Here's The One Thing extended remix from Dekadance edited down by the person who posted this on youtube. I really like it. This has both versions of the video. If anyone can explain why the instruments are covered in white cloth let me know. The sexual innuendo with the fruit is something I'm surprised they got away with back then. Michael's then girlfriend is sitting left of Garry at the table.
I wasn't even aware that there was an alternate video edit version for this song. I think I still like the original edit better...
The edit at the bottom screen is the one MTV used to play as well as the one that appears on Greatest Video Hits 1980-1990 so I'm not sure which is considered the original or not.
March 30th 1983 Inxs live at Perkins Palace We are going to hit The Swing today, but before we do, I just want to add this to the list of stuff to check out, and please do feel free to comment on it. For me this was an important thing for Inxs. To me it was at least. I was still a pup really, I was fourteen turning fifteen at the time, and just about to leave school and start working in the bank as a ledger assistant.... wow so long ago, but anyway, I saw this on TV, and it was one of our up and coming Aussie bands, and they were playing to thousands of people in the US, and the people seemed to be getting into it, and the band were playing really well..... It had an impact on me, not any kind of life changing impact, I didn't shave my head and sit on a mountain for a year or anything, but to some degree you would need to understand what it was like watching the Australian music industry come out from under the rock they had been hiding under. For Australian bands to seemingly finally be noticed, to be held in the kind of esteem that all those overseas bands were held. For those of us who loved music, we knew that Aussie bands were great .... I mean Cold Chisel are still among my favourite ever bands, no matter what the country, and the seventies had Skyhooks, Sherbert, Daddy Cool, Billy Thorpe And the Aztecs, Ted Mulry Gang, Ac/dc, Little River Band, the Angels, Rose Tattoo, Midnight Oil .... the early eighties there were even more, and the profile of the Aussie music industry grew at home. Helped along by radio stations like JJJ and the tv show Countdown, there was suddenly a profile that had never been there before, and the tiny little Aussie music market was starting to get a foothold ..... This being shown on TV, it was almost like a recognition that an Aussie band could appear on the world stage and taken seriously..... I still wish that this show would get a release on dvd/bluray or whatever. I don't know if this is the whole show, but if they have the whole show, a release is long passed due.
The Swing Studio album by INXS Released April 1984 Recorded September 1983 Power Station (New York City) December 1983 The Manor Studio (Oxfordshire) Genre New wave, alternative rock Length 42:40 Label WEA, Mercury, Atco Producer Nick Launay, Nile Rodgers The Swing is Australian rock band INXS's fourth studio album, released in April 1984. It peaked at number one on the Kent Music Report Albums Chart for five non-consecutive weeks from early April to mid-May 1984. The lead single "Original Sin" was recorded in New York City with Nile Rodgers and featured Daryl Hall on backing vocals. Overall, the album featured a slightly harder-edged sound than their previous releases. By 1983 Australian rock band INXS attempted to expand their international profile with their fourth studio album, The Swing.[1] The Sydney-based group had formed in 1977 by three brothers Andrew on guitar and keyboards; Jon on percussion and drums; and Tim Farriss on guitar; together with Garry Gary Beers on bass guitar; Michael Hutchence on lead vocals; and Kirk Pengilly on guitar, saxophone, and vocals.[2][3][4] In September 1983 the band travelled to New York City to work with Nile Rodgers as producer at his Power Station studio.[1][4] It was the first time the group had recorded outside Australia and provided the album's lead single, "Original Sin" (December 1983).[1] Rodgers asked Daryl Hall of Hall & Oates to guest on backing vocals for the chorus, Hall later recalled "I don't know why because they're good singers, they didn't need me but I did it anyway".[5] All four singles were co-written by Andrew with Hutchence,[6] while other album tracks were generally written with one or more additional band members.[6] From December INXS were working with Nick Launay (Midnight Oil, Models) at The Manor Studio in Oxfordshire, to complete the rest of the album.[1][4][7] A cassette extended play of remixes, Dekadance, was also released in Australia. Garry Gary Beers – bass, vocals Andrew Farriss – keyboards, guitar Jon Farriss – drums, percussion, vocals Tim Farriss – guitar Michael Hutchence – vocals Kirk Pengilly – guitar, saxophone, vocals, photography Additional musicians Sherine Abeyratne – backing vocals Andrew Duffield – backing vocals Kim Liat Edwards – backing vocals Daryl Hall – backing vocals on "Original Sin" Sean Kelly – backing vocals Norma Lewis – backing vocals Jenny Morris – backing vocals Phillip Mortlock William Motzing – string arrangements Frank Simms – backing vocals David Spinner – backing vocals Production work Producers – Nick Launay, Nile Rodgers Engineers – Nick Launay, Jason Corsaro Assistant engineers – Jeremy Allom, Ross, Stewart, Allan Wright Mixing – Nick Launay Artwork Paul Clarke – photography Jon Watkins – cover art 1. "Original Sin" 5:19 2. "Melting in the Sun" (Tim Farriss, Jon Farriss, Hutchence) 3:25 3. "I Send a Message" 3:24 4. "Dancing on the Jetty" 4:34 5. "The Swing" (Garry Gary Beers, A. Farriss, T. Farriss, Hutchence, Kirk Pengilly, J. Farriss) 3:52 6. "Johnson's Aeroplane" (A. Farriss) 3:53 7. "Love Is (What I Say)" (Beers, A. Farriss, T. Farriss, Hutchence, Pengilly, J. Farriss, Anthony Braxton-Smith) 3:42 8. "Face the Change" (J. Farriss, Hutchence, Pengilly) 3:34 9. "Burn for You" 4:59 10. "All the Voices" 6:06 Total length: 42:40 Weekly charts Chart (1984) Peak position Australian Albums Chart[10] 1 Canada[14] 27 Netherlands[17] 37 New Zealand[12] 6 Billboard 200[13] 52 ----------------------------------------------------- In many ways this was a really important album in Australia. Aussie bands had had successful albums before, obviously Ac/dc had been big in Australia before they moved to the US and seemingly took over the world, and we had had a lot of very important and successful Aussie albums with albums like Australian Crawl, Boys Light Up and Sirocco, Cold Chisel with East, Circus Animals and Twentieth Century, Midnight Oil with 10,9,8,7,6,5,4,3,2,1 and Red Sails In The Sunset ... as the late seventies turned into the eighties Aussie bands were finally getting some recognition at home..... This album was a next level kind of recognition though.... or at least it seemed like that to this teenager. The Swing seemed to own Australia for a year.... maybe a year and a half, and it suddenly seemed like a band had taken the crown from the recently broken up Cold Chisel. The band seemed to suddenly be making world class videos, releasing world class, and more importantly recognised singles ... and then the album hit. The album did huge business in Australia.... In 1984 The Swing was number four in the year end album chart.... in 1985 it was number 31 on the year end album chart .... It turns out that at the end of the decade it was 19 on the chart for albums of the eighties. For anyone that understands where the Aussie music industry was in ..... 1980 lets say, that was a big deal. An Aussie band had made an album that had commercially competed and beaten a great deal of international acts. It started, or at least moved to the next level, a national support and pride in Australian music. There had always been great Aussie bands, I mean the Easybeats were turning heads in the sixties. the Aussie music industry was small and struggling to survive, and to some degree it kind of still is .... just try looking for back catalog albums of Aussie artists and see how hard they are to find.... anyway, I'm just trying to put forward a context of how big this album was commercially and culturally in Australia. I remember this album coming out, and I was not necessarily blown away by it initially. The band had taken a pop turn, or so it seemed..... at the time I was familiar with Just Keep Walking, Stay Young, The One Thing and Don't Change ..... Original Sin was the lead single in December 1983, and I liked it well enough, but I was kind of hoping for the driving rock and guitar of Don't Change ..... Yea, I know, I was fourteen guys lol ... This new track had that clean funk guitar that Prince liked, and all that gear .... anyway as the singles came along - I Send A Message - It was like a slow reveal - Burn For You - and the interest grew and grew - Dancing On the Jetty .... So I eventually caved in and bought the new Inxs album. It was probably mid to late 1984 when I bought the album, and I had been working in the bank, and I had an income now .... so I was buying a lot of music. Still to this day, although I like the singles, my favourite tracks on this album are not the singles .... in fact, probably in contradiction to most, the album from my perspective reaches musical orbit from track five onwards. Although this album seemed more pop market oriented, it has/had a hardness that was rarely seen in pop music, and it really had a unique sound, to me at least, back in the day. I am not sure who is responsible, but whether Rodgers or Launay, or some unspoken studio assistant, on this album the band had this huge drum sound that captivated me, and my friends, it isn't something that was initially recognised I don't think, but something that lingered in the wash up, after the wave broke on the shore, so to speak. Also the band released a cassette only mini album of remixes, which we will look at separately, after we look at this album, and it also received a lot of attention. It was big.... I never owned it, because I never liked cassettes.... yea I know, some folks love them, I always hated them. I wish that it had been released on record, or even cd at the time, but now it wanders around in the mists of time.... and it's about time it got a cd release of some sort .... Perhaps a compile from the guys .... Dekadance 83 and 84, with the Inxs b-sides ... I don't know, something like that... Anyway a bit of a ramble I guess, but this album was big and it was important, and it sent the band into the stratosphere. I hadn't listened to this album for years, no, not even like a thief, but not because I didn't like it, it was just an album that I knew back to front for so long that it say on the shelf waiting for me to revisit it. Last week I think it was I gave the album a play, and it all came back. This is a front to back, start to finish solid lump of excellence. There isn't a dud track, the album fits together nicely, and it has a flow. This is an album that deserves more kudos than it seems to get. anyone who thinks this album is just four singles and some other songs, just hasn't really listened to it. As I have said , it is hard to say what my favourite Inxs album is, but on looking back now, the Swing may well be it. So guys, please give us your thoughts about this album. I don't expect anyone to feel the way about it that I do, and until this week, I didn't even realise that I did, so What did you think when it was released? What do you think about it now? Just give us the ins and outs of what you think of this album. Cheers guys Mark
The Swing (the album) Great piece of work here. I came to it late even though I liked Shabooh Shoobah and “Original Sin”. My brother bought the CD as one of those discount line items during the summer of ‘86 or ‘87 and that’s when I realized how solid it was. I think the main blocking point for me was that I liked the muscular rock mixed with synths on SS but then The Swing’s singles seemed to be a stylistic shift away from that. I hear synthesizer sounds on this album that I associated with some of what I was hearing on Madonna records and other pop-oriented efforts at the time, and that worked against it - for me, and maybe for some other people too. On the other hand, the lead single was fantastic but seemed to get very limited airplay where I lived (Chicago). Original Sin should have been a much bigger hit than it was. I think it was somewhat of a minor hit here. The song that made me rethink the album a bit more later on was when I heard “Burn For You” a lot on one of the local video channels (we didn’t have MTV yet). To this day, I think the lack of “production muscle” in this album is curious since obviously Shabooh Shoobah and Listen Like Thieves have plenty of it. Except for certain drum sounds, the album seems to lack a heavy bottom end, even though I can hear a lot great bass playing going on. The guitar playing also is shifted more toward funk riffs as opposed to the type of heavier rock playing heard on SS and LLT. While the album is a success, I think it threw previous fans in the US a curveball and it meant they lost some sales while having to rebuild their audience. That’s why, when I started college in 1985, INXS was one of those “secretly great” bands that hadn’t quite hit it big yet.
While the production definitely takes a turn towards pop, to my ears that doesn't result in a better album than their previous one. In particular I find the highlights to be a step down from what was on Shabooh Shoobah, and the album loses steam at the end. And for the record, I don't dislike "pop" or popular albums; some of my favorite albums of all time were immensely popular, and that includes a future INXS album. Of course, the song-by-song analysis could raise my estimation of the music on The Swing...
The Swing - listened to it when we were doing the prior album. There are some dated items in this album, but it is just as strong as Shaboo. Seems like on some songs they were getting socially conscious. The singles date this album with the production values like Melting in the Sun, I Send a Message, plus The Swing. Despite the dating production, the songs are strong, likable and more introspective. Dancing on a Jetty, Johnson’s Aeroplane, and Love Is are some of my favorite songs from the band. When Dancing kicks in, it’s magical. While revisiting, I did like how the songs at the end flowed together. They would never be that daring again with an album flow. After this album, things became more rock, which is not bad at all, but I wish the mystery they had with this and Shaboo remained. Purchased this when it came out, and the album did not let me down at all. Remember when Original Sin was released prior and thought, okay, they added some funk but still “new-waveable”. Soon, 1985-86 would come blazing in for most of my favorite bands with horns, aping funk, and Celtic strings. For the most part, INXS never fell to those depths. For that, I admire them.
Being a young man getting started in photography, where I still remain, made me like this album just by the adding of slides, negatives. Ah, the young mind.
The Swing has more of a pop sound as mentioned before. It still retains the new wave sound a bit but it's gradually moving away from it. I like it but I don't think it's nearly as good as Shabooh Shoobah.
Nicely stated. The band certainly did move into a sort of funk feel, and yet they avoided the trappings of the regular mainstream artists idea of what that was. they retained the Inxs side of themselves. Johnson's Aeroplane is probably my favourite Inxs song. I guess it does sound dated to some degree, but it's funny... I listened to the album again today, and for the most part it still sounds pretty fresh to me ... the sounds are certainly eighties, don't get me wrong, but there is a certain unique kind of sound or feel or something to the stuff .... but I may have too much nostalgia in the mix.
The production from Nile Rodgers on Original Sin is incredible. Layers of hooks. Shimmering guitars, cutting synths, interesting effects, those Daryl Hall backing vocals. They just keep coming. And at the natural ending we then get a drum breakdown then that sax line. It’s hard to put familiarity to one side but turn it up and it is a truly astonishing song.
The Swing presented a necessary shift towards more pop / funk rock stylings, which of course became the basic foundation of INXS' overall sound from this point forward. That alone should rank TS as an important album, if not for anything else. However, in terms of production, I have some issues with it. First of all, I really wish Nile Rodgers would've produced the whole album because his production on Original Sin is immaculate. And not to knock Nick Launay, but the production on much of the rest of TS is a bit too dated and lacking a certain something. In fact, after Chris Thomas (producer of LLT, Kick, X & the two new tracks from The Greatest Hits) attended several shows in 1984, since he was eager to work with them, one of the first things he told them was, "I could've produced The Swing better." And despite the fact that INXS were heading in right direction, I think Chris was correct because his production on their succeeding albums was FAR superior. However, most importantly, the songs were definitely there & they were continuing to expand stylistically. And some tracks are even stronger than the ones from SS. Regardless, I totally dig The Swing and look forward to reviewing each track...
— Was listening to some songs tonight and realized Nick may have been trying to turn them into Midnight Oil.
The Swing (Album): This is where I come in for being introduced to the band, thanks to my older brother. He had acquired the album around late '84 and if I recall, that tape got some heavy rotation on his stereo. Six year old me rather liked it, despite not knowing who the band was at the time. Today, it remains one of my favorites in the catalog. There's some great playing on the album and I enjoy the production. The songs have that funky, dance-y vibe that's infectious and just gets me going. Aside from the hits on the album, I have a couple deep track earworms of my childhood, those being 'Johnson's Airplane' and the title track. Youthful nostalgia aside, it's a sold album for me.
This will be an unpopular sentiment but I think the band takes a big step backwards with The Swing. Shoobah Shabooh is excellent. The band really takes it to another level from their sophomore release. But the follow up is the worst album of at least their first 8 in my opinion. Luckily they rebound...
I imagine the whole show was recorded but that has never been shown. It was a tv show called Rock n Roll Tonite and the first US TV appearance which I wrote earlier. Several other bands appeared on this show, read more here TEN's SPOT: Rock n Roll Tonite- TV show 1983 It should be released but unfortunately I guess INXS feels there is little interest in their early material. The greatest hits and dvd compilations have always ignored their earlier stuff. I'm surprised the US Festival 83 wasn't mentioned. That was really the first big concert for them. Some clips on youtube but again not the whole thing although it exists and I don't know anyone that has it.
Good info, cheers mate. My apologies I forgot all about the US festival. Edit: personally I think it's a huge shame they don't really consider the earlier stuff more highly.
