INXS – Listen Like Thieves

INXS forged their most successful rock formula on, Listen Like Thieves, the 1985 album which would set the pace for the group’s most successful commercial run through the late eighties and early nineties. The sound they forged on this fifth studio album morphs traditional rock with a dance production value along with the lyrical themes are upbeat and optimistic, portraying a feeling of opportunity and forgiveness. Commercially successful, the album spawned five single releases, including the group’s first US Top 10 hit. For Listen Like Thieves, INXS morphed their sound from new wave towards a more straight-ahead rock direction. Produced by Chris Thomas, the album was the first to be recorded in the band’s home country since 1981. Thomas was, in short, a guy who knew his way around a studio as well as how to manage artists' egos, and after taking in an INXS concert, he pinpointed the live energy missing from the band's previous efforts. Continuing their slow drift away from the New Wave sound of their early LPs, Thomas upped their sound's rock quotient with Listen Like Thieves while making room for their fondness for funk, and surrounding the whole thing with modern '80s polish. The result was a record that managed to be utterly of the moment without sacrificing essential components of the band's musical identity.

INXS ‎– INXS

I never really got into Australian band INXS until the time of their major success in the eighties; although I was very familiar with many of their singles, and, to my memory, they were not always taken seriously, being viewed as just another of those teeny bopper outfits. However, my subsequent collecting of cheap second hand vinyl has had me discovering a lot of INXS' body of work, and finding surprising enjoyment from some of their albums. INXS hailed from the pubs of Australia, which is part of the reason the band never comfortably fit in with new wave. Even when they branched out into synth pop on their early recordings, they were underpinned by a hard, Stonesy beat and the Jagger-esque strut of lead singer Michael Hutchence. Ultimately, these were the very things that made INXS into international superstars in the late '80s. By that time, the group had harnessed its hard rock, dance, and new wave influences into a sleek, stylish groove. This debut shows flashes of quality, especially with “Just Keep Walking”, definitely the best song here, and overall, it's really not a bad listen, although their signature, jerky style had yet to emerge.

Appropriately for a band that featured three brothers, INXS had their roots in a family act, the Farriss Brothers. The group came together while keyboardist Andrew Farriss, the middle brother, was attending high school with vocalist Michael Hutchence. The two formed a band with bassist Gary Beers. Simultaneously, guitarist Tim Farriss was playing in various groups with his friend, guitarist/saxophonist Kirk Pengilly. Eventually, the two groups merged in 1977, with Jon Farriss joining the unified line up as drummer. Two years later, when Jon graduated from high school, the band renamed itself INXS, moved from Perth to Sydney, and began to play the pub circuit. Within a year, the group landed an Australian record contract and released this eponymous debut on Deluxe in 1980.

INXS - Suicide Blonde

Kylie Minogue’s starring role in The Delinquents (1989) led to more than just $3m at the box office. Her portrayal of Lola Lovell in the Australian coming-of-age romantic drama also brought about the release of one of INXS’ biggest hits. Michael Hutchence was then dating Minogue, whose character in the film dyes her hair platinum blonde after leaving her family. Minogue didn’t risk the dye, and instead donned a wig to play the role which her hairdresser described as “suicide blonde”. Michael loved the saying and thus ‘Suicide Blonde’ was born. Instantly recognisable from its distinctive harmonica intro, the 1990 song is an incredibly upbeat offering despite its titular suicide reference, incorporating elements of funk and dance. Following decades of rumours, the song’s origins were finally confirmed by Minogue in conversation with News Corps.