What a brilliant single, picked this up in the local Woolworths at the time. One of those songs that you need to go back to the beginning of as soon as its finished. Love it. Not all that well known though.
A much better video: INXS tries a bit of loud/quiet/loud that was in fashion at the time, albeit in their unmistakable style. Like Heaven Sent, Taste It is a very good song that falls just short of being a classic. The chorus doesn't have enough lift, maybe?
“Sleaziest” - excellent word choice. “Badass” too. And you’re right about the video. Makes one wonder what the neighbors are up to.
I rather like this one. It doesn’t have the guitar, but it maintains the feel of the original. Youth is Martin Glover of Killing Joke and I find that I like most of his 90’s remix work. And of course he co-wrote “Little Fluffy Clouds” by The Orb.
Taste It could almost be a hit from the Kick era, but it’s got the harder edge that runs through Welcome, along with some pauses that suit the song. It’s a solid album track but not a highlight.
Taste It Out of all the sounds in the opening segment, the one that stands out to me the most is that super smooth synthetic bass line. All the sax work is great, and the different guitar riffs all work for each part of the song. Those big loud riffs for the chorus and the “never, never, never” are a great hook too. At some points I hear the vocals with a “backward echo” treatment: Hutchence sings “never”, they reverse the tape, add the echo effects, re-reverse the tape so the vocals are now forward but the echo is backward - fading into the word. Always a cool trick and it adds to the great mix. I can’t think of anything else that really sounds like “Taste It”. It’s a fairly unique track that they’ve come up with here. This song has got some swagger. What a classic.
Catching up here! Heaven Sent Fantastic hard rocker with bundles of energy. I think the drums sound great on this track. Jon Farris was something of a secret weapon in the band and very underrated IMO Communication Segues seamlessly from Heaven Sent and is somewhat prescient subject matter given the times we live in. I know some people are tired of the U2 comparisons but if there was one track on the WTWYA that wouldn't seem out of place on Achtung Baby I think it would be this one. Taste It Surprisingly this was the track that emotes the strongest memories for me. I vividly recall MTV Europe (possibly Most Wanted) teasing the video premiere in advance. I think the risqué nature of the video tied in with a lot of what was out there at the time. The likes of Madonna, Guns n Roses and Michael Jackson were creating mini movies to accompany singles so INXS probably were possibly aiming for something similar. The song itself is fantastic, as mentioned previously it has a sleazy nature to it which climaxes with the Hutchence led crescendo. Again we hear the treated vocals which I think add character and an underlying menace to the delivery.
I’m listening to this album right now while I type and I understand why I got rid of it. The first problem I’m having is with the vocal treatment on the first THREE tracks. To me, it’s like auto tune is to most people on the forum. On “Questions”, the music is kinda cool didn’t remember that. It’s short but it’s supposed to act as a prelude. I get it. But I sure would like to know exactly what the questions are that they need me to answer are. “Heaven Sent” has the same issue. I actually like the verse about the library, even though it’s somewhat random, but I could never get the point of it because the last line was too difficult for me to understand without a lyric sheet. “Communications” is the worst offender. I never understood the comparisons to Achtung Baby either, but this one sounds quite similar to “Zoo Station”. I don’t really care who influenced who, it doesn’t work in either case as far as I’m concerned. So then we get to “Taste It”. Now this is something I can groove on. But the lyrics are terrible! Maybe I don’t really want to hear what they’re singing on the previous track after all. And oh goody, it seems they revisit the “taste it” theme later in the album, and to even worse effect. There are some nice tracks yet to come, especially the this one and the prior one I’ve just listened to, but it takes too long to get to them. I’m not even sure I got to the end of the album previously because these don’t sound familiar at all. I won’t get ahead song by song, but I think the problem for me with this one is that the back end is better than the front end. That and the lyrics/vocals. To me, this is a step down from X which, while I understand the “samey” criticism, is much stronger lyrically.
“Taste It” might be my favorite INXS song of all-time. If nothing else, it’s definitely my guiltiest pleasure from their catalog. It’s a pure rock/sex/blues/groove thing that they seemed to be trying to perfect over the last few albums and, well, here is the final result in all it’s glory. The kind of song that appeals on a visceral level and makes you want to turn it up even louder than you already were rocking to “Heaven Sent” and “Communication”. Incredible production on this song, as well. A rare song I could listen to on repeat.
Yes!!! x 1000 This is the coolest damn track. Apparently it ain’t for everyone cuz it wasn’t a mega hit but dang this is great.
Taste It is also one of my top 5 favourite INXS songs. Whether it's the mysterious stereo-panned swirling sound effect / hip hop beat intro, Andrew's mood-setting harmonica riffs, the power chord riff in the chorus, Kirk's saxophone lines that aid the crescendo-climax after the bridge leading to the final chorus, or even the extremely suggestive lyrical innuendo, this track runs rampant on your senses and has got it all! Unfortunately, despite points earned for its creativeness, I never liked Baillie Walsh's music video (which was banned in some countries, including mine). The alternate video from the Concert For (Strife) Life is a much better visual fit. And interestingly/oddly enough, Taste It actually opened the '93-'94 Dirty Honeymoon tour each night and not the spring/summer '93 Get Out Of The House tour. Light The Planet is kind of goofy and kitsch. But I guess it's alright. Taste It (Youth 12" mix) is an interesting dance mix, considering TI is already a semi-dance oriented track. The best part about it is the additional guitar riffs.
"Taste It" was the third single in America but only the second one released as a physical single. "Not Enough Time" was the first physical single in America and that barely made the Top 30. I mention "Not Enough Time" here because when that song sorta flopped as a single, I wondered what the next single would be and how well it would be promoted. I personally thought that "Taste It" was one of the best songs they ever made and when they released it as the second physical/third overall single in America, I thought it would be big because this song alone had all the right parts moving. In another arrangement, it would have fit right in on Kick but this modern arrangement blew anything from that record right out of the water. In some way it appeals to the old "mainstream" crowd with its funky dance groove foundation but it has a lot of hard edge added to it which makes it so damn great. What really sells it is the droning harmonica parts and Kirk's sleazy/dirty sax lines on top and in and out of the groove with Michael yet again breaking out into new directions with all of his vocal treatments. Heavy blasts of power chords in the chorus with "TASTE IT!" being yelled in the background and Michael yelling "NEVER, NEVER, NEVER!" throughout and at the very end. The song had "smash hit" written all over it. With all that said, I remember reading at the time that the music video was being banned from airplay in America. That alone was the kiss of death. No music video and I was hearing this song on the radio even less than "Not Enough Time" when that was released a few months earlier. My fears were confirmed when the single flopped in a a big big way, peaking at #101 on the charts (not even making the Hot 100 itself was a shock) and then spent several weeks just floundering in the "Bubbling Under" chart in Billboard. With it bombing so badly, not only did I curse the current music scene and the music video ban mostly getting in the way of it finding an audience, it started to feel to me that the record label was leaving the band behind and focusing on their newer acts (Core came out around that time and I couldn't help but wonder if Atlantic was pushing all the promotional money to that record over WTWYA). I finally saw the banned music video years later and I could see how it would have put some people on edge but couldn't figure out why MTV just didn't instead get around any issue by only airing the video around late night/midnight for adult viewing.
Communication: I loved this track at first hear and definitely what I call a 'headphones' song. It's brilliant in its construction. The music is great, just this groove that gets me swaying along. The lyrics are great and makes a great commentary. Then you have the blending of sound effects at the beginning and not to mention the voice over, which is perfect. Kinda like an ad popping up, intruding. It's perfect. Taste It: Much like Devil Inside, this is one steamy number from the band. From the drum loop at the beginning, which leads into this sweltering groove helped by Micheal's vocal. Just everything musically works here right to the very end as Micheal sings out the final 'Never Never Never. As for the legacy of the song, I never got to hear this one on the radio at the time. Thankfully the station I listen to plays it from time to time, so it's it nice to know it's not a forgotten track. It's a favorite and an INXS classic.
"Not Enough Time" Single by INXS from the album Welcome to Wherever You Are Released 3 September 1992 Recorded 1992 Genre Alternative rock Length 4:20 Label Atlantic Songwriter(s) Andrew Farriss Michael Hutchence Producer(s) Mark Opitz, INXS "Not Enough Time" is the third single from the 1992 album Welcome to Wherever You Are by Australian rock band INXS. The song was written by Andrew Farriss and Michael Hutchence: the music in Sydney and the lyrics in Paris, France.[1] It was released simultaneously with "Baby Don't Cry" (Europe and Australia) but only in the US and Japan. The lyrics to the song were originally intended for another composition from Welcome To Wherever You Are, which later became the album's opening song 'Questions'. The original version can be heard on the 2002 remaster of the album. Australian singer Deni Hines featured as a backing vocalist on the song, and went on to marry guitarist Kirk Pengilly a year later in 1993.[2] The song appears on the compilation album Barcelona Gold, released to coincide with the 1992 Summer Olympics. CD single 7-87437-2 ATLANTIC/US "Not Enough Time" (Barcelona LP Fade) "Light the Planet" CD5 maxi single 7-85819-2 ATLANTIC/US "Not Enough Time" (Barcelona LP Fade) "Deepest Red" "Firma Terror" "In My Living Room" CD3 single WMD5-4115 WEA/JAPAN "Not Enough Time" (Barcelona LP Fade) "Light the Planet" Cassette single 7-87437-4 ATLANTIC/US "Not Enough Time" (Barcelona LP Fade) "Deepest Red" Chart (1992) Peak position U.S. Billboard Hot 100 28 U.S. Billboard Mainstream Rock Tracks 13 U.S. Billboard Modern Rock Tracks 2 ------------------------------------------------------------ This is a really solid track. We open with toms leading into a nice smooth groove, and we get another bassline that holds onto its feel as the song seems to be built around the bassline. The single strike piano is a nice touch. It didn't need any more than that, and it is always tempting to do more, but here we get suitable restraint and it helps with the songs atmosphere nicely. And I was lost for words In your arms Attempting to make sense Of my aching heart If I could just be Everything and everyone to you This life would just be so easy Not enough time for all That I want for you Not enough time for every kiss And every touch and all the nights I wanna be inside you We will make time stop For the two of us Make time stop And listen for our sighs Not enough time for all That I want for you Not enough time for every kiss And every touch and all the nights I wanna be inside you In our fight against the end Making love we are immortal We are the last two left on earth And I was lost for words In your arms Attempting to make sense of My aching heart If I could just be everything And everyone to you Not enough time for all That I want for you Not enough time for every kiss Not enough time for all my love Not enough time for every touch Not enough time for all That I want for you Not enough time for every kiss And every touch and all the nights I wanna be inside you Songwriters: Michael Hutchence / Andrew Farriss Not Enough Time lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc, Universal Music Publishing Group, BMG Rights Management Lyrically we have the idea of recognising our mortality, but wanting it to not be so, so that we can spend more time together, yet at the same time there is a certain feeling of immortality when we truly connect. One of the things I like about this, is they allow the vocal to be a straight signal. It isn't overly processed. Also Hutchence delivery holds a tenderness and delicacy.... and also a fairly straight kind of feel, and it enhances the song a lot. It seems at the moment, without running back through the band's songs that this is possibly quite a unique vocal approach from him.... Musically this track has a bit of a slow burn kind of feel. When we move into the chorus the piano get a little more busy and again it is perfectly arranged. We also get the voice of Deni Hines. Deni is the daughter of Australian legend Marcia Hines, who was the Queen of Pop in Australia for a lot of years. Deni started off doing some things for the Rockmelons and went on to work with a lot of Australian artists doing backing vocals. She also had a pretty successful solo career I believe. Her contribution here works very well. As the song moves along we have a building feel. It carries a certain intensity, that somewhat draws a picture of the desperation to have more time .... it's almost like we can feel the clock running out as the song progresses. By the time we get about three quarters of the way through the song we have a full sounding song that is pulsating forward like time itself. We have this almost carillion type effect leading up to a semi-breakdown, and then launch into a really cool outro. Probably not the most attention grabbing Inxs song in many ways, but I think this is an excellent song, that again shows the band's ability to write and arrange in such a way as to really give them the best chance of connecting with the listener. This did pretty well, but it is somewhat surprising that it didn't do better to me.
Firma Terror Here we have a contribution from Gary Beers. It opens with a suitably attention grabbing bass line. We have some interesting textural volume swell guitar. There is a vocal, but it seems kind of distant. About halfway through we get a solid guitar motif that gets the attention. We move back out to the bass and drums on the way out. Interestingly, it seems to me, that with a little work, this could have been a contender for the album.
In My Living Room. We open with some eastern style singing ... sorry I can't pinpoint it. Then we drop into this kind of funky drum and bass thing. A female vocal comes in following the styling of the opening. Then we move into this change that has a thin buzzy guitar and some vocals. Then we get a guitar that seems like it is trying to sound like a rubber band stretching to snap. This track is somewhat experimental and it is kind of interesting.
Not Enough Time - Ralph Rosario remix Well I am sure this has its strengths, but we instantly move into a dance style groove and mix.... and for me it takes away all the things that drew me into the original.
Not Enough Time: 5/5. Like morning ocean waves, the song's beat crashes with a light chorus. It builds in passion to me, not unlike a storm brewing, which puts emphasis on the lyrics of not being enough time. As it builds, I love the extra instrument layers that blanket the song. Intricate and a great piece of work, and it doesn't outlive its stay like some songs do. Great cut. Firma Terror: B-side that I couldn't listen all the way through In My Living Room: Another one that I wouldn't listen to again after the initial sitting.
Not Enough Time: now we're talking! Nice verses, classic chorus, and finally a soaring outro (something they didn't write very often). While I appreciate the adventurousness of the album thus far, this is the first track that stands alongside their best work. Should've been a bigger hit. Now that I think about it, I don't think I have ever heard a live version of this with Michael. Nothing on YouTube...anybody got a link?
"Not Enough Time": great, GREAT song. (disclaimer - my girlfriend at the time and I would make out to this song). Such a seductive rolling groove with Michael singing in a low seductive voice to his woman; promising her that he will make time stop for the two of them but simultaneously confessing that there's not enough time to do what he wants no matter what. Best part of the song is at 3:11 while as the strings are climaxing, this little percussive part comes in out of nowhere and then the outro just explodes while Michael and Deni simultaneously sing that they will make time stop for the two of us. Just a beautiful song. It got heavy airplay in Minneapolis when it came out and it was a treat to hear on the radio all the time (especially if the girlfriend was coming over to visit).
Not Enough Time This song peaks when the strings swell around 3:05-310 and begin the outro, but really the entire song is one peak effort. In terms of lifetime play, this is definitely top 5 INXS for me. “Taste It” gets called “sleazy” (and rightfully so!) but this song sings about stopping time while making immortal love and the singer wanting to “be inside you”. Not sleazy? Nah. Very sexy and romantic. Very much a great makeout song. Hooks galore: the thick smooth bass line as an anchor, the little keyboard flourishes, the cascading piano, the “make time stop!” shouts from the background vocalist. A great song stands the test of time and there are tons of great songs that weren’t even hits. I don’t know why this was barely top 30 in America, or why “Taste It” wasn’t even a chart hit. The pop chart’s mood had shifted I guess, but by this point I wasn’t keeping up with the charts anyway. I never worried about music I like being popular with anyone else, because, well everyone else has bad taste - amiright? But this song is immortal, and it makes time stop every time I hear it to this day. If it plays, I have to hear the whole song and I have to pay attention and enjoy it - this is not background music.
Musically, Not Enough Time is as simple as things get on this album. While it sounds at first like a basic love song, there’s a depth to the lyrics that address mortality at the same time. It’s got a great melody, relentless bass line, and fine lyrics. Michael sings this one to perfection and they were smart to leave the vocals untreated so we can hear every nuance. This is fantastic.
Rosario is one of the original “Chicago house” DJ’s. As a high schooler in the suburbs I used to listen to WBMX Chicago, the “urban station”, which I figured out meant that they played “black music”. Radio used to be so segregated even up through the 80’s! They had a crew of DJ’s that put together mixes for airing every Saturday night. “The Hot Mix 5” I think they were known as. Anyway, I like this remix. It uses some vocal loops from the original track and does its own thing with the song, but it’s cool!
