Artist Spotlight pt 2: George Michael 1986 - 1996

After writing the title line to this post it almost looks like an obituary, because I didn't hear anything I liked from 'ol George Michael after 1992. But for a few years he lived up to the promise he showed in Wham!. Now Ridgley-less, George Michael set out to make music with artistic integrity. He was going to prove he wasn't a joke! After kicking off his solo career with the hit "A Different Corner" he did a lot of guest appearances with the likes of Elton John ("Wrap Her Up") and Jody Watley ("Learn To Say No"). He then followed up with a star studded duet.

Aretha Franklin & George Michael - I Knew You Were Waiting (For Me)

In 1987 Producer Narada Michael Walden could do no wrong and gave the Queen of Soul (I used the title right, don't hit me Aretha!) and George Michael a sparkly, thumping pop soul backdrop to let them do their thing. Sort of an update on "Ain't No Mountain High Enough" it remains a radio favorite. It also gave George a sort of "stamp of approval" to garner this team up as a legitimate solo artist. For me, hearing it on the radio at the same time as the other Walden creation Starship's "Nothing's Gonna Stop Us Now" usually woke me up in the waning days of Contemporary Hits Radio.

Faith

Georgy boy followed with his first full solo album in earnest, Faith. Faith was Michael's manifesto, no more cow-towing to the pre teen set. Many people expected it to sell well, but what I think what surprised most people (including me) was the level of artistry packed onto the disc. All of the standard parts of late 80's pop show up: stiff drum machines, synths, sudden rhythm breaks to let you know you're listening to a dance song. But it's how it's pulled together, George Michael gives the songs a taut feel and avoids the production overkill of most dance music of the era (like anything produced by Stock, Aiken and Waterman). Add to the fact that George Michael was a pop hook machine at that time and you've got a great album.

The first single "I Want Your Sex" intentionally blew the door open to show Michael's intention of being considered an adult artist. He took his massive popularity and gave a gut punch to the bible belt with his pornoriffic beat and his Huh-Sex! lyrics. The title track became Michael's other contribution to the "best singles of the 80's" list and forced every music journalist on the planet to recite the story of Skiffle. "Father Figure", a dance track that morphed into a mid tempo exotic piece, remains a masters class in pop seduction. And then the unexpectedly jazzy ballad "Kissing A Fool" is not only an enduring favorite but features one of his best vocals.

Nearly every song on the album became a hit as the gospelish "One More Try" and the dance driven "Monkey" both received wide radio play. George Michael had completed his mission-he was a pop star and an artist.

The album had it's share of controversy, mainly for it's being considered an R&B album by the record industry. Sort of like Country music's reaction to Aussie Olivia Newton-John, the R&B crowd wanted nothing to do with the British Pop Tart. For me, I enjoyed the whole CD from start to finish. The only decision I questioned was that album cover-what's he doing, smelling for pit sweat?

Listen Without Prejudice Vol. 1

To just about anyone, George Michael had accomplished the feat of being taken seriously. Anyone, but him it seems. The bombastically titled Listen Without Prejudice Vol.1 was released in 1990 with one of the most defensive and egotistical album titles in history. It just assumed you are prejudiced against George Michael, but he's going to tell you how to listen to his music and that this is only the beginning.

An almost relentlessly somber album consisting mostly of slow paced songs, Prejudice was like sitting through a mediocre European Art House movie. It was slow, ponderous and fully self absorbed. That's not to say it was all bad, the lead single was the Lennonesque "Praying For Time" which had a depressed but somewhat insightful world view about fake charity and global greed. The one song that kills is "Freedom 90" with it's gospel chorus and piano based groove.

Don't Let The Sun Go Down On Me with Elton John

What kept George Michael in the pop spotlight following Prejudice was his half cover of Elton John's 70's classic. At this point George Michael was just about out of the closet, prompting morning shock jocks to record parody versions that changed "The Sun" to "Your Son". The star power at work was undeniable as this live version attested to when mid way through the song Michael shouts "Ladies and Gentlemen: Mr Elton John!" and a huge audience pop takes place.

Somebody To Love with Queen

At the Freddie Mercury memorial concert many singers tried their hand at filling in those big shoes but only a few came out winners. George Michael was one of them, taking on the Operatic ballad and adding a bit of soul to it. While these covers were adding to Michael's hit list, it was also showing his career was headed towards Adult Contemporary instead of the dance floor.

Too Funky

The last George Michael song I ever really got into, this early 90's tune tried to get back into the boogie with a club beat and a Anne Bancroft sample from the film The Graduate. Involved in protracted battles with his label, Listen Without Prejudice Vol. 2 never materialized and by the mid-90's his career had lost some steam. Still, I have fun memories of playing the cassingle to this song in my car on my way to work.

Older

In 1996 George reappeared with a new disc, Older. I didn't buy this CD but have found the singles "Jesus to a Child" and "Fastlove" to be pleasant and in line with his prior music. "Fastlove" would be George Michael's last Top 10 hit.

George Michael then dedicated his life to making a mess out of himself and only recording occasionally to a shrinking audience. He remains a pop star though he doesn't record any new music, retaining a following to this day. But he also remains a proven talent and if decides to get himself on track he could make a comeback.