[6] 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.

[9] While promoting the album in Europe, vocalist Michael Hutchence visited then girlfriend Helena Christensen in her home city of Copenhagen in Denmark.

[10][11] 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.

[19] 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!

[20] 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.

[20] 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.

[21] 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.

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.

"[35] 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.

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.

"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.

"[38] 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.

[39] Chuck Arnold of the Philadelphia Daily News Praised, live-sounding cuts like"Days of Rust," "The Gift" and "The Messenger," and the emotional balled "Kill the Pain."