George Michael

George Michael playlist

Contributor: David Lewis

Christmas Day gave us possibly the most unexpected of the unexpected deaths of that annus horribilis, 2016. George Michael was still relatively young and seemingly had more to say, though he did not seem in any hurry to say it. From being one of the biggest stars of the 1980s and 1990s, he had become relatively reclusive. His fame had changed from ‘one of the best white male singers of his time’ to ‘the bloke who seemed to be on community service’. His private life was tabloid fodder. Details of his love life, his cannabis habits and his brushes with the law (some true, some not), were always around to fill a paper before its deadline.

And yet, he had one of the best voices of his generation; that full, masculine tenor with baritone richness was comfortable with pop, hard funk, ballads. He had a lightness of touch, but a gravitas which meant he could sing a tremendous variety of songs.

Five albums, none of which dipped below #2. Hundreds of millions of singles sales, album sales and a major live act. He had pretty much retired, and his new music was going to be released sporadically. I’m not interested in his personal life. I am interested in the voice, and the stories he told. These 10 are selected from his solo work – the collaboration with his dear friend Andrew Ridgely in Wham! will have to be left for someone else. (here it is … ed.)

Although we try to avoid a hits bias while doing a toppermost, Freedom 90 is superb. George gives us the story of what he went through with his well-documented split with Sony (to whom he would return). Despite the high and prominent production, the honesty of George’s lyrics and the emotional impact of them transcends the production.

Jesus To A Child is a gorgeous ballad – George didn’t need the production but he couldn’t help but treat a melody properly. Dedicated to his lover who died of AIDS-related complications, it’s pitched just right. Heartbreak, grief, but also a little hope.

The next choice, with the line, ‘But if Jesus is alive, tell me why John and Elvis are dead’ could come across as cynical. But it is pleading, it’s asked in innocence, and a touch of anger and regret. John And Elvis Are Dead is a magnificent performance. I think I prefer the live version, so that’s the one I’ve selected here.

I love Elton John’s music; he is probably second only to Lennon and McCartney in terms of his talent. But his version of Don’t Let The Sun Go Down On Me is ponderous and plodding. George finds the greatness in the song and the ‘surprise’ appearance of Elton perfects it. Bernie Taupin’s lyrics are powerfully introspective but George gives them a lift that the original doesn’t have. When Elton comes on stage, his performance is perfect – it’s as if George’s interpretation has lifted him, and he can finally get the song’s profundity. When Elton sang “although I’ve searched myself, it’s always someone else I see” the line is too much for him; he wasn’t ready. When George sang it, he knew exactly what it meant. And when Elton sings it with George, it’s brilliant.

I don’t need to express further my love for Queen, and for the remarkable voice of Freddie Mercury. Great singers have tried to fill the shoes of Freddie and have fallen short. Not George. His version of Somebody To Love was the highlight of the Freddie Mercury Tribute Concert at Wembley Stadium in April 1992. Although much of Freddie’s phrasing remain, George puts his own stamp on it and it is great.

George had always been a fan of funk, of soul, of R&B. Too Funky is a great example of it. It’s not too funky – it’s pretty much right on. Starting with Anne Bancroft’s “I’m not trying to seduce you” from The Graduate (also used in that abomination, Macarena), Too Funky wastes no time in getting down to the business of getting down. It’s urban, it’s greasy, it’s funky. It’s terrific.

George again finds the greatness in Ewan MacColl’s ethereal and elusive The First Time Ever I Saw Your Face. The melody of the verse is brought out in a way the Roberta Flack version doesn’t. Roberta’s remains definitive, but George’s is a mighty effort. And like all of his covers, he shows that, while he is a subtle interpreter, he is a solid one. No vocal histrionics or technical onanism. At the heart is the melody, which is as it should be.

Back to the hard funk of Killer / Papa Was A Rolling Stone. But when he sings ‘Papa was a Rolling Stone’, there is a depth there. Maybe this was informed by his experience as a homosexual man in a heterosexual society. Maybe not. However it worked, it worked.

Stevie Wonder’s As gets the ‘Yog’ treatment, with able assistance from Mary J. Blige. One of Stevie’s greatest songs, George is well suited to the material, and he doesn’t disappoint. It’s a deceptively difficult song – while the melody seems to glide, it’s actually very tricky – but George is not phased and puts in yet another magnificent performance.

The final choice is rather controversial as George is singing New Order’s True Faith through a vocoder, which is a filter for the voice. Critics of the recording wondered why such a pure and beautiful voice would be so filtered. Yet I like it. It suits the song and I suspect George enjoyed playing round with his voice. And of course, it’s a terrific interpretation.

George Michael was probably the best white male singer of his generation. He had a wonderful sense of humour about himself (check out his guest appearance in Ricky Gervais’s Extras in which he pokes fun at his public persona). He was a great songwriter and a superb interpreter of the works of others. He is sadly missed, but won’t be quickly forgotten.

George Michael (1963-2016)

George Michael official website

George Michael Concert Archive

Yours Only George: fan-created site

George Michael at Discogs

George Michael lyrics

George Michael biography (Apple Music)

David Lewis has written several posts for Toppermost. He lives in Sydney and lectures in Popular Culture and Contemporary and Roots Music at the Australian Institute of Music. A guitarist, mandolinist, banjoist and bassist, he plays everything from funk to country. He writes on music here.

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