INXS "The Greatest Hits (UK, Mercury Records, 526 230-2)"

The Greatest Hits is a greatest hits compilation released by Australian rock band INXS in 1994. The compilation was a chart success in Australia, peaking at number two, and in the UK, where it reached number three. It stalled at number 112 on the US Billboard 200; however, it was eventually certified platinum. The album included two new songs: "The Strangest Party (These Are the Times)" and "Deliver Me".

The Greatest Hits was originally released with different tracks in the UK, US, Australia, Brazil, and Mexico, and also as a limited edition release with All Juiced Up in the UK and Australia. Japan's release carried the US track listing, and all other nations received the UK track listing. The album was subsequently re-released in 1996 in Australia and in 1997 in Japan with the UK track listing.

UK track listing

Mercury (Catalogue # 526 230–2) – available in the UK since 1994, Australia since 1996 and Japan since 1997.

1. "Mystify"
2. "Suicide Blonde"
3. "Taste It"
4. "The Strangest Party (These Are the Times)"
5. "Need You Tonight"
6. "Original Sin"
7. "Heaven Sent"
8. "Disappear"
9. "Never Tear Us Apart"
10. "The Gift"
11. "Devil Inside"
12. "Beautiful Girl"
13. "Deliver Me"
14. "New Sensation"
15. "What You Need"
16. "Listen Like Thieves"
17. "Bitter Tears"
18. "Baby Don't Cry"

Possible release date of 31/10/94 as it debuted at #3 on 6/11/94 in the UK charts.

Album Mastered at Metropolis Mastering.

This Album has been digitally re-mastered from the original masters.

INXS "Full Moon, Dirty Hearts (France, Mercury Records, 518 637-2)"

Full Moon, Dirty Hearts is the ninth studio album by Australian rock band INXS. It was released on 1 November 1993, through East West Records in Australia and in the United Kingdom by Phonogram's Mercury Records label. and by Atlantic Records in the United States. It was followed by the Dirty Honeymoon world tour of 1993–1994.

"Please (You Got That ...)" featured vocals by Ray Charles; the title track featured vocals by the Pretenders lead singer, Chrissie Hynde, however the latter was not released as a single, while the former was.

The band's manager, Chris Murphy, arranged to shoot videos for every song on the album. Twelve videos were shot on a small budget by different up and coming Australian directors.

The Japanese edition of the album included a cover of Steppenwolf's "Born to Be Wild", which was specially recorded for the April 1993 launch of Virgin Radio in the UK.

As INXS were finishing their previous studio album Welcome to Wherever You Are, they decided not to tour in support for the album; instead the group promised to go straight into the studio to record a follow-up album, then later tour for both albums.

Following the release of Welcome to Wherever You Are, the band spent the next few months promoting the album across various countries in Europe, including the UK, France and Sweden. While promoting the album in Europe, vocalist Michael Hutchence visited then girlfriend Helena Christensen in her home city of Copenhagen in Denmark. The couple were returning home on their bikes one night when Hutchence, who was standing in an alley with his bike, was punched from behind by a taxi driver and fell to the ground, hitting his head on the curb. He sustained a fractured skull and suffered the loss of his senses of smell and taste, and spent two weeks recovering in a Copenhagen hospital. In the unofficial biography Michael Hutchence: A Tragic Rock & Roll Story, Australian author Vince Lovegrove wrote, "It had a very strange effect on Michael. The alleged injury also caused the singer to act erratically, abusively and to suffer insomnia". These conditions had an impact on the production of Full Moon, Dirty Hearts.

The album was written soon after the release and promotion of the band's previous album, Welcome to Wherever You Are, at the end of November 1992. The album was recorded and produced at Capri Studio on the Isle of Capri in Italy and completed in February 1993. The Capri Studio had just reopened during the recording of Welcome to Wherever You Are and after spotting an ad for it in a trade magazine, Hutchence and producer Mark Opitz insisted that the band should record their next record there. Rehearsals for Full Moon, Dirty Hearts took place at Hutchence's villa in the south of France in October 1992 where the group were often distracted by other celebrities and supermodels who Hutchence regularly invited. The group decided to set off to the Isle of Capri early, arriving on the island one month after rehearsals. The journey was long and tiring for all members of the band as it took them almost two days of travelling to get there. Once on the island, each member of the band received their own villa, with the studio itself located close by; the studio sat atop a steep cliff, overlooking the Bay of Naples. Guitarist and saxophonist Kirk Pengilly recalls, "It was like a five-star Alcatraz". Hutchence and Opitz shared a villa on the island with Hutchence living upstairs and Opitz living downstairs.

Hutchence's condition raised concerns throughout the recording process. At first he became distraught about being isolated on the island. On the first night, Opitz was awakened at four a.m. to the sound of furniture being smashed upstairs by Hutchence. During one session, Hutchence threatened to stab bassist Gary Beers with a knife after the two had a dispute. Songwriter and multi-instrumentalist Andrew Farriss recalls another incident where Hutchence shoved his microphone straight through the strings of an acoustic guitar while shouting, "We need more aggression on this track!" In the band's 2005 official autobiography – INXS: Story to Story, Pengilly recalls, "Michael had very violent moments. He threw his microphone stand around inside the studio, and he threw violent tantrums all the time". The group took a one-month break for the Christmas period, allowing Hutchence time to recover from his condition and the rest of the band time to spend with their families. Before breaking for the Christmas holidays, the band got half of the album completed. Hutchence returned to his estate in France, later joining Farriss in London to write the last remaining songs for the album.

At the start of the New Year, Hutchence and Farriss returned to the Isle of Capri one week earlier along with Opitz and engineer Niven Garland. Upon returning to the sessions in Capri, Hutchence's behaviour had progressively returned to normal. While riding the hour and a half journey on the ferry from Naples to Capri, Hutchence began writing the lyrics for the album's title track. Chrissie Hynde from The Pretenders would perform the song along with Hutchence. As the remaining members of INXS were preparing to return to the island, Hutchence, Farriss, Opitz and Garland managed to get six more tracks for the album finished including, "Days of Rust", "Please (You Got That...)", "Freedom Deep", "Kill the Pain", "Viking Juice" and the title track. Production of the album came to an end in late February 1993 with everyone spending the final night capturing ideas and doing last minute touch ups on some of the tracks. The following morning, INXS caught the morning ferry back to Naples to prepare for their journey to Paris to carry out additional work on the album. Opitz took the recording tapes to Los Angeles where he mixed them with mixing engineer Bob Clearmountain. Clearmountain previously engineered and mixed the band's best selling album, Kick.

While recording overdubs at a studio in Paris, Hutchence and Farriss discovered that Ray Charles was recording at the same studio. The pair asked his engineer if Charles would be interested in recording vocals on two tracks for the album, "Make Your Peace" and "Please (You Got That...)". Charles passed on "Make Your Peace" because he thought the key was too high for his voice but he agreed to perform vocals on "Please (You Got That...)". The duet between Hutchence and Charles took place at Charles’ own recording studio in Los Angeles. Charles agreed to appear in the song's music video and would also perform the song live with INXS (a few days before the album's release) on the Late Show with David Letterman. The mixing of the album was completed by Opitz in July back on Capri while the band were touring some of the new songs on their Get Out of the House tour throughout the spring and summer.

Following the positive response to the sold-out UK Get Out of the House Tour in 1993, Full Moon, Dirty Hearts received mixed reviews on its release." In his AllMusic review, Stephen Thomas Erlewine rated the album two stars and said, "Full Moon, Dirty Hearts sounds tired and as calculated as X." He concluded his review by stating, "INXS sounds energetic throughout the album, but the experimentation is poorly executed and there is a serious lack of strong songs and singles, apart from two duets: "Please (You Got That ...)" with Ray Charles and the title track, which features Chrissie Hynde."

Christian Wright rated the album three stars in his review for Rolling Stone. Although he criticised INXS for sounding like other artists on some of the album's songs, he did praise the album's third single, "Time". He wrote, "Thankfully, on "Time," with its guitar and vocal counterpoint, the band sounds like itself, and Hutchence resumes the instinctive swagger that made him a video star."

The Daily Telegraph cited this as the band's' "most exciting album for years; Exile on main Street is the sound of a band getting back to the greasy basics. Full Moon, Dirty Hearts is INXS at their stomping best." Music critic J.D. Considine of The Baltimore Sun said in his review. "There's plenty of edge to the material here, from the dense, dark throb of 'The Gift' to the grungy Stones-like snarl of 'The Messenger, ' but that hardly takes away from the music's melodic appeal. He said it's the bands freshest sounding effort in ages."

Greg Kot, of the Chicago Tribune wrote in his review saying, like the stones at their peak, Inxs takes bits of what's hot-grunge, techno, hip-hop-and makes it their own. He said the loose mix of dirty guitars and warped ambiance, plus winning cameos by Ray Charles and Chrissie Hynde, make "Full Moon, Dirty Hearts" the equal of anything Inxs has ever released. Philadelphia Daily News Chuck Arnold, Praised live-sounding cuts like "Days of Rust," "The Gift" and "The Messenger," prove they tear it up like a rough-and-rowdy bar band getting paid with all the beer they can drink, He insisted best are the Stones- style blues- rockers like "Please (You Got That...)" and the understatedly emotional ballad "Kill the Pain." All show that Hutchence still has, one of the best voices in modern Rock."

At the time, the band had been hyping up their new-found raw and "grungy" sound. The album's release marked a steep downturn in terms of sales, with the issue of only two singles worldwide: "The Gift" and "Please (You Got That ...)".

Full Moon, Dirty Hearts entered the Billboard Top 200 in November 1993. It peaked at number 53 and lasted only five weeks in the charts. The album did perform better outside the States having charted at number 3 in the United Kingdom and number 4 in Australia, earning gold certifications in both countries.

Track listing

All tracks are written by Andrew Farriss and Michael Hutchence, except where noted

1. "Days of Rust" 3:08
2. "The Gift" Jon Farriss, Michael Hutchence and Kirk Pengilly 4:03
3. "Make Your Peace" 2:40
4. "Time" 2:52
5. "I'm Only Looking" 3:31
6. "Please (You Got That...)" (featuring Ray Charles) 3:02
7. "Full Moon, Dirty Hearts" (featuring Chrissie Hynde) 3:29
8. "Freedom Deep" 3:59
9. "Kill the Pain" 3:00
10. "Cut Your Roses Down" 3:28
11. "The Messenger" 3:28
12. "Viking Juice" 3:11

Total length: 39:51

CD has white background.

Recording information:

Additional recording and mixing at Studio Guillaume Tell (Suresnes, France); Olympic Studios and Westside Studios (London, UK); A&M Studios (Hollywood, California, USA).

Mastered at The Town House (London, UK).

Mark Opitz – producer, mixing (2, 4, 6, 7, 8, 10, 12)

INXS – producers, front cover design

Chris Kimsey – vocal producer (7)

Bob Clearmountain – mixing (1, 3, 9, 10)

Niven Garland – engineer, mixing (2, 4, 6, 7, 8, 10, 12)

Brian Eno – mixing (5)

Max Carola – assistant engineer

Ben Fenner – assistant engineer

Alex Firla – assistant engineer

Bruce Keen – assistant engineer

Pete Lewis – assistant engineer

John Mansey – assistant engineer

Melissa Van Twest – assistant engineer

Randy Wine – assistant engineer

Kevin Metcalfe – mastering engineer

Michael Nash – design

Enrique Badulescu – front cover photography

Garry Beers – inside photography

Leslie Farriss – inside photography

Katerina Jebb – inside photography

INXS "Welcome To Wherever You Are (Eco Pak, USA, Atlantic Records, 82394-2)"

Welcome to Wherever You Are is the eighth studio album by Australian rock band INXS, which was released on 3 August 1992. With grunge and alternative music breaking into the mainstream, INXS tried to establish a new direction for itself, incorporating sitars, a 60-piece orchestra, and a much more "raw" sound to their music. In its four-star review of the album, Q called it "... a far more engaging and heartfelt collection than anything the group has put out in recent memory ... It rocks," and listed it as one of the 50 Best Albums of 1992. It was the first album by an Australian artist to debut on the UK Albums Chart at number one since AC/DC's Back in Black, released in 1980.

Despite the positive critical reception, along with charting well on most countries' album charts (including topping the UK chart and reaching number two in Australia), the album marked a commercial decline for the band, especially in the United States, where it only peaked at number 16 on the Billboard 200 album chart. The commercial decline was partially due to the lack of promotion by their label and changing musical tastes towards grunge and alternative. Also hurting promotions, the band elected to take a break and not tour in support of the album. The plan was that the band would instead record the follow-up (which went on to become 1993's Full Moon, Dirty Hearts) and then tour in support of both albums. The downside of this, however, was that Welcome to Wherever You Are faded from press and public attention more quickly, and, as a result, failed to match the success of INXS's two previous albums, Kick and X.

While the single "Baby Don't Cry" was a Top 20 hit in the UK, the album's biggest American hit was "Not Enough Time", which reached No. 2 on the Billboard Modern Rock Tracks chart and stayed there for five consecutive weeks.

In 2002, a remastered version of the album was released, which included five previously unreleased tracks.

Following the release of their seventh studio album, X, INXS staged a worldwide concert tour titled the X-Factor Tour. The ten-month tour began in October 1990 and consisted of four legs with a total of 121 shows. The 1990–91 tour proved successful, attracting 1.2 million fans across four continents. To coincide with the successful tour, INXS released their first live album, Live Baby Live, a few months after the tour had finished.[contradictory] Live Baby Live features 15 live tracks taken from various shows during the band's Summer XS leg of the tour. Although the album was commercially successful, peaking in the top 10 on both the Australian and UK Albums Chart, as well as earning platinum status in the United States, some critics criticised the album for sounding too studio-like.

The members of INXS began preparations for their eighth studio album towards the end of the X tour. Songwriter and multi-instrumentalist Andrew Farriss had already written a number of songs while the band was on the road, including "Shining Star", which was quickly recorded and added to the Live Baby Live album as a bonus studio track. Once the band got back to Australia, the song-writing duo of Farriss and vocalist Michael Hutchence paired up to begin writing new material. Rehearsals for Welcome to Wherever You Are soon took place at the Sydney Opera House in Sydney. 

In November 1991, INXS entered Rhinoceros studios in Sydney to begin work on their eighth studio album. With no time constraints and enough money to make new studio recordings, the band members continued writing new material and experimenting with new sounds. Having worked with producer Chris Thomas previously on Listen Like Thieves, Kick and X, the band chose to work with Australian producer Mark Opitz, who was behind the production of the band's third studio album, Shabooh Shoobah, ten years earlier. For this album, INXS decided to shift their musical direction by incorporating a much "rawer" sound. To achieve this, a variety of techniques were used during production, such as stripping down the polished sound that was present on their previous albums with Thomas. Heavy distortion was used on the guitars. Opitz and Hutchence also used heavy distortion on the vocals, an experience that Hutchence enjoyed. In a 1992 radio interview promoting the release of Welcome to Wherever You Are, guitarist Tim Farriss recalls the same technique used in producing music in the 1960s: "Sometimes they used to mix the vocal back so the band would sound louder, punchier and harder".

The album includes the work and sound of the Australian Concert orchestra on the songs "Baby Don't Cry" and "Men and Women". The band recorded both tracks live in the studio, with the 60-piece orchestra being conducted by Colin Piper and engineered by Neil Sandbach. For the opening track "Questions", guitarist and saxophonist Kirk Pengilly used a brass horn to create a Far East sound. Australian singer Deni Hines was hired to provide backing vocals on one of the album's singles, "Not Enough Time", and the track "Strange Desire". The singer would go on to marry Pengilly one year later. Tim Farriss was absent during most of the album's production because he was suffering from exostosis.[ Pengilly had to play most of his material. Pengilly himself was recovering from the end of a ten-year relationship. Other band members were also going through eventful experiences in their lives, including drummer Jon Farriss, who was preparing to marry his girlfriend at the time, Leslie Bega, whom he had met the previous year in Los Angeles. Bassist Garry Gary Beers and his then-wife, Jodie, were awaiting the birth of their second child. In the band's 2005 official autobiography, INXS: Story to Story, Optiz recalls, "The album is very much Andrew, Michael and myself. We didn't have everyone's minds on the job because some of them were going through significant things in their personal lives".

In the midst of recording, the band were approached to headline the Concert for Life, a benefit show staged in Sydney's Centennial Park on 28 March 1992. The event was held to help raise money for the Victor Chang Cardiac Research Centre and AIDS Patient Services and Research, at St Vincent's Hospital. More than 62,000 people attended the event, with other Australian acts, including Crowded House and Jimmy Barnes headlining. For the encore, the orchestra were hired once again to help INXS perform their new song, "Baby Don't Cry", as well as "Never Tear Us Apart". The band included two more songs from the new album on their set list: "Taste It" and "All Around". Upon returning to the studio to finish the rest of the album, the band members decided not to tour in support for Welcome to Wherever You Are; instead they came up with the idea of doing a follow-up album, and then touring in support of both. Opitz went on to produce the follow-up, Full Moon, Dirty Hearts, a year later, continuing the band's experimentation with their musical style. Welcome to Wherever You Are is the first studio album to have all members of INXS share production credits.

As a result of INXS' self-reinvention and intention to explore new musical directions, Welcome to Wherever You Are is the band's most experimental album, as apparent in the use of the 60-piece orchestra, instances of Middle Eastern instrumentation, "layers of distortion", female backing vocals and influences from baggy music ("Taste It") and melancholic songs from the Velvet Underground ("Beautiful Girl"). The album is eclectic in nature, with David Sinclair of Q noting that it strips back the production of its immediate predecessors to allow for "a variety of stylistic adventures of which you would hardly believe INXS to be capable." The music critic Ira Robbins says the album "shuffles the deck with samples, world music accents and surprising conceptual inversions, striking a mindful balance between ambition and common sense", while writer Manny Grillo says it "blends their usual funky dance rock with more alternative rock and world music textures", noting that the orchestra are employed both for anthemic ("Baby Don't Cry") and more serious ("Men and Women") effect. The record has also been called "dance-influenced".

Commenting on the band's new direction, Farriss stated: "In the past we've been a little too conscious of our song style, and we dropped that this time round." Hutchence commented, "Every band comes to a point where they let go. With albums, you're trying to attempt something over and over and get it right. Maybe you don't know when it is right and you go over that hill. We decided to knock it on the head and go into the studio to see what happens, see what we are, start again."

The album's eclectic, experimental direction is immediately apparent with the ethnic opening track, "Questions". A Middle Eastern-flavoured psychedelic song, it has been described as "a mystical Indian drone, peppered with exotic tabla rhythms and underpinned by synths and a drum machine". According to AllMusic: "From the start of the album, it's clear that INXS are out to confuse the standard perceptions of the band; the first instrument on the album is an Eastern-flavored horn." By contrast, "Heaven Sent" is a heavy, Iggy Pop-esque garage rock song, with Hutchence's snarling vocals distorted to sound as though they were sung through a megaphone. "Communication" is a stadium-friendly "tech satire", with lyrics referring to satellite dishes and "communication disinformation". It uses the studio as an instrument and features catchy guitar work. The baggy-adjacent "Taste It" is a groove-based track with an ambient, woolly drum sound.

"Not Enough Time" features a pulsating soul groove, with Sinclair comparing Hutchence's vocals to David Bowie, while "All Around" is a rock song reminiscent of the Beatles. The orchestrations on the anthemic, symphonic "Baby Don't Cry" are comparable to 1960s rock and soul music. Rather than using the orchestra for background shading, as is typical of orchestras on rock songs, INXS and Opitz "push it to the front of the mix, forcing the rock instruments to compete," resulting in a dense arrangement. The melancholic "Beautiful Girl" was inspired by the Velvet Underground and features a delicate melody. "Wishing Well" features a sinuous, bluesy bass line and Hammond organ parts, while "Back On Line" has been described as "an unlikely trip to the spacy land of psychedelia-tinged R&B." The record closes with "Men and Women", a bleak, largely beatless song featuring a murky sound comprising harsh guitar chugs, kettle drums and symphonic orchestration.

Previous designs for INXS releases, including Kick and X, were created by visual artist Nick Egan, and included strong shots of the band, but for the release of Welcome to Wherever You Are, INXS wanted to go for a more artistic and creative theme. A technique known as "situation photography" was used to shoot random pictures for the album's cover art, as well as the album's five singles.[10] The album and its accompanying singles would all have the same font style and effect used for the title. The title is printed on a long, narrow piece of paper, and is coated onto the random photograph with adhesive tape.

Welcome to Wherever You Are features a different album cover on each format. The most recognised cover art is the design on CD, which features the Artane Boys Band from Ireland. Atlantic records also released a limited edition of the album on deluxe digipak. The vinyl edition featured a black & white picture of a Sea Cadet while the cassette cover features a group of boy scouts from 9th/10th Dublin Aughrim Street Scouts performing a human pyramid. The new designs were a departure from the group's previous work with Egan. With INXS missing from the artwork and lack of promotion from the record label, some fans simply wouldn't recognise the new album in record stores. A few months after the album's release, Atlantic re-released the CD edition in Australia with new artwork, this time featuring INXS. The re-printed artwork shows the band walking the desert dressed in suits. The shot was an outtake taken from the photo sessions that were included in the album sleeve.

Lyrics from all twelve songs were printed in the liner notes.

At the time of its release, Welcome to Wherever You Are entered the UK Albums Chart at number one, making INXS the first Australian band to reach the top spot since AC/DC's Back in Black in 1980. The album was certified gold less than two months later by the British Phonographic Industry (BPI) for sales in excess of 100,000 units. The album charted well in other parts of Europe, reaching number one in Sweden, number two in Switzerland, number three in Norway and number eight in Germany. The album attained gold status in both Sweden and Switzerland.

In the band's native Australia, the album debuted on the Australian Albums Chart at number two on 16 August 1992 and remained at that position for two weeks. In total, it remained in the Australian charts for 13 weeks. It subsequently received a gold accreditation from the Australian Recording Industry Association (ARIA) for shipments of 35,000 units. In New Zealand, the album entered at number 46 on the RIANZ Chart, eventually peaking at number eight. It was present for a total of 12 weeks on the chart.

In the United States, Welcome to Wherever You Are peaked at number 16 on the Billboard 200, and was first certified gold by the Recording Industry Association of America (RIAA) on 2 October 1992 for shipments of 500,000 units. According to writer Nick Talveski, the poor US sales were because "its dance-rock sound did not fit in with radio's then fascination with grunge-rock", thus signalling the band's declining popularity in the country. Five years later, the album was certified platinum on 16 December 1997 for sales of one million copies alone in the United States. In Canada, Welcome to Wherever You Are reached number ten on the RPM Albums Chart It received a gold accreditation by the Canadian Recording Industry Association (CRIA) on 26 March 1993 for shipments of 50,000 units.

Although INXS pursued a noisier, more rootsy sound for their next record, Full Moon, Dirty Hearts, the experimental nature of Welcome to Wherever You Are was a creative turning point for Hutchence, who then began an abandoned solo project with punk funk guitarist Andy Gill and Black Grape producer Danny Saber. In a rundown on INXS' discography, Classic Pop's Jon O'Brien wrote that the record "could never be accused of simply retreading over old ground", highlighting its experimental spirit "with a maturity befitting of a band now all well into their mid-thirties" and adding: "More than 30 years on, it’s stood the test of time, too." Welcome to Wherever You Are is also listed in the Gary Graff book 501 Essential Albums of the 90s (2024); contributor Helene Dunbar wrote that it represented the band "pushing in fresh directions of its own" to stay relevant during the grunge era.

Welcome to Wherever You Are track listing

All tracks are written by Andrew Farriss and Michael Hutchence, except where noted

1. "Questions" Andrew Farriss 2:19
2. "Heaven Sent" A. Farriss 3:18
3. "Communication" 5:29
4. "Taste It" 3:27
5. "Not Enough Time" 4:26
6. "All Around" 3:30
7. "Baby Don't Cry" A. Farriss 4:57
8. "Beautiful Girl" A. Farriss 3:33
9. "Wishing Well" 3:40
10. "Back on Line" Jon Farriss, Hutchence 3:24
11. "Strange Desire" 4:39
12. "Men and Women" Hutchence 4:38

Packaged in an Ivy Hill's Eco-Pak jewel box with 20-page booklet.

Recording information:

Recorded at Rhinoceros Recordings, Sydney.

Mixed at A&M Studios, Los Angeles.

Mastered at EMI Studios, Sydney.

Mark Opitz – producer

INXS – producers

Bob Clearmountain – mixing at A&M Studios (Hollywood, California)

Niven Garland – engineer

Melissa Van Twest – assistant engineer

Neil Sandbach – orchestral engineer (7, 12)

Leon Zervos – mastering at Studios 301 (Sydney, Australia)

Steve Pyke – cover photography

Peggy Sirota – band photography

Michael Nash Assoc. – design

INXS "Disappear (Single & Video)"

"Disappear" is a song by Australian rock band INXS, released as the second single from their seventh studio album, X (1990), in November 1990. The song was written by Jon Farriss, Michael Hutchence and Garry Gary Beers while they were living together in Hong Kong in 1989.

"Disappear" peaked at number eight on the US Billboard Hot 100 in February 1991, becoming the band's seventh and final top-10 single. In Canada, the song reached number one for two weeks. It was a lesser hit on the UK Singles Chart, peaking at number 21 in December 1990. At the APRA Music Awards of 1992 the song won Most Performed Australian Work Overseas.

The B-sides of the "Disappear" single are a Coldcut remix of their 1985 hit "What You Need" and a solo composition called "Middle Beast", which was written and performed by bassist Garry Beers.

Track listings:

7-inch and cassette single

1. "Disappear" – 4:08
2. "Middle Beast" – 4:56

Australian CD single

1. "Disappear" (extended 12-inch mix) – 6:50
2. "What You Need" (Coldcut Force mix) – 6:32
3. "Disappear" (7-inch mix) – 4:08
4. "Middle Beast" – 4:56

Australian 12-inch single

A1. "Disappear" (extended 12-inch mix) – 6:50

B1. "Middle Beast" – 4:56

B2. "What You Need" (Coldcut Force mix) – 6:32

UK CD single

1. "Disappear"
2. "Disappear" (extended 12-inch mix)
3. "What You Need" (Coldcut Force mix)

INXS "Suicide Blonde (Single & Video)"

"Suicide Blonde" is the lead single from Australian rock band INXS's seventh studio album, X (1990). It was released on 22 August 1990 in the United States and on 3 September 1990 in the United Kingdom. The song reached number two in Australia, number nine in the United States, and number 11 in the United Kingdom. In Canada and New Zealand, the single peaked at number one for two and three weeks, respectively. At the APRA Music Awards of 1991, "Suicide Blonde" won the award Most Performed Australian Work Overseas.

"Suicide Blonde" would be the final song performed live in front of an audience by Hutchence with INXS, on 27 September 1997 in Pittsburgh, Pennsylvania, before his death on 22 November 1997.

"Suicide Blonde" was written by INXS members Michael Hutchence and Andrew Farriss, after the band had gotten back together after a year-long sabbatical in 1989. The song's title originates from the night Hutchence and then-girlfriend Kylie Minogue attended the debut of the 1989 romantic drama film The Delinquents, which stars Minogue. For the premiere, she wore a blonde wig whose colour she called "suicide blonde".

The recording of "Suicide Blonde" showed some new and older influences on INXS. Jon Farriss's drums show the influence of dance music especially the acid house sounds popular in the UK. Similarly, the blues harp intro on the track, performed by Charlie Musselwhite, was sampled rather than recorded live.

David Giles of Music Week stated that "Suicide Blonde" is "less rocky than their previous work, with an emphatic dancefloor appeal".

In the United States, the track reached a peak of number nine on the Billboard Hot 100, and it topped both the Album Rock Tracks and Modern Rock Tracks charts. A dance remix of the track received wide airplay on US top-forty stations, allowing it to reach the top 10 on the Hot Dance Club Play chart. On the UK Singles Chart the single reached a peak of number 11, while on the Australian Singles Chart it reached number two. In Canada and New Zealand, "Suicide Blonde" reached number one for two and three weeks respectively.

Track listings:

7-inch, cassette, and mini-CD single

1. "Suicide Blonde" – 3:55
2. "Everybody Wants U Tonight" – 5:08

US maxi-CD single

1. "Suicide Blonde" (7-inch mix) – 3:54
2. "Suicide Blonde" (Earth mix) – 5:39
3. "Suicide Blonde" (Devastation mix) – 6:19
4. "Suicide Blonde" (Milk mix) – 5:40
5. "Suicide Blonde" (Demolition mix) – 6:53
6. "Everybody Wants U Tonight" – 5:09

UK 12-inch single

A1. "Suicide Blonde" (Milk mix)

B1. "Suicide Blonde" (Devastation mix)

B2. "Everybody Wants U Tonight"

UK CD single

1. "Suicide Blonde" (7-inch version)
2. "Suicide Blonde" (Demolition mix)
3. "Everybody Wants U Tonight"
4. "Suicide Blonde" (7-inch Nik mix)

Japanese mini-album

1. "Suicide Blonde" (Milk mix)
2. "Suicide Blonde" (Devastation mix)
3. "Suicide Blonde" (Demolition mix)
4. "Suicide Blonde" (Nix mix)
5. "Suicide Blonde" (Earth mix)
6. "Suicide Blonde" (7-inch single mix)
7. "Everybody Wants U Tonight"