JOHN CAMERON'S MUSICOLOGY EPISODE X: George Michael (84 Ð 88) by John Cameron Careless Whisper A Different Corner I Knew You Were Waiting For Me I Want Your Sex Kissing a Fool/ Faith Father Figure/ One More Try Hand to Mouth/ Crazyman Dance Look at Your Hands/ Hard Day/ Monkey You Slipped Away From Me (Surmise) Introduction George Michael and Andrew Ridgley wanted to be the biggest band of the early 80Õs. Wham achieved just that. It was an apprenticeship of sorts for George, the groupÕs source of creative talent and immaculate singing ability. Wham had provided the training ground necessary for him to become the biggest star in the world... at least for long as he had wanted to. The head start on his career meant that he was even able to have a few hits in his solo discography, before putting together his first album. One which would rival Michael Jackson, Madonna and Prince at the time. He had the looks. He had the voice. He had the ability. He just needed ÒFaithÓ. Careless Whisper ÒCareless WhisperÓ featured on WhamÕs ÒMake It BigÓ album in 1984, but the single release would be credited to Geroge Michael, despite it being one of the few songs Andrew Ridgely would have an input on. The trackÕs inception took place 3 years earlier, while George was on a bus. He proceeded to write the song in his head over a three-month period. He was 17 at the time. The demo would be one of a handful of songs Ridgely and Michael would play to record companies, in the pursuit of a record deal. It wouldnÕt have a place on their first album, but the pair still had every intention of revamping the ÒCareless WhisperÓ and bringing it to fruition. Eventually, that time came. Michael would work with legendary producer Jerry Wexler at the legendary Muscle Shoals Sound Studio to rerecord the demo. Compared to the final version, this one is arguably incongruous with WhamÕs catalogue, in that, it sounds like George Michael is being produced. ThatÕs not to say he wasnÕt in control, as by all accounts, he was. Perhaps thereÕs the biased of the classicality in the version the world would come to know, but the Wexler version just doesnÕt maximize the songÕs full potential. George would dispense of that version and start from fresh. On his own. The result was a blockbuster. ÒCareless WhisperÓ would chart a number one all over the world at its initial release in 1984, extending through to the following year. It would chart again in 2017, shortly after George MichaelÕs passing. Despite being one of the first tracks Michael committed to, the song is a staple in his discography. A Different Corner Two years later, another classic in the George Michael-credited singles catalogue, while having itÕs feature on the Wham album, ÒMusic From The Edge of HeavenÓ is ÒA Different CornerÓ. All instruments are played by George. In 1998, a mix was made for the greatest hits compilation ÒLadies and Gentlemen: The Best of George MichaelÓ, where the guitar and background vocals would be removed. Lyrically, it more closely reflects the emotional sophistication that his ballads going forward would contain. So much so, he would perform it throughout his lifetime, changing the arrangement to give certain instruments more prominence. The song breaks away from what he described as the ÒformulaicÓ tracks. His record company wanted to include it on the soundtrack to ÒTop GunÓ Ð so it wouldnÕt be thrown in the care-free aesthetic of Wham. When it would have its release their final album, it would begin what was labeled as the ÒCool SideÓ, twenty minutes of ballads. It certainly had its place. I Knew You Were Waiting For Me With George now emancipated from his three years as a duo, he was now free to establish himself as his own artist. In late 1985, he guested in Elton JohnÕs ÒWrap Her UpÓ track and video, a somewhat predictable move, given EltonÕs endorsements. But the next collaboration is where he would truly inaugurate himself as a worthy artist. While still in Wham, he was asked to write and produce an album for the legendary Aretha Franklin. He turned down the opportunity, daunted by the idea of directing one of his heroes. ÒI Knew You Were Waiting For MeÓ would hit number one on various charts around the world. It was the perfect opportunity to take proper step outside of Wham, on his own, even if it was as a feature with another artist. While it is now regarded as a classic, MichaelÕs first true solo effort would vastly overshadow it, just five months later... I Want Your Sex ÒI Want Your SexÓ would be George MichaelÕs first single, from his first album, which at that point wasnÕt completed and wouldnÕt be released for another five months. The song was to originally begin with a simple drum beat, however a technical fault would ensure something slightly more interesting. For the initial tracking, a LinnDrum Machine and two synthesizers, a Juno and Roland DX 7 were utilized with MIDI. When George and engineer Chris Porter returned to the song hours later, there was a fault with the MIDI file and the rhythms programmed for the drum machine, were instead played though the synths. They used these strange pulsating sounds to add to the trackÕs rhythmic introduction. The song is divided into three parts. The main section is titled ÒRhythm 1: LustÓ, which would become the single edit, played on radio. Until the controversy hit. Despite the uproar over the lyrics, itÕs worth mentioning that the first part is played entirely by Michael himself. That is until the second part, where he employed a seven-piece brass section. ÒRhythm 2: Brass in LoveÓ, builds upon the pre-existing composition with an array of new instruments, along with longtime collaborator Don Estus on bass. Interestingly, "I Want Your SexÓ was originally intended for his longtime friend, occasional co-writer and eventual manager, David Austin. Michael later felt the message of monogamy would be blurred by the songÕs first verse, which at that point in writing, was still meant for Austin. This is what prompted George to later write ÒRhythm 3: At Last RequestÓ, his attempt at emphasizing a more individually-focused attempt at swaying a potential partner, in a monogamous pursuit. This third section was created for the single, but would later close out the album as a bonus track. Kissing a Fool At this point in production, the project would be titled ÒKissing A FoolÓ, after the track that in the its final configuration, would close-out the album. While its potential interpretation is very much up to the listener, with its adaptive lyrics, it is based on a relationship George was in. His girlfriend couldnÕt handle who he was, or at least the aspect of fame. Michael was stricken with shock, not accounting his own success and how others might be affected by it. The cease of that relationship put him in a mindset that gave rise to songs like this, resigning himself to heartbreak. A victim of his own success; a recurring theme in his life following this era. He was clearly proud of it, mentioning the track in a multitude of interviews before the album's release, and rightly so. ItÕs speculated that he sang the song in its entirety within just one take. Whether that is true or if it was indeed compiled from a number of takes is almost irrelevant to the level of technical ability in GeorgeÕs performance. He delivers the track with as much classicality as performer in the swing era and articulates as much emotion as few are capable. For an album of pop, from a pop-star, itÕs amazing that a song like ÒKissing A FoolÓ is, for many, the standout. Faith Of course, what did become the title track is also worth the price of admission. Opening the album with a simple, sustained organ, playing WhamÕs ÒFreedomÓ, to elongate the track's running time... As an opener, itÕs a perfect surmise of the album. Articulating the themes of lust, but also as George would describe, Òcaution, mistrust and broken heartsÓ. While the melodies and arrangements may have been present in his head, Michael would often write in the studio. As an amendment would have to be made to his vocal track, he had the ability to do so by adding or overdubbing single words. And in some cases, just a syllable. The cuts arenÕt really noticeable on the album Ð thanks to the mastery of engineer Chris Porter, but on close listen to the multitrack, they are definitely present. ThatÕs not the only unconventional aspect of the vocal performance. Inspired by the challenging of mixing conventions by Prince, he wanted it dry, like the instruments on the track itself. For most of the album, the music was relatively sparse, maintaining beats for Michael to sing over, leaving his vocal as the main point of focus. When other instruments found their place as somewhat prominent in the composition, they too would remain rather simple. Such as the acoustic guitars, where the melody was orally dictated to the musicians by George. With the enthusiasm of those who were fortunate enough to hear ÒFaithÓ in production, guitars on an instrumental bridge would later be added, to extend the track time for radio. George Michael wrote ÒFaithÓ standing in front of the microphone he was presently recording into. It went on to become the most successful single of 1988. Look at Your Hands While ÒFaithÓ does come across to many as a seminal, light-hearted pop album, it does talk about some heavy-handed issues. Another ng originally intended for David Austin, with the working title ÒBetcha DonÕt Like ItÓ, would be one of those with more socially-conscious lyrics. In September of 1986, George and David came up with only the songÕs chorus, which would establish the songÕs theme of what Michael would reveal as Òabout a battered wifeÓ, based on someone they both knew. This would enable them to build around the chorus, constructing a more complex narrative. Titled, ÒLook At Your HandsÓ. The lyrics are an appeal to the abused to get out of their toxic relationship. The frustration of someone having to witness their friend resign their lives to such abuse, with in a danceable, pop-music backing is a strange juxtaposition, but it doesnÕt prevent enjoyment from the listener. Or itÕs artist. Hard Day With exception of Prince at the time, George Michael was one of few pop artists that played his own instruments. Not all of them, but he was proficient enough that he wouldnÕt have to wait for the organization of a studio musician to come in Ð unless something was really beyond his technical ability. Opening Side-B of the vinyl, ÒHard DayÓ is a perfect example of his musicianship and the general arrangement of ÒFaithÓ. Beginning with a pulsating mechanized drum track and peppered vocal samples, before hit with an in-your-face bassline - simple and repetitive, but never tiresome. During a number of promotional interviews for the album, it was noted that George was listening to Janet JacksonÕs ÒControlÓ remix album, with productions by Jam & Lewis and Shep Pettibone. Most of the singles from ÒFaithÓ was feature their instrumental counterparts for b-sides, but there were a couple of inspired exceptions. ÒHard DayÓ would be remixed by Shep Pettibone, elongating the production through a series of synthesized extensions. There is some alterations to the vocal mix as well, making the lead stand out more prominently. Unlike the other garnered from the album, the single would not hit number one. This could possibly be due to oversaturation, with the ÒFaithÓ single having been released only two and a half weeks earlier. The next, would be almost a full two months away... Father Figure The second song on the album, and the sixth number one single garnered from it, ÒFather FigureÓ permeates a seductive atmosphere with its unconventional composition, but articulates vulnerability though itÕs bare lyrics. The instrumental would have its beginnings just a rhythm track, with a snare drum sound that would later go unused, where the clicks now thrive. As a result, the final product is a rather unique one, described by Michael at the time as Òthe most original sounding song on the albumÓ. Had the lyrics been sung by just about anyone else, the interpretations of their meaning would have perhaps had a more sinister undertone. But this is George Michael. Not out-and-proud George Michael. But George Michael, the non-threatening fantasy that every girl wanted to be held by. Either sensually or sexually. ItÕs not that he gets away with saying anything creepy or salacious, heÕs just playing his character and writing his own lines for it. The vocal performance is a borderline-raspy affectation, setting a sense of security, as well as authority. He strategically reverts to his powerhouse vocals, only to emphasise the dormant passion at the peaks in the song. One More Try Even though Wham! may have been just been a flash-in-the-pan pop duo to most, he had established himself as a writer of timeless ballads. ÒOne More TryÓ would be yet another number one single generated from the album and a staple of MichaelÕs catalogue. He described it at the time as the best thing heÕd written up to that point, with the intent of it replacing the earlier ballads in the publicÕs mind. Whether that was achieved or not is debatable, but itÕs certainly a fan favorite, having its feature on every tour he did. The song is an excellent example of his inconsistent creative process. Never deviating in quality, but a somewhat unreliable output. The songs that came so naturally, in a short time frame, seemed to be the most memorable. While it replaced MichaelÕs earlier ÒKissing A FoolÓ as his personal opus of the album as production continued, it stands within the quality of the epic three songs preceding it in the configuration. Hand to Mouth ÒHand To MouthÓ was later described by George as a him Òtrying to show off as a lyricistÓ. That might have been the case in his reflection, but at the time, it was an impassioned warning of what he had been observing in the contrasts of the United States and Britain. Or lack thereof. The verses are a series of short stories of those fallen victim to their impoverished lives. The chorus is a defeated acknowledgement that a change in those circumstances is unlikely. But narrator clings to any last shred of hope. Its vocals are the songÕs main attraction, with their feature over another simple, repetitive instrumental Ð all of which was played by George, with the exception of the finishing guitar. "Hand To MouthÓ was a development of sorts from a different song Michael wrote, titled ÒGun ControlÓ which was inspired by a series freeway road-rage inspired shootings in mid-1987 Los Angeles. Songs about these kind on non-sexual social issues were clearly in his thoughts, even if they werenÕt represented to that extent on the final album configuration. Crazyman Dance George Michael isnÕt an artist that would be described as ÒprolificÓ. And that goes for his released and unreleased catalogue. There was however some material worked on during the Faith sessions that wouldnÕt make the final cut. The most significant of which is mistakenly attributed to an unreleased album concept years later. ÒCrazyman DanceÓ is that song. It came very close to making the final configuration, but with the political nature of ÒHand To MouthÓ, perhaps itÕs inclusion would have changed the vast narratives of the album, taking it to a more moralistic tone. The song describes an immigrant to coming New York with nothing and getting nothing. The verses continue the subject's sad story of struggle while the chorus changes the perspective to a criticism of societyÕs propensity to see these circumstances unaffected. While it didnÕt make ÒFaithÓ, a snippet of the introduction was included as part of a short-lived Diet Coke commercial in 1989. Applying a song inspired by the homeless problem, utilized in 30 seconds of capitalism. The add was short-lived, but featuring the track was a promo of sorts for an album rumored to be released in Autumn of 1989. That project wouldnÕt see fruition. But the song would get a release as a B-Side in 1992. Monkey Continuing the channel of observations that was influencing his writing, ÒMonkeyÓ is the story of a pleading partner frustrated by the hold drugs have on their loved one. Despite the promises of kicking the habit (represented by the metaphor of a ÒMonkeyÓ), the perspectiveÕs relentless attempts to help the person are fruitless. Despite being regarded as an unlikely contender, it would eventually be released as ÒFaith'sÓ sixth single, along with an accompanying video. Although George was not entirely satisfied with the album version, which is why he called on hitmakers Jimmy Jam and Terry Lewis. While the lead vocal is the same as what appears on the album, George recorded additional overdubs to up the energy throughout. ItÕs perhaps most recognizable on the verses, where a much lower voice accompanies the main. The reverberation is also fuller, matching the space created by the new instruments of Jam & Lewis. ÒMonkeyÓ would later be regarded by Michael as one of the worst songs on ÒFaithÓ, along with ÒLook at Your HandsÓ, but this revamped version would still hit number one in the United States and Canada, as well as attaining significant chart placement around the rest of world. You Slipped Away From Me ÒFaithÓ did exactly what George Michael want it to do. Make him the biggest star in the world. It received ÒAlbum of the YearÓ at the 1988 Grammy Awards, contentiously three American Music Awards that were usually given to black artists and six of its seven singles would hit number one on various charts around the world. That speculated 1989 album would see any release Ð by all accounts, itÕs doubtful if it was actually properly conceived. ÒListen Without Prejudice, Vol 1Ó would follow in 1990, a resistance to the achievements of the previous three years. No music videos. Very few interviews. And even fewer television performances. This period of his life represented his genius equally as he was a performer marketer. He knew his best side. He knew what audiences wanted. He knew what he wanted and achieved it.