Yeah, I will admit to fantasizing at least once about somehow publicly humiliating Noel and capping it with, "That was for Michael Hutchence."
This Lewis Capaldi kid really trolled Noel magnificently a few years back. It can be done! How Lewis Capaldi trolled Noel Gallagher at Glastonbury 2019 - Radio X
-- If I was in the right mood and had good coffee, I could do it. Was planning to visit a lot to the UK before COVID. It's on my checklist.
Original Sin's Epic Adventure edited, unedited & Ian Green mixes, like some previous alternate mixes already discussed earlier in the thread, includes Kirk's additional sax riff, that is sandwiched in between the original mix's sax riff. I really enjoy that inclusion and the dance elements incorporated here. Overall, these are some of INXS' finest dance mixes. The Ian Green mix is definitely the best of the bunch. After recording and touring virtually non-stop from 1990-1994, from basically the 2nd half of 1994 through until late 1996, apart from promoting The Greatest Hits & writing/recording (quickly) their next album, Elegantly Wasted, INXS took the longest break of their career. They were now hitting their "lean" years. Album sales were much lower. Concert demand in markets where they met demand regularly was less than half of what it was from 1988-1991. However, INXS now had enough hits/radio staples to reach a bare minimum level of concert demand (usually 1 hour's worth of music, or 14-15 songs), so it didn't keep dropping off. And now, 1997 was on the horizon...
Michael Hutchence - Under My Thumb From the Symphonic Stones album, we have Michael doing the Stones classic Under My Thumb. We open with a slightly unusual slow version of the track, and it is very mellow. The song moves through a series of changes in speed and also a key modulation. The orchestral arrangement is really quite good. This is the first time I have heard this, and it is pretty good, I reckon it's one that may grow on me.
Michael Hutchence - Baby Lets Play House From the Tribute To Elvis album we have Michael doing one of Elvis's early hits, and in styling it's fairly authentic. Michael does a pretty good job, but I reckon he should have used his full voice more. I think the breathy thing works pretty well, but Michael singing full throated would have worked better.
Michael Hutchence - The Passenger This is from the Batman Forever Soundtrack, and we open with a fairly punchy orchestral section that moves into a distorted bass, and a solid drum track. This is augmented by the orchestral arrangement pretty well. This is actually the Iggy Pop track from the Lust For Life album, and it is very different. This has a more dramatic kind of arrangement, and it certainly has its own place.... I probably prefer the Iggy version to be honest, but this is quite interesting, and certainly worth a listen.
Michael Hutchence - Spill The Wine This was from the Barb Wire movie soundtrack, and I assume the movie wasn't that big, because all the youtube references are to the Mystify doco. I always loved the Eric Burdon and War track, and here we get an updated version, but it stays true to the original, and in the case of this song, that is a good thing. Michael delivers the vocal in his own way, and again I think it works very well. Hard to go to far wrong with this song.
I quite like the moody/dark cover of The Passenger. It wouldn't sound out of place on the posthumous solo album which was released in 1999.
The Passenger I like the Iggy Pop original, the Siouxsie & The Banshees cover that was a hit of sorts, and I like this version as well from Hutchence. All three of these versions are different enough, and all well-thought arrangements to be enjoyable on their own terms. Spill The Wine Never heard of Barb Wire the movie this is from, but it’s a cool track. The Mystify doc revived it and re-released it. The part of the song where he lists all the types of girls always gets a laugh out of me.
Under My Thumb doesn't anything for me. In fact, the string arrangements diminish the quality. Baby Let's Play House is true to the original and is a very good cover version. Elvis would be proud. The Passenger is an amazingly good cover version. I love how dramatized the arrangement is - it kind of sounds like a cross between Massive Attack & the production of MH's solo album that was released in 1999. Iggy Pop (who knew Michael) would also be proud. Spill The Wine is another good cover. Michael captures the mood wonderfully.
Red Hill This track is off One Voice: Songs Of Chage and Aska. Chage and Aska were a Japanese Pop duo who were operating from about 1979 - 2009. I assume this song comes from the album Red Hill from 1993. That's about all I can find, so feel free to fill us in as to what this album was about if you're aware. This is a pretty cool track, I have never heard before. This is a sort of pop/rock track that moves along at a good pace. We have a solid track that is driven along by the bass and drums with song solid guitar and keys. We have some synth horns?, but they aren't too bad. All in all this is a pretty good track.
The King Is Gone In 1996 The Talking Heads members aside From David Byrne got together to make an album, and they had a vast array of famous singers fill in the vocal position for songs. This track was written by Hutchence, Frantz, Weymouth, Harrison and Thomas Murray, and to some degree it could just about be an Inxs track. They came from the second city Where the screams came unattached Addiction was the latest style In the faces they could not match There was a blue beat playing On the radio left behind And a man selling lies as truth Like a king who was loved too much They made a mess of your only child Her innocence was not lost While the judge and jury took their dime They counted the miles and laughed Make way for the way we are The fever still burns though the king is gone Fever comes to the innocent It can make you mad and free But you never find a scrap of love If you don't wanna feel the heat A million flames are lickin' They lie like dogs at your feet Waitin' for the words of wisdom From the mouths of the bittersweet In the valley of indiscretion Where fear plays the piper's tune The heroes are the ones who tell the truth And break the rules with the courage of love Make way for the way we are Fever still burns though the king is gone Make way for the way we are The king is gone But the fever lives on Songwriters: Christopher Frantz / Jerry Harrison / Michael Hutchence / Michael Kelland Hutchence / Thomas Hinton Murray / Tina Weymouth The King Is Gone lyrics © Universal Music Publishing Group This track is kind of interesting, as it has some what of a hybrid Talking Heads and Inxs sound about it. It probably seems more Inxs than Heads, but I think it still has a bit of the Heads latter day vibe about it. We have a slow to moderate groove that is based around a pretty straight drum groove and a looping bass riff, accented by layers of keys and guitars that move the groove frorward. Hutchence gives a sensual vocal performance and the elements fit together nicely. Lyrically it seems to be based around the idea of corrupt people in power and the effect they have, but it typically someone cryptic poetry as we are used to with Hutchence. I like the feel and I think this song works well.
Red Hill 3.5/5. I have never heard this one before, so thanks for posting. Rather airy track that bounces. Kinda cool. The King is Gone 4/5. Love the Talking Heads, and this has a Speaking in Tongues feel to me. It slithers not unlike southern swamp. I have to revisit that album more I reckon. Very good.
Red Hill sounds like it is going to go somewhere but it never really takes off. I like the verses though. The King is Gone has a great groove. It wouldn't sound out of place on Elegantly Wasted.
The King Is Gone I didn’t discover this until a few years ago, but it’s a very good track. Nice sense of drama in the music and lyrics, with lots of nice guitar touches. It’s one of my favorite “Hutchence solo” tracks as outside of INXS his various projects mostly didn’t have music that hooked me. Red Hill Well this is a pleasant surprise. I had not even heard of this one until now. I’ll have to listen more but it seems decent enough. Those “synth horns” are always a bit cheesy every time I hear them though. The overall sound of this one is definitely more airy and less oppressive than the production of his other solo tracks.
Based on the production and arrangements, you can tell Red Hill was recorded in the early-mid '90s. It sounds like it could've fit somewhere on X. I like it. I love The King Is Gone's dark production with horn arrangements - a very cool touch. And another track that could've fit on Michael's solo album or even Elegantly Wasted...
That Heads album was kinda funny. They'd recorded it sans Byrne, thinking it would be enjoyable to work with all these different people while, I'm guessing, offering a public rebuke to what they saw as Byrne's "ownership" of the band. Byrne slapped an injunction on the album claiming that people might think it was a 'real' Talking Heads record (they did use the font from the first 2 albums deliberately I think). So when it came out, there was a sticker on the front saying something like "This is an album by The Heads, not Talking Heads" I find it funny when artists insecurities are so unwittingly writ large. I see a similar thing on one of the production credits on a Fleetwood Mac album. "Produced by Fleetwood Mac, with special thanks from the band to Lindsay Buckingham". I wonder how many lawyers were involved in that credit! Pink Floyd's The Wall production credit deliberately states "in alphabetical order" so neither Ezrin, Waters or Gilmour would have their noses out of joint about whom was listed first or last.
Elegantly Wasted Studio album by INXS Released 15 April 1997 Recorded December 1996 – February 1997 at Armoury Studios, Vancouver, British Columbia, Canada and El Cortijo Studios, Málaga Spain Genre Alternative rock Length 47:56 Label Mercury Producer Bruce Fairbairn & Andrew Farriss Elegantly Wasted is the tenth studio album by Australian rock band INXS. It was released in April 1997, and is the final album recorded with lead singer Michael Hutchence before his death in November that same year. The band had spent April 1996 rehearsing in London, and moved over to Vancouver to record with producer Bruce Fairbairn in December that year.[1] Production of the album was completed by Hutchence and songwriter and multi-instrumentalist Andrew Farriss in Spain by February 1997.[2] Two songs that did not make the final cut of the album were included on the Bang the Drum EP (2004). The album's title is from Hutchence, with the single itself trying to recapture the magic and groove of the Kick album, particularly the single, "Need You Tonight". All three Farriss brothers dedicated the album to their mother, Jill, who died in 1995.[3] Gary Beers – bass guitar Andrew Farriss – keyboards, guitar, producer Jon Farriss – drums Tim Farriss – guitar Michael Hutchence – vocals, guitar on "She Is Rising" Kirk Pengilly – guitar, saxophone Additional musicians Tania Hancheroff and Joani Bye – backing vocals on "Searching" and "Don't Lose Your Head" Billie Godfrey and Caroline MacKendrick – backing vocals on "I'm Just A Man" Bill Punge – baritone saxophone Paul Baron and Derry Byrne – trumpets Tom Keenlyside – tenor saxophone, arranger Luis Conte – percussion Additional personnel Bruce Fairbairn – producer Andrew Farriss – producer Richard Guy – engineer Mike Plotnikoff – engineer Delwyn Brooks – second engineer Paul Silveria – assistant engineer Tom Lord-Alge – mixing engineer George Marino – mastering at Sterling Sound (New York, NY). Martha Troup – management Paul Craig – management, A&R David Edwards and Christina de la Sala – album co-ordination Mat Cook – concept and art direction David Smith – design Pierre Winther – photography, art direction 1. "Show Me (Cherry Baby)" 4:17 2. "Elegantly Wasted" 4:32 3. "Everything" 3:13 4. "Don't Lose Your Head" 4:02 5. "Searching" 4:04 6. "I'm Just a Man" 4:48 7. "Girl on Fire" 3:55 8. "We Are Thrown Together" 5:36 9. "Shake the Tree" 4:10 10. "She Is Rising" 5:24 11. "Building Bridges" 3:55 Total length: 47:56 International bonus track 12. "Shine" 3:52 Japanese and Australian limited edition bonus track 13. "Let It Ride" (B-side to "Everything" single) 3:44 Weekly charts Chart (1997) Peak position Australian Albums (ARIA)[34] 14 Austrian Albums (Ö3 Austria)[37] 32 Canada Top Albums/CDs (RPM)[33] 14 Dutch Albums (Album Top 100)[38] 31 French Albums (SNEP)[39] 30 German Albums (Offizielle Top 100)[40] 23 New Zealand Albums (RMNZ)[41] 47 Norwegian Albums (VG-lista)[42] 18 Swedish Albums (Sverigetopplistan)[43] 28 Swiss Albums (Schweizer Hitparade)[44] 13 UK Albums (OCC)[35] 16 US Billboard 200[32] 41 -------------------------------------------------------------------- This is the album I have had least opportunity to really dive into so far. I have given it a couple of spins, and it sounds pretty good to me. So far the title track is the song with the earworm, as folks like to say, that sticks with me. It had been a couple of years of turmoil for Hutchence, while the rest of the Farris boys had lost their mother, and I am sure that even though they had given themselves a year or so to come to terms with that, it was likely still playing on their minds. So conditions were in a limbo of sorts in terms of what the band might come out with. In some instances artists draw on personal tragedy and life stresses for inspiration, and in some instances those issues merely blunt personal application .... Anyway, there isn't too much of value I can add here, because I am just not familiar enough with the album and lyrics to draw any real conclusions, but I'm going to look forward to what you guys have to say about it all, and on Monday we will head into the first track, and when we have been through the songs, perhaps I'll be in a better position to have something worthwhile to say on this album. So give us your thoughts about the album. What you thought then? What you think now? - has time removed from the album and the circumstances changed the perspective..... ..... and any other things that personally speak to you about tis album and where the band was at the time. Although not a chart topper, the album still charted pretty well. So it doesn't seem to be the complete write off that some folks make it out to be..... Cheers Mark
