Hidden gems from Matt Jones’ record collection:

"In this column, I want to shine a light on the essential hidden gems in my record collection. Albums that might not always get the spotlight, but have stayed close to me over years of listening."

For this month’s Hidden Gem, we’re talking about another fantastic record from a band you know, but perhaps not the album you know.

This is a band I grew up with as a kid. Their music was a huge part of my childhood. Always on the turntable, always in my Walkman too. Usually until the tape snapped.

Their run of albums including Shabooh Shoobah, The Swing, Listen Like Thieves, Kick and X is enough to take your breath away. A stunning back catalogue from one of Australia’s greatest musical exports. Not to mention their incredible live shows. Track down Live Baby Live if you need evidence of that.

INXS is that band. A band sadly no more following the tragic death of frontman Michael Hutchence in 1997.

INXS' Welcome to Wherever You Are is an album I’ve loved from the very start. Released in 1992, it arrived at the height of grunge and, compared to the enormous sales of the albums that came before it, was viewed as a commercial disappointment.

Why? Was it the terrible album cover? Bad timing? The choice of singles? Or perhaps fans simply found it too adventurous, too clever and too different from the INXS they knew.

This writer suspects it was a combination of all of the above.

Unlike Kick, where everything clicked perfectly together, INXS' Welcome to Wherever You Are felt like the band swerving into stranger territory. The sleek pop instincts remained, but suddenly there were orchestras, sitars, unusual arrangements and a willingness to experiment. Which is a shame for anyone who skipped over this fantastic record.

Because there are great songs everywhere here. Some of the band's very best, in fact.

'Questions' opens proceedings with Indian sitar sounds and Michael asking: How far can you go if you've been there before? and How can you shine if you've never seen the sun? It's a lovely introduction before the huge riffs of 'Heaven Sent' hit you square between the eyes. Originally written as a waltz (think 'By My Side'), the song transformed when the band sped it up during recording sessions. For those wanting to hear the demo version, it's floating around if you dig hard enough.

Next up is 'Communication', with a tasty groove and gorgeous piano work from Andrew Farriss. It remains one of my favourites on the record.

That slides into the single 'Taste It', driven by another fantastic Gary Gary Beers bassline and one of Tim Farriss’ funkiest guitar riffs, not unlike 'New Sensation'. Kirk Pengilly’s saxophone flourishes only add to the magic.

Then comes another single, 'Not Enough Time', with Michael’s voice carrying the whole thing along effortlessly. Another killer song built on a fantastic groove.

'All Around' is perhaps the album’s first weaker moment. Not terrible, just a little rock-by-numbers compared to the adventurous songs surrounding it.

'Baby Don’t Cry' though? Masterpiece territory. INXS with orchestration is something I wish we had heard more of. The horn arrangements absolutely carry the song. It’s a total departure and perhaps too much of one for fans wanting pub-rock anthems.

Side Two opens with what, in this writer’s opinion, is the album’s finest moment: 'Beautiful Girl'.

Written by Andrew Farriss after the birth of his daughter Grace, it’s a beautiful tribute and one of the most heartfelt songs in the INXS catalogue.

'Wishing Well' is another one that doesn’t quite land for me. A fairly standard rocker that feels a little flat alongside stronger material.

'Back on Line' is good too, although it has always sounded slightly unfinished to my ears. Lots of great ideas, just not fully realised.

Thankfully 'Strange Desire' pulls us right back into the groove established earlier by songs like 'Communication' and 'Taste It'. A lovely pop song about longing and losing control, themes Michael Hutchence always explored brilliantly.

Then comes the closer.

Nothing prepares you for 'Men and Women'. Horns, orchestration and a melody with a Beatles-esque feel combine for one of my favourite album closers ever. It’s epic without shouting about it.

So that brings INXS' Welcome to Wherever You Are to a close and perhaps my most contentious opinion of all.

Is this INXS’s best album?

For this writer... I think it might be.

Not to diminish the greatness of Kick, Listen Like Thieves or X, but the songs here feel daring, adventurous and unlike anything else INXS attempted before or after.

You can pick this one up incredibly cheaply on both CD and vinyl, so there’s really no excuse not to own this amazing record.

Until next time, happy spinning.

Listen to the album on YouTube (Music videos for singles included)