User:Shigpit/Split Enz

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Split Enz with "...costumes and hair...like nothing else, wild and colourful and inventive."

Split Enz was a successful and influential New Zealand-based musical group during the late 1970s and early 1980s. In its heyday, it featured Te Awamutu-born brothers Tim and Neil Finn. Their musical style was eclectic and original, incorporating influences from art rock, vaudeville, swing, punk, rock, new wave and pop.

They were widely known for their unique visual presentation. Their costumes and hair were like nothing else, wild and colourful and inventive. The costumes were designed by Noel Crombie, who also designed most of the group's other visual material, such as stage sets, posters, stickers and album covers, as well as directing many of the band's music videos.

It is also notable that Split Enz only recorded original material; every song on every Enz album and single was written by members of the group.

1 Early Career
2 Mental Notes (1975)
3 Second Thoughts (1976)
- 3.1 The band shakes up
4 Dizrythmia (1977)
5 Frenzy (1979)
- 5.1 Reassessing
6 True Colours (1980)
7 Waiata (1981)
8 Time & Tide (1982)
- 8.1 Tim goes solo
9 See Ya Round (1984)
10 Post-Split Enz careers
11 Discography
12 External links

[edit] Early Career

The origins of Split Enz lay in the friendships that developed amongst a group of young students in the late 1960s and early 1970s. After finishing primary school, Tim Finn attended Sacred Heart College boarding school, where he met Mike Chunn. They wrote songs and played music together there over the next five years. In 1971 Tim and Mike went to Auckland University, and there they met and befriended a group of art students including Phil Judd, Noel Crombie, and Rob Gillies.

The friends were all playing music together casually at this time. They started writing together with Phil working out the basic form and lyrics and Tim (who was strongly influenced by classic British pop like the Beatles, the Kinks, and the Move) providing melodies. The close friendship between Tim and Phil became the core of the group.

[edit] Debut Single

Tim and Phil began stockpiling songs, and the material they wrote together in this original burst of creativity provided the bulk of their repertoire for several years. They approached classically trained violinist Miles Golding and reed player Mike Howard, and together with Mike Chunn they formed a five-piece acoustic group called Split Ends in October 1972.

Golding's musical skills helped Tim and Phil to build complex and impressive neo-classical structures and arrangements for their material. After months of rehearsals, and with financial backing provided by their friend and fan Barry Coburn (who became their first manager), Split Ends issued its debut single, "Split Ends/For You", in April 1973. In March, just before the single was released, Golding left the group to study in London, although they would meet again years later.

At Chunn's urging, the band "went electric" and expanded, adding drums, lead guitar and brass. When the single was released in April, the band started a small tour of Auckland, Christchurch and Wellington, supporting John Mayall. Mike Chunn's brother Geoff was called in for the tour replacing original drummer Div Vercoe. The other new permanent members were lead guitarist Paul Wally Wilkinson and their university friend Robert Gillies who joined part-time on saxophone and trumpet. By this time, the band had become a full-time preoccupation for Tim, and he dropped out of university.

In late 1973, Split Enz entered the New Faces TV talent contest, and in preparation for their performance, they recorded "129", "Home Sweet Home", and the retro-1930's sounding "Sweet Talking Spoon Song", which would become the second single. To their dismay, they finished second-last in the contest, but their performance secured them a 30-minute concert special for Television New Zealand, which was recorded soon after. It was at this time that their original name was altered to the patriotic Split Enz.

That November, EMI NZ issued the band's second single, the double A-sided "129" / "Sweet Talking Spoon Song". The TV special spawned a concert tour, albeit without Phil Judd, who decided he did not like performing live. Phil was discouraged by negative reactions to the band, and felt that their music was too complex for successful stage presentation. He initially opted to stay at home to write and record new material while the rest of the band toured, although he made occasional appearances and eventually rejoined full-time.

In early 1974, Tim acquired a prized Mellotron keyboard and in February they made a vital addition to the lineup, recruiting Eddie Rayner on keyboards. Rayner, nicknamed "The Prof", would become crucial to the development of the Enz's sound. A prodigiously talented self-taught musician, his ability to realise and enhance their arrangements added tremendous depth and polish to the already strong material, and in many respects his playing became the defining element of their sound. Combined with Tim's own ability on piano, the two guitars, bass, drums, percussion and assorted other instruments including trumpet and saxophone, they were able to encompass a wide range of styles and sounds, and they were a force to be reckoned with on stage.

[edit] The Early "Split Enz" look

Phil and Tim decided that, rather than slogging it out on the traditional pub circuit, they would play only in theatres and concert halls, which enabled them to stage a full theatrical presentation, and they began to develop elaborate sets, costumes, hairstyles and makeup. After seeing one of these live performances, Judd decided to return to the band and began making occasional appearances, as did their old Auckland university friend, Noel Crombie. In June 1974 Geoff Chunn and Rob Gillies both left the band. Paul Emlyn Crowther joined on drums in July; Gillies was not replaced.

Their music at this time was in a broadly similar vein to British progressive bands of the time, albeit rather "poppier" and more melodic than many such bands. Family and Traffic were almost certainly important influences, and though they always balked at the frequent comparisons to Genesis, there was a 'English-ness', and a definite eccentricity that was common to both groups, and which set the Enz apart from almost every other local act.

The band might have made considerably less impact had it not been for the unique visual identity they developed. In the autumn of 1974, their old university friend Noel Crombie became a full-time member. He performed on percussion -- and spoons -- and sang occasionally, but his primary role soon proved to be as Art Director for the band. His wide-ranging talents enabled Split Enz to present a complete audio-visual experience, showcasing their accomplished performances of the intricate Judd-Finn compositions in a unique live show, complete with wild, colourful matching costumes, bizarre hairstyles and makeup, sets and special effects. Their "look" -- a mixture of the weird and the whimsical -- drew on influences like the circus, music hall, gothic horror, Expressionist cinema, pantomime, psychedelia, surrealism and modern art -- all filtered through the band's bizarre demeanour and crazed on-stage antics. The costumes and stage personae also proved to be a useful facade for a group of young men who were, essentially, rather shy personalities.

Like Rayner, Crombie was a crucial addition to the band, and in many ways he became the 'heart and soul' of Split Enz. His designs crystallised the band's image, and spanned the entire range of their visual material -- stage costumes, hair styles, sets and stage designs, posters, buttons, badges, handbills, promotional photos, tour programmes and album and single covers. He also directed almost all of their music videos, (some co-directed with Rob Gillies). Some of Noel's finest costumes are now part of the collection of the Victorian Museum of Performing Arts.

Crombie's lugubrious stage presence endeared him to audiences and his trademark spoon solos became a favourite feature of Enz shows. His regular 'spot' grew out of one of the typical random events that marked their early shows -- they brought Rayner's aunt on stage to perform an impromptu tap dance during one of the songs. It was a roaring success, but they quickly realised that they could not really take her on tour with them, so Noel's spoon playing routine was substituted and soon became an essential part of each show.

In concert, the band was already in a league of its own and their live performances from this era soon became the stuff of legend. An early NZ TV performance had a "desert island" theme; they brought in a load of sand and created a miniature indoor beach, complete with palm trees and a wading pool, with band members dressed as hankie-hatted tourists, reclining on deck chairs and sipping drinks. For a now-legendary live performance of their live epic "Stranger Than Fiction", a woman friend was recruited to crawl across the stage during the song, under pulsing strobe lights, with a bloodied axe apparently embedded in her skull.

[edit] Expanding to Australia

By the end of 1974, their following in New Zealand was strong and very dedicated, but the chances of further progress there were obviously limited -- the only logical place to go was Australia. In March 1975, the band issued its third single, "No Bother To Me", on the independent White Cloud label, and a few weeks later, Split Enz left for Sydney. The initial response from Australian audiences was mixed, and their music and image was at first simply too "out there" for many Australians.

At the time, Skyhooks and Kush were probably Australia's most overtly theatrical rock bands, and the influence of the "glam" period could also be seen in acts like Hush, who used costumes and makeup. Even Sherbet and AC/DC had briefly toyed with glam rock stylings, but they had dropped the idea before long. Split Enz were in a league of their own however, and most Australian audiences had seen nothing like them before. They got a frosty reception in Sydney, although they had a slightly warmer welcome in Melbourne, where local bands and other performing groups had more of a history of blending experimental and theatrical elements with rock music.

The Enz soldiered for nine difficult months although, as at home, they quickly amassed a small fiercely loyal cult following. Their immediate future was assured when they were spotted by Michael Gudinski, who recognised their potential and signed them to a management and publishing deal and a recording contract with his Mushroom Records label. Their reputation as a top-notch live act and their association with Gudinski gained them several very important support slots to local bands like Skyhooks and with major overseas acts in 1974-75 including Roxy Music, Lou Reed, Flo & Eddie and Leo Sayer.

The association with Mushroom was fortuitous. The company had struggled to survive for its first few years but had recently hit the big time with the record-breaking Living In The Seventies album by Skyhooks and the company was now on their way to being a major player. Mushroom's staff were young, keen, aggressive and willing to take risks — exactly the kind of company Split Enz needed. Although he is often criticised (with some justification) for the treatment of other artists on the Mushroom roster, it is to Gudinski's credit that he stuck by the Enz through thick and thin, and in the long run his faith in them was richly rewarded.

[edit] Mental Notes (1975)

In two weeks during May/June 1975, Split Enz recorded Mental Notes at Festival's Studio 24 in Sydney. It was produced by David Russell, a well-traveled bass player for well-regarded New Zealand rock groups who also served as Split Enz's tour manager during this time. The Enz were reportedly unhappy with the way their songs translated to tape. Tim still regards the album as "deeply flawed," although he acknowledges that time has revealed its unique qualities.

Mental Notes was a moderate success on its release in July, selling a respectable 12,000 copies in Australia, reaching #19 on the album chart for one week, and peaking at #7 in New Zealand. It was also a critical breakthrough and along with a handful of other '70s Australian classics, like The Dingoes' debut LP and Madder Lake's Stillpoint, it remains one of the most original and accomplished Australasian debut albums of the period.

Much of the material derived from Tim and Phil's fascination with the work of the renowned English writer and artist Mervyn Peake — notably Spellbound, the epic track "Stranger Than Fiction" (their concert centrepiece) and "Titus", named after the hero of Peake's Gormenghast trilogy.

In September, they released their first Australian single, Maybe, but by this time plans were being made to relocate to the UK. Wally Wilkinson was sacked in November, and Rob Gillies was brought back in on saxophone and trumpet as a permanent member. They returned to New Zealand briefly before embarking on their "Enz Of The Earth" national Australian tour, which wound up in February 1976. In March, Mushroom issued the band's second single on that label, Late Last Night, accompanied by a promotional video (directed by Crombie) which gave them their first major Australian TV exposure.

[edit] Second Thoughts (1976)

Following Mental Notes, the band relocated to England with an eye on further international exposure. This decision stemmed from their support slot on Roxy Music's first Australian tour in 1974. The Enz caught the attention of the visiting band, who were only just becoming known in Australia but were already one of the most successful 'art rock' bands in the UK. Roxy's guitarist Phil Manzanera was particularly impressed, and offered to produce their next album for them in London. They managed to secure a UK record deal with Chrysalis Records, and in April 1976 they flew to the UK to cut their second album.

Recorded at the Basing Street Studios in London, Second Thoughts was issued in Australia in July 1976, and issued in the UK as Mental Notes in September. It consisted of "Late Last Night", four re-arranged and re-recorded tracks from the Australian Mental Notes LP, three new songs, and a new version of one of the earliest Judd-Finn compositions, "129", retitled "Matinee Idyll (129)". This song was released, backed by "Lovey Dovey", as a single in December 1976. During the recording they met original member Miles Golding, who was then living in London, and attended a recital he gave at the Australian Embassy.

The band's bizarre appearance and crazed on-stage antics initially baffled the UK press and audiences, and critical reactions were far from favourable. Eventually their musical excellence, originality and enthusiasm again won them a cult following, from which the fan-club Frenz of the Enz began to develop. But even with the patronage of Manzanera, pressures mounted within the formerly close-knit group. In November Emlyn Crowther was sacked and replaced by their first non-Kiwi member. English drummer Malcolm Green (ex-Love Affair, The Honeycombs, Jimmy James & the Vagabonds) answered an advertisement in Melody Maker, and began rehearsing with the Enz in December 1976.

The Enz kicked off 1977 with a new (non-album) single "Another Great Divide", coinciding with their return to Australia/New Zealand in January 1977 for the "Courting the Act" tour. Chrysalis issued Second Thoughts under the title Mental Notes in the USA, and at the end of February they set off for America to support the album. The Enz attempted to establish themselves in the States with a 23 day, 40 show tour, but it proved to be the last tour with founding members Phil Judd and Mike Chunn.

[edit] The band shakes up

During the US tour, tensions were running high between Phil and Tim. Although they received a standing ovation in San Francisco, audience reactions in more remote areas ranged from bemusement to outright hostility. Judd wasn't happy on the road and was extremely sensitive to negative feedback. Things came to a head after one infamous concert when Phil had trouble with an out-of-tune guitar; he stormed off before the end of the set and when Tim challenged him backstage about what had happened, blows were exchanged. The tour ended in April, and Phil left the band, returning to New Zealand and his young family.

At the same time, Mike Chunn decided to split from the band to spend more time with his family. He had also developed a case of agoraphobia, apparently exacerbated by his experimentation with psychedelic drugs. Upon leaving, Chunn's parting advice was the suggestion that Phil Judd's replacement should be Tim Finn's younger brother Neil.

The Enz were due to begin their third English tour later that month, so Tim now took charge and hastily reorganised the group. English bassist Nigel Griggs (formerly of the band Octopus) replaced the departing Mike Chunn, and began rehearsing on April 4. Neil Finn joined the band in London on April 7th.

Although Neil did not contribute much during his first six months with the band because he was still mastering the guitar, he made up for his lack of musical skill with plenty of onstage enthusiasm. Ironically, not being an accomplished player forced the group to simplify their arrangements, steering them in a new direction.

[edit] Dizrythmia (1977)

The sweeping changes in the lineup of Split Enz created a renewed drive and enthusiasm in a band that seemed to be teetering on the brink of collapse. They had been touring for years on the same basic repertoire, most of it written or co-written by the departed Phil Judd and dating back to the band's formative days. The pressure was on, but Tim rose to the challenge and began turning out great new material on his own.

For their band's next album, they chose to record at London's prestigious AIR Studios with producer Geoff Emerick. Dizrythmia (from the medical term for jet-lag, circadia disrhythmia, meaning 'upset body rhythm') made no appreciable impact in the UK, but was very successful in Australasia, and gave them their first simultaneous hits on the Australian and New Zealand singles and album charts.

The Enz supported their album with a 28-date Australasian tour in October/November. Dizrythmia became a hit album in New Zealand (#3) and Australia (#21). The single Aided by a promotional video, "My Mistake" reached #21 in New Zealand and #18 in Australia in October, 1977. The song's introduction bears a close resemblance to the Jack Clements novelty single "My Voice Keeps Changing On Me", a song that Noel Crombie covered in 1983 under the moniker "Noel's Cowards"

The second single, Tim Finn's jaunty "Bold as Brass" (December) was a melodic pop gem, laden with hooks, with a strong and bouncy backbeat by the Green-Griggs rhythm section. It was even more sophisticated than its predecessor, but it failed to chart in Australia. The single was accompanied by another specially-made video, co-directed by Noel and Rob.

Split Enz toured solidly throughout the UK and Europe from November through the next February. Rob Gillies left the band at the beginning of 1978 and Phil Judd returned, briefly, after Tim and Eddie heard some of his new material. He apparently found himself out of step with their changing direction, and left the band for good after about a month.

Lineup changes were not the only trouble facing the Enz in 1978. Due to poor album sales, they lost their Chrysalis contract and spent most of the year without a record deal, a booking agent or a manager. Debts mounted and, unable to get gigs, they were forced to go on the dole. But they continued writing new material at a frantic pace and rehearsing constantly.

It was at this point that the New Zealand Arts Council came to the rescue with a five thousand dollar grant. They immediately booked a tiny 8-track studio in Luton and with the help of 18-year-old English engineer David Tickle they knocked out demo recordings of 28 new songs in less than five days. These legendary sessions, dubbed the "Rootin', Tootin' Luton Tapes," displayed both a newfound edge and considerable commercial potential. Around the same time, they recorded a new single with Tickle, a frenetic new song by Tim called "I See Red".

[edit] Frenzy (1979)

With renewed purpose, Split Enz entered Manor Studios in November 1978 to record a new album with producer Mallory Earl. Even the eventual cover of Frenzy marked the change in the group -- the crazy costumes and makeup of Dizrhythmia were gone, and the painting depicted them in casual clothes, standing in front of a farm shed in a bucolic New Zealand landscape. The album included re-recordings of many songs from the Luton tapes, but the band felt that Earl had failed to capture the magic and raw energy of the demos.

That same month, Mushroom issued "I See Red" as a single in Australia. It was a frantic chunk of power pop with buzzsaw guitar and manic farfisa organ, bearing the clear influence of English New Wave acts like XTC and The Buzzcocks. This heralded a significant change in their musical style, away from the ethereal, densely arranged epics of yore, and back to Tim's first love -- simple, concise, accessible, high-energy guitar pop. It didn't chart in England but "I See Red" got a lot of attention and considerable airplay, and is credited as being the song that began the turn-around in their critical reputation in the UK. Many of the other Luton songs were never re-recorded, and were left as demos, although some eventually surfaced on A&M's American version of Frenzy, which was released in 1981.

Although they were still doing it tough, Split Enz had turned a corner and they knew it. Charged with new energy, they returned home in December 1978 and decided to play some local shows. Just after Christmas, there was a serious setback when their equipment was destroyed in a suspicious fire at a rehearsal studio. Undeterred and using borrowed equipment, Split Enz played what proved to be a pivotal show days later, stunning friends and fans alike with their towering performance at the second Nambassa Festival in January, an event still spoken of in reverent terms by those who witnessed it.

"I See Red" eventually peaked in Australia at #15 in February 1979. Frenzy produced one more single, Neil Finn's first. "Give It A Whirl" was released that May but didn't chart. One album track, "She Got Body, She Got Soul", was later reworked for the soundtrack to the musical feature film Starstruck. A self-produced, non-album single "Things/Semi-Detached" was released in October but also failed to chart.

[edit] Reassessing

Split Enz had determined to become successful in Britain. The English music scene's shift towards New Wave steered the group in that direction as well. Tim was optimistic about their musical shift after the Luton sessions and the Nambassa show, so he toned down their stage personae and worked hard to make their music more commercial and accessible.

The fact that both Neil and Tim were good looking, telegenic and natural TV performers was not lost on Mushroom's marketing staff, and their teen appeal was pushed hard in the videos for the new LP. Although the trademark Enz weirdness was never far from the surface, Neil's generally optimistic, upbeat songs provided a perfect counterpoint to Tim's edgier and more melancholic pieces. They now performed (more or less) as themselves, and Noel's emblematic new costume, album and stage designs were stripped back to simple, striking geometric patterns which were both timeless and perfect for the period.

Neil began contributing more of his own material, and he also became the second lead vocalist, thus taking some of the performing and writing pressure off Tim as well as broadening their repertoire. Neil proved to be a superb singer whose voice was the perfect complement to his brother's. Most importantly, he was totally immersed in the spirit of the band, having watched it begin and grow from its earliest days. Over the next three years his singing, playing and especially his writing skills increased exponentially, and although Tim remained the leader, Neil was playing a vital role in the band by 1980.

[edit] True Colours (1980)

Original UK 45 rpm single picture cover: Split Enz - I Got You

The album that allowed Split Enz to taste international success for the first time was 1980's True Colours, produced by David Tickle. Neil wrote and sang lead on the accessible single "I Got You." Assisted by a simple but effective video produced by ABC, "I Got You" took the Enz to the top of the Australian and Canadian charts, to #12 in Britain, and even got them onto the US charts, where the song reached #53.

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[edit] Waiata (1981)

The band's subsequent LP, 1981's Waiata (which was called Corroboree in Australia) also sold well. Following this album, drummer Malcolm Green was fired from the group after he and Tim Finn wanted to pursue different musical directions. Noel Crombie's percussive duties were then expanded to include the drum kit.

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[edit] Time & Tide (1982)

The band's next release Time and Tide (1982) maintained their newfound commercial strength. However, the single "Six Months In A Leaky Boat" engendered some controversy when some thought the song was a veiled attack on the British invasion of the Falkland Islands (It was actually recorded in January 1982, months before the Falklands conflict). The band denied these allegations. The album, while not a definitive concept album, did have a recurring nautical theme. Due to Tim Finn's input, particularly with lyrics reflecting personal situations ("Haul Away" was Tim Finn's life story in song), a number of critics jokingly referred to the album as "Tim & Tide".

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[edit] Tim goes solo

Early in 1983, Tim took a break from the group to record a solo album with an all-star session including producers Mark Moffatt (Divinyls, Ross Wilson), former Beach Boy Ricky Fatarr and legendary session singer Venetta Fields. Escapade, released in June 1983, was a major success in Australasia, spawning several hits singles including "Fraction Too Much Friction" and the gospel-styled "Made My Day". Tim won the 'Best Songwriter' gong at the TV Week/Countdown Awards, and Split Enz won 'Best Album' (for Time & Tide) and the 'Most Popular Group' award.

Despite its success, Tim's solo album distracted him from the Enz. Mushroom Records boss Michael Gudinski later said he would have prevented it if he could have, because it delayed the recording of a timely follow-up to Time & Tide. Although Tim had laid the groundwork for a successful solo career, his choice effectively stalled the momentum the Enz had built over the previous three albums.

At the end of 1983, a new drummer, Paul Hester was brought in on drums. Hester would later continue his working relationship with Neil Finn in their post-Enz band, Crowded House.

[edit] See Ya Round (1984)

With his brother gone, Neil Finn became the de facto leader of Split Enz. Crombie, Griggs and Rayner stayed and the group soldiered on, albeit now without any original members from their original lineup. However, this incarnation released only one album, and even its title (See Ya Round) clearly indicated that it was meant as a farewell offering. See Ya Round was not a strong commercial success -- in fact, it only came out in Australia, NZ and Canada -- and Split Enz finally broke up in December 1984. But whatever tension there might have been between the band and Tim was resolved when they went on their final tour together, Enz with a Bang.

[edit] Post-Split Enz careers

Phil Judd released the solo album Private Lives, and formed The Swingers with Buster Stiggs and Bones Hillman. He also formed a band with Noel Crombie, Eddie Rayner and Nigel Griggs called Schnell Fenster, who released two albums. The albums were moderately successful.

Geoff Chunn and Mike Chunn returned to New Zealand and formed Citizen Band

Emlyn Crowther started a guitar effects company called "Crowther Audio"

Eddie Rayner left Schnell Fenster to form his own band called The Makers, which released two albums. He has also released two solo albums; an instrumental solo album Horse, and the album Play it Straight. Rayner also started the ENZSO project, in which Split Enz songs were performed in an orchestral setting with the New Zealand Symphony Orchestra. Several of his former Enz bandmates put vocals to the new arrangements, and two albums were released with live recordings.

Neil Finn and Paul Hester went on to form Crowded House, which arguably eclipsed the Enz' success worldwide. Crowded House's first album was particularly successful in the United States, the one location that eluded Split Enz. Tim Finn joined Crowded House for their Woodface album, and Tim and Neil have also released two albums as The Finn Brothers. Neil Finn has released two solo albums since Crowded House disbanded in 1995. Tim Finn has released a total of six solo studio albums. The Finn brothers were both awarded the OBE in June 1993 for their contributions to New Zealand music.

Paul Hester committed suicide on March 26, 2005 after a long battle with depression.

The group, usually in its definitive Finn/Finn/Rayner/Crombie/Griggs lineup, has occasionally reformed for one-off and benefit concerts in New Zealand and Australia.