Inxs what you need extended mix

Lyrics to ' Mystify ' by Inxs . All veils and misty / Streets of blue / Almond looks / That chill divine / Some silken moment / Goes on forever / And we're leavin'

"And Jonny [Farriss] came in. We found a drummer at last and we were sort of like, 'Oh, that’s right, your brother drums as well, doesn’t he?' So, he came in and he was such an excellent drummer at about 15 that we couldn’t lose him."

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1987 would hardly be the last year that sax would be heard on the radio; 1988 would be awash in the dripping sax of Beach Boys’ “Kokomo” and Boy Meets Girl’s “Waiting For A Star To Fall” , to name just two; Tim Cappello himself would still get his growling runs to reverberate all over the world’s radios in Tina Turner’s massive “Simply the Best” in 1989. But the writing was on the wall — perhaps because the sax solo as an art form overshot by 1987, or perhaps because the echo-laden new wave strumming of bands like U2 showed that you could fill enormo-domes around the world without anything more than four guys playing guitars and drums — as long as the guitar sounded like a synth wash or a horn’s bleat, who needed the extra musicians anyway? But beyond the scold of automation and redundancy, the truth is that the crass raspberry of the saxophone just became audio anathema, a little too much anchovy paste in the sauce until the mere mention made one shiver. The sax solo went from representing a part of a rollicking rock sound to becoming the sound of a dated 80s pop single, like a sitar solo in the ’60s or a wah wah guitar in a ’70s porno theme tune: It became uncool.

INXS What You Need Extended MixINXS What You Need Extended MixINXS What You Need Extended MixINXS What You Need Extended Mix