INXS - The Album thread

Discussion in 'Music Corner' started by mark winstanley, Nov 19, 2020.

  1. twicks

    twicks Forum Resident

    Location:
    Detroit
    Please is one more trip to the "need" well, with diminishing returns. You can't fault the energy level, but it's another song that seems somewhat crude in design, just missing that extra sophistication of the best INXS stuff.
     
  2. Al Gator

    Al Gator You can call me Al

    We finally get an INXS lust song with Please (You Got That…). Ray Charles helps with the vocals (wow!), and the result is a simple blast of fun.
     
  3. David Jakubowski

    David Jakubowski Forum Resident

    I think this is the crux of “Please (You Got That…)” – it’s seemingly written so as to get out of the way of the vocalists and allow them the space to be the stars of the song. Whereas there have been so many other excellent and intricate musical ideas throughout Welcome to Wherever You Are, and largely so far on this album, this track abruptly breaks that streak by remaining simple in its feel to highlight the duet. I’m sure they were very proud to have Ray Charles perform with them (can’t blame them!) but the loose and fun nature of this vocal-driven track seems at odds with the album around it. I like “Please (You Got That…)” well enough, but it’s a major oddball in the context of this album.
     
  4. twicks

    twicks Forum Resident

    Location:
    Detroit
  5. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    Please

    Cool track. Cool to have Ray Charles with them. Perhaps underdeveloped, but it seems the duet spontaneously happened due to circumstance. I like the rough and ready sound of the recording - not overly polished. It actually rocks hard in a couple places, which surprised me. I think it helps the song that it’s not too slickly produced.
    This is part of that trademarked INXS “variety” and it may seem an odd fit on this album but I’m glad it’s here.
     
  6. Melllvar

    Melllvar No Matter Where You Go, There You Are!

    Location:
    Anchorage, Alaska
    Please (You Got That...):

    This is one of the those songs I didn't really care for when I first heard it. However, time and my maturing ear have been kind to this track. It's a pretty fun track and the band jamming with the legend that is Ray Charles is pretty awesome.
     
  7. Moggio_4K_Ultra_HD

    Moggio_4K_Ultra_HD Forum Resident

    Location:
    Vancouver, BC
    Please (You Got That...) just might be the quintessential INXS hard rock / funk song (with a bit of the blues & soul thrown in for good measure)...and not just because Ray Charles is singing co-lead vocals on it. Whether it's the call / response lines from MH & RC in just about every part of the track, the clear / distorted tone guitar riffs in the verses, Andrew's 8th notes in the keyboard's entrance during the 2nd verse, that only re-appear in the rest of the verses, the uplifting choruses, or even the distorted semi-palm muted riff in the bridges, this song is amazing! Once again, INXS' contrasting signature styles excel here. And it's obviously an excellent single choice. I simply can't believe PYGT was only a minor hit!

    The main edit is a partial re-arrangement with added female backing vocals. I dig it.

    The club need, needful dub, downtown dub & downtown instrumental mixes are basically variations of the same dance mix, that don't really add much and are WAY too long. They're half decent at best.
     
    Last edited: Apr 9, 2021
  8. Moggio_4K_Ultra_HD

    Moggio_4K_Ultra_HD Forum Resident

    Location:
    Vancouver, BC
    When I was young, I remember staying up late to watch this and taping it. It's one of the best, if not THE best Letterman show musical performances!
     
  9. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    Please, Cut Your Roses Down, and I’m Only Looking all work great together as funky alternatives to the grungy rock tracks on FM, DH. I’m tantalized by the thought that Strangest Party originated from these sessions but wasn’t finished until the Greatest Hits album. This album would be one notch better with that song on it.
     
  10. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Full Moon, Dirty Hearts

    This opens up like a blues track, and I really like the way it is done here. It still sounds like Inxs, but it just opens with a nice bluesy feel... and it's quite convincing too.
    The bending note, into the loping sway of the groove, and the little feedback wobble is really cool too.

    Full moon in the dirty sky
    That's all we can hope for

    Full moon over dirty hearts
    Full moon over dirty hearts

    Don't be surprised by the way it is
    I've broken bones for less
    I took a voyage on the deep blue sea
    But I had to swim away
    I swam away that day

    Full moon over dirty hearts
    Full moon over dirty hearts

    I took a voyage over deep blue sea
    It won?t come back...

    Innocence is what we want
    Now even children think that way

    Full moon over dirty hearts
    Full moon in the dirty sky
    Full moon over dirty hearts
    Full moon over dirty hearts

    I took a voyage over deep blue sea
    I took a voyage over deep blue sea

    Songwriters: Michael Hutchence / Andrew Farriss
    Full Moon, Dirty Hearts lyrics © Warner Chappell Music, Inc, Universal Music Publishing Group

    I actually really like this track, but I have always had a love of blues flavoured stuff, so that helps.
    Michael delivers a suitably sultry vocal, and it has the right amount of .... sort of, disconnectedness ... the right word isn't coming, but I think that gets close....
    The lyrics seem a little non specific, it is like they are painting an emotion rather than a picture, and the song itself comes across that way, and for me they paint the emotion well here, and the picture isn't required.

    The bass and drums carry the first verse with that beautiful smack of the held chord ... It feels like a 7th, but may not be. The feel is excellent, and I must say if someone had asked me if Inxs could do a convincing blues feel prior to hearing this, I would have probably said "I doubt it", but I think they manage to pull it off well, even though it probably isn't a true blues.

    We move into the chorus type section, and it moves into a turnaround variation, and manages to do so really smoothly, and still retain that beautiful slow, slightly swung, blues feel.
    This takes us into the second verse that is slightly longer, and also starts to incorporate Chrissie Hynde (Pretenders) doing a sort of response vocal, or a unison alternate vocal, or however you want to interpret it. Sometimes she is answering, and sometimes singing at the same time, but not perfectly, which gives it a sort or drunken midnight, ambling feel. I actually think it works really well.

    At that point we move into a really nicely placed bridge, that is actually a really subtle key change, and is backed by a really nice backing vocal, mini choir type vocal, and again for me I think it works really well.
    We get a very cool little lead break, which has a sort of part country/part blues/part Inxs feel, based in double stops. Without spoiling the effect of that guitars burst of energy, Michael sings a written line, or adlibs a line, and it fits in beautifully and naturally.
    Chrissie takes the verse after the bridge/lead break, and again it is just a really nice textural mix up, that adds another dimension to the song.
    The last chorus has Michael and Chrissie singing together, but again it isn't perfectly sync'd, but that is the perfect execution for a track like this.

    This launches us into a reprise of the bridge that rolls through twice and we end on a held resolution chord.

    Over the last week or so of listening to this, this song has really grown on me. I think it captures a feel rarely used by the band, and they do it really very well, and I think that it ends up adding a lot to the album, I is like the big ballad, but the blues twist makes it more interesting.
    Excellent track.

     
  11. Bluepicasso

    Bluepicasso Android Confused

    Location:
    Arlington, Va
    Full Moon/Dirty Hearts: 3/5. Chrissie's vocals brings this song to life in my opinion. Dirty blues but missing emotion. The band seems a bit uninspired. This may reflect the tension of the sessions. The bridge is the best part for me.
     
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  12. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    Full Moon, Dirty Hearts (the song)

    Once again, we have a song that feels as though it is epic in length, and when you check the clock at the end it’s roughly 3 1/2 minutes. As Mark said, you don’t hear this type of sound from INXS much at all, if ever. Chrissie Hynde really helps sell the world-weariness that is evident in the lyrics. Perhaps without her contribution this song doesn’t quite work out. Hynde was a bit of a vocalist for hire for a while, and this is my favorite track from her in the 90’s save one: her vocals on “Spiritual High” - Moodswing’s cover of Vangelis’ “State Of Independence” in 1992. That’s a whole other ballgame from this song though.

    The bluesy aspects of FM, DH do make more sense coming on the heels of “Please” too, so I have to give credit to the CD tracklist here.

    I love the the “ahhhh, ughhhhh, ahhhhh, ughhhh ahhhhh” vocals, and they help link this song with the next as well. The fade out into Freedom Deep surprised me, and took my breath away the first time I heard it. The sequence is sublime. One of the most breathtaking parts of any INXS album as far as I’m concerned.
     
  13. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

  14. Al Gator

    Al Gator You can call me Al

    The title track would almost pass for a ballad, although it’s got some quite dynamic sections. This time Chrissie Hynde lends her talent and helps elevate the song. The result is a bit of a puzzle, but it’s one that I really enjoy.
     
  15. Moggio_4K_Ultra_HD

    Moggio_4K_Ultra_HD Forum Resident

    Location:
    Vancouver, BC
    The title track of Full Moon, Dirty Hearts is one of the rare blues rock ballads from INXS, with plenty of required space left for keyboard, guitar, drum & vocal fills, especially in the verses. Chrissie Hynde duets with Hutchence, portraying passionate call / response lines, in a similar way to what Ray Charles did on the previous track, but with different tone, phrasing, delivery and subject matter. The bridge is the strongest and most intense section of the song, as the lover finds out she's being cheated on by her boyfriend, while the band simultaneously build a dynamically-charged environment before reaching the emotional apex. Everything fits like a glove here. What an amazing title track!
     
  16. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    The “Main Edit” of Please is something I had ignored until today. I thought it was just an edit of a dance remix. But it’s really a whole other arrangement of the song and it’s pretty cool!
     
  17. Robert Bone

    Robert Bone Forum Resident

    Location:
    South Australia
    There are some out-takes from the vocal session for this track mixed into the mystify soundtrack
     
  18. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    "Freedom Deep"

    [​IMG]
    Single by INXS
    from the album Full Moon, Dirty Hearts
    Released
    April 1994[1]
    Recorded 1993
    Genre Alternative rock
    Length 3.59
    Label Atlantic Records and Eastwest
    Songwriter(s) Andrew Farriss and Michael Hutchence

    "Freedom Deep" is the fourth and final single from the 1993 album, Full Moon, Dirty Hearts, by Australian rock band INXS. The song was written by Andrew Farriss and Michael Hutchence.

    "Freedom Deep" was played live at The Great Music Experience in Nara, Japan in May 1994 at the UNESCO Concert, the idea being to bring together Japanese and Western Music. The song arrangement was backed up by a unique selection of Japanese instruments which fitted in perfectly with the songs' musical style. Other artists at the Event were Bob Dylan, Bon Jovi and Joni Mitchell.[2]

    The single was only released in Japan and Australia, where it charted at #111 on the ARIA singles chart.[3]

    CD Maxi Single (4509957882)

    1. Freedom Deep (3:59)
    2. Please (You Got That …) (E-Smoove Club Mix) (8:01)
    3. Cut Your Roses Down (Sure Is Pure Mix) (6:55)
    4. Viking Juice (The Butcher Mix) (3:14)
    Chart (1994) Peak
    position

    Australia (ARIA)[3] 111
    -------------------------------------------------
    We open up on a bed of mellow synths, and a cool pulsing bass. It is an unrushed, easy flowing, mellow intro.

    Show me the way
    Give away
    The truth
    I'm looking for

    I need a new way
    Out of here
    The door
    Is opening

    Freedom take me deeper
    Freedom take me deeper

    All the blue days
    Gone astray
    The clouds
    Are giving in

    Freedom take me deeper
    Freedom take me deeper

    I need a new way
    Out of here
    The door is opening

    I'm losing my fear
    Suddenly
    The way
    Has come to me

    Freedom take me deeper [till fade]
    Freedom

    Hutchence comes in vocally with a smooth relaxed lower register, and there is a sort of reassuring feel and calm about the whole thing.
    The track seems to be about the idea of looking for direction, and the real meaning of freedom leads to a peace, or contentment that leads one to a deeper life.

    In the background we get various little inserts of sound that colour the backing enough to keep it interesting. The little shimmer of a sitar like sound. The little, soft horn-like sounds.
    During the chorus section, a synth plays the vocal melody, and it has a sort of oriental fell and sound about it.... just a hint.

    When we get about halfway through the song, we get a swell, like a surge in the blood, but although we now have a beat and a little adrenaline, the song remains in a somewhat soothing state.
    The guitar arpeggio adds a nice textural flourish. the drums give us a propulsion, without overwhelming the song.
    The song rolls out with this relaxed, atmospheric propulsion.

    This is a really cool track. I could actually see this as an album closer with the vibe that it creates, but it has the strength to sit anywhere on the album comfortably really.
    Really good song that only really got my attention this morning.

     
  19. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    The album visual

     
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  20. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Freedom Deep Extended 12" mix

    We open with a vocal excerpt, and it is a nice mellow way in. This leads into some layered keyboards, and we move into the atmosphere of the song.
    Here the swell and the drums come in almost immediately, and we have more of a drum and bass backing and the keys disappear.
    Some vocal edits come in.
    We move into a percussive section and the vocal comes in over this somewhat distant percussion. the keys come in slowly, and the atmosphere reforms somewhat.
    About halfway through we get a pretty close resemblance to the original version and the swell and drums and guitar come back in.
    At about 6 minutes, we get the backing break down to just the drums ... and the pattern becomes clear here. It is the same kind of rhythmic idea as Tomorrow Never Knows.
    Everything falls down and slowly builds back up.

    This is actually pretty cool. I do prefer the original, for the smoothness it has, but this is a nice alternative version.

     
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  21. Bluepicasso

    Bluepicasso Android Confused

    Location:
    Arlington, Va
    Freedom Deep: 5/5. One of my favorite songs on the album and one of my favorites from them. Deep should have been the lead song on the album. It allows the listener to grow with the new album. When I reconnected with this album, this song stood out and made me rethink this album, as I only previously saw it as sludge, a lower form of grunge. It's beauty twists and turns not unlike a wonderful storm.
     
  22. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    yeah! I was definitely going to mention that if you hadn’t. They managed to reference The Beatles on their “grunge album”. :)
     
  23. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    I think this is the performance being referenced in the Wikipedia entry:

     
  24. dirkster

    dirkster Forum Resident

    Location:
    McKinney, TX, USA
    Freedom Deep

    How many other INXS fans made it through the onslaught of The Gift and the stack of guitar songs on FM, DH and then found this absolutely unexpected treasure? First time through the album, which I had bought specifically because The Gift blew me away, I got to the duets with Ray Charles and then Chrissie Hynde and then this magical song faded in during the end of the title track, it’s such a seamless transition that it did not even register with me that another track on the CD had started.

    This really should have been the first song on the album, but I’m torn about that because it fits so well with FM, DH. So does that mean the album should start with the title track? @David Jakubowski has a good idea with his video tracklisting. Still trying to figure out my best version.

    Oddly, the Butcher Remix of “Viking Juice” on the Bside here feels like a major improvement. I forget that remix exists, but perhaps we are saving it for the discussion of this song later on so I’ll hold off commenting more.
     
  25. twicks

    twicks Forum Resident

    Location:
    Detroit
    Freedom Deep: Great song, definitely grows with repeat listens. Don't know about it as an opener, though...such a slow build. If it *had* opened the album, I guarantee we'd be sitting here talking about what a mistake it was not to grab listeners by the throat right away with something more rocking. :)
     
    Last edited: Apr 12, 2021

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