INXS’ Andrew Farriss on Kick at 30

INXS / Kick 30 3CD+Blu-ray audio

Andrew Farriss talks to SDE • Thoughts on the Dolby Atmos mix.

Although it didn’t quite make the SDE top 10 reissues of the year, Universal Music’s 2017 reissue of INXS 1987 album Kick was a very impressive re-release.

The four-disc edition of Kick 30 included a Dolby Atmos surround sound version on blu-ray (with all the videos), two bonus CDs (which comprehensively rounded up all the remixes, live tracks and the odd demo/outtake) and a remastered version of the original album. All that was (and is) available for sub-£30. It doesn’t really make up for the flawed Kick 25 though, because most fans are likely to have bought that as well. That slightly more lavish set cost around £50 and included less content than Kick 30. So your total outlay is getting on for £80 and the five year old release is now semi – or almost entirely – redundant.

The Dolby Atmos mix on Kick 30  is interesting. I attended a listening session for it late last year in a suitably equipped room in Abbey Road Studios and it was something of an assault on the senses, particularly with the opener Guns in the Sky. The kick drum and snare sound enormous. Atmos seems to be all about ‘height’ – the sounds fire at you from ceiling level, which takes a bit of getting used to. Of course, the world famous studios had speakers in the ceiling, but I imagine home set-ups are not likely to be as impressive (or destructive). Dolby Atmos accredited ‘soundbars’ and speakers help with this and are designed to ‘fire’ sounds up to the ceiling and bounce them down to your listening position to create the same effect. I haven’t been in a position to test this yet.

If you don’t have a Dolby Atmos compatible amplifier hooked up to a soundbar or similar, we are assured that the blu-ray will deliver “an enhanced sound experience on any surround sound set-up”. I did test this and my results were inconclusive. Giles Martin and Sam Okell’s Atmos mix of Kick results in quite a front-heavy mix in a standard 5.1 set-up, particularly on the centre speaker, where there is all manner of sounds coming through. Normally with a centre speaker you might get an isolated lead vocal (which can sound disconcerting) or various elements randomly turning up (guitar solo here, piano riff there). The centre channel is very busy on a non-Atmos system in a way that I’m not sure I like, particularly. That combined with the fact that there’s not a massive amount going on via the rear channels (not really Giles’ style) make me uncertain about how successful the mix is when played through a standard 5.1 set-up.

It will be interesting to see how Universal deal with any future INXS reissues. I brought up the subject late last year when I had a brief conversation with Andrew Farriss from the band. Of course, Andrew wrote most of the songs on the album with Michael Hutchence. I started the conversation by asking him how he assessed Kick 30 years on from the original release….

Andrew Farriss: Where did those years go? [laughs]. I was amazed when we had a special listening event where people came along, including the public, in a big theatre here in Sydney, in George Street. I was really nervous, having all of us put so much effort into it, so long ago, I thought ‘I hope this is good’… and it was [laughs]. I was really pleased that the public were really into it, with people dancing and clapping and it was cool. I suppose it brought back, for me, a lot of memories. Memories of writing the album, recording it, the process. The process gets lost in the tyranny of time. You just think ‘oh yeah, that happened..’ But it wasn’t that simple. There’s a lot that went into making those recordings…. and not just by the band, but by a lot of very talented people around us who were trying help us do whatever it was we thought we were trying to do.

SDE: Where did those songs come from, those big monster hits that you and Michael wrote?

AF: That’s an interesting question. Because recently we’ve been paying so much attention to this particular album, I’ve been album to recall a lot of what went on. To answer it simply, the album before that was Listen Like Thieves and we had one particular hit called What You Need off that, that went top five in the US and was a really big hit all over the world.This was about 1985 and we’d mixed rock with funk… there was a few people [such as] Ian Dury and The Blockheads, Talking Heads and a few others, who were messing around with similar ideas, but we wanted to do it ‘balls to the wall’, if you’ll pardon the expression, and just make some big thumping thing. But with that particular track What You Need, I remember being at home feeling really strange about [the success] but I didn’t know why. Then I sat down and realised that we’ve just had this big monster hit, we’d got MTV awards for the video, and I suddenly realised the [weight] of responsibility in terms of following that thing up. It was really interesting because I spoke to Michael shortly afterwards and he was thinking exactly the same thing. We were really fortunate, because the other members of INXS besides myself and Michael –  my brothers Tim and Jon and Gary and Kirk – we were on tour, I think somewhere in Germany, and we were talking about the next album and I think it was me that said ‘Michael and I are on to something with this rock and funk thing – can you guys just please run with our ideas when we get to the studio.’ It could have been a ‘no, fuck you’ type of thing, but they didn’t – they turned around and said ‘Sure. We’ll back you’. Honestly, that was the turning point. The beginning of giving Michael and I the keys to a very nice car. But in terms of your question, the biggest hits were Mystify, Need You Tonight, New Sensation, Never Tear Us Apart and Devil Inside. The interesting thing with those songs is that they aren’t all exactly the same, either. Never Tear Us Apart is a really different kind of song to Devil Inside. Need You Tonight and New Sensation are a bit more related, because they had that funk thing going on, but Mystify was different again.

SDE: When you had recorded the album, but before it had been released, what was the reaction? Was there a lot of excitement from the band and the label, that this was going to be a monster?

AF: That’s a really good question. I think we were really, really excited about the album, but it was nothing like anything we were hearing on the radio. I think the record company was nervous… you know, frankly, I’m not sure they knew what to do with us. A lot of acts at the time were making music that sounded similar to their other songs, the grooves sounded like the other grooves and the beats sounded similar… but a lot of Kick doesn’t sound like the same song – it jumps all over the place. So the record company weren’t sure what to do and Never Tear Us Apart in particular… I’m going say this, I don’t mind, I live by it, but when we first brought that song to the band, I wasn’t convinced it was any use on the album. I thought it was a silly thing really… it sounds so old fashioned, with this very emotional lyric. And yet you’ve got this other song going ‘fuck, let’s go baby. Let’s get it on’. But Michael was a fan and [producer] Chris Thomas in particular, and in the end they were right. It was originally more like a band track with tremolo guitar instead of strings and things. It was Chris who suggested playing the chords with some string sounds and we experimented and that’s why it sounds how it sounds.

SDE: After it was all finished, how did the massive success of ‘Kick’, particularly in America, with all the hit singles and the touring, how did it change the band?

AF: That’s another interesting question. I remember we were at a big, big festival somewhere in Europe by the end of that tour – it was something like 14 months we did touring that record, or something ridiculous – and my brother Jon got something like a repetitive strain injury in his legs. He played very hard, and even though we were young, he was still struggling to perform at that energy level at that point. Sting was at the same festival and he’d heard about my brother and came over to see if he was alright. That tour, in particular, was a slow burn. It didn’t start off as a big thrilling experience. It was interesting… we actually took the band around all the little C and B markets in America, playing all the little colleges… that’s how we started the tour and by the end we were playing stadiums. It was bizarre. Even though we’d done big gigs before, like festivals, it really was a turning point for us. Once the record company got it and radio got it, it just flew.

SDE: Talking about the reissue in particular, it was only five years ago that the 25th anniversary reissue came out and now we have this one. Does it frustrate you a little bit that the record company are fixated on ‘Kick’ and none of your other albums have received this treatment?

AF: It’s funny you should ask that because I was looking recently at just how much work we did around the Kick period and afterwards on subsequent albums. Before that, with Listen Like Thieves we had a couple of sort of outtake things… like Mannish Boy with Muddy Waters, but we didn’t have much in the way of outtakes and novelty tracks. We had some, but not much. With Kick we realised we weren’t just a ‘touring band’ we could be a recording band. With our career before Listen Like Thieves, I always thought we were a touring band who put out soundtrack albums. Really. And it wasn’t until probably when we met Nile Rodgers and recorded Original Sin in New York in ’83 [that things changed]. In fact, David Bowie‘s Let’s Dance album… the day after David and his band took their gear out we went in, to record our track the next day. Literally, the next day. So we were very much shocked, that we could do something like that. Your question is an interesting one, because the tracks that we did after Kick and so many of those recordings, we began to take our time and experiment. And if you look carefully at a lot of the outtakes and rarities and odd things off Kick, they don’t sound like Kick at all. I mean, Jesus Was A Man and some of that stuff is pretty much from outer space really, compared to the album…

SDE: But tell me about future plans. I’m a particular fan of ‘Welcome to Wherever You Are’ which I think is an amazing record. Are there any plans to reissue your other albums, and that one in particular?

AF: Good question. Welcome to Wherever You Are we were experimenting at that period a lot too and I think that album and the ‘X’ album that we did before, but particularly with Welcome to Wherever You Are, what we were trying to do – and I think we mostly did it – we didn’t want to make another Kick. Probably a crazy commercial decision…

SDE: But a great creative one…

AF: Yeah, I hope so. Let’s put it this way, if we hadn’t changed the creative direction before we were doing Kick, we wouldn’t have had Kick. And so we wanted to keep experimenting with our sound and what we could come up with and I think Welcome to Wherever You Are really confused a lot of people because it didn’t sound like the INXS they knew as a stadium band. They were like ‘what the hell is this?’ [laughs]. You know, it had weird sort of sitar things and all kinds of odd sounds. What we were also trying to do – and this is a bit confusing as well – but we didn’t just want to make Welcome to Wherever You Are we wanted to make an album straight after that – not tour, for the first time, off of the back of one of our studio albums and do another album again. Unfortunately Michael had hit his head not long after Welcome to Wherever You Are and he was a bit ill for a while but he [eventually] got much better and we finished the album. We probably would have had a better experience internationally with radio if we’d done a tour after Welcome to Wherever You Are, but we didn’t. I think Welcome to Wherever You Are with rarities and outtakes and stuff.. it is an interesting set of recordings and I think, lyrically as well it challenged things. It was a bit more personal, the writing on it. I was writing about having children and Michael was writing about experiences with relationships and then there was the more esoteric things on the album. Welcome.. had gone a long way from where we were with Kick.

SDE: So is that going to be reissued next? Do you know what the plans are?

AF: Er, to be honest with you I don’t know exactly, but I think that would be good. And the other album, which is a very interesting record, is Elegantly Wasted, the last album we did with Michael. Michael and I had both talked a lot about writing and we’d spent a lot of time in Europe in particular, in his house in France and also in Spain and later with the band in Canada. We spent quite a lot of time working through ideas for that album. There’s some amazing recording techniques on Elegantly Wasted… some of them are pretty cool, some great drum sounds for example. But also Michael, particularly, was going through some heavy shit at that time in his life and I think it was very important for him to get it all out on that record. Lyrically, I still find it fairly confronting to listen to a lot of that album, because I remember exactly what it was like when we writing it. Discussions about what the songs were about, who they were about. But Welcome too.. my bid would be for those too albums, to really explore the outtakes and things from those albums.

Thanks to Andrew Farriss who was talking to Paul Sinclair for SDE.

The Kick 30 reissue of Kick is out now.

Compare prices and pre-order


Kick 30 - 3CD+blu-ray deluxe edition


Compare prices and pre-order


Kick 30 - half-speed mastered 2LP vinyl


Kick 30 / 3CD+Blu-ray deluxe edition

1. Guns In The Sky
2. New Sensation
3. Devil Inside
4. Need You Tonight
5. Mediate
6. The Loved One
7. Wild Life
8. Never Tear Us Apart
9. Mystify
10. Kick
11. Calling All Nations
12. Tiny Daggers

1. Move On [Guitar Version]
2. I’m Coming (Home)
3. Mediate [Live From America]
4. Never Tear Us Apart [Live From America]
5. Kick [Live From America]
6. On The Rocks
7. Do Wot You Do
8. Mystify [Chicago Demo]
9. Jesus Was A Man [Demo]
10. The Trap [Demo]
11. Guns In The Sky [Kick Ass Remix]
12. Need You Tonight [Mendelsohn Extended Mix]
13. Move On

(tracks in bold, new additions compared to KICK 25)

1. Never Tear Us Apart [Soul Version]
2. New Sensation [Nick 12” Mix]
3. New Sensation [Nick 7” Mix]
4. Devil Inside [Extended Remix]
5. Devil Inside [7” Version]
6. Devil Inside [Radio Edit]
7. Different World [12” Version]
8. Different World [7” Version]
9. Need You Tonight [Big Bump Mix]
10. Need You Tonight [Ben Liebrand Mix]
11. Need You Tonight [Mendelsohn 7″ Edit]
12. Guns in the Sky [Kookaburra Mix]
13. Calling All Nations [Kids On Bridges Remix]
14. Shine Like it Does [Live]

1. Kick Mixed in Dolby Atmos & High Definition Audio
2. Promo Videos
Guns In The Sky
New Sensation
Devil Inside
Need You Tonight
Never Tear Us Apart
Kick [New 2017 promo]

Kick 30 / 2LP half-speed mastered vinyl

Side A
1 Guns in the Sky
2 New Sensation
3 Devil Inside

Side B
1 Need You Tonight
2 Mediate
3 The Loved One

Side C
1 Wild Life
2 Never Tear Us Apart
3 Mystify

Side D
1 Kick
2 Calling All Nations
3 Tiny Daggers

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Andrew B

If you can’t beat them, join them.

A masterclass in how to do a flawless superduper record from a very good year of records (Hardline According to T T D’arby, Joshua Tree and the vastly criminally underated and slickly flawless Thomas Lang ‘Scallywag Jaz’ LP).

I wore out the ‘kick’ Vinyl when I was 16 in 1987.

Where have all those days gone, was it that long ago? I feel old.


Sorry for posting a few months later to this discussion, but I just found it.

First of all, this is a great interview; thank you

And I also really appreciate the comments here. Just as others have mentioned, I’m also a fan of WTWYA. In fact, it is my favorite album of all time (by anyone). So I’d also like to add my very enthusiastic vote for a reissue of that one in particular. But I’d also be thrilled by any of the others. After this, I will have bought 5 versions of Kick now, and yes, it is high time for one of the other albums.

A number of years ago I happened to find the 1-disk reissue of WTWYA with 5 newly-released tracks on it (it happened to be on my birthday; I couldn’t have asked for a better gift). Given Welcome is my favorite album, I spent some time over the years making sure I had every last related song, and believe there are 43 total tracks (including album tracks, B-Sides, and alternate versions/remixes), more than enough for a boxed set. Such a set would be great in order to get some better copies of some of the tracks (such as those I had to transfer from old vinyl), but what would be even better would be any materials that had never been released before. And despite not touring the album, I’ve come across some information about them having done some limited performances, so having copies of the audio or even any video footage from any of those performances would be wonderful. They also performed some on the FMDH tour; I was lucky enough to have seen them on that tour in I think about 93 or so, and they performed 3 WTWYA songs (of course, all of the songs were great).

X, EW, and The Swing are other particular favorites of mine, so I’d also be particular enthusiastic about reissues of those albums along with all of the non-album materials (B-Sides and such). The post done about possible track listings for those was great – thank you!

Lastly, I would love to continue talking about them regarding subjects like this one (and getting some help hunting down a few missing tracks in my collection from The Swing and X), but I’m having a bewilderingly difficult time finding an active forum. I even subscribed to some social networking sites that have INXS “pages” (or whatever) in order to take part in such discussions, but was unable to do so because those sites don’t work that way – the INXS pages on those are news feeds that you can’t post to, as far as I can tell and you can only talk to people you already know or some such, not useful at all for my purposes. So… my question is, does anyone know of an active forum? Sorry to ask here, but I’m not sure where else to ask – thanks


I have nothing but fond memories of their run of records from Shaboo Shoobah right through Kick. They were records I listened to quite a bit and I was lucky to see them on the Kick and Suicide Blond tours. I miss these guys a lot.


I have a true 7.1.4 Atmos setup with 11 speakers, 4 of which are Dolby Atmos height speakers. Can’t wait to hear this album on it!

Adam K Smith

I have a Pioneer VSX-1020 and the Atmos cures my system to come up as TrueHD. My center channel is fairly clean with vocals and have a lot going on in the real speaker. Going to the Pure Direct setting provides a very clean sound. My receiver is probably at least 6 yrs old, so I’m guessing Paul yours is just old enough to miss the TrueHD for processing.


Great interview. I like that they included all the single edits and remixes.

[…] was an interesting response to my piece on INXS‘ Kick 30 reissue, earlier this week. I said that I wasn’t sure how good the […]

Todd R.

I think LISTEN LIKE THIEVES is ripe for a deluxe edition, the promo tracks, live recordings, and 12″ mixes alone are a great sampling of a band (as mentioned above) that were right on the verge.
Beyond that – sure, I think it would be great to see the process putting together X (maybe still too close to KICK, but the writing was very strong) and WELCOME (all those b-sides/bonus tracks!) ….

Friso Pas

Another great interview article, Paul. I liked INXS ever since I heard The Original Sin, back in the spring of ’83, I was only 12 years old then. But I was already listening to the Top40, buying singles, making cassette tapes with recordings of my friends’ singles and the radio broadcasts. That single only got to chart nr. 29 in The Netherlands, can you believe it?
Anyway…great band, never got to see them with Michael unfortunately, but I did see them much later with JD Fortune when they toured ‘Switch’.

A friend of mine paid me a visit last week, and brought the Kick 30 set. Now I do have a 5.1 setup, but no Atmos, so what my (very good Pioneer THX+AIRStudios-certified) receiver does, it defaults to Dolby TrueHD. And I have to say, I was very pleased with this mix. I was on the fence about Kick 30, because I heard about the very compressed disc 1, and no feedback on the surround mix. So I initially only got the (online only) red coloured 2 LP half-speed mastered vinyl.
But…Paul, I think you need an upgrade in your setup or a re-calibration, because I didn’t have your front-heavy experience at all. Now I heard it, I have to say, it is pretty adventurous, what a nice surround mix should be, so I’ve decided I’m going to get this.
Also, I totally agree on your assessment of Welcome, I also think it’s their best work. I scored an original vinyl pressing of that one, last year, which sounds pretty good. Also ordered the re-release of Full Moon. I really hope they will do more sdl’s of their albums.

Also worth pointing out for the average fan is that in 2014 they released a full 2-cd set of their Wembley ’91 gig, that pretty much went under the radar. It was an Australia only release and I got it on eBay. Parts of the recordings that night were used for the earlier Live Baby Live release, which also got a 5.1 remix for the dvd release in 2003, and that mix kicks ass too. Just so you know…



I have a stupid question. Do I hear a difference when I listen to the atmos Mix, when I don´t have an atmos or a 5.1 soundsystem?

I love this album, but had a few releases of it, so I think if it is worth to buy.



Excellent and very interesting interview. I already have the album and can listen to it with my Amazon Music Prime account but this post made me want to buy the vox set in order to have the blu ray audio. It was at €25.99 on FNAC but I missed it, no stock available at that price. Just checked Amazon FR and it’s listed at €28.83

I never checked before and thought it was in the €35-45 range.
I wonder if it’s been the regular price all along or a recent discount ?

Anyway, at approx €25, it’s a bargain compared to REM’s Automatic For The People 25th Anniversary Super Deluxe Edition (approx €80).


The 5.1 experience with this atmos mix is quite good on my system, there is indeed a lot going on on the side channels, and I do have vocals in the center speaker. This said, I have a high-end Marantz amplifier from 2017. And I do have 5 top of the mediuem rang Focal speakers. I agree with Blade Runner’s advice, you need a recent (after 2016) home-cinema amplifier with very good DSP to handle the atmos to 5.1 downmix. Otherwise it can get pretty messy..

Blade Runner

Actually I love The Atmos Mix of Kick and of The one from the last Kraftwerk offering. In my opinion the Kraftwerk Mix is even better.


He MAPAZ – i love your List!!!
Great – i like this kind of stuff- give us more of this…….


How about ALL the INXS albums? This band deserves this without a doubt. They are so underrated. There is a market for them. Please! Sorry for begging.


There’s a short article on the Atmos mix on the What Hifi website. They tried it with some upward firing speakers and and an Atmos receiver and found it still sounded pretty good compared to the full on Abbey Road experience.


I know i am seriously in the minority here, but wow I would love to see a reissue with bonus tracks of “Full Moon Dirty Hearts” from 1993… they could include a dvd of the 12 videos made by different independent australian video directors…

Randy Metro

Paul, great interview. I am am still getting to “know” the 25th Anniversary edition and now we’re on to the 30th!

It is interesting that you go into detail about Never Tear Us apart. I’ve always tried to like that song but there always seemed to me that it was recorded wrong or mixed badly somehow. I can’t express the right words. I find it un-listenable for whatever reasons and keep hoping to find a better mix or the correct mastering or an alternate mix or something. The vocal is great. I wouldn’t change a thing about that.

Dave Bricknell

Over the years I’ve seen everyone from The Stones, Page & Plant, The Cure, Fleetwood Mac, McCartney, Morrissey, Midnight Oil, The Church, New Order, Nick Cave, Bowie, Elton, Siouxsie, Dead Can Dance, Pet Shop Boys, U2, Simple Minds, Depeche Mode, David Byrne, The The, Echo & The Bunnymen, OMD, Ultravox, Suede, Garbage, Portishead, Coldplay, Crowded House, etc, etc…it would be a pretty long list if I could recall them all…but I have not once experienced a tighter, punchier, or more dynamic sounding band than INXS live, and although I think they were truly great in the day, they are by no means my favourite band. But live….wow!!! Literally breathtaking.

I’ll never forget one of the INXS performances I saw in the early to mid 80’s at the Melbourne Concert Hall, which was usually reserved for symphony orchestras, theatre and opera, etc. It was (and still is) a venue with truly phenomenal acoustics. Anyway, this show was called “Rockin’ With The Royals” as Charles & Di were attending (centre front row dress circle). Apparently Di had been quoted in the press as “loving” INXS and supposedly had a bit of a thing for MH, so I think he really played up the sexual charisma he was famous for that night and seemed to direct a fair amount of it – and the guy definitely had it in spades – towards one particular royal.

This was after “Listen Like Thieves” had been released and not long before “Kick”, which would be their next release. Watching them that night, it was a feeling of “local boys done good”, because it was just completely obvious to anyone and their dog that this band was on the cusp of becoming the biggest and best band on the planet. This night, we all kinda knew, as fans who had watched them grow from pimple faced youngsters in local pubs and appearances on TV like Countdown, well, this was it – the secret was about to be out and these guys were about to fly globally and challenge the big boys.

Just before the royal couple were escorted to their seats before the concert started, all three levels of the auditorium were full to the brim and a PA announcement made it clear that we must not address the royals directly and must be well behaved, etc….the usual protocol for this sort of thing I’m sure. So every single person is turned towards the dress circle before the lights went down, waiting for their big entrance. You could literally hear a pin drop. Out they come and some idiot yells at the top of his voice “Love ya’ Di!!!” Well, you know that scene near the end of the Clint Eastwood thriller “In The Line Of Fire” when the attempt is finally made on the U.S. President’s life in the function room? The Secret Service grab POTUS and with lightning speed & efficiency extricate him from the room in about three seconds flat. That’s pretty much what happened to this dope!!! No concert for him. Man we laughed!

Anyway, back then we all pretty much wanted to be in MH’s shoes. Not so much within a few years though. One of the truly great, swaggering front men of all time.

“Rockin’ With The Royals” is on YouTube if anyone’s interested, but of course, as good as the footage is, you just can’t capture that stuff on tape…


For fun, I sent this reissue list to INXS management in 2016… for the three albums circa 1982-1985. Hopefully they could follow Stephen Scott’s idea of going with the 3Disc Crowded House/Pretenders type sets… I’m sure the die-hard INXS fans can probably find some errors with my research.

Of course, ‘Welcome to Wherever You Are’ is INXS’ ‘Automatic For The People/Achtung Baby’, so it could probably use the 6-disc treatment!


Shabooh Shoobah (1982)

1. The One Thing [3:25]
2. To Look at You [3:56]
3. Spy of Love [3:50]
4. Soul Mistake [2:57]
5. Here Comes [3:01]
6. Black and White [3:40]
7. Golden Playpen [3:05]
8. Jan’s Song [3:18]
9. Old World New World [3:38]
10. Don’t Change [4:26]

1. The One Thing (Extended Version) (6:06) 12” A-side (1982) / Dekadance EP (1983)
2. Phantim Of The Opera (3:07) – b-side of The One Thing (1982)
3. Space Shuttle (2:40) – b-side of The One Thing (1982)
4. The Sax Thing (2:58) – b-side of The One Thing (1982)
5. Go West (3:10) – b-side of Don’t Change (1982)
6. Long In Tooth (3:38) – b-side of Don’t Change (1982) / Dance EP (1983)
7. You Never Used To Cry (2:11) – b-side of Don’t Change (1982)
8. Any Day But Sunday (4:24)
Dance EP (1983) / from the soundtrack from “No Small Affair” (1984)
9. Here Comes II (New Version) (3:27)
b-side of To Look At You (1983) / Dekadance EP (1983)
10. Black And White (Extended Version) (4:58) – Dance / Dekadance EP (1983)
11. To Look At You (Extended Version) (6:26) – Dance / Dekadance EP (1983)

The Swing (1984)

1. Original Sin [5:18]
2. Melting in the Sun [3:24]
3. I Send a Message [3:22]
4. Dancing on the Jetty [4:33]
5. The Swing [3:51]
6. Johnson’s Aeroplane [3:53]
7. Love Is (What I Say) [3:41]
8. Face the Change [3:33]
9. Burn for You [4:57]
10. All the Voices [6:09] – from the film Strikebound (1984)

A-Sides and B-sides:
11. The Harbour (5:15) – b-side of Dancing On The Jetty (1984)
12. All The Voices (edit b-side version) (4:26)– b-side (1984)
13. Mechanical (4:36) – b-side of I Send A Message (1984)
14. Johnson’s Aeroplane (Remix–early version) (3:55) – b-side of I Burn For You (1984)
15. Love Is (What I Say) (Remix) – Dekadance EP (1984)
16. Dancing On The Jetty (Remix – 7” single version) (4:08) (1984)
17. The Harbour (Dub Version) (5:13) – Dekadance Cassette (1984)
18. Jackson (with Jenny Morris) – Dekadance EP (1984)

1. Original Sin (Extended/Long Version) (6:23) – 12” a-side (1984)
2. Original Sin (Dance/Dub Version) (6:00) – b-side of Original Sin (1984)
3. I Send A Message (Extended/Long Distance Remix) (5:05) 12” a-side (1984)
4. I Send A Message (Local Call) ?
5. Burn For You (Extended Remix) (6:14) – 12” a-side (1984)
6. Burn For You (Remix) (5:00) (3.38)? – Dekadance EP (1984)
7. Burn For You (Dub Version) (3:14) – Dekadance Cassette (1984)
8. Melting In The Sun (Extended Vocal 12” Remix) (4:45) – Dekadance EP (1984)
9. The Swing (Extended Remix) (3:39) – Dekadance Cassette (1984)
10. In Vain / Just Keep Walking
(Live at Magic Mountain, California, U.S.A.) (7:35) – b-side of Original Sin (1984)
11. Jan’s Song
(Live at Magic Mountain, California, U.S.A.) (3:06) – b-side of Original Sin (1984)
12. To Look At You
(Live at Magic Mountain, California, U.S.A.) (3:39) – b-side of Original Sin (1984)

Listen Like Thieves (1985)

1. What You Need [3:35]
2. Listen Like Thieves [3:46]
3. Kiss the Dirt (Falling Down the Mountain [3:54]
4. Shine Like it Does [3:07]
5. Good + Bad Times [2:43]
6. Biting Bullets [2:49]
7. This Time [3:09]
8. Three Sisters [2:26]
9. Same Direction* [4:57]
10. One x One [3:05]
11. Red Red Sun [3:32]

Rarities and B-sides:
12. *Do Wot You Do (3:16) – soundtrack “Pretty In Pink” 1986)(included on Kick 30 in 2017)
13. Sweet As Sin (2:19) – b-side of What You Need
14. I’m Over You (4:05) – b-side of This Time (1985)
15. Different World (4:09) – b-side of Listen Like Thieves (1986)
16. Begotten (Instrumental) (3:05) – b-side of Listen Like Thieves (1986)
17. Listen Like Thieves (instrumental) – 4.07 – b-side of Listen Like Thieves (1986)
18. Six Knots (0:54) – b-side of Kiss The Dirt (Falling Down The Mountain) (1986)
19. XS Verbiage (INXS Interview- soundtrack to “The Swing And Other Stories” VHS) (4:49) – b-side of Listen Like Thieves 12” (1986)

1. Good Times (With Jimmy Barnes)(3:49)- soundtrack “The Lost Boys” 1987)
2. Laying Down The Law (With Jimmy Barnes)(4:23) – soundtrack “The Lost Boys” 1987)
3. What You Need (Extended Remix) (5:35)
4. Listen Like Thieves (Extended Remix) – 5.44 (1986)
5. Different World (Extended Version) (6:10) – b-side of Listen Like Thieves 12” (1986)
6. What You Need (Live in Melbourne November 1985) (4:05) – b-side of What You Need
7. The One Thing (Live in Melbourne November 1985) (3:31) – b-side of What You Need
8. This Time (Live in Melbourne November 1985) (3:15) – This Time Live EP (1986)
9. Original Sin (Live in Melbourne November 1985) (5:17) – This Time Live EP (1986)
10. Burn For You (Live in Melbourne November 1985) (4:45) – This Time Live EP (1986)
11. Dancing On The Jetty (Live in Melbourne November 1985) (4:40) – This Time Live EP
12. Listen Like Thieves(Live in Melbourne November 1985)(4:14)
b-side of Listen Like Thieves (1986)
13. One X One (Live) (3:15) (Live in Melbourne November 1985)
b-side of Listen Like Thieves 12”
14. The One Thing (Live in Melbourne November 1985) (3:15)
b-side of Kiss The Dirt (1986)


Fantastic lists there! Don’t forget the 7″ version of Burn For You too!


Fantastic post Mapaz- it brought back a few really good memories from the times I treasure most from my teen years (up and down the East coast of Australia with a rucksack and a Walkman).
I still have many of the 12 inch remixes from Australia and they never fail to raise a smile.
Think you’ve made my day…thank you.


Nicely done, exactly what a fan would want but a record company would never deliver!


I’d add ‘You Never Used To Cry’ to the swing reissue


Some of the earlier remixes that are already on CD appeared as follows:
The One Thing (Extended Mix) – ‘Retro:Active 3’ various artists compilation
Black And White (Extended Version) – ‘Shine Like it Does’ 2 CD anthology
Original Sin (Dance Version a.k.a. Dance Dub) – Promo CD ‘X Marks the Spot’
Burn For You (Single Remix) – ‘Shine Like It Does’
Burn For You (12″ Extended Mix) – ‘Retro:Active 1’
What You Need (Extended Version) – Mystify CD Single
Listen Like Thieves (Extended Version) – Bitter Tears CD Single


@MAPAZ – Love your proposed track lists for these reissues. The Swing is my favorite INXS album. It jumps all over the map in a new wave kind of way. Pretty much everything INXS issued from ’82’s Shabooh Shoobah through to ’92’s Welcome to Wherever You Are (Live Baby Live album notwithstanding) was great though and I wish they would all get the super deluxe treatment (especially love those 80’s extended mixes). Much fun – need to listen on tomorrow’s commute.


Shame the actual album “remaster” on this comprehensive, beautifully packaged reissue of Kick is unlistenable due to excessive loudness.


I love the some of the tracks from the last INXS album with MH. The concert DVD from that tour is also great. I do feel guilty though that my favourite INXS track is Afterglow, without him…….

Andrew M

Interesting to read your comments on Atmos, Paul.

I’ve mentioned how inferior the Automatic for the People Atmos release is to the already out there DVD-A and the issues I have with it are pretty much the same as yours with this one. I’m listening to it the same way.

I thought it was a bad mix but maybe it’s the Atmos mix on a standard 5.1 system.


I saw INXS in Melbourne in 1986 and ended up talking to most of the band in their limo after the concert- only to be asked to move so MH could get in. Says a lot about the band that they bothered making time to talk to a random fan from London, but good for them. They also signed the ‘If you’ve got it, shake it’ concert flyer for me- still have it somewhere.


“Welcome To Wherever You Are” (agree with Helter about “Strange Desire”… and “Not Enough Time”!) and “Elegantly Wasted” are both deserving a deluxe edition. Bring it on!


An amazing album from a brilliant band. Makes me proud to be an Aussie by birth. Incidentally I question Andrew Farriss’ memory on their recording of Original Sin and David Bowie’s Let’s Dance. Let’s Dance was recorded in 1982 and released the following Spring. Original Sin was only released in December 1983, so either he’s thinking of something else they recorded or Bowie was in the studio for some other reason.


Their first set of albums weren’t the best but they did have some crazy, never on CD b-sides (well some of them made their way to CD at least). It’s too bad Universal won’t remaster and expand all of their studio albums with Michael.


I totally agree with you on Welcome to wherever you are, it is a stunning album and their best in my opinion. Would love to get a deluxe treatment.


About “Welcome to wherever you are” : “Strange Desire” is one of the best INXS songs !!!


Thanks for that Paul! Really interesting to hear Andrews thoughts on future reissues.

For those that might not be aware, all of their albums have been reissued on vinyl and released outside of the vinyl box set…including Elegantly Wasted…here:


Blade Runner

As far as I‘m concernd I find die Atmos mix on a 5.1 System actually very good. And I do find that there is a lot going on in the rear speakers. The question is to get a good sound out of it how good is your System and the software doing the decoding.

elliott buckingham

the atmos mix in the home doesn’t sound that great the best 5.1 mix surely goes to misplaced childhood. there isn’t even an option on kick to have just a 5.1 mix instead of the atmos.


Elliott, I purchased the 30th anniversary of ‘Kick’, and learned later it was mixed in dolby atmos, which I later researched on-line, since I was initially unfamiliar. From what I read, I determined I could approximate this new dynamic playback effect by re-positioning one set of my back surround sound speakers (I have two sets of back speakers for 7.2 surround sound) so some of the sound would be projected vertically. Tweaking my amp, I boosted the volume for those two specific speakers now laying on their backs, causing some of the sound to now bounce off the ceiling. The end result of doing this not only made the dolby atmos mix of this INXS album come to life, it made all my CDs, whether 5.1 or not, sound much more realistic!

regan judson

Great interview as usual Paul! I love the new Kick set! I like this surround mix better than Giles’ Pepper mix for sure. Not overly imaginative but there are some great moments if you have it cranked up!


A little more on topic on Kick, I interviewed Jon for my college paper when Kick came out and Need You Tonight was blowing up. I asked him about a next single and he said the band was having trouble picking because they thought there were 6 hits!


Really would like at least a 2-Disc remaster/reissue of Listen Like Thieves. There are 7″ and 12″ mixes out there.

Never thought this album gets enough love.

Stephen Scott

Next time you talk to him Paul, just direct him to the Crowded House re-issues. That’s exactly what INXS need to do. There must be loads of stuff in the archives. I’d also love to hear the demos they did with Jon Stevens. With Listen Like thieves they did a test pressing with two tracks that got left off the final version in favour of What You Need. They’re called DLT and Tell me. You can read about them here. http://www.michaelhutchence.com.au/home/blog/listen-like-thieves-for-dlt-and-tell-me/

David Carroll


Neil McL

WTWYA is one of my favourites as well, and X. Saw them at SECC a couple of days before Live Baby Live was recorded. My favourite songs would be Heaven Sent & Original Sin so like all Michael INXS periods


Thanks Paul for asking Mr. Farriss specifically about Welcome. I love that album and really hope they give it the super deluxe treatment. In fact, I would love to see X, Welcome, Dirty Hearts and Elegantly Wasted all get deluxe releases. Just a fabulous run of albums.