Intense legal wrangles surrounding the controversial battle for control of the estate of INXS singer, the late Michael Hutchence, guarantee that his much touted recorded solo efforts may not be released until well into the next century.
In what has become a frustrating farcical, bitter battle between executors, family members, and his drama soaked lover, Paula Yates, Michael's solo efforts, seem destined to stay on the shelves for a few years yet.
"The solo album is on hold due to legal reasons because of the estate", his manager Martha Troup told me this week.
It is a sad, sad state of affairs, when a man's creative efforts can be stymied by greed, anger and jealousy. Even more so when the man behind the creative force is dead. The Hutchence solo album was originally set to be released this year, but the tart feuding seems to have soured that prospect. It now seems certain that the album will not be released at least until the beginning of the year 2000.
"It could be years before Michael's solo stuff is released", Ms. Troup told me.
The album was the result of more than two years' work from Hutchence, recorded in collaboration with such modern music production luminaries as Danny Saber, Andy Gill and Tim Simenon.
Saber was the key behind the sound of brilliant British band Black Grape, whilst Andy Gill was guitar player for legendary Brit post new wave act, The Gang Of Four. Tim Simenon is the potent force behind modern dance act Bomb The Bass.
Original motivater for keeping details of the estate a secret, thus thwarting releasse of the solo album, was Hutchence's former estate executor, Colin Diamond, who has since legally resigned as executor, handing the reins over to his partner, Andrew Paul. There is no doubt in my mind, though, that Diamond is still calling the shots, and I would challenge him to prove otherwise. Diamond has also assumed the role as guardian for Michael's child, Tiger Lily, who is due 60% of the Hutchence estate. What a coincidence.
The Hutchence estate has an estimated value of around £8 million, not the inflated £24 million as some reports have suggested.
His estate includes property, stock, cash, past royalties and future royalties. There lies the main reason why Hutchence's solo efforts are on hold. His future royalties include money that would be earned from sales of his solo recording.
But the battle for the bucks is another story. The battle for custody of Tiger Lily is yet another story. Paula Yates' battle for dignity has not yer begun.
But the solo music of Michael Hutchence is a great story from all accounts.
Hutchence was seen in his final years as an embattled knight in shining armour, trying to save his damsel in distress, Paula Yates. He was crucified by the tabloids in Britain, and his music unfairly slagged by the Australian media. But in fact, Hutchence was one of the most unique vocalists and lyricists of modern times, his vast talents overshadowed by controversy, not of his own choosing.
His soft, sultry voice and extremely personal lyrics were glossed over, yet this man's vocal recording technique was stylistic and unique.
"He was an extraordinary singer, and as it turns he and I made a couple of innovations in singing style", U2's Bono recently told me.
"It is related to microphone technique, new studio technology, where singing has always been affected by microphones, going back to Frank Sinatra. "That crooning style, where you could sing close to the microphone.
Somewhere in the middle to late eighties, both myself and Michael were using a really close microphone which allowed us both to forge a new recording style; to whisper in his case, and to mumble in mine", the legendary
Bono told me.
Producer Andy Gill said that Hutchence was an intensely focused musician who was set on experimenting beyond the dance-rock ethos INXS had stamped as their own sound during their 20 year career.
"He was very inventive," Gill said. Andy Gill spent around 8 months in the studio with Hutchence during 1996 and 1997. The pair recorded 15 tracks, including "Get On The Inside" and "A Straight Line".
Some of the tracks Hutchence recorded with Gill were completed, some of them mixed earlier this year, following the death of the charismatic singer. "He wanted it to be a big deal," Troup told me. "It meant a lot to him, just like being in INXS meant a lot to him. He loved his music."
Hutchence was recording with Danny Saber in Los Angeles right up until about 10 days before his death. Andy Gill says that he thought Hutchence was a "brilliant singer performer" who invested "a lot of himself in the record".
Hutchence's solo efforts were said to be lyrically autobiographical, dealing with the essence of his ongoing battle with former Boomtown Rat Bob Geldof. They told of his frustration and confusion about supporting Paula
Yates's attempts to gain custody of her three children by Geldof.
Meanwhile, INXS have not been standing still, each member devoted to solo efforts of their own. Their plans were always to devote this year and next to their solo projects, and when the fruits of their labour see the
light of day, I can assure you people will be gob smacked at the diversity of talent in each member of this great Australian legendary band.
INXS will soon have their first post Hutchence smash hit, with a modern day rap version of their huge hit "Need You Tonight".
The song has been re-mixed with additional vocals by the world's latest and greatest rapper Big Punisher, along with dance hall reggae artists Beenie Man.
The song is featured on the outrageous new movie "How Stella Got Her Groove Back".
Indeed, for unique international musical pioneering in rock music, INXS and Hutchence were up there with the world's finest in my book, but always totally underestimated by an Australian music media which could not see the forest for the trees.
Music media take heed: Do not, repeat do NOT, write off INXS for a second time.
Lovegrove's Ear on London - September 10, 1998