Split Enz ‎– Second Thoughts (1976)

Second Thoughts is the second album by Split Enz, released in August 1976 in Australia and New Zealand on Mushroom Records. In the Northern Hemisphere, the album was re-titled Mental Notes and released on Chrysalis with a modified version of the namesake earlier album‘s cover art.

Tracklist:

A1. “Late Last Night” (4:04)
A2. “Walking Down a Road” (5:28)
A3. “Titus” (3:16)
A4. “Lovey Dovey” (3:08)
A5. “Sweet Dreams” (5:07)

B1. “Stranger Than Fiction” (7:06)
B2. “Time for a Change” (4:06)
B3. “Matinee Idyll (129)” (2:57)
B4. “The Woman Who Loves You” (6:55)

Credits:

Tim Finn — vocal, piano
Phil Judd — vocal, acoustic guitar, electric guitar, mandolin
Eddie Rayner — piano, Mellotron, synthesizer, organ, Clavinet, electric piano
Rob Gillies — saxophone
Jonathan Michael Chunn — bass
Emlyn Crowther — drums
Noel Crombie — percussion

Miles Golding — violin (B1, B3)
Phil Manzanera — production

Why is Second Thoughts significant?
The album Second Thoughts (1976) is significant for several reasons mentioned by the speaker:

International Achievement: It marked the first time the Kiwi band Split Enz successfully conquered the Northern Hemisphere (0:00-0:11).
Artistic Quality: The speaker describes it as one of the most lavish, intricate, ornate, and original albums of 1976, noting that it features complex, through-composed songwriting that stands out compared to other music from that era (17:50-18:20, 24:47-25:10, 39:23-39:35).
Collaborations: The album features production by Phil Manzanera (0:11) and the return of founding member Myles Golding on violin, which the speaker notes gave the band their distinct, quasi-classical sound (8:23-8:35, 40:23-40:42).
Personal Standing: The speaker considers it the finest album of 1976 and the ultimate Split Enz record after years of deep listening and analysis (41:40-42:50).

Who produced the album Second Thoughts?
Why did the band change drummers?
What makes their songwriting style unique?
The songwriting style of Split Enz on their 1976 album Second Thoughts is distinguished by its extreme complexity, theatricality, and originality. According to the reviewer, the band’s approach goes beyond simple rock conventions, incorporating a myriad of sonic shapes and intricate arrangements that defy easy categorization.

Key elements contributing to their unique sound on this album include:

Ornate Complexity: The compositions are highly detailed, featuring multiple shifts in tempo, key, and instrumentation. The reviewer notes that the music creates “corridors of sonic shapes” and moves through diverse, often discombobulated, musical passages that remain cohesive despite their complexity (16:45-18:06).
Eclectic Instrumentation: The band utilizes a wide array of sounds, including the “icy” organ and “sparkle” piano of Eddie Rayner, the woodwind contributions of Robert Gillies, and the “ghostly searing” guitar work of Phil Judd. This layering creates a thick, lavish, and often stormy soundscape (0:37-2:05, 35:23).
Theatrical & Mystical Imagery: The songs, such as “Stranger Than Fiction” and “Time for a Change,” are deeply atmospheric. The lyrics and arrangements evoke imagery reminiscent of foggy alleyways, cartoonish “birds” of confusion, and dramatic narratives about life and existential change (16:04-16:45, 39:17).
Quasi-Classical Influence: The band’s history as a group with classical leanings—highlighted by the inclusion of former member Myles Golding on violin—gives their arrangements a unique, elevated quality that separates them from contemporary rock music of 1976 (8:23-10:24, 27:38, 40:32).
Ultimately, the reviewer praises Second Thoughts as an “ornate” and “oblique” masterpiece, favoring its original vision over the more derivative “art rock” blends common at the time (17:50-18:20, 39:35).

What is Phil Manzanera’s role on the album?
Why did the band change drummers after this?
What are the lyrics to Time for a Change?
Based on the discussion and analysis in the video, here are the lyrics to the song “Time for a Change” by Split Enz (31:06 – 33:10):

“You act as though you are a blind man who’s crying
Crying out all the virgins that are dying”

“In your habitual dreams
You know seems you need more sleep
But like a parrot and a flaming tree
I know it’s pretty hard to see
I’m beginning to wonder if it’s time for a change
But still you try like a fat boy dancing Gershwin’s blues
But you’d rather sit at home and watch the news”

Who wrote the song Time for a Change?
How does this song connect to Dvorak?
What does dancing Gershwin’s blues mean?
The phrase “dancing Gershwin’s blues” from the Split Enz song “Time for a Change” is an evocative, metaphorical lyric discussed by the reviewer in the video (31:14 – 32:56).

Key takeaways regarding this lyric:

Reference to Gershwin: The reviewer notes that this is a direct reference to the famous composer George Gershwin, specifically alluding to his iconic 1924 composition, Rhapsody in Blue.
Lyrical Meaning: In the context of the song, the reviewer interprets the line “like a fat boy dancing Gershwin’s blues” as an image of someone attempting something “out of their range of abilities.” It suggests a person wishing to be part of a grander, more artistic performance or life experience, but feeling limited or unable to bridge that gap.
Thematic Context: The reviewer connects this to the song’s broader themes of anxiety and the feeling of helplessness in the face of a larger, often depressing world—contrasting the desire for change with the passivity of someone who would “rather sit at home and watch the news” (32:07-33:10). This creates a sense of pathos and yearning, typical of the songwriting style of Phil Judd (who wrote the piece) during this era of the band.

What is the overall meaning of Time for a Change?
The song “Time for a Change” by Split Enz (31:06 – 33:10) is a deeply introspective track that explores themes of existential anxiety, helplessness, and the struggle to find meaning in a world that often feels overwhelming.

Core themes of the song include:

Existential Despair: The song opens with an image of a “blind man” lamenting the loss of youth and life, establishing a melancholic tone (28:38 – 29:06).
The Struggle for Agency: The lyrics describe a character trapped in “habitual dreams,” feeling a need for change but lacking the power or direction to enact it (32:07 – 32:31).
Passivity vs. Reality: A central tension is highlighted by the contrast between wishing for a better life and the reality of staying home to “watch the news.” This reflects a feeling of being burdened by the world’s problems while simultaneously feeling paralyzed to do anything about them (33:02 – 33:10).
According to the reviewer, the song is a masterwork of pathos and yearning, written by Phil Judd during a period when the band was producing highly complex, orchestral, and atmospheric music. It functions as an emotional anchor, capturing the confusion and longing that defined the band’s creative output on the album Second Thoughts.

Who wrote Time for a Change?
What does dancing Gershwin’s blues mean?
Why is this album considered a masterpiece?
The album Second Thoughts (1976) by Split Enz is considered a masterpiece by the reviewer due to its unrivaled complexity, theatricality, and originality for its time (17:50-18:20).

Key factors that contribute to this assessment include:

Ornate and Oblique Songwriting: The reviewer highlights the album’s intricate arrangements and “corridors of sonic shapes” (16:45), noting that it moves through diverse musical passages—often described as discombobulated yet cohesive—that set it apart from typical “art rock” of the era (17:50-18:20).
Eclectic Instrumentation and Production: Produced by Phil Manzanera of Roxy Music, the album features a dense soundscape. This includes the “icy” organ and “sparkle” piano of Eddie Rayner, the woodwind contributions of Robert Gillies, and the “ghostly searing” guitar work of Phil Judd (0:37-2:05, 35:23).
Theatrical and Mystical Atmosphere: The songs, particularly the two-part epic “Stranger Than Fiction” and “Time for a Change,” are praised for their evocative, atmospheric, and often foggy imagery (16:04-16:45, 39:17).
Historical Significance: As the band’s first internationally released album, Second Thoughts represented a significant artistic milestone, blending their quasi-classical roots—aided by the violin work of founding member Myles Golding—with a unique, non-derivative vision that the reviewer still rates as the finest album of 1976 after decades of critical listening (8:23, 40:32, 42:46).

Who produced the album Second Thoughts?
Which band members are featured on this album?
What makes their songwriting style unique?
The songwriting style of Split Enz on their 1976 album Second Thoughts is distinguished by its extreme complexity, theatricality, and originality. According to the reviewer, the band’s approach goes beyond simple rock conventions, incorporating a myriad of sonic shapes and intricate arrangements that defy easy categorization.

Key elements contributing to their unique sound on this album include:

Ornate Complexity: The compositions are highly detailed, featuring multiple shifts in tempo, key, and instrumentation. The reviewer notes that the music creates “corridors of sonic shapes” and moves through diverse, often discombobulated, musical passages that remain cohesive despite their complexity (16:45-18:06).
Eclectic Instrumentation: The band utilizes a wide array of sounds, including the “icy” organ and “sparkle” piano of Eddie Rayner, the woodwind contributions of Robert Gillies, and the “ghostly searing” guitar work of Phil Judd. This layering creates a thick, lavish, and often stormy soundscape (0:37-2:05, 35:23).
Theatrical & Mystical Imagery: The songs, such as “Stranger Than Fiction” and “Time for a Change,” are deeply atmospheric. The lyrics and arrangements evoke imagery reminiscent of foggy alleyways, cartoonish “birds” of confusion, and dramatic narratives about life and existential change (16:04-16:45, 39:17).
Quasi-Classical Influence: The band’s history as a group with classical leanings—highlighted by the inclusion of former member Myles Golding on violin—gives their arrangements a unique, elevated quality that separates them from contemporary rock music of 1976 (8:23-10:24, 27:38, 40:32).
Ultimately, the reviewer praises Second Thoughts as an “ornate” and “oblique” masterpiece, favoring its original vision over the more derivative “art rock” blends common at the time (17:50-18:20, 39:35).

What are the lyrics to Time for a Change?
What does dancing Gershwin’s blues mean?
Why is this album considered a masterpiece?
How did Phil Judd influence Split Enz’s style?
Phil Judd was a foundational creative force for Split Enz during their early years, significantly shaping their unique identity through his songwriting, vocal delivery, and visual aesthetic.

Creative Visionary: The reviewer describes Phil Judd as a “creative genius” with a mind “from another time and place,” who introduced the band to a more alternative, far-out world that contrasted with the relatively isolated New Zealand of the early 1970s (30:01-30:57).
Songwriting & Instrumentation: Judd was a prolific songwriter who contributed key tracks like “Stranger Than Fiction” and “Time for a Change.” His musical influence extended to his multi-instrumental contributions, playing acoustic and electric guitar, mandolin, and sharing vocal duties (0:16, credits list).
Vocal Style: On the band’s debut album, Mental Notes (1975), Judd utilized a distinct “cunning, demented, and nasally” vocal tone that became a trademark of the early Split Enz sound, though he adopted a more restrained approach on later recordings (5:47-5:57).
Musical Sophistication: Judd’s appreciation for classical composers like Dvořák, alongside rock influences, helped infuse the band’s compositions with a high level of complexity and orchestral ambition that set them apart from their contemporaries (33:53-34:28).
Stage Presence: Along with Noel Crombie, Judd helped craft the band’s highly theatrical, costumed aesthetic, which was essential to their early live performances and overall mystique (26:33-27:12).

What songs did Phil Judd write?
Why did he leave the band?
How did his guitar playing sound?
The guitar playing of Phil Judd on the album Second Thoughts is described as highly evocative, atmospheric, and technically impressive for the era. The reviewer highlights several distinct qualities of his playing:

Lyrical and Sustaining Leads: The reviewer compares his lead playing to the grand, emotive style of Steve Hackett or the liquid, melodic fluidity of David Gilmour (7:14 – 7:39).
Dynamic Texture: Throughout the tracks, his guitar work ranges from “wringing, searing” lines that cut through the mix (2:18 – 2:24) to “ghostly searing” sustains that add depth and darkness to the soundscapes (35:23 – 35:50).
Proto-New Wave Tension: Towards the end of the two-part epic, the reviewer notes a change in his approach where the guitar begins to “tense up,” utilizing palm-muting techniques that foreshadow the upcoming New Wave sound (24:15 – 24:30).
Overall, his playing is praised for its ability to weave into the band’s complex arrangements, shifting from subtle harmonic textures to powerful, soaring melodies.

Who else played guitar for Split Enz?
What makes his style unique?
Does he play other instruments?
Why does the reviewer call Split Enz complex?
The reviewer describes Split Enz as complex because their music on the album Second Thoughts (1976) avoids simple, derivative formulas. Instead, the band constructs “corridors of sonic shapes” that are highly intricate and ornate (16:45-18:06).

Key reasons for this assessment include:

Musical Layering: The band uses a diverse arsenal of instrumentation, including “icy” organs, “sparkle” pianos, woodwinds, and searing guitars that create thick, lavish textures (0:37-2:24).
Structural Unpredictability: The compositions often feature shifting tonal centers and movements that can feel “discombobulated” or twitchy, similar to the style of Gentle Giant, yet they remain cohesive (16:45-17:13).
Thematic Depth: The music is described as “oblique,” utilizing atmospheric, almost mystical imagery and moody shifts in tempo and energy to tell complex stories, rather than relying on standard rock conventions (16:04-18:20).
Orchestral Ambition: The reviewer notes that the band’s arrangements are more sophisticated than typical art rock of the time, driven by a creative vision that incorporates quasi-classical elements and a unique, non-derivative approach to song structure (8:23, 17:50-18:20).

What instruments does the band use?
What makes their lyrics unique?
How does the producer influence their sound?
The producer of the album Second Thoughts, Phil Manzanera of Roxy Music, had a significant, albeit nuanced, influence on the band’s sound. The reviewer notes that while Manzanera was involved in the production, the sheer complexity of the music was often greater than anything he was involved in elsewhere (17:13-17:21).

Key takeaways regarding his influence include:

Handling Sonic Complexity: The reviewer highlights that the album is filled with intricate corridors of sonic shapes
and a level of detail that stands apart from the typical art rock of the 1970s (16:45-17:50).

Original Vision: Unlike some of the more derivative works of the era, the reviewer believes this album avoids simply throwing various art rock influences into a blender. Instead, he views Manzanera’s production as helping to capture a truly original, highly ornate, and oblique vision that Split Enz possessed, rather than imposing a generic Roxy Music style onto them (18:06-18:20).
Polished Execution: His background as a creative force on Roxy Music’s early albums provided a sophisticated ear that helped the band navigate their dense instrumental arrangements—which featured everything from Eddie Rayner’s keyboards to Robert Gillies’ woodwinds—resulting in a final record that sounds incredibly lavish and intricate (17:38-17:46).

Who were the members of Split Enz?
How did Phil Judd contribute to the band?
What is this album’s significance?
The album Second Thoughts (1976) stands as a significant milestone in Split Enz’s history, representing their ambitious transition from a local New Zealand act to a band seeking global recognition. Here is why it is considered a vital part of their discography:

International Ambition: As the band’s second album, it served as their first major attempt to conquer the Northern Hemisphere. The title itself reflects a “second look” at their earlier material, featuring re-recordings and expansions of songs from their 1975 debut, Mental Notes.
Artistic Collaboration: The album was produced by Phil Manzanera of Roxy Music. His involvement helped refine the band’s sound, bridging the gap between their eccentric, theatrical roots and a more polished, internationally viable art-rock aesthetic.
Sonic Complexity: The album is noted for its high level of musical intricacy, blending elements of prog, pop, art rock, and early new wave. The reviewer characterizes it as one of the most “ornate” and “oblique” albums of the era, showcasing unique arrangements and dense, lavish instrumentation (39:17-40:17).
Theatrical Identity: Second Thoughts captures the band at a time when their visual and stage identity—largely shaped by Phil Judd and Noel Crombie—was as essential as their music. It solidified their reputation for being unpredictable, highly theatrical, and distinct from the more derivative art rock of the time (26:33-27:12).
Ultimately, the reviewer regards Second Thoughts as an original masterpiece, favoring its distinct vision and complex, through-composed nature over standard pop-rock releases of 1976 (17:50-18:20, 39:35).