JOHN CAMERON'S MUSICOLOGY GEORGE MICHAEL (88 Ð 96) By John Cameron Listen Without Prejudice, Vol I Sessions Listen Without Prejudice, Vol I Release Listen Without Prejudice, Vol II Sessions Freddie Mercury Tribute Concert/ Five Live Red Hot + Dance Trojan Souls Anselmo's Passing/ Sony Court Case Older Sessions MTV Unplugged Surmise George Michael released his debut album, Faith, in 1987 after 6 years in the pop group, Wham! It was a level of success that few attain at the age of twentyfour, but some are unfortunate enough to experience. It was still rare at this time for international artist to reach such popularity in the United States, that weren't from there. George struggled enough with the tabloids in his own country, to throw the out-of-control fanaticism of his American fans at him, it became too much to handle. This changed the course of his career. The decisions that were made, were influenced by the infestation of unimaginable fame, that lead to some of the highest-class pop-music ever recorded. Any other artist would capitalized, George however, revolted. To distance himself from "Faith" and establish a level of artistry beyond it, is where our story begins. Listen Without Prejudice, Vol I Sessions The "Faith World Tour" ended in October of 1988 and so too did George's love of the spotlight. Instead of writing, composing and promoting for mass-appeal, he began to write with more complexity, compose with more sophistication and promote... Well, nothing. PLAY "SOMETHING TO SAVE" Commencing the writing for his new project, "Something To Save" was the earliest song to make the album. It's sound and general theme would set the overall feel for what became "Listen Without Prejudice, Vol 1". That's not to say he wasn't coming up with songs that were more familiar with where he went on "Faith". PLAY "FANTASY" Mix While it wouldn't be appropriate for the album, "Fantasy" did become one of it's singles b-side and one of Michael's best dance tracks. Simplistic and repetitive, but not at all tiring. It's funky rhythms and catchy horns don't overstay their welcome. It was clearly a favorite of George's, as he would remix it for a compilation album nine years later... Perform it on his 25 Live tour nine years after that... And remix it with Nile Rogers for the 25th Anniversary edition of "Listen Without Prejudice" nine years after that... This version would be his final planned single. It was also around this time, when George would revisit a song that was recorded during the "Faith" sessions... PLAY "THIS KIND OF LOVE" MIX George Michael doesn't have a large vault of unreleased tracks. He was self-admittedly very un-prolific. Now, in terms of how much unreleased material actually is accumulated throughout his thirty-year career, I'll let you speculate. "This Kind of Love" was originally recorded in 1986, before given to Elton John that same year. In 1988, George rerecorded it. He would do this once again around 2012 for an album that was completed, but never released. It was recorded as a solo, but originally intended to be a duet with Amy Winehouse, whom had passed away a week before their scheduled session. Despite not making it to any project at the time, it would be an indicator of a couple of upcoming songs, which would paint similar soundscapes in their productions. Like the next, worked on in March of 1989. PLAY "COWBOYS & ANGLES" MIX This is a prime example of the complex writing and the sophisticated compositions he was capable of. Utilizing real orchestrations and a runtime of over 7 minutes, "Cowboys & Angles" is one of the earliest displays of a more cinematic-like sound in his work. It was such a departure from "Wham!" and "Faith". Michael's concern for his own artistic development meant more than some kind of 'pop devotion' to his fans. Reflecting on his career today, it was worth it. PLAY "FREEDOM 90" Three months later, George was finally able to articulate where he had been and where he was going. In and on his own terms. His own declaration. A compromise with his record company that would eventually turn into a middle finger. It was undoubtedly his most directly-autobiographical song he would put out at the time, which would also become his most recognizable. PLAY "PRAYING FOR TIME" Continuing with a more reflective approach to his song writing, in October, he penned the lyrics to "Praying For Time". The track documents societies capitalist proregression and compassionate regression. When Michael would perform this song during his Symphonica Tour fifteen years later, he wrote new lyrics articulating his disillusionment at the lack of change. PLAY "THEY WONT GO WHEN I GO" George loved Stevie Wonder. Having covered a significant amount of his songs during his career. During the Faith Tour alone, he covered "Pastime Paradise", "Village Ghetto Land", "Knocks Me Off My Feet" and "Too Shy To Say". For "Listen Without Prejudice" he did his first studio recording with "They Won't Go When I Go". Let's have a listen to some of the lead vocal session, which took place on the 24th of January 1990. What's truly amazing is that this cover doesn't really try anything different from the original, but it does have a certain quality to it that makes it stand out. More than anything else, itÕs a vocal and emotive exercise for George. There isn't any significant deviation between the different vocal takes, however there is slight improvement with each one and they definitely serve as a warm up for what would appear on the album. Some experimentation did naturally take place, such as a slightly different ending than that he had done during the first few recordings. Eventually, vocal flourishes, similar to the Stevie Wonder original, were recorded. Adding further haunting textures to an already haunting instrumental. That following month of March, George would begin to construct one of his most interesting productions. PLAY "WAITING FOR THAT DAY" MIX It's incredibly smart. Incorporating all of those very different styles to create what the song became is perhaps the best documented testament to his craft. If there was any doubt of his qualifications to successfully "crossover", as there had been with "Faith", this song dispels all that. Lyrically, the track is an internal monologue of unsuccessful grief. A broken relationship that the subject can't seem to accept. The longing for that connection to spark again, despite the accepted unlikelihood. If the black rhythm, white acoustic guitars, 60's organ and incredible vocals weren't enough, there's also the Rolling Stones sample to close it all out. If anyone questions George Michael's genius, this may be the song to play them. PLAY "MOTHERS PRIDE" In April, George committed to another exceptional exercise of songwriting. "Mothers Pride" would reach popularity on radio in the US during the Cold War months after its release, becoming a minor hit. Some stations would overdub messages recorded from troops ad families, played over the original recording. PLAY "HEAL THE PAIN" MIX While George is widely acknowledged for his lyrics and compositions, not much is often said about his musicianship. On this album, he plays bass, keyboards, percussion and acoustic guitar. He had plenty of capable musicians around him, who abilities he did employ on the songs, but still found it appropriate to leave enough of himself in. Such is the case with the guitar solos on this. "Heal The Pain" was written with the style of The Beatles in mind, and in 2006, the track was fully realized when it was rerecorded as a duet with Paul McCartney, 16 years after the original version. PLAY "SOUL FREE" Segueing from "Heal The Pain", George returns to his more danceable material. After all of the acoustic-driven tracks, "Soul Free" can feel a bit jarring at first. It almost seems like an introduction to where he was heading with the impending Volume Two, a complete redirection of the general vibe, taking a more "danceable-route". PLAY "WAITING (REPRISE) Closing off the album and the 'Listen Without Prejudice, Vol I" sessions, "Waiting", considered a reprise version of "Waiting For That Day", returns to a simple acoustic guitar-driven instrumental, rightfully putting George's voice center stage. It's interesting that he decided to put this track at the end of the album, when if used as the opening track, probably would have set the tone more accurately than "Praying For Time". None the less, it's lyrics are another introspective assessment of where he's been, where he's going and who he wants to be. Listen Without Prejudice, Vol I Release "Listen Without Prejudice, Vol 1" was released on September 3rd, 1990. It would outsell "Faith" in the United Kingdom, but would fail to receive any significant notoriety in the United States. The album debuted at number one in the UK and would win the 1991 Brit Award for "Best British Album". With exception of a radio interview, George refused to promote the album; which included appearing in videos and television performances. This put a strain in the relationship with Sony in the US. George did tour though, while not in direct promotion of the album. During the first leg of the "Cover To Cover" tour, he played the "Rock In Rio" festival, where his life would change forever. PLAY ANSELMO CONTENT Listen Without Prejudice, Vol II Sessions PLAY "DON'T LET THE SUN GO DOWN ON ME" MIX During the second leg of the tour, on the 23rd of March at Wembley Stadium, Elton John joined George onstage to duet on "Don't Let The Sun Go Down On Me", which Michael had been performing solo during previous shows. The recording would be released in October that year, which became a huge success, reaching number one on various charts around the world and receiving a Grammy nomination. Proceeds from the single went to ten various charities. PLAY "CALLING YOU/ AIN'T ABOUT TO STOP" During the Wembley concerts, George would also record a cover of Javetta Steele's "Calling You" and would perform McFadden & Whithead's "Ain't About To Stop", which would be done in-studio. PLAY "DISCO" Volume II of "Listen Without Prejudice" was set to be very different from the first. Tracks like this one, "Disco", would set a trend in the recording sessions as to the type of material that would be recorded. PLAY "DO YOU REALLY WANT TO KNOW" Interestingly, the lyrical content for most of the more "danceable" material could just as easily have been applied to an acoustic track in the style of volume one. PLAY "SAFE" In spite of the direction most of his productions at this time were heading in, George still continued with those ballads he mastered. "Safe" and "Do You Really Want To Know" would later be released as b-sides to singles from the "Older" album in 1996 and 1997. He would later reflect on these sessions, remarking that most of the material just wasn't as good as what he had done previously. There are varying accounts of just how far the project went, with those around him remarking that these sessions were never seriously considered for a follow-up album. With that said, an article published in a 1992 edition of Billboard magazine reported that Volume 2 would contain seven studio recordings and five live tacks, including "Don't Let The Sun Go Down On Me". Weather a track-listing was configured or not, the sessions did give rise to at least one hit. PLAY "TOO FUNKY/ HAPPY" MIX Perhaps more in line with his usual quality, "Too Funky" would become a smash. The video would run along the same lines as "Freedom", being inundated with various supermodels instead of George himself. Another track developed around the same time, titled "Happy", would follow a similar groove. Upset with the lack of promotion Sony Music in the US was investing in the first "Listen Without Prejudice" album, Michael arranged a meeting with its head, Tommy Mattolla. Depending on which rumor you hear, the environment slightly changes. However, it's alleged that Tommy referred to George as a "faggot" when thought he wasn't in earshot. The relationship dissipated and Michael refused to record for Sony further. Five Live On the 24th of November, 1991, lead singer of Queen and influence to George, Freddie Mercury passed away due to complication with Aids. That December, Anselmo was advised to be tested for HIV. In April of that following year, the "Freddie Mercury Tribute Concert" was held at Wembley Stadium to an audience of 72,000 and a live television broadcast to an estimated one billion. The lineup included the likes of Metallica, Liza Minelli, Elton John and David Bowie. But it was George Michael who stood out. PLAY "SOMEBODY TO LOVE" MIX George's performances were released as their own stand-alone EP, along with "Killer", "Papa Was a Rolling Stone" and "Calling You" recorded during the "Cover To Cover" tour. The single went to number one in the UK and sold five million copies with all proceeds going to the "Mercury Pheonix Trust", a charity dedicated to raising awareness of Aids. PLAY "KILLER" MIX Red Hot + Dance Later that year, George contributed "Too Funky", "Do You Really Want To Know" and "Happy" to the compilation album "Red Hot and Dance", with all proceeds going to aids related charities. If there was any indication that "Listen Without Prejudice, Vol 2" was no more, the release of these songs certainly solidified that. Trojan Souls That year, George committed to the idea of recording an album of duets with his inspirations and contemporaries, like Elton John, Seal, Janet Jackson, Sade and Wendy Melvoin. This project would receive the title "Trojan Souls". PLAY "MAYBE IT'S NOT YOUR TIME" MIX According to various accounts, songs were being worked on as early as 1990, however most would remain instrumentals, without any reported involvement with those they were intended for. Sade Adu has only ever worked without her band Sade on one record in 1993 for a soundtrack and Janet Jackson hadn't worked without Jimmy Jam and Terry Lewis since 1985. Some of the choices for singing partners seemed... Unlikely. PLAY "ONE DAY I'LL KNOW" The session did give rise to some songs that could be considered "complete", such as "Maybe It's Not Your Time" and "One Day I'll Know". Recording sessions for both, took place in September of 1992. PLAY "WENDY MELVOIN SONG" The only collaborator that was known to work on a song, is Wendy Melvoin, playing electric guitar over Michael's rhythm tracks. Ultimately, "Trojan Souls" would never be released. Although according to MTV, in 1998 George would resurrect the project once again. Anselmo's Passing/ Sony Court Case On the 30th of October, George Michael filed a lawsuit against Sony Music Entertainment. George claimed that due to his refusal to appear in videos or any other significant promotion for "Listen Without Prejudice, Vol 1", Sony had failed to market the album appropriately. He wanted out of the contract that he had signed in 1982, in spite of the fact it had been renegotiated several times since then. In March of that following year, Anselmo passed away due to aids-related brain-hemorrhage. He was 37. PLAY "CONCERT OF HOPE" MIX In December, George returns to the stage as part of the "Concert of Hope", raising funds and awareness for those battling aids. Performing alongside the likes of K.D. Lang and Mick Hucknall, in front of Princess Diana and hosted by David Bowie, he delivers one of his best performances ever captured. It events like this which really highlight just how much was lost with Anselmo's passing. George Michael, at his artistic, vocal and performing prime. The Sony court case was ruled in favor of Sony in 1994. They would later sell Michael's contract to Dreamworks Records. Older PLAY "JESUS TO A CHILD" In November of that year, George appears at the MTV Europe Music Awards, where he performs his discreet tribute to Anselmo. It would be released as a single, more than a year later and hit number one on charts around the world. George Michael was back. He immediately began working on the 1996 album, "Older". PLAY "FASTLOVE" MIX Having been more actively engaged in what would still be regarded as the "stereotypical gay lifestyle" at the time, George would write about themes even more personal than that on the last album, even though he was still not out at the time. "Fastlove" is about cruising. Something that he would become rather renowned for a couple of years later. A pounding, danceable bassline, ethereal synths and discreet horns, all built around Patrice Rushen's hit, "Forget Me Not". it's production is immaculate It's the dance music that, while softer than what came out of the "Listen Without Prejudice, Vol II" sessions, was the artistic and commercial achievement he was striving for. Even stripped down in the "Summer Mix", it's irresistible class is all there. Amazing, considering its subject matter. Anyone can write a song about casual hook-ups, but no one can make it so sensual, so seductive and so classy. Did I mention that bassline? PLAY "OLDER" MIX Returning his vocal to center-stage with a synthesized orchestral backing, the album's title track "Older", is about an evolving maturity of one's relationships. Perhaps a progression of the previous album's "Waiting For That Day". Like many of the songs featured on "Older", production was relatively straightforward, although there were a few minor changes from an earlier vocal comp. PLAY "SPINNING THE WHEEL/ MOODY" MIX One of the earliest songs worked on, was "Spinning The Wheel". A track about one promiscuous partner putting the other in danger of contracting HIV, then potentially receiving it themselves. Lyrically, it's some of Micahel's best storytelling, even though still out of context given that George was still in the closet. This is perhaps the most direct clue on the album as to whom he really was. That's not to suggest the story told was directly from his own life, but it was a indicator of the kinds of topics he was thinking about. The song was developed from an early version, known by it's working title; "Moody". Even at its inception the narrative was clearly established. Interestingly, some different lines were included in the single's "Forthright Remix". PLAY "IT DOSEN'T REALLY MATTER" "It Doesn't Really Matter" is a fan favorites. The instrumental, completely performed by George, is incredibly basic, although the piano is so quiet in the mix, it makes it interesting, even enough with its few chords. The lyrics again tell a specific story of resignation and reflection, but still maintain enough ambiguity to allow the listener to invest their own experiences and emotions into it. Perhaps some do more than others. PLAY "THE STRANGEST THING" MIX Providing a more danceable rhythm since "Fastlove", "The Strangest Thing" is about escapism. Being trapped in a state of mind for so long, yearning to be thrusted out of it by anyone. It's one of two songs that would receive a remix in 1997, taking it from an overly-layered, ambient jazz-pop groove to a more r'n'b-house flavored club track. Like the previous, all instruments are played by George. PLAY "TO BE FORGIVEN" MIX "To Be Forgiven" could be interpreted to be about, what would be regarded in today's world as "triggers". Falling into depression over a reminder or a memory. George and guitarist Danny Jacobs built the instrumental in a short session with the two exchanging ideas on their chosen instruments. It's main drive is in the vocal melody. At this point on the album, the song serves as a wind-down from the intensity of the thus far. PLAY "MOVE ON" Enhancing the jazz feel embedded throughout, comes "Move On", providing probably the most direct-message on the album. This time, it's about, well, moving on. Often albums about depression and tough times miss the resolution that this song provides, despite it being probably the weakest on the album itself. PLAY "STAR PEOPLE" MIX Another big hit was "Star People", returns to what was touched on in "Praying For Time". An enhanced frustration with the lack of charity and false humility within showbusiness and among its capitalist inhibitors. It also touches on the, "delicate and desperate personalities". Like "The Strangest Thing", it was also remixed in the following year, taking it from its soulful r'n'b origin to a faster funkier instrumental with a slightly more aggressive vocal. Then there's the "MOV Version", often incorrectly referred to online as the original demo. Exclusively released through one of George's fansites in the late 90's, it maintains the funk of the '97 mix, while adding bigger reverbs on the new drums. PLAY "YOU HAVE BEEN LOVED" The last song on the album, "You Have Been Loved" is a George Michael classic. The lyrics depict a mother visiting the grave of her son, while asking the most common question in grief, "why". Possibly a circumstantial rearticulation of what George was going through after the loss of Anselmo. If "Jesus To A Child" was the perfect was the perfect way to introduce his tribute on "Older", than this was the perfect way to end it. MTV UNPLUGGED On the 8th and 11th of October, George hosted two concerts predominately featuring songs from the most recent "Older" album. PLAY MTV UNPLUGGED CONTENT One of the concerts was filmed as part of "MTV's Unplugged", possibly the most significant document of George's vocal ability. Surmise PLAY "FREE" George Michael in 1988 was at his commercial peak. A level of pressure that lead him to reevaluate what he wanted from his own craft, which inspired his artistic achievement with "Listen Without Prejudice". An album which after all these years seem to resonate with its listeners more than the blockbuster "Faith". The projects in between, well perhaps George was too busy enjoying his life and love to give his music the focus it needed. One can only project so much passion to multiple outputs. And then we get to "Older", one of the finest albums ever released about bereavement and depression. As a vocalist, as a musician and as a writer he was undoubtedly at his best. The album was unlike what most were recording at the time. With the jazz, soul and funk infusions, perhaps if was released by a black artist, it would have been regarded as part of the "Neo-soul movement" of that time. Yes, there were years lost at this artistic peak, but what the world did get solidifies George's natural ability as one of the greatest pop artists the world has ever seen.