"Good Times" was all over the radio that summer. My Dad and I went to see "The Lost Boys" on opening weekend and he told me afterward that he really enjoyed "Good Times". Thanks to me playing Listen Like Thieves around the household, he liked the band and this song enough that he went and bought the movie soundtrack to get a copy of "Good Times".
Pretty in Pink Soundtrack album by various artists Released February 28, 1986 Genre Post-punk, new wave[25] Length 39:35 Label A&M Producer David Anderle (soundtrack executive producer) Singles from Pretty in Pink "Shellshock" Released: March 17, 1986 "If You Leave" Released: April 21, 1986 "Left of Center" Released: June, 1986 "Pretty in Pink" Released: October, 1986 1. "If You Leave" Andy McCluskey, Paul Humphreys, Martin Cooper Orchestral Manoeuvres in the Dark 4:25 2. "Left of Center" Suzanne Vega/Steve Addabbo Suzanne Vega with Joe Jackson 3:33 3. "Get to Know Ya" Johnson Jesse Johnson 3:34 4. "Do Wot You Do" Andrew Farriss, Michael Hutchence INXS 3:16 5. "Pretty in Pink" John Ashton, Tim Butler, Richard Butler, Vince Ely, Duncan Kilburn, Roger Morris The Psychedelic Furs 4:40 6. "Shellshock" New Order, John Robie New Order 6:04 7. "Round, Round" Belouis Some Belouis Some 4:07 8. "Wouldn't It Be Good" Nik Kershaw Danny Hutton Hitters 3:44 9. "Bring On the Dancing Horses" Will Sergeant, Ian McCulloch, Les Pattinson, Pete de Freitas Echo & the Bunnymen 3:59 10. "Please, Please, Please, Let Me Get What I Want" Johnny Marr, Morrissey The Smiths 1:51 Total length: 39:35 ----------------------------------------------------------------------------------------------------------------------------------------------------- I never saw this movie, but I do remember it being pretty big. The soundtrack has a bunch of great songs of the day on it, and Inxs gave them a song for it, so I assume that a lot of folks probably got to hear this track. Do Wot You Do This track is based around the funk-rock that Inxs did so well. I have never heard this song before, and it isn't amazing me, but it is a very solid track. This is probably what I would consider a solid soundtrack song. I am not sure that it should have been on an Inxs album, but it is a worthwhile listen. Yea, I like this track
A video ... This is what is written on the link From 'Living INXS' a special produced by the producers of the Australian TV show 'Trax' in 1986.Which followed the band through their European tour of 86 ... It sounds like a sound check .... If you know more about it, please let us know. Cheers Mark
The Lost Boys: Original Motion Picture Soundtrack Soundtrack album by Various Artists Released July 31, 1987 Genre Soundtrack Length 43:45 Label Atlantic[37] Producer Various Artists The Lost Boys is a 1987 American teen black comedy horror film directed by Joel Schumacher, produced by Harvey Bernhard with a screenplay written by Jeffrey Boam. Janice Fischer and James Jeremias wrote the film's story. The film's ensemble cast includes Corey Haim, Jason Patric, Kiefer Sutherland, Jami Gertz, Corey Feldman, Dianne Wiest, Edward Herrmann, Billy Wirth, Brooke McCarter, Alex Winter, Jamison Newlander, and Barnard Hughes. The title is a reference to the Lost Boys in J. M. Barrie's stories about Peter Pan and Neverland, who, like the vampires, never grow up. Most of the film was shot in Santa Cruz, California. The Lost Boys was released and produced by Warner Bros. Pictures on July 31, 1987 and was a critical and commercial success, grossing over $32 million against a production budget of $8.5 million. The success of the film has spawned a franchise with two sequels (Lost Boys: The Tribe and Lost Boys: The Thirst), two comic book series and a future television series. "Good Times" by Jimmy Barnes and INXS – 3:49 (The Easybeats) "Lost in the Shadows (The Lost Boys)" by Lou Gramm – 6:17 "Don't Let the Sun Go Down on Me" by Roger Daltrey – 6:09 (Elton John/Bernie Taupin) "Laying Down the Law" by Jimmy Barnes and INXS – 4:24 "People Are Strange" by Echo & the Bunnymen – 3:36 (The Doors) "Cry Little Sister (Theme from The Lost Boys)" by Gerard McMann – 4:46 "Power Play" by Eddie & the Tide – 3:57 "I Still Believe" by Tim Cappello – 3:42 (The Call) "Beauty Has Her Way" by Mummy Calls – 3:56 "To the Shock of Miss Louise" by Thomas Newman – 1:21 ---------------------------------------------------------------------------------------------------- I don't know much about this soundtrack, but I know the movie did very well. I think I even saw this movie ... It was certainly one of those movies that folks who had seen it seemed to talk about it. Obviously we have looked at Good Times, but there was another Barnsey and Inxs track, that I wasn't even aware of. Laying Down The Law So another track I am unfamiliar with .... I just never bought singles or soundtrack albums lol ... oh well, lets see what we have. I'm not sure why, but the opening kind of makes me think of Jimmy Cliff. This is a solid track also. Again Jimmy and Michael share the vocals, and we get a lighter and more breezy track than Good Times. We have a good groove and a good song, and I think this track works well too.
Hi ... I uploaded this clip to Youtube, Trax was a music show in the 80's and they did this hour long special following INXS on their Euroian Tour at the time filming soundchecks, interviews on the tour bus etc.. My cousin taped this off the TV when it was broadcast and later accidently taped over the end of it. More recently around the time of the INXS miniseries (2013) the program was re-edited and rebroadcast so i've seen the end of it now (there was some scenes cut from the re-edit).. I'm not sure where you would find it now (If i was to try and upload the whole program the youtube copyright would probably swallow it)
I don't know where this is appropriate...but as far as INXS being a great live band I must say I was a little bummed when I realized how heavily they relied on sequencers/prerecorded tracks live. It's really apparent at the Wembley '91 concert. I know they were playing to a click fairly early on, but does anyone know when the prerecorded backing vocals/instrumentation started being used?
Agree. Underrated and ignored at the time of release. Really looking forward to the discussion when we get there.
Do Wot You Do - 4/5. Pleasant track that I forget exists, as a result, I enjoy finding it again as it is then a rarity. Laying Down the Law. 3.5/5. One song is good for a combo, but two usually ruins it for me. Good though.
This raises an interesting point. In the late 80s it was certainly seen as 'fake' if a band used backing tapes: definitely a sign that they 'couldn't play' and were inauthentic. I don't remember them using tapes in the Listen like Thieves period. But watching Australian Made last night, there's definitely a lot of drum programming which, at the time, was seen as slightly controversial. And there are definitely taped backing vocals on Wembley that really stand out as recorded and sterile. With hindsight though, I don't see that they could have avoided using drum programming. It's such an integral part of their sound. These days I don't bat an eye at a drummer using a combination of machines and live. It feels a perfectly valid creative representation. In this respect I think INXS were very much ahead of the curve. Now, of course, a band like U2 have such multilayered songs that what were then seen as 'backing tapes' are now just a part of making the music sounds as good as possible in a multimedia context. The band themselves have created the tapes they're using; its not as if they're 'lying' or doing Milli Vanilli style 'pretending'. But, particularly regarding bringing a mix of live and programmed drums into the forefront, Jon Farriss was definitely on the crest of a wave here.
There were a lot of bands using supplemental backing in the eighties. Whether tapes or drum machines or whatever... ZZ Top U2 Inxs Midnight Oil Come to mind as bands that used one or the other, or both. U2 were amazing on the Under a Blood Red Sky tour, straight up rock band. I was horrified when they used tapes and such on the Rattle and Hum tour. My mate was disgusted when he saw ZZtop and they had backing... It was new and foreign, and I doubt it was unusual. Looking back I'm less perturbed by it, but yea, at the time it really bothered me.
Yeah, I remember seeing live ZZ Top stuff and thinking it sounded really rigid and mechanical. I don't remember the Oils using tapes during the Diesel/Blue Sky era (except Power & the Passion obviously) but they did later on during Redneck Wonderland. I thought U2 were pretty subtle with it: the chimes synth loop on Bad, the intro to Streets. All of this is with hindsight, of course. It was definitely divisive at the time.
Which is true enough, but I wonder if we still see that as 'cheating'? Considering he's basically re-playing stuff The Edge originally recorded, and 3 musicians couldn't hope to faithfully replicate the detail of their recordings. So much of the Beatles retiring from touring was due to being unable to replicate their studio recordings. I wonder what would have happened had they the access to technology that enabled them do this. Just random thoughts.
Despite being a well-written basic pop rock tune, Do What You Do seems unfinished to me. Maybe because it kind of sounds like a demo? Laying Down The Law is a decent track but doesn't really go anywhere. Neither of these songs were strong enough for inclusion on Kick. Regarding the controversy over whether or not INXS were a great live band because of their inclusion of a handful of pre-recorded parts/backing vocal tracks on LBL (New Sensation, By My Side, Suicide Blonde, What You Need & Mediate, for example) or how Jon partly incorporated programming/sequencing into his playing style, it's kind of a pointless debate. First of all, considering the era, Jon was actually somewhat innovative in his use of these particular tools. And secondly, since he was wanting to utilize additional rhythms/beats, especially in a polyrhythmic/syncopated sense, and didn't have the bionic ability to grow another set of hands, programming/sequencing was actually a necessity. After all, INXS weren't going to hire an additional percussionist. And in fact, I'm grateful they didn't. Jon didn't over-use these tools (and in some cases, they're barely noticeable). And because of that, it doesn't get in the way of my enjoyment of their live songs being performed...
How do you feel about the prerecorded vocals? They definitely had several capable singers onstage. I'm not even going to mention Andrew miming the harmonica on "Suicide Blonde"...
For whatever reason, the only track from LBL that egregiously included pre-recorded backing vocals was New Sensation. And like I said, it's not like they over-used these "enhancements." And I always thought Andrew's harmonica playing on the LBL version of Suicide Blonde (Charlie Musselwhite plays on the album version) wasn't mixed correctly...
Kick Studio album by INXS Released 12 October 1987 (LP & Cassette)[1] 26 October 1987 (CD)[2] Recorded 1986–1987 at Rhinoceros Recordings, Sydney, Australia, and Studio De La Grande Armée, Paris, France Genre New wave alternative rock pop rock funk rock hard rock Length 39:12 Language English Label WEA Atlantic Mercury Producer Chris Thomas Kick is the sixth studio album by the Australian rock band INXS, released in 1987 by WEA in Australia, Atlantic Records in the United States and Mercury Records in Europe. As the band's most successful studio album, Kick has been certified six times platinum by the RIAA and spawned four US top 10 singles ("New Sensation", "Never Tear Us Apart", "Devil Inside" and "Need You Tonight", the last of which reached the top of the US Billboard singles charts).[3][4] At the 1988 MTV Video Music Awards, the band took home five Moonmen for the "Need You Tonight"/"Mediate" video. The album was produced by British producer Chris Thomas and recorded by David Nicholas in Sydney, Australia, and in Paris, France. The album was mixed by Bob Clearmountain at Air Studios in London. Between 1980 and 1984, INXS had released four studio albums and had toured their native country Australia extensively. The 1985 release of Listen Like Thieves brought the group international acclaim, as well as a long-awaited breakthrough in the US.[5] The album peaked at No.11 on the US Billboard 200, and featured the band's first top 5 single in the US, "What You Need".[6] INXS gathered at the Sydney Opera House in Australia to begin the rehearsal sessions for Kick. After the success of Listen Like Thieves and its second single "What You Need", INXS knew their next album would have to be even better. According to guitarist and saxophonist Kirk Pengilly, "We wanted an album where all the songs were possible singles".[7] Towards the end of 1986, the band members gathered at the Sydney Opera House in Sydney, NSW, Australia to rehearse the songs that Michael Hutchence and Andrew Farriss had written for Kick.[8] Michael Hutchence: lead vocals and backing vocals Tim Farriss: lead guitar and backing vocals Kirk Pengilly: saxophone, rhythm guitar and backing vocals Garry Gary Beers: bass guitars Jon Farriss: drums, percussion Andrew Farriss: synthesizers, drum machine, rhythm guitar and backing vocals 1. "Guns in the Sky" Michael Hutchence 2:21 2. "New Sensation" 3:39 3. "Devil Inside" 5:14 4. "Need You Tonight" 3:01 5. "Mediate" Andrew Farriss 2:36 6. "The Loved One" Ian Clyne, Gerry Humphreys and Rob Lovett 3:37 7. "Wild Life" 3:10 8. "Never Tear Us Apart" 3:05 9. "Mystify" 3:17 10. "Kick" 3:14 11. "Calling All Nations" 3:02 12. "Tiny Daggers" 3:29 Weekly charts Year Peak chart positions 1987 AUS - 2 - 2014 - 2 CAN - 1 GER - 9 NZ - 1 2014 - 11 UK - 9 US - 3 Year-end charts Chart (1988) Position Australian Albums Chart[67] 1 US Billboard 200[68] 4 Chart (1989) Position Australian Albums Chart[69] 91 Chart (2014) Position Australian Albums Chart 84 Sales and certifications[edit] Region Certification Certified units/sales Argentina (CAPIF)[70] Platinum 60,000^ Australia (ARIA)[71] 7× Platinum 490,000^ Canada (Music Canada)[28] Diamond 1,000,000^ France (SNEP)[72] Platinum 300,000[30] Germany (BVMI)[73] Gold 250,000^ Hong Kong (IFPI Hong Kong)[74] Gold 10,000* Netherlands (NVPI)[75] Gold 50,000^ New Zealand (RMNZ)[76] Platinum 15,000^ Spain (PROMUSICAE)[31] Platinum 100,000^ Switzerland (IFPI Switzerland)[32] Platinum 50,000^ United Kingdom (BPI)[29] 3× Platinum 900,000^ United States (RIAA)[27] 1× Diamond 10,000,000^ Summaries Worldwide (IFPI) N/A 20,000,000[77] *sales figures based on certification alone ^shipments figures based on certification alone ----------------------------------------------------- So we come to the big one. This album was enormous internationally, and back at home .... I would assume, with nothing to back me up on it, that this is the biggest selling Australian album, aside from perhaps Acdc Back In Black.... but please correct me if I'm wrong. In many ways this album was tailormade and focussed for international sales. As the band stated, they wanted every song to have the potential to be a single, and really that isn't too hard to imagine from an Inxs perspective, the band were a pop band that had a bit of rock edge, and they generally worked in a commercial field. Also, most of the band's more experimental tracks seemed to generally end up as b-sides, as little snippets looking into a alternative perspective of the band. I think to be honest, initially in Australia, there was a bit of a feeling that this album was made specifically for the US, and it effected early sales ever so slightly, but the reality was, that the songs were so well written, and produced, and all those Inxs bits and pieces were still in the mix, even if the overall sound and feel was aimed somewhere else. So the band managed to find that incredibly difficult balance between commercially extremely acceptable, and the true to themselves feel that gives an album a sincerity that people connect with. It certainly doesn't hurt this album, that the lead single was Need You Tonight. It is a great single in anyone's language, and it managed to get the ball rolling right away.... I mean I even distinctly remember dancing with a girl I liked, particularly to this song, back in this timeframe, and it is the song that stands out to me. Interestingly enough Need You Tonight hit number one on Billboard and Cashbox in the US, but didn't get to number one anywhere else.... although it did get a lot of number 2 positions -Australia, England, Canada, Ireland .... This was one of those albums that I didn't get back in the day.... there was really no point, it was all over the radio. That was one thing about the eighties that I actually wasn't fond of. Radio saturation damaged a lot of albums for me in the eighties, and I only really recovered from that saturation in the last few years, and the eighties albums have been able to come back out, get played, and more importantly enjoyed. So this album sent the band into the stratosphere, and they were going to stay there for a little while, So for the next little bit, we'll be looking at Kick, and its related singles, extended mixes, and then we'll have a look at the Kick - The Video Flick a little after we have done that. So please gives us the ins and outs of this album from your perspective. In your world, what was this album. What did you think then? What do you think now? and then we can reassess all this after we have been through the songs. Cheers Mark
I believe the biggest AU album was/is Wispering Jack by John Farnham 24 times Platinum. Kick is six times Platinum (according to wiki)
