Agree that this is an album highlight that initially doesn't make the biggest impression but reveals its subtle charms with repeat listening. Perhaps at this point in their catalog I had gotten slightly bored with "the INXS sound" and responded more to stuff like this where they push their boundaries a bit. Had absolutely no idea this was an Eno production.
I’m Only Looking is a rather disturbed song. Our narrator is going deeper into his mind and wondering if he’ll break somebody. The relentless music and atonal instrumental sections drive the point home. This is one of the album’s better tracks.
“I’m Only Looking” has always been an album highlight for me, but the album’s tracklist seems to bury it by sandwiching it in between the driving rock of “Time” and the obvious radio track of “Please (You Got That…)”. This was one of the surprises of the video for me – moving it up front, after “The Gift”, provides a more natural transition and better highlights this song. I love the lyrics even though I wouldn’t claim to fully understand them. They’re detached for sure, but they’re also sort of introspective. They leave a lot to the listener’s imagination which fits the dream-like quality of the song (I assume this is the Eno contribution).
I'm Only Looking: 5/5. Another highlight. Older INXS pops up here. This one could have fit on Welcome. As with some of their albums, songs relate to each other. This song calls to Freedom Deep. The beat, keys, and Michael's voice blend into velvet drink.
I'm Only Looking's intros with two 9th chords and its verse groove is locked into place with a G7sus4 chord. I love the hybrid semi-ambient / funk rock feel to this track. Once the chorus hits, the song doesn't shift the tempo but instead abruptly eliminates the "groove" chord and temporarily replaces it with differing chord changes. Andrew's keyboard textures are virtually nuanced throughout. The (mostly) instrumental bridges surprise us with a moody Miles Davis-like trumpet solo, executed by session player, John Kirk, coupled with a distorted guitar's swirling feedback. IOL creates an atmospheric landscape so musically rewarding, that it aides Michael's provocatively sensual vocals, while exuding a caressive touch. What an excellent album track!
I know opinions are divided here as to U2 comparisons, but can't help noticing that INXS come on stage with the house lights still on, only for them to drop - with dramatic effect - at a key point midway through the first song, a neat trick U2 also used. But not until Elevation tour in 2000.
I’m Only Looking is just brilliant. Listen to it more and it reveals more. The video for it on the album-length visual is pretty much perfect for the mood & energy this track exudes:
Time: A personal favorite of mine and a resident on my driving/cycling playlists. Again, really wish this was a radio staple, but alas, fickle markets and such. Anyway, it's laden with buzzing guitars, Micheal's stellar vocal that evokes a Good Times call back and I mustn't forget: it's gotta groove that you can dance to; It's a solid INXS arena rocker. I'm Only Looking: A funky workout that chugs along and it's got me grooving along. I really love Micheal's dreamy vocal delivery and fits the lyrics perfectly. A forgotten classic that's for sure.
FMDH might just be Hutchences strongest album in terms of vocals. I can definitely see how Bono and Michael Stipe were inspired/influenced.
"Please (You Got That ...)" Single by INXS from the album Full Moon, Dirty Hearts Released 11 December 1993 Recorded 1993 Genre Alternative rock Length 3:05 Label Atlantic Songwriter(s) Andrew Farriss and Michael Hutchence "Please (You Got That ...)" is the second single from the 1993 album Full Moon, Dirty Hearts, by Australian rock band INXS. The song was written by Andrew Farriss and Michael Hutchence and featured guest vocals by Ray Charles. When Ray Charles arrived to sing his part, Hutchence was there in the studio to teach him how to produce the Hutchencesque vocal style. "Mr. Charles," Michael respectfully addressed him, "... it (the melody) goes like this ... (Michael sings the line and Ray Charles attempts to imitate it). After many attempts Charles says, "Sir (Michael), I know I will eventually get it right" ... and of course he did.[1] In June 2019, a new version of the song was released as the second single from the 2019 documentary film Mystify and lifted from the soundtrack, Mystify: A Musical Journey with Michael Hutchence. CD Single 1 INXCD26 Please (You Got That ...) Please (You Got That ...) (Main Edit) Freedom Deep (Extended 12" Mix) Communication (Live) CD Single 2 INXXX 26 & 12" Vinyl Please (You Got That ...) (Club Need Mix) Please (You Got That ...) (Needful Dub Mix) Please (You Got That ...) (Downtown Dub Mix) Please (You Got That ...) (Downtown Instrumental Mix) Cassette single INXS25 Please (You Got That ...) Freedom Deep (Extended 12" Mix) Chart (1993) Peak position Australian ARIA Singles Chart 37 UK Singles Chart 50 US Billboard Hot Dance Music/Club Play 9 ------------------------------------------------------ It is always going to be a coup to get Ray Charles to sing on one of your songs/albums. Ray has one of the most distinctive voices in the business, and has a history, and level of distinction that is hard to stand up next to. This is a good track and has its roots in music a lot older.... it is still flavoured with the modern times, but the underlying song is pretty old school, so it's no surprise that this is the song Ray chose to sing on. We get a nice little guitar riff, and a solid beat and then Hutchence comes in, with some vocal interjections from Ray. I've come to tell you 'bout the story I see It made of honey but it sting like a bee Got the message that it come from the floor And that's the way to get yourself in trouble You think it's easy 'cause you don't know the feeling Make it up Make it up like you do no wrong Give me fever like a man blind from passion If you got the time I'll show you how to turn it on Please, You got that need She got her ways to get me down on the floor And take me places that I never seen before Someone told me I got to take it easy But I'm a junkie A junkie when the heat is on Please, you got that need Please, you got that need You think it's easy 'cause you don't know the feeling Make it up, make it up like you do no wrong Give me fever like a man blind from passion If you got the time I'll show you how to turn it on Please, you got that need Please, you got that need Please, you got that need Please, you got that need Songwriters: Farriss Andrew Charles / Hutchence Michael Kelland Please (You Got That...) lyrics © Chardonnay Investments Ltd., Inxs Publishing Pty. Ltd. I like the phrasing and melody of the vocal, and it ends up probably being the main draw for me here. That isn't to say that the music isn't good, it's just that the vocal is driving this bus. During the verses we have a piano banging out an atmospheric chord, somewhat like an old style rock song, and then we get the real dynamic musical effect that this song has, and it's all about the powerful punch of the distorted guitars punching in rhythmically to bring the chorus up. Probably the only question that I get from this song is, the first verse is split in half with Michael taking the first four lines and Ray taking the second four. Then the next time round Ray doesn't get a line, and it seems slightly odd. There is nothing wrong with it structurally at all, but if you have Ray Charles in your studio recording with you, it seems you would give him more rather than less to do. To some degree this is counteracted by Ray's continuing vocalising interjections that seem to bring in a bit of soul music's styling into the song. When we get to the last verse Michael and Ray go two lines each. To some degree one of the main draws is the dynamic change between the verse and the chorus, and it works really well. We get a sort of musical bridge, with a change up that leads into the last verse. Anyway, I think this is a very engaging track and it works really well.... and from what I am hearing so far, there is no logical reason that this album didn't do well.
Please (main edit) Here we open with a synthetic backdrop, and the song moves into a slightly more funky variation ... This is actually pretty cool, and in some ways I could see this version growing on me. We get some different vocal edits, and a slightly more modern mainstream type of mix (for the time). This works pretty well.
Please ( club need mix) Yea, this instantly starts off outside my interest zone..... and until we get three or so minutes in, it stays there. A drum machine running pretty much on its own for that loong just doesn't really interest me. Certainly probably good for a dance club. After the 3, 3.5 minutes we get Ray vocalising over a cut back section, and the song variation finally starts. It's ok at the stage, but just not my thing.
Please (Needful dub mix) Again we get a drum machine loop and we get some stuff added over the top..... Again we are waiting 3, 3.5 minutes before a vocal comes in, and the rest just isn't interesting enough to me to warrant that. Dance club wanderings for the intoxicated.
Please (downtown club mix) A drum machine, with a looped vocal edit .... fifty seconds of that and I wish I had already switched it off. We move into a drum machine ..... Then we get one of those slushy synth basses, some more vocal edits ... Just not my thing.
Please 2/5. Not a fan of this song at all. There is the occasional song on their albums that I skip. We have reached that song for me. It isn't that I am not a fan of Ray. To me, this connection doesn't work.
"Please (You Got That...)" works as a palate cleanser as the last song on Side A. Full of energy, but has a restraint that allows a "breather" so to speak after 5 songs in a row full of energy/aggression. If only this momentum carried over flawlessly into Side B.
Please (You Got That...) As much as I want to like this it just doesn't hit the mark for me. The vocals are obviously excellent but I think the chorus lets it down. It sounds somewhat underdeveloped or rushed. It's probably my least favourite song on the album.
