Big Go Go Kirk: Just dancing, a big brassy thing. Just having fun. Garry: Probably the best recorded song. It's got a pretty solid sound. Jon: I was happy to invite a percussionist Keith Casey to play through the verses and create a grove that was becoming more 'grown up' than tracks off our first album. It ties in with a similar feel with Underneath The Colours. There's that ska thing again in the solo! Andrew: It was also the first recording we did without keyboards on it. The recording quality's a bit garagey, but it's got an edge to it, a bit more rock than the stuff we'd done before.
Big Go Go moves along at a mid-tempo grove and the chorus awkwardly kicks in too soon before the verses do. Lyrically, it seems to be about youthful disillusionment of life pertaining to the working world. The instrumental interlude fits the vibe of the song but ultimately it doesn't really go anywhere that interesting. Another decent album track, but nothing special.
Underneath The Colours As an Andrew Farriss and Michael Hutchence written song, this starts to move towards the more recognised Inxs writing team and sound. To some degree it opens up with an almost Split Enz type of feel, but quickly moves into a very distinctive Inxs sound and feel. I remember this getting a little radio airplay in Perth, but I am not overly sure how well this did as a single. The thing was though there was a good groundswell of interest in the band, and the seeds sown on the first two albums really started to bear fruit on the next album, and particularly the one that follows that, where Inxs became big news in Australia... really big news .... No division in the ranks The lines are long and proud No question on their lips But there will always be, doubt Like a Chinese painting All red with its message A flag high in the sky Twists and turns its, language Underneath the colors red blue white Catch a glimpse of others From the corner of your eye With the rise and fall Of the conductor's blind hand The Russian Roulette I am an angry young man Source: LyricFind Songwriters: Andrew Charles Farriss / Michael Hutchence / Michael Kelland Hutchence Underneath the Colours lyrics © Universal Music Publishing Group This seems like a somewhat veiled protest song of sorts, and without directly addressing war as such, it subtly implies it. I really like the smooth and mellow feel of this track. We open with this cool beat, with a well spaced understated bass, that is accented by the guitar. Hutchence vocal is suitably reserved and mellow, and I think it is delivered really very well. I think at this stage Michael was starting to find his voice really very well, and realising that varying his delivery style goes a long way to broadening the sound of the band, and the way people hear them. W get some really nice subtly accent changes in the instrumental section. There are some cool synth and keyboard sounds and the way they are used really enhances the song for me. I think also Tim Farriss' guitar is really well used and it shows the value of his input into the band, which seems to often be overlooked to some degree. I really love this smooth mellow track, and when I got this album is was the only song I knew other than the obvious hit Stay Young.
I have a few of their albums. I always come back to The Swing. That seems to be not only the most consistent, but the one with the best songs as well. IMO, surely their best album,.
The rarest 45 record of theirs, only released in New Zealand. B-side was Prehistoria. I don't have one and probably never will.
It's pretty hard to come by. I've had this 7 inch on my want list for years! It seems impossible to find.
Underneath The Colors (the song) I don’t know where I first heard this, perhaps on WXRT in Chicago? It sounds instantly familiar to me, but I have no idea where or how, as I never heard it knowingly until sometime in the last ten years. A revised version was a Bside back in the 90’s during the Full Moon Dirty Hearts era, but I didn’t hear that version until much later as well. This is a great album track and another one of their early songs that hits the mark. It has that “mysterious side of INXS” going for it. This and Stay Young are my two heavy play tracks from this album.
Underneath The Colours Andrew: Michael and I were really proud of that song. It was the first time the band had started experimenting with different guitar parts, like a bunch of different riffs and feels, a bit more depth. The song has more in common with like what Need You Tonight became later on. Garry: I guess we were moving away from the basic pub rock thing by then also, a bit more unique to us. Actually the recording of that was funny. Our American engineer, Alex Vertikoff said that the latest thing from America was to record the drums without the cymbals! Which was like trying to play bass with one hand tied behind my back. Every time Jon would go for a roll, he'd have to stop and go, 'Nup, no cymbal there.' Recording everything separately was just bizarre. Jon: This is where we started to develop the quintessential trademarked sound of INXS, funky rhythm section, four on the floor, funky guitar arrangements. I love Michael's melody being tracked through the whole song, and totally love Andrew and Kirk's trade off in the solo. Garry and I had fun with this track messing around with him tracking my offbeat kick patterns.
With the title track from UTC, as stated above, you can clearly hear INXS beginning to move into funk rock stylings, which would eventually solidify their overall sound, despite many eclectic variations, for the rest of their career. Lyrically, it implies it's about a youth who oppressively lives under a communist regime and wants to break free in order to live his/her life to the fullest. The chorus sustains a beautiful melody, vocally and instrumentally. Despite its simplicity, it's a very important song for them. I dig it.
Prehistoria This is the b-side To Underneath The Colours, and also Night Of Rebellion. Apologies for not sharing this yesterday, I got a little behind. This is a moody instrumental that has ever growing layers .... it almost has an anxious feeling. We don't so much have a melody, as a pressing swell of sound over a steady beat. This has a certain experimental vibe about it. About three quarters of the way through the surging sounds fade away and leave us with a bass, and a rising drum pattern that then shuts down. Probably not an album track, but certainly an interesting b-side.
Fair Weather Ahead So we move on to track five from Inxs' second album. Originally this song closed out side one. Again we get a slightly more moody and less bouncy song, but the guys do a great job of this kind of song. We open with this steady pulse of bass... I'm not sure if it is a synth bass or not, because then we get what sounds like a really nice fretless bass melody, that slides backwards and forwards.... it could be a synth also, but initially it sounds like a fretless bass to me.... but either way these work really well together. We have some solid keyboard chords come in nicely and a percussive guitar, and the vocal follows those. I really really like the introduction here, it is structurally, musically and melodically excellent, to me at least. There's this place full of mountain heads Living and chewing on the fat Built upon the hazy plan Like foundations slipping through the sand Long teeth and whiskers like a rat Fearing only those present They got zero emotion And everybody's fed up with that Warm outside but very cold within Followed and praised for many years They got all the promotions Isn't that the way it's always been History's written always red It's pages are painful and clear It's so full of devotion Makes you wonder where it could have led Put the lights out, fair weather ahead These strange new creatures Aha, they won't be led Source: LyricFind Songwriters: Andrew Charles Farriss / Garry William Beers / Jon Farriss / Jonathan James Farriss / Kirk Pengilly / Michael Hutchence / Michael Kelland Hutchence / Timothy William Farriss Fair Weather Ahead lyrics © Universal Music Publishing Group For the record in the lyrics there, the second line there we have the phrase "chewing on the fat" ... I am not sure of the context exactly, but in Australia "chewing the fat" is essentially having a discussion that isn't necessarily of high important, I suppose chatting is the closest idea I can think to describe it as. Whether that is the intention here I am not sure. As we are talking about a land, it is altogether possible that the intended meaning is akin to living on the fat of the land.... but I will leave that open for you guys to decide. These are interesting lyrics. There seems to be an anti-establishment feel here with the talk of the land that is being discussed and then a group of people who are less than trustworthy, but they are receiving all the praise and promotion. Then in the chorus we seem to get this idea of a new group of people that won't be led by these leaders? This scenario is the fair weather ahead, because it creates a new freedom from oppression... the somewhat ominous music suggests this could possibly be the line we are walking..... but please have your input and see where we end up. The chorus, to me, is excellent. It comes in with a great melody, and modulates interestingly and rolls back again. We get this stabbing guitar line that walks along a jagged staccato line behind the chorus vocal. There are a lot of dynamics that come in and out during the course of the song, and also at the end of the chorus we get these stabbing chords on the keys which have a certain kind of outside sound, and they come in well and give the right feeling for the song. Often using outside chords can be tricky territory, particularly for a pop/rock band, but I think this works really well. The end of the song has a fairly long fade out, and it is a very effective way to end the song and the side. For me this is a really high quality album track, and we end up with side one of the album being really very strong.
Prehistoria Kirk: Another B-side of mine. We started letting everyone do his own thing on the flip sides. That's a little experimental electronic piece produced by Andrew. Fair Weather Ahead Jon: A little Talking Heads going on in the bridge here. Garry: That was a big favorite with the surfies up on the northern coast of New South Wales, because it had a reference to smoking drugs. But that's not what it's really about. It was that period of moving from the pubs and getting heard on radio. It was an alternative to just singing to people in the pubs. Tim: Musically I always thought that song was something we did really well live. In a way to me it was the rehearsal for Kiss The Dirt (Falling Down The Mountains), I don't know why. Garry: Also, it was one of the first tracks that Andrew recorded using keyboard bass. We started working on different ideas, digging more into the bottom end of tracks. Tim: Then Garry played like a lead riff on the bass. I think with the second album, there was a lot more experimenting. Some of it was conscious, some of it was unconscious. It took us into different areas.
No wonder INXS took to the stage to Prehistoria in the early days. It has such a cool industrial-ish ominous vibe to it. Actually, despite being an instrumental, I think it would've fit somewhere on UTC. But it's absolutely one of the coolest B-sides they ever wrote. Fair Weather Ahead is one of the best tracks on UTC. Just about everything works here. The bass lines, verses, the hooky/edgy riff in the chorus, the short but extremely effective bridge, etc. And the outro is one of the best outros I've ever heard. In fact, it could've segued right into Prehistoria. The song appears to be yet another youthful disillusioned anthem - though, this time, about naive capitalism/industry criticisms. And apart from maybe lyrically, I simply can't think of one thing that doesn't blend well or fit into place. What a fantastic song!
Night Of Rebellion Whereas Stay Young had been a hit, and Underneath The Colours had received good airplay where I was, I didn't hear this track until getting the album. This was released as a single in January 1982, and I have no idea whether it was picked up anywhere. Most people I knew were album buyers, and it generally seemed like most folks would get the album if they had liked the singles, and additional singles were merely to keep the band on the radio, and try to nudge those that hadn't bought the album yet. This opens with a nice kind of blues hybrid riff, that moves against the beat nicely. We have a quite prominent bass here, and it drives the song along with a pretty straight beat, and well. We get little bursts of guitar and keys along the journey, and I think the arrangement works pretty well. The pulsing guitar? in the background is very effective too. Simple matters always seem To make things complicated I think of ways to understand But it all get's away from me I sense persuasion of a kind It wraps itself around me The changing message of your love Rarely ever reaches me Not talking only want action Once you give in you are through This is the night of rebellion There used to be paint on the walls But you're too young for money They'd rather paint the whole town red Than spend it on what they're told Summer to winter is never the same If it is then it's time to change I don't want to rock your sacred boat But there's holes in your sacred sails Source: LyricFind Songwriters: Andrew Charles Farriss / Kirk Pengilly / Michael Hutchence / Michael Kelland Hutchence Night of Rebellion lyrics © Universal Music Publishing Group To some degree this track is a little different from what we have been hearing from the band. I think to some degree we can hear a sort of modification of the mild punk roots of the band, kind of shaped into a more direct type of pop/rock track. Lyrically we get a leaning towards partying on the town, and another sort of look at the fact that many weren't buying the old school order, and it would be rebelled against one night at a time, or something along those lines. It is only really looking at these songs now, that I see how somewhat cryptic Hutchence* lyrics were (*I generally assume the lyrics are Hutchence please correct me if I am wrong . The chorus returns a little to the somewhat ska stylings, but this ska thing was now morphing into something completely different, and the guys were developing their own take on the form, and using it to create their own sound. When we get to the lead break, it seems to have a sort of Talking Heads type thing going on to me. I like the arrangement, and I like the feel. the band is playing really tight, and the slightly odd changes come together really well. Anyway, I think this is a good album track.... I kind of feel like it may have gotten single release, because most of the album has a sort of atmospheric feel, and this is a little more punchy as a song. A solid track that adds to the flavour of the album, in my opinion at least.
Been involved with work too much to be involved again. But, Underneath the Colors is step up. Finally was able to get my hands on a cassette version of this in 1984 in Seattle. Was a bit disappointed after listening to their 3rd and 4th albums, but one has to take it as it was, a step up. The keyboards are a bit dated, too jagged here and there, but I don’t mind listening to it anymore. It is a novelty, and I will listen to it for my walk today.
Night Of Rebellion Tim: It had a rockabilly vibe. Jon: Yeah, there is a marriage of reggae and rockabilly. The bass is holding the melody while the guitars just chug through. Garry: We demo'ed that at a place in King Street. We played our arses off on it.
Night Of Rebellion is a weird track. The rockabilly-like intro makes you think the song is going to be completely different than it winds up being. The chorus is more up-beat and kind of works but doesn't really compliment Michael's vocals anywhere near as well as it could've. I like the somewhat lengthy instrumental interlude, even though it's going somewhere but doesn't know exactly where and despite building to a crescendo, doesn't really get there in the end. Lyrically, it appears to be a rallying cry against conformity. Overall, an interesting song...but not that enjoyable.
They're from the amazing liner notes of the OOP, Stay Young: The Deluxe Years - 1979-1982, 2CD set. Thank you.
Follow We open with a solid beat and a synth playing held melody notes. This has a feel very much like a lot of early eighties Aussie pop/rock, and it probably doesn't quite work in some ways. We also notice a bit of a minor steel from U2's 11 O'clock tick tock. Never had a spanner on her Says she sees it straight Never took the detour Always licks her plate Got a sticky finger On someone I know Best of everything now See the money roll Stupid people I won't follow Build a better country Fight a war or two You always need something Just to get you through Ten times I shouted at him Say it over again, again Words just melt around you You're like a pig in a pen Source: LyricFind Songwriters: Michael Kelland Hutchence / Kirk Pengilly Follow lyrics © Universal Music Publishing Group This is a pretty decent track, but probably the weakest track on the album so far. I think the chorus brings it together pretty well, and saves it from being a skip track.
Catch up on songs: Listened to it yesterday, and right now. I've reappraised it since above. Enjoyed the freshness of the songs since I don't listen to it that much. When I compared it to Welcome to Wherever You Are, it was night and day. Stay Young: The classic song from the album 5/5. Should have more respect than it does. Contains all the sounds which would later make them famous. Horizons: 3/5. Good mid-paced song. Like the atmosphere, the ice-jab keyboards could be cut out. Big Go Go: 3/5. A little bit of sax is always good. Again, the jabbing keyboard could be reduced. Underneath the Colors 2.5/5. This song is just like a slab of meat to me. Undercooked and not worked on enough. Odd they named the album after this. Fair Weather Ahead 3/5. Enjoyed this little nugget. Gary's bass is very fine here. Talking Heads influenced to me. Night of Rebellion. 3/5. Always passed on this song, but listened to it and rather enjoyed it. The chorus sets it apart. Follow. 2/5. The lyrics -- ugh, what was Michael thinking, or not thinking. They are terrible and thrown together. If I were the producer, I would say, "No, go back and redo."
Reference guide The band's origins May 1980 Simple Simon / We Are The Vegetables Aug 1980 Live Paris Theatre, Sydney Oct 1980 Inxs (debut album) On A Bus Doctor Just Keep Walking - On TV Learn To Smile Jumping In Vain - live - interview Roller Skating - live Body Language Newsreel Babies Wishy Washy - live Just Keep Walking b-side Scratch Mar 1981 The Loved One/The Unloved One Sept 1981 Stay Young/Lacavocal Oct 1981 Underneath The Colours Stay Young Horizons Big Go Go Underneath The Colours Fair Weather Ahead Night Of Rebellion Follow Prehistoria - bside
As I have a little spare time, lets run another song..... Barbarian First there's nothing Takes a long time Piece by piece It comes together He makes drawings Turns them into real things Simple paintings Of caves long ago Just like a game Always a winner But he works hard Surprise to himself A lot of people Bent on the future Set up the countries Closing all the doors Now he thinks big Thinks he's come a long way But we all know Long long way to go Barbarian He's lonely He's the only one Source: LyricFind Songwriters: Andrew Charles Farriss / Garry William Beers / Jon Farriss / Jonathan James Farriss / Kirk Pengilly / Michael Hutchence / Michael Kelland Hutchence / Timothy William Farriss Barbarian lyrics © Universal Music Publishing Group Here we have an uptempo track that seems to be somewhat in a post punk mode. We open with fairly sparse instrumentation. The bass thumps along with the drums, and we get some accent chords from the guitar. Then we burst into a jagged guitar riff doubled by the bass, and the drums have a nice kind of disjointed pattern underneath. This gives space for Hutchence' vocal on top, and it all fits together well. The chorus rings in brightly, with an almost eastern kind of sound. The keyboard comes in here also with a slightly unusual pattern, that also, for me at least, works well. Lyrically this seems to be a little cryptic analysis of the human condition, suggesting, quite rightly, that we probably haven't come as far as we like to tell ourselves.... It is delivered in a perspective that talks of one person, but seems to draw on too many diverse things to really be about one person.... Anyway, that is as much as I can make of it in one little look..... One thing that strikes me though is Hutchence really does seem to like to be somewhat cryptic in these earlier albums at least. It seems somewhat like he is experimenting with words and phrasing and also trying to avoid just writing love songs, or simplistic relationship songs. Edit: I would also like to make note of the instrumental break, I reckon it is really very effective and nicely creates a bit of tension leading into the following verse. I reckon this is actually a pretty good song, and shows the band's willingness to play around with different things, and create textural landscapes on their albums.
Just for interest sake. During the sessions for Full Moon Dirty Hearts in Capri, Italy, on the 24th December 1992, the band had another go at the song. I am not sure if it was ever released or not, but for those interested it is worth a listen. PS: I am not trying to start a Full Moon Dirty Hearts discussion here, I just thought it was interesting that they laid down this track again about ten years later.
