Best songs of Men at Work rarely get the credit they deserve outside of a couple of massive radio staples, and that is a shame because this Australian band built a catalog full of sharp wit, tight musicianship, and genuinely inventive arrangements. Colin Hay’s voice, that unmistakable saxophone tone from Greg Ham, and rhythm section interplay that never sat still turned this group into one of the most distinctive acts to come out of the early 1980s new wave boom. For anyone who wants a broader library of similar deep dives, browsing through the full songs archive is a good next stop after this list.
This rundown pulls from all three classic era albums, Business as Usual, Cargo, and Two Hearts, mixing the obvious chart giants with a few cuts that deserve way more attention than they typically get. Expect commentary on production choices, lyrical themes, and the kind of arrangement details that reward repeat listens, especially through a decent set of headphones or earbuds where the mix separation really shines.
Who Can It Be Now?
Released in 1981 from Business as Usual, this track turned a paranoid, almost claustrophobic lyric into one of the catchiest singles of its era. Greg Ham’s saxophone line is the real hook here, floating over a tense, minor key groove that mirrors the narrator’s anxiety about an unwanted visitor. Colin Hay delivers the verses with a clipped, nervous energy that sells the paranoia without ever tipping into melodrama, and the production leaves enough space for every instrument to breathe. It topped the Billboard Hot 100 in the United States, a genuinely surprising feat for a song built on such an unusual, moody foundation.
Down Under
No conversation about this band happens without Down Under showing up near the top, and rightly so. The flute riff, played by Greg Ham, has become one of the most recognizable instrumental hooks in pop history, later becoming the subject of a widely publicized copyright dispute tied to the Kookaburra melody. Lyrically, the song is a cheeky, half satirical postcard from an Australian traveling abroad, full of Vegemite sandwiches and warnings about foreign lands. On headphones, the layered guitar and horn arrangement reveals just how much texture producer Peter McIan packed into what sounds, on the surface, like a simple singalong.
Overkill
Pulled from 1983’s Cargo, Overkill slows the tempo down and lets Colin Hay’s lyrics carry real emotional weight, dealing directly with anxiety and racing thoughts at night. The arrangement is comparatively restrained, built around a steady bassline and shimmering keyboard textures that give the vocal plenty of room to sit up front in the mix. It is one of the clearest examples of the band moving past novelty appeal into genuinely introspective songwriting. Live performance versions over the years, including acoustic renditions Hay has done solo, show just how sturdy the songwriting is even stripped down to a single guitar.
It’s a Mistake
This Cargo single leans into Cold War anxiety, framing global tension through a narrator bracing for conflict that may or may not actually arrive. Musically, it keeps the same bright new wave energy as the band’s earlier work, but the lyrical subject matter gives it an edge that separates it from more lighthearted singles. The chorus hook is immediate, built for radio, yet the verses carry a surprising amount of political commentary for a song that still cracked the American top ten. Guitarist Ron Strykert’s contributions add a jagged, propulsive quality that keeps the track from ever feeling too polished or safe.
Be Good Johnny
From Business as Usual, this one channels frustration through a tightly wound rhythm section and some of Hay’s most animated vocal delivery on the record. The lyric plays like a scolding directed at a wayward character, and the arrangement matches that tension with clipped guitar stabs and punchy horn accents. Meanwhile, the rhythm section, anchored by John Rees on bass and Jerry Speiser on drums, gives the track a swagger that made it a strong deep cut choice for longtime fans. It never became a massive hit on its own, but it captures the band’s early live energy about as well as anything on the album.
I Can See It in Your Eyes
This track slows things down considerably, offering one of the more tender, atmospheric moments on Business as Usual. Colin Hay’s vocal performance leans soft and intimate here, a contrast to the more theatrical delivery found elsewhere on the record. The keyboard textures and subtle guitar work create a moody backdrop that feels almost cinematic, especially when heard in the car on a late night drive. It is a reminder that this band had range well beyond the quirky, horn driven singles most casual fans associate with them.
Dr. Heckyll & Mr. Jive
Built around a Jekyll and Hyde concept, this Cargo cut lets the band indulge its theatrical side with a jumpy, almost cartoonish arrangement. The horn charts are especially playful here, bouncing between playful runs and sudden stabs that mirror the split personality theme in the lyrics. On the other hand, the rhythm section keeps things grounded with a steady, danceable pulse that never lets the song spiral into pure novelty. It stands as one of the more purely fun, purely entertaining tracks in the catalog.
Catch a Star
This Business as Usual track brings a breezier, more optimistic tone compared to some of the album’s edgier material. The chord progression has a bright, almost tropical lift to it, and Hay’s vocal performance carries genuine warmth rather than the sardonic edge found on tracks like Who Can It Be Now?. Production wise, the mix keeps the guitars clean and the horn section restrained, letting the melody carry most of the emotional weight. It is a good entry point for listeners who assume this band only ever wrote biting, satirical material.
Helpless Automaton
A tighter, more rhythmically aggressive cut from Business as Usual, this track leans into mechanical, almost robotic imagery that matches its clipped guitar riffs and insistent groove. Jerry Speiser’s drumming stands out here, driving the track forward with a stiff, deliberate pulse that suits the lyrical theme of feeling controlled or automated. In contrast to the more radio friendly singles, this one feels built for live performance energy, the kind of song that probably hit harder in a club than it ever did on the charts. Longtime fans often cite it as an underrated highlight of the record.
Underground
This track dials up the tempo and injects a nervous, jittery energy that fits comfortably alongside the paranoid streak running through much of Business as Usual. The interplay between Ron Strykert’s guitar and Greg Ham’s saxophone creates a constant push and pull, never letting the arrangement settle into anything too comfortable. Lyrically, it plays with themes of hiding and evasion, matching the music’s restless quality. It is a strong example of the band’s ability to make anxious subject matter sound genuinely exciting rather than heavy handed.
Touching the Untouchables
One of the moodier tracks on Business as Usual, this song builds around a slow burning arrangement that gives Colin Hay space to stretch his vocal phrasing. The horn section takes a more subdued, atmospheric role here rather than driving the melody outright. Thematically, it explores emotional distance in a relationship, a more grounded subject than the band’s usual satirical fare. It rewards patient listening, especially on a good pair of headphones where the subtle layering in the mix really opens up.
People Just Love to Play with Words
This track closes out much of the Business as Usual sequencing with a wordy, tongue in cheek lyric that plays directly into the song’s title. Musically, it keeps a bouncy, almost vaudevillian energy, with horn stabs punctuating nearly every line. Colin Hay’s delivery leans theatrical, practically winking at the listener through every verse. It is one of the clearest showcases of the band’s sense of humor, something that often gets overshadowed by the more serious themes found on their bigger hits.
High Wire
Featured on Cargo, this track leans into tension and risk as its central metaphor, matched by an arrangement that keeps shifting between tightly controlled verses and looser, more expansive instrumental breaks. The guitar work carries a sharp, almost anxious energy throughout, reinforcing the high stakes imagery in the lyrics. It never became a major single, but it demonstrates the band’s willingness to experiment with structure rather than sticking to a strict verse chorus formula. Fans who dig past the singles often name this one as a personal favorite.
No Restrictions
This Cargo deep cut brings a looser, more freewheeling energy, with a groove that feels less locked into the tight, clipped rhythms found on the band’s earlier singles. Lyrically, it leans into themes of independence and breaking free from expectation, matched by an arrangement that gives each instrument a bit more room to roam. The saxophone and guitar trade off nicely throughout, creating a genuine back and forth rather than one instrument simply dominating the mix. It is a good example of the band loosening up their sound as they moved past their debut.
Everything I Need
Pulled from 1985’s Two Hearts, this track reflects the more polished, mid 1980s production style the band adopted by that point in their career. The synths and layered backing vocals give it a noticeably glossier sheen compared to the rawer energy of Business as Usual. Colin Hay’s vocal still carries the same distinctive character, though the arrangement around him sounds considerably more radio ready. It captures a band adjusting to a changing musical landscape without losing its core songwriting identity.
Man with Two Hearts
This Two Hearts single deals with duality and internal conflict, themes the band had already explored years earlier on Dr. Heckyll & Mr. Jive, but with a more mature, restrained arrangement this time. The keyboard textures dominate the mix, giving the track a warmer, more atmospheric quality than the band’s earlier horn driven work. Hay’s vocal performance carries real emotional nuance, particularly in the bridge, where the tension of the lyric peaks. It stands as one of the more overlooked highlights from the band’s later period.
Maria
Also from Two Hearts, this track brings a warmer, more romantic tone than much of the band’s earlier catalog. The production leans into smooth, layered harmonies, a clear reflection of mid 1980s studio trends at the time. Despite the more polished sheen, Colin Hay’s songwriting instincts still shine through, particularly in the way the melody rises and falls with real emotional intention. It is a good example of the band successfully adapting their sound without losing what made their earlier work distinctive.
Still Life
This Two Hearts cut brings a slower, more contemplative mood, built around sparse instrumentation that gives Hay’s vocal plenty of space to carry the emotional weight of the song. The arrangement favors atmosphere over hooks, a noticeable departure from the tightly structured singles that defined the band’s early years. It rewards close listening, particularly through quality earbuds, where the subtle dynamics in the mix become much easier to appreciate. It is one of the more understated tracks in the catalog, but one that lingers long after it ends.
Settle Down My Boy
Closing out this list is a Cargo track that brings back some of the nervous, jittery energy found on the band’s earliest work. The rhythm section drives the track with real urgency, while the guitar and horn trade sharp, punchy accents throughout the verses. Lyrically, it carries a scolding, almost parental tone, matching the tense, coiled energy of the arrangement. It is a fitting closer for anyone exploring the deeper cuts, a reminder that even the band’s lesser known songs carry the same craftsmanship as their biggest hits.
Down by the Sea
Rounding out the Business as Usual highlights, this track leans into a moodier, more expansive arrangement than much of the album’s shorter, punchier singles. The saxophone work here feels almost mournful at points, giving the song a genuinely different emotional register compared to the wit driven tracks surrounding it on the record. It builds gradually, trading the immediate hook driven approach of Down Under for something closer to a slow burn. For listeners exploring this catalog for the first time, comparing the clarity of this track across different headphones or earbuds is a genuinely rewarding way to hear how much detail lives in these older recordings.
Frequently Asked Questions
What is Men at Work’s most successful song?
Down Under remains the band’s most commercially successful and widely recognized single, having topped charts in multiple countries during the early 1980s.
Which album is considered the band’s best work?
Business as Usual is generally regarded as the band’s strongest and most influential album, home to both Who Can It Be Now? and Down Under.
Did Men at Work write their own songs?
Yes, the band’s material was primarily written by Colin Hay, often in collaboration with guitarist Ron Strykert, with the full band contributing to arrangements.
What genre best describes Men at Work’s music?
Their sound blends new wave, pop rock, and reggae influenced rhythms, distinguished by prominent saxophone and flute lines throughout their catalog.
Is Men at Work still active today?
Colin Hay has continued performing under the Men at Work name and as a solo artist, keeping much of this catalog alive in live performance settings.