hay.

Business As Usual (1982) *****
These hard working pub rockers from down under surprised everyone with the worldwide smash that was their debut (probably most of all their record label, Columbia). It stayed at the top of the U.S. charts for 15 weeks straight, and the now iconic single “Down Under” was a #1 on both sides of the Atlantic. But getting beyond the impressive stats, you have New Wave pop/rock of the finest variety, with deep album cuts as strong as the wonderful singles. Still stands as one of the best records of its era.


ABOVE: The "Down Under" video was quirky, weird and fun. It was key to making Men At Work as huge as they were in the States.

Cargo (1983) ****
They had Cargo in the can for awhile before it was released, the debut stubbornly wouldn’t leave the charts and Columbia wanted to avoid dilution as far as chart success. Cargo is more eclectic than BAU, if slightly less consistent in quality. There are only two real missteps, though, and what is great is really great, especially the two hits – “Overkill” (probably their best song) and “It’s a Mistake.” (Also check out "No Sign of Yesterday" and Hay's impressive vocal dynamics near the end.)

Two Hearts (1985) **1/2
Not as bad as its reputation, but the out of print third record is a bit of a drop in quality. It just doesn’t sound all that much like Men At Work, with the heavy 80’s production, Speiser and Rees already gone and more importantly Strykert half way out the door (he was only involved in about half of the songs), this sounds more like a solo Colin Hay effort with an assist from Greg Ham. About half is actually pretty good, but the other half is not.

Brazil (live) (1998) ****
The Men’s popularity remained strong over the years, especially internationally. Hay and Ham would tour sporadically with a band of very good sessions players, and they released a live record from a sold out show in Rio in ‘98. What is surprising is just how good this sounds. Energetic performances of all of the hits plus some choice deeper cuts, playful and even experimental in spots, Hay is in perfect voice, and they top it off with a studio version of “Longest Night,” a fantastic Ham-penned song that they had long played live but had never released in studio form.

Compilations: There have been quite a few compilations released over the years, most of the cheap budget variety. Two are the important ones, though. Contraband: The Best of Men at Work (compilation) (1996) **** and Essential Men At Work (compilation) (2003) **** both generally do the job, containing all of the hits, major and minor, plus some randomly picked album tracks. I have minor quibbles with both, but for the casual listener, either one serves its purpose.


Colin Hay: Hay has had a quietly successful and slow building solo career. He has steadily recorded and toured since the demise of MAW. What must be gratifying is that many people get into his solo music on its own terms first, and only later do they realize, “wait, that was the ‘Down Under’ guy?” (as the name ‘Colin Hay’ is hardly a household one). His solo work stands on its own, it is not merely a coda. I highly recommend catching his live show as well, as he is an engaging performer, his shows are almost half music and half amusing stories from a long and interesting career. (For instance, go to iTunes and download the 8 minute acoustic live “Down Under (The Birth of the Song)” from the Down Under 2012 EP. I couldn’t find a Youtube clip to post. It is a really funny account of the writing of the song, and is indicative of the live Colin Hay experience nowadays).

Looking For Jack (1987) **
Columbia had big plans for Hay as a solo artist. They saw no reason why he couldn’t duplicate the success of MAW. His solo debut was a pretty big flop (and choke, in my opinion), you can hear the grand statements being attempted. There are a few good tunes though, the ambition of “Circles Erratica” actually works and the charming title track (about an amusing encounter with Jack Nicholson) are keepers. Out of print.

Wayfaring Sons (with The Colin Hay Band) (1990) ***
Hay recovered some control for his second record, and I wish he had kept this new band together beyond just the one release. There was potential here. Engaging songwriting with Hay’s acoustic foundation and some excellent playing, especially from violinist Gerry Hale, who takes the place of Greg Ham as far as providing Hay with some unusual accompaniment. About half of this (you’ll find that phrase a lot with Hay’s solo work) is really good. Out of print.

Peaks & Valleys (1992) ****
My personal favorite of his solo records, it is an engaging solo acoustic outing. Hay was always a very good guitarist, and the solo acoustic setting allows his signature vocals to really shine. Additionally, he delivers a fantastic set of acoustic singer-songwriter tunes with rather interesting guitar parts (he’s not just strumming chords).

Topanga (1994) ***
Transcendental Highway (1998) ***
These two are probably his best rock records. Some very good songs and solid bands backing him.

Going Somewhere (2000) ***
Another solo acoustic outing. This is also quite good, but doesn’t reach the, uh, peaks of Peaks & Valleys.


ABOVE: I saw Colin Hay live in about 2000 in Austin. It was a small club with a sparse audience. He still gave a great show, and I got to meet him afterwards. I am always apprehensive to meet artists whom I admire, because if they are a-holes then it will forever color my enjoyment of their work. Fortunately, Colin Hay in person was as charming and friendly as you would hope. Sounds silly, but I was as happy meeting Colin Hay as I would be meeting Springsteen or Bono. That is how much his music has meant to me personally over the years.

Company of Strangers (2002) ***
Man @ Work (2003) ***
Are You Lookin’ At Me? (2007) **
American Sunshine (2009) **
Gathering Mercury (2011) **
Since ’02, Hay has hit a comfortable, if a bit mellow, singer-songwriter groove. Company of Strangers was quite ambitious, but only sporadically successful. Man @ Work is an interesting release, where he revisits five Men At Work hits (three in essential solo acoustic form, and two in pointless full band renditions), some of his own seemingly randomly selected solo songs, and a few new tunes. The three most recent records are alright, I guess. They aren’t necessarily bad, they are just kind of dull. They each only contain maybe two or three keepers for me.

Bottom Line: Most casual listeners are fine with Essential Men At Work or Contraband, but Business As Usual is essential New Wave listening from start to finish. For solo acoustic Hay, Peaks & Valleys is where to go. I’d say Transcendental Highway is his best full band solo effort.