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Speaker 1: Welcome everybody to the Surely you Can't Be Serious? Podcast.

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I am here with my aviator, ray band, reflective sunglasses on,

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and my hair frosted, and Jason is in his letter

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coat and tight fitting Levi's jeans right absolutely, and we're

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both pretending like we can play the guitar.

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Speaker 2: I'm just shaking my butt, that's all I That's all

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I know how to do is.

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Speaker 3: Shake my but.

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Speaker 4: Hello everybody, and welcome to the Surely you Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture with your co hosts

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James D. Graves and Jason Colliban.

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Speaker 1: I'm excited to jump into this one. This is new

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territory for us. Is very much pop, and I realized

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we covered Michael Jackson and that's the king of pop.

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But we've been primarily a rock and roll kind of thing,

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and in excess was about as close to pop as

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we got. And now we're getting full on in as

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poppy as pop can get with mister George Michael.

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Speaker 2: I'm excited about this too, because even though it is

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a full on head dive into pop music, this was

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everywhere in nineteen eighty eight. You couldn't go anywhere without

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hearing George Michael's songs. And this guy has a voice

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like an angel. So I've got no problem covering talented,

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impactful musicians from the eighties.

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Speaker 5: So let's do this, all right.

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Speaker 2: So, just to remind everybody, this episode is about George

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Michael's Faith album. But this is a comparison with Inexcess's Kick,

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which we did last week.

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Speaker 1: Yes, both of these albums came out in nineteen eighty seven,

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and we're both topping the pop charts during that time.

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Speaker 2: Yep, very end of eighty seven, and we're prominent all

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the way through eighty eight into nineteen eighty nine.

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Speaker 3: So you're ready to dive right in.

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Speaker 2: Let's do this all right, clone, all right.

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Speaker 1: In June nineteen sixty three eight, a young Greek child

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was born named Porjijos Kyriakos Peneluto, not quite as poppy

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as George Michael, but anyway. He was born in England

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and grew up there. His father owned a restaurant called

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Mister Jack's, a Greek style restaurant, and George had to

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work in the restaurant, cleaning dishes and such like that.

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And knew at the time he wasn't sure what he

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wanted to do, but it definitely wasn't working in a restaurant.

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Speaker 2: That's right, he said. His memories are that he hated

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every moment of it.

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Speaker 1: So George's dad was kind of of a task masaker,

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disciplinarian type of father, and he didn't really connect with

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him very well. Had a great relationship with his mother,

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and as he grew up, he kind of had some insecurities,

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felt like he was fat, he wore glasses, had funny hair,

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and eventually he moved to Bushy Meads School, where a

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young man named Andrew Ridgeley was asked to take him

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under his wing, and George and Andrew became fast friends.

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George was pressed with Andrew's care free lifestyle, good looks,

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ability to get girls, and so they became inseparable, and

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then at age seventeen, they both quit school at the

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behest of Andrew and decided to start a band together

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and lived on welfare while they were composing songs, putting

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their dance moves and style together.

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Speaker 2: Yeah, this band was initially called the Executives, but that

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didn't stick, and you may know them better as Whim

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hard to miss whim in nineteen eighty four. These guys

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when they got together, so.

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Speaker 3: They were young.

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Speaker 5: Guys were really young, like.

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Speaker 2: When they got started they were nineteen yeah, but George

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had an ability to write catchy tunes, and Andrew wanted to

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be the biggest band in the world and it'd.

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Speaker 5: Be great, right.

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Speaker 1: They released their first album, Fantastic in nineteen eighty three,

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and it did not take off until there was this

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weird dumb luck circumstance where a band was unable to

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play on a little show called Top of the Pops

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in England, which was basically like an American bandstand style

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show in England. And when that band wasn't able to play,

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Wham happened to be able to fill the spot, and

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when they came in, it was George and Andrew dancing

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around having fun with a couple of other lady singers

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that were in the band, and they had such a

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good time on their show that it was almost an

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overnight success for them. Their singles, which hadn't done much

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up until then, suddenly started climbing up the charts and

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it wasn't much longer before they were everywhere on the airwaves.

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Speaker 5: I saw this.

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Speaker 2: One of the songs that they played on top of

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the pops was young Guns go for It. But these

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guys had a rap song. These are two English white

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guys in nineteen eighty two who were rapping that was

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pretty unheard of at that time.

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Speaker 1: Yeah, absolutely, in their moves and their style were certainly

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something that kind of drove the girls around crazy. They

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immediately became teen idols and everywhere they would go, girls

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were screaming their names and looking for their autographs. So

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the next album to come out for Wham was an

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album called Make It Big.

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Speaker 3: You heard of that one?

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Speaker 5: Yeah, Actually, I.

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Speaker 2: Think everybody in the world had a copy of This

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is like passed out in the fourth grade of my school.

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Speaker 1: So yeah, I think I've mentioned on some of our

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other episodes. This was one of the very first tapes

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that I had. It was this and a Minute Work

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and nineteen eighty four.

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Speaker 2: Okay, So the big songs off of Make It Big

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were wake Me Up Before You Go Go, which I

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can barely say without singing. Everybody in the world knows

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this song. But Everything She Wants was a huge hit, Freedom,

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which we'll talk about here in a second, and then

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Careless whisper.

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Speaker 1: So just before this, just before Fantastic came out, George

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had an experience that led him to question his sexuality,

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and when he approached his bandmates about it, they were

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concerned about how his family would feel.

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Speaker 3: In the eighties, aids.

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Speaker 1: Had just become a thing, and this was a shocking

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and scary thing that was associated at the time with

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that lifestyle, and so they convinced him at the time

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to just keep it a secret, and so for the

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next sixteen years he didn't say anything about it. Now,

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I will say this, I didn't really have any question

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about it, even as a kid watching the videos, going Okay,

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that guy's different than other guys. So as the bandmates

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became very famous, ironically, there was a lot of dating

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a very beautiful women by both Andrew and George, and

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some gaming of stealing of the women from each other

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as their fame went on. One of those women that

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was really into WAM at the time was a young

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lady named brook Shields who was also a megastar in

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the early eighties, and apparently when they met, became very serious,

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very fast, and George said, I just got scared and

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just kind of laughed.

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Speaker 5: George Michael and brook Shields.

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Speaker 2: That's a pretty powerful early eighties couple right there.

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Speaker 5: Absolutely yeah.

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Speaker 2: Okay, so of those singles that WAM put out from

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Make It Big.

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Speaker 1: Let's talk about Caroless Whisper for just a second. The

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story behind the song is kind of interesting. George used

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to chaperone his sister to skating rinks, even though he

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was two years younger than she was, but he said

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he would basically let her go do whatever she wanted

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because all he wanted to do was stare at this

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beautiful girl named Jane. At the time, he said, I

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was a fat, bushy haired, classes wearing kid who never

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had a chance with her. And then you know, he

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met Andrew, he changed style, girls became interested in him.

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He began dating another girl named Helen, and then lo

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and behold.

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Speaker 3: He happens to.

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Speaker 1: A couple of years later, come across Jane again and

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she has seen him doing some DJing and she's now

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enamored with him, and so he starts seeing Jane without

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telling Helen, and he said this song. He remembers coming

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up with it on the bus, like he very very

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vividly remembers, you know, riding the bus home and as

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he's handing the money to the bus driver. As he's

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about to get off the bus, this sack solo comes

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into his head, unmistakable sax ol.

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Speaker 5: Right, yeah, I heard him say that.

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Speaker 2: At that time that was the proudest he'd ever been musically.

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Speaker 1: When he had gotten the song arranged, he had a

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friend who played sax at the local pubs for fun.

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He had recorded it. It was the sound that he wanted,

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but it was just a simple recording. So when they

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got together to actually record this song, they thought, okay,

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we're big at this point. We're going to bring in

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the top saxophonists from LA to just do this track.

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And it was a deal where he should have been

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in by eleven and out by twelve, but three hours

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later George is still like, no, this is not right.

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You're not doing it right, and ultimately gave up. And

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they went through eleven different saxophonists over the course of

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several months, and George was just like, no, this isn't it,

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This isn't it. And finally, when George wasn't even there,

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they recorded a saxophonist playing the sacks. But the saxophonist said,

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you know, this isn't kind of a weird key. If

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I could play it in a lower key, then I

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could probably find that little magic thing that George is wanting.

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So he played it in the lower key. Then the

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producers sped it up to the key that George wanted

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to sing it in, and when George came in and

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listened to it, he said, that's it. That's the solo

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that I want. So with us and our you know,

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the production of music and synth sounds and stuff like that,

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it doesn't hurt our ears to hear the saxophone sped

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up to where it almost sounds like an alto saxophone.

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But that's that magic saxophone sound is actually played in

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lower keys pitched up to sound like it does now.

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Speaker 3: Oh sweet.

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Speaker 2: So one of the things that is kind of unique

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about Careless Whisper is there are lots of outlets where

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they'll say Careless Whisper featuring George Michael and he was

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the only one in the music video, which was strange

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that it came from a Wham album, but it seemed

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to be George's song, even though Andrew originally co wrote

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the song with him. I don't know what do you

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think about that?

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Speaker 3: Yeah? It's strange.

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Speaker 1: I haven't been able to find an answer as to

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why they did it this way, other than maybe that

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George had this kind of deeper, longer connection with the song.

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I mean, it was before he had formed a band

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with Andrew that he started putting this song together. So

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maybe it was just an agreement between he and Andrew that, Hey,

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this song I just feel like needs to be my song.

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That's the only reason that I can think, because it was.

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I mean, they were still Wham together, they were still

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touring together, but one album cover just has him. I mean,

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it's just George Michael Careless Whisper, and then the alternative

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one is one that says Wham on it Careless Whisper

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featuring George Michael. So I don't know why this seemed

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to be more of a solo single than a Wham single.

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Speaker 3: I don't know.

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Speaker 2: Yeah, So the single after Careless Whisper is a song

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called Freedom, which if you've seen the music video, you've

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seen that the band went to China, which was this

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huge deal in nineteen eighty five. I guess the producer

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went to some leader in China and said, Okay, here's

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a picture of Queen and he had some pictures that

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were unflattering of Freddie Mercury and then showed in pictures

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of Wham and basically are two clean cut young men,

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and the Chinese guy said, I'll take them, pointing to

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the Wham picture.

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Speaker 3: Yeah, yeah, that's fantastic, and it was. It was a

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big deal.

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Speaker 1: I mean, that was that allowed other bands to come in.

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It kind of improved the relationship between China and the

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West and allowing things like that to happen. But that

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was that was a huge deal for them globally. I mean,

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they were already a big success in Europe and in

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the Americas, but to do that that created such a

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buzz about him that obviously the money just poured in

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at that point.

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Speaker 2: And you got to think, these guys are very young

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at this time. So he's born in nineteen sixty three

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and nineteen eighty five, they're playing China, they're twenty two

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years old.

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Speaker 3: Yeah, it's insane.

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Speaker 1: So at the time that George had decided to form

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this band with Andrew, he went to his father and

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told him what his plan was, and his father was like,

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why do you want to do this? Why don't you

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just want to come and run the restaurant with me,

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this is what you're supposed to do. You're never going

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to mount to anything as a musician, And so that

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was kind of a big blow for him. Obviously, he

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moved out, started doing all of his stuff with Andrew,

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and then as time goes on, they hit their success,

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they start performing these concerts. Finally, his dad comes to

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one of these concerts several years after you know, telling

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him he would never amount to anything and basically not

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having anything to do with him for that time period.

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He comes to one of the concerts and sees thousands

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and thousands of people screaming and singing and in love

255
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with his son, and he says, I wept like a baby.

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I realized that I had been wrong about my own son.

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Speaker 2: They had a tough relationship and his dad initially said,

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why would you want to be a singer? You can't

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sing with a flip, And I'm like, did he ever

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take the time to listen to him sing? So they

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played China in nineteen eighty five. They also play Live

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Aid in nineteen eighty five, Yes, which.

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Speaker 1: Was live Aid produced by Bob Belerd, who later his

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wife would have an affair and ultimately a child with Michael.

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Speaker 2: It's funny how these are so many stories are intertwined.

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So they play live aid in nineteen eighty five. Their

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next album that comes out has a couple of great

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songs on it, in my opinion, the Edge of Heaven

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and I'm Your Man.

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Speaker 5: These are great.

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Speaker 2: Catchy pop tunes yep. But at this point there's still

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kind of teeny bopper.

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Speaker 1: Songs, absolutely, and George is tired of the teeny bopper

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persona that he has fallen into, and so he decides

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he needs to go out on his own. He needs

276
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to separate himself from Wham, He needs to separate himself

277
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from his lifelong friend Andrew Ridgeley, and he needs to

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do something that is his own and is grown up.

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Speaker 2: He was such a good writer that he could continue

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that young, teeny bopper Wham character and continue to write

281
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songs and successful songs would probably make a bazillion dollars

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in all the success in the world. But he really

283
00:14:05,840 --> 00:14:10,080
craved the respect that a solo artist, somebody like Madonna

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or Prince or Michael Jackson would get.

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Speaker 1: He basically felt like with Wham he would never be

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taken seriously as a musical artist.

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Speaker 5: You know, he's not wrong about that either.

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Speaker 3: No.

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Speaker 1: I mean the reason that I Want Your Sex was

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the first big boom from this album is because he

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wanted to let parents know it's not okay for you

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to go out and buy my albums for your kids.

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Speaker 5: All right.

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Speaker 2: So a lot of people say that his sort of

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first steps as a solo artist came with Careless Whisper,

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and I would agree with that. But his leap came

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not with Faith but with a song that came out

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in early nineteen eighty seven.

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Speaker 5: Sometimes this kid's forgotten, I think.

300
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Speaker 2: But the song I Knew You Were Waiting for Me

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with Aretha Franklin.

302
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Speaker 1: Right, Yeah, that was a huge I mean, that was

303
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a soulful song that was not the bubblegum pop that

304
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Wham had been putting out before.

305
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Speaker 2: This is a great song. I love this song. Reach

306
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number one in April of nineteen eighty seven, was number

307
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one for two weeks, so re counting at home, that's

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number one with wakem Up, Before you Go Go Everything

309
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she Wants, Careless Whisper and Now I Knew You Were

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Waiting for Me with the Queen of Soul.

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Speaker 3: Are we ready to jump into the album, Yeah, let's

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dive into the album.

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Speaker 1: Okay, diving into the album, we have such an epic

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and I just I love this.

315
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Speaker 3: He wanted to set himself.

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Speaker 1: Out as a musical artist who is not the bubblegum

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pop artist for kids.

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Speaker 3: So what does he do.

319
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Speaker 1: He takes this song that was a huge hit for

320
00:16:03,600 --> 00:16:08,000
Wham and he plays it on an organ as if

321
00:16:08,039 --> 00:16:11,799
it's sacred, and then all of a sudden that music

322
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stops and the guitar comes in.

323
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Speaker 6: Nice.

324
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Speaker 2: Yeah, So the organ for those of you who don't know,

325
00:16:31,000 --> 00:16:34,480
and I didn't recognize that, that is the Wham song Freedom.

326
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Speaker 1: When I turned that first song on the first time

327
00:16:37,320 --> 00:16:39,080
I listened to that organ, I'm like, wait a minute,

328
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I recognize that organ tune.

329
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Speaker 3: What is that?

330
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Speaker 1: And as I played it in my head, I was like,

331
00:16:43,360 --> 00:16:45,919
I'm singing the lyrics to a different George Michael. No,

332
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this is the Wham song Freedom from Make a Big Thing.

333
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Speaker 2: Okay, So, in my opinion, the organ tune for Freedom

334
00:16:53,440 --> 00:16:56,200
sounds like a funeral and I think he's putting to

335
00:16:56,320 --> 00:16:57,480
death Wham.

336
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Speaker 1: Yeah, that's a certainly, that's another way to look at it.

337
00:17:00,320 --> 00:17:02,120
Speaker 3: I don't know. I don't know which one of them

338
00:17:02,200 --> 00:17:03,000
is the right.

339
00:17:02,879 --> 00:17:07,119
Speaker 1: But it's either way the equally the same, same idea.

340
00:17:07,279 --> 00:17:10,720
What was before is no longer. We are now something new.

341
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Speaker 5: Okay.

342
00:17:11,519 --> 00:17:14,319
Speaker 2: So I don't think we've mentioned this before, but curiously,

343
00:17:14,559 --> 00:17:18,240
the Faith album was released October thirtieth of nineteen eighty seven.

344
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Speaker 3: Okay.

345
00:17:18,839 --> 00:17:22,440
Speaker 2: The first single was I Want Your Sex. That came

346
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out was released June first of eighty seven, so five

347
00:17:25,920 --> 00:17:28,720
months prior to the album being released, right, And the

348
00:17:28,720 --> 00:17:32,000
second single, Faith was released October twelfth, nineteen eighty seven.

349
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Speaker 5: It's kind of curious of.

350
00:17:33,039 --> 00:17:36,359
Speaker 2: The dates how they had two singles released before the

351
00:17:36,400 --> 00:17:39,400
album was even available. All right, So Faith is the

352
00:17:39,440 --> 00:17:42,960
second single released October twelfth, nineteen eighty seven. This one

353
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hit number one December twelfth, nineteen eighty seven, only took

354
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seven weeks to reach the top spot on the Hot

355
00:17:49,039 --> 00:17:52,279
one hundred. That's like a rocket, I mean, that's shooting

356
00:17:52,359 --> 00:17:55,599
up the charts yep, and was number one for four weeks.

357
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Speaker 1: So during the recording of the song, he did something

358
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that we've talked about before that Lang would do, and

359
00:18:02,839 --> 00:18:07,319
he built this song piece by piece. He would record

360
00:18:07,839 --> 00:18:11,960
line by line, sometimes word by word to get it

361
00:18:12,319 --> 00:18:16,960
just perfect. But obviously what came out sounds very polished

362
00:18:17,119 --> 00:18:20,640
and fluid. So it was a very well produced song.

363
00:18:20,759 --> 00:18:23,559
Speaker 2: This is a fantastic pop song. It's not a rocker

364
00:18:23,599 --> 00:18:25,759
by any stretch, but it's just a great pop song.

365
00:18:25,920 --> 00:18:28,279
Speaker 1: It's not the rock of the nineteen eighties. It's the

366
00:18:28,400 --> 00:18:30,880
rock of like the nineteen sixties. This is Bo Diddley.

367
00:18:30,960 --> 00:18:31,680
I mean, this is.

368
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Speaker 3: Done no, no, this is that reimagined it.

369
00:18:36,079 --> 00:18:39,440
Speaker 1: And so that little guitar beat that he's got going

370
00:18:39,480 --> 00:18:43,000
on is all about the early rock and roll style.

371
00:18:43,240 --> 00:18:46,240
And I mean, crap, he looks like the nineteen eighty

372
00:18:46,319 --> 00:18:50,559
seven version of Elvis, right, I meanely got the Elvis hair,

373
00:18:50,640 --> 00:18:54,480
except it's frosted. The jeans, the leather, the glasses. I

374
00:18:54,480 --> 00:18:57,839
mean it's it is all right there. And then he's

375
00:18:57,880 --> 00:19:01,279
got that guitar and he's swiveling a hips just like

376
00:19:01,359 --> 00:19:01,680
the camp.

377
00:19:02,079 --> 00:19:04,559
Speaker 2: Okay, so this was the number one single of the

378
00:19:04,640 --> 00:19:06,759
year in the United States in nineteen eighty eight. Okay,

379
00:19:06,759 --> 00:19:09,200
it was the song of nineteen eighty eight. Let's talk

380
00:19:09,240 --> 00:19:11,440
about the look for a second, all right. So he

381
00:19:11,839 --> 00:19:17,039
has created this character, this masculine character with the leather jacket,

382
00:19:17,160 --> 00:19:21,240
cowboy boots, the jeans, the guitar, the ray band, sunglasses,

383
00:19:21,359 --> 00:19:22,880
the five o'clocks.

384
00:19:22,359 --> 00:19:23,880
Speaker 3: Double, the bearded wonder.

385
00:19:23,920 --> 00:19:26,200
Speaker 2: This was all a character that he created. And I

386
00:19:26,240 --> 00:19:28,759
was talking to you off air. I think this is

387
00:19:28,880 --> 00:19:31,559
based on Other than the five o'clock shadow and the

388
00:19:31,599 --> 00:19:35,200
ear ring and the frosted hair. This is Maverick from

389
00:19:35,200 --> 00:19:38,039
Top Gun. Oh yeah, Oh, the leather jacket, the ray bands,

390
00:19:38,079 --> 00:19:40,119
the jeans, you know, the boots.

391
00:19:39,839 --> 00:19:40,400
Speaker 3: And the guitar.

392
00:19:40,519 --> 00:19:42,799
Speaker 1: I mean, and the guitar is you said it's a costume,

393
00:19:42,799 --> 00:19:43,400
it's a character.

394
00:19:43,559 --> 00:19:43,759
Speaker 3: I mean.

395
00:19:43,920 --> 00:19:46,559
Speaker 1: Any guitar player watching him play is going to go,

396
00:19:46,759 --> 00:19:47,759
You're not playing that guitar.

397
00:19:48,960 --> 00:19:49,920
Speaker 3: What is he doing?

398
00:19:51,440 --> 00:19:54,640
Speaker 1: And so somebody actually asked him, They're like, Okay, you

399
00:19:54,680 --> 00:19:57,880
don't play the guitar. Why are you in this video

400
00:19:58,000 --> 00:20:01,279
with the guitar? And he said, America, if you stick

401
00:20:01,279 --> 00:20:03,920
a guitar on, you have a big penis. Is that.

402
00:20:08,359 --> 00:20:11,880
Speaker 2: He's tending to be a lot of things in this video,

403
00:20:12,000 --> 00:20:13,200
including a guitar.

404
00:20:12,960 --> 00:20:16,680
Speaker 3: Player, fighter jets, guitars, penises. There you go.

405
00:20:20,200 --> 00:20:22,200
Speaker 2: This song is covered by Limp Biscuit.

406
00:20:22,279 --> 00:20:23,640
Speaker 5: Have you heard this version of it?

407
00:20:24,079 --> 00:20:27,640
Speaker 4: Uh? Yeah, I guess it would be nice, good black

408
00:20:27,880 --> 00:20:32,640
good touch a body. I know, not everybody has got

409
00:20:32,640 --> 00:20:33,519
a body like me.

410
00:20:35,319 --> 00:20:38,680
Speaker 5: Yeah, I'm not a fan. I'm not a fan. I

411
00:20:38,839 --> 00:20:40,440
just stick with the George Michael version.

412
00:20:40,880 --> 00:20:41,119
Speaker 3: Right.

413
00:20:41,519 --> 00:20:45,200
Speaker 2: This song was featured in Big Bang Theory The Goldbergs,

414
00:20:45,200 --> 00:20:47,799
which is a great show, The Office, and the movie

415
00:20:47,839 --> 00:20:49,880
Ready Player One. It's a great song.

416
00:20:49,960 --> 00:20:51,759
Speaker 3: Really, where is it a Ready Player one?

417
00:20:51,920 --> 00:20:54,640
Speaker 2: When he goes to the library? When, oh Man, when

418
00:20:54,680 --> 00:20:56,599
he goes to the library. Okay, all right, So this

419
00:20:56,720 --> 00:20:59,079
song was knocked out of the number one spot by

420
00:20:59,440 --> 00:21:02,279
so Emotion, by Whitney Houston, one of the pop stars

421
00:21:02,279 --> 00:21:04,559
at the time that he was trying to reach that level.

422
00:21:04,640 --> 00:21:06,039
Speaker 3: Yeah. Well, and it had been.

423
00:21:06,640 --> 00:21:10,039
Speaker 1: The album itself was in number one in and out

424
00:21:10,119 --> 00:21:12,480
several times, knocked out at one point, I think by

425
00:21:12,519 --> 00:21:14,160
Tiffany and her debut album.

426
00:21:14,240 --> 00:21:14,720
Speaker 5: Yes.

427
00:21:15,480 --> 00:21:17,839
Speaker 2: So they asked him, you know, what does faith mean

428
00:21:17,920 --> 00:21:20,200
to you? You know, and he said, well, it represents

429
00:21:20,200 --> 00:21:22,400
the way I felt at the moment. It's kind of

430
00:21:22,440 --> 00:21:25,039
like another word for hope or optimism.

431
00:21:25,119 --> 00:21:26,920
Speaker 5: So it was just a strong word.

432
00:21:26,960 --> 00:21:30,319
Speaker 2: He liked the idea of being a simple idea for

433
00:21:30,400 --> 00:21:33,480
the song, and then he actually this was his second

434
00:21:33,599 --> 00:21:36,400
choice for the title of the album. The original choice

435
00:21:36,440 --> 00:21:38,880
to be the name of the album was Kissing a Fool,

436
00:21:38,960 --> 00:21:41,200
But he liked the simplicity of this song and that

437
00:21:41,359 --> 00:21:43,359
word so much that it became fair And I think

438
00:21:43,359 --> 00:21:44,519
that was a right choice.

439
00:21:44,240 --> 00:21:48,519
Speaker 3: Absolutely, all right, moving on to track number two, I

440
00:21:48,519 --> 00:21:50,839
Will Be Your Father figure that.

441
00:21:55,079 --> 00:22:08,039
Speaker 4: Same so sad.

442
00:22:10,160 --> 00:22:11,279
Speaker 5: This song's a masterpiece.

443
00:22:11,440 --> 00:22:14,559
Speaker 2: Okay, this song is a pop masterpiece.

444
00:22:15,640 --> 00:22:16,640
Speaker 3: Well it is.

445
00:22:17,200 --> 00:22:20,799
Speaker 1: It definitely needs to be a part of the Makeout

446
00:22:21,279 --> 00:22:27,160
Slash four Play Slash Finish Off mixtape.

447
00:22:26,720 --> 00:22:30,240
Speaker 3: Of nineteen eighty seven.

448
00:22:31,400 --> 00:22:33,920
Speaker 1: So you guys know that, Like we talked back and

449
00:22:33,960 --> 00:22:37,039
forth before we have these episodes and talk what we're about,

450
00:22:37,039 --> 00:22:37,680
what we're doing.

451
00:22:37,720 --> 00:22:40,279
Speaker 3: And Jason at one for says, I.

452
00:22:40,240 --> 00:22:44,319
Speaker 1: Just ran like three miles and listened to the Faith

453
00:22:44,400 --> 00:22:46,759
album and it was a little weird from.

454
00:22:46,599 --> 00:22:47,279
Speaker 3: Time to time.

455
00:22:49,000 --> 00:22:52,640
Speaker 1: I cannot imagine running and sweating out in the Oklahoma

456
00:22:52,720 --> 00:22:54,599
sun to I Will Be Your Father.

457
00:22:57,480 --> 00:22:58,960
Speaker 5: I gotta do my research, man.

458
00:23:00,599 --> 00:23:05,200
Speaker 2: So Fathervigure was actually the fourth single. It stayed number

459
00:23:05,200 --> 00:23:08,599
one for two weeks. It was released December twenty eighth,

460
00:23:08,680 --> 00:23:12,319
nineteen eighty seven, hit number one February twenty seventh, nineteen

461
00:23:12,359 --> 00:23:15,000
eighty eight. Again, that's two months to reach the top.

462
00:23:15,039 --> 00:23:15,920
Speaker 5: That's really fast.

463
00:23:16,119 --> 00:23:18,359
Speaker 2: And it knocked out Never Going to Give You Up

464
00:23:18,359 --> 00:23:22,400
by Rick Astley, Oh the Rick Roll. And this reached

465
00:23:22,480 --> 00:23:25,200
number one in the United States, but it only got

466
00:23:25,240 --> 00:23:28,000
to number eleven in the United Kingdom. It was the

467
00:23:28,039 --> 00:23:30,519
first time that he failed to reach the top ten

468
00:23:30,720 --> 00:23:33,200
in his home country. And I'm like, with this song,

469
00:23:33,279 --> 00:23:34,880
this is the one that didn't make the top ten.

470
00:23:35,319 --> 00:23:36,680
Speaker 5: That's crazy, all right.

471
00:23:36,720 --> 00:23:42,960
Speaker 1: So this video was directed by George Michael and Andy Morahan,

472
00:23:43,160 --> 00:23:46,240
who had also done the video for Faith and I

473
00:23:46,319 --> 00:23:49,599
Want Your Sex and Monkey, and they both together ended

474
00:23:49,640 --> 00:23:52,240
up winning the award for Best Direction in a Video

475
00:23:52,359 --> 00:23:55,400
for Father Figure in the nineteen eighty eight MTV Video

476
00:23:55,559 --> 00:23:56,599
Music Awards.

477
00:23:56,799 --> 00:24:00,039
Speaker 2: Nice the Takoma moon Man. Yeah this video, he's a

478
00:24:00,240 --> 00:24:03,079
cab driver and then he meets that high fashion model

479
00:24:03,160 --> 00:24:05,200
and they kind of stare at each other longingly.

480
00:24:05,440 --> 00:24:06,720
Speaker 5: That high fashion.

481
00:24:06,400 --> 00:24:09,440
Speaker 2: Model is Tanya Coleridge, by the way, who at the

482
00:24:09,480 --> 00:24:12,039
time I thought every woman just wore garter belts, and

483
00:24:12,319 --> 00:24:14,200
you know, like.

484
00:24:14,559 --> 00:24:17,160
Speaker 5: This is exactly what I want my life to be.

485
00:24:17,400 --> 00:24:20,960
Speaker 3: Right, Jason got married and his wife's getting ready. He's like,

486
00:24:21,359 --> 00:24:23,759
are you gonna put on your garter belt? We're about

487
00:24:23,759 --> 00:24:25,400
to head out and forgetting your garter.

488
00:24:25,680 --> 00:24:28,079
Speaker 2: That's right, don't put your launch take here to my

489
00:24:28,119 --> 00:24:29,480
beds off and put on your lingerie.

490
00:24:29,559 --> 00:24:29,880
Speaker 6: Let's go.

491
00:24:30,279 --> 00:24:31,119
Speaker 3: It's hilarious.

492
00:24:31,160 --> 00:24:32,480
Speaker 1: So I don't know if you have you seen the

493
00:24:32,480 --> 00:24:34,880
movie of Tomic Blonde, I have not. Okay, talk about

494
00:24:34,920 --> 00:24:37,519
a sensual movie. It's not a sentual movie. There's there's

495
00:24:37,559 --> 00:24:40,240
a few pretty central parts in it, but this song

496
00:24:40,359 --> 00:24:43,400
is essential as it is is part of this huge

497
00:24:43,480 --> 00:24:46,240
fight scene in it. And to throw it back to

498
00:24:46,319 --> 00:24:49,920
the Tom Cruise top gun thing, the producers actually wanted

499
00:24:49,960 --> 00:24:52,799
to use take My Breath Away by Berlin in the scene,

500
00:24:53,039 --> 00:24:56,000
but they couldn't clear it, and so instead they use

501
00:24:56,519 --> 00:25:01,880
this in a kick but Charlie's Throne beautiful and bad

502
00:25:01,960 --> 00:25:03,640
a making it awesome.

503
00:25:04,160 --> 00:25:05,480
Speaker 5: Nice cool, that's really cool.

504
00:25:05,559 --> 00:25:08,920
Speaker 2: Father Figure was sampled in PM Don's Looking Through Patient

505
00:25:08,960 --> 00:25:11,799
Eyes nineteen ninety three. It was sampled in the song

506
00:25:11,920 --> 00:25:15,039
Father by Illa Coolja, and it was sampled by Destiny's

507
00:25:15,119 --> 00:25:16,599
Child in Winter Paradise.

508
00:25:16,920 --> 00:25:17,920
Speaker 5: Pretty impactful song.

509
00:25:18,160 --> 00:25:20,640
Speaker 2: Absolutely, Okay, what's your feeling on this song?

510
00:25:20,640 --> 00:25:21,440
Speaker 6: You like this one?

511
00:25:21,640 --> 00:25:22,960
Speaker 3: Oh? Man? I love it so far.

512
00:25:23,160 --> 00:25:25,599
Speaker 1: I mean I'll just say the first the first several,

513
00:25:25,799 --> 00:25:27,680
the first four songs at the very least, and we'll

514
00:25:27,720 --> 00:25:29,440
have to go through. But out of the box are

515
00:25:29,759 --> 00:25:34,440
fan freaking tastic Faith Dynamo. I mean, the throwback to

516
00:25:34,680 --> 00:25:40,640
the fifty sixties rock and the poppy drums and hooks.

517
00:25:40,680 --> 00:25:43,440
It's amazing. And then father figure, my gosh, I mean

518
00:25:43,480 --> 00:25:46,319
the song was made to make out two and so

519
00:25:46,720 --> 00:25:49,519
why wouldn't you, Yeah, why wouldn't you at my age,

520
00:25:49,519 --> 00:25:52,279
which would have been thirteen, love that song?

521
00:25:52,680 --> 00:25:52,920
Speaker 3: Right?

522
00:25:53,000 --> 00:25:53,440
Speaker 5: All right?

523
00:25:53,519 --> 00:25:56,440
Speaker 2: So that brings us to the most controversial song on

524
00:25:56,480 --> 00:26:03,400
the album. This song is called I Want Your Sex Crown.

525
00:26:05,200 --> 00:26:08,640
Speaker 3: So you want to tell me what you said you

526
00:26:08,680 --> 00:26:09,960
thought the music sounded.

527
00:26:11,359 --> 00:26:12,799
Speaker 5: This song wet and juicy.

528
00:26:17,440 --> 00:26:21,480
Speaker 1: Yep, there's something very sex sounding about this music. I

529
00:26:21,519 --> 00:26:24,039
don't know what they did, how they made the plunking

530
00:26:24,119 --> 00:26:26,440
and the blipping and the blooping and all of.

531
00:26:26,359 --> 00:26:28,400
Speaker 3: That with the instruments.

532
00:26:28,400 --> 00:26:29,839
Speaker 1: I don't know how they did what they did, but

533
00:26:29,920 --> 00:26:32,640
it just it's just like, man, it sounds like doing it.

534
00:26:32,640 --> 00:26:33,079
Speaker 5: It does?

535
00:26:33,279 --> 00:26:35,960
Speaker 2: It sounds like, yes, like a wet porno at the

536
00:26:36,000 --> 00:26:40,720
beginning of the song. This song was released originally on

537
00:26:40,759 --> 00:26:43,200
the Beverly Hills Cop two soundtrack.

538
00:26:43,359 --> 00:26:46,319
Speaker 3: Really, I did not know that it.

539
00:26:46,240 --> 00:26:49,000
Speaker 2: Was one of the hits, so like Shakedown, Cross, My

540
00:26:49,079 --> 00:26:51,640
Broken Heart, and I Want Your Sex. It was actually

541
00:26:51,640 --> 00:26:54,440
played in the movie during the strip club scene. But

542
00:26:54,519 --> 00:26:57,519
this was released June first, nineteen eighty seven, And like

543
00:26:57,559 --> 00:27:00,799
you said, this was a stark difference from Wham.

544
00:27:00,920 --> 00:27:01,680
Speaker 5: Right out of the gate.

545
00:27:01,759 --> 00:27:04,599
Speaker 2: He's demonstrating I'm done with that teeny bopper crap. I'm

546
00:27:04,599 --> 00:27:05,880
making a song about sex.

547
00:27:06,119 --> 00:27:07,720
Speaker 1: And if you are, if you happen to be an

548
00:27:07,759 --> 00:27:11,839
aspiring music artist, I think that we've learned from def Leppard,

549
00:27:11,920 --> 00:27:14,759
Pour Some Sugar in Me, Van Halen, Black and Blue,

550
00:27:15,240 --> 00:27:18,799
and George Michael. If you write a song that strippers

551
00:27:18,799 --> 00:27:21,640
want to strip two, then you're probably gonna have a hit.

552
00:27:22,960 --> 00:27:25,480
Speaker 2: That's right, Okay, So here's something that I do want

553
00:27:25,519 --> 00:27:28,000
to dive into. This to me is very interesting. Growing

554
00:27:28,079 --> 00:27:30,920
up in the Midwest, I definitely remember this song. There

555
00:27:30,960 --> 00:27:34,279
was a big backlash by parents and stuff about playing

556
00:27:34,279 --> 00:27:37,400
this song. It was kind of the first song popular

557
00:27:37,519 --> 00:27:40,839
song that had the word sex in it, right, So

558
00:27:40,880 --> 00:27:44,279
you had, like Prince had songs that he had that

559
00:27:44,359 --> 00:27:47,400
were sexual in nature, but they weren't the hits, right.

560
00:27:47,519 --> 00:27:49,599
There were other tracks on the album, but nineteen ninety

561
00:27:49,640 --> 00:27:52,440
nine was what was out front? You know, Delirious was

562
00:27:52,519 --> 00:27:55,079
out front. This is the first song that was like

563
00:27:55,119 --> 00:27:56,880
a hit song that had the word sex in it.

564
00:27:57,079 --> 00:27:59,720
Speaker 5: This, yeah, only reached number two.

565
00:28:00,160 --> 00:28:02,960
Speaker 2: So it only reached number two because at the time

566
00:28:03,319 --> 00:28:07,240
that was based on sales like single sales and radio play,

567
00:28:07,400 --> 00:28:09,279
and there were a lot of radio stations around the

568
00:28:09,319 --> 00:28:12,000
country that refused to play the song. I remember there

569
00:28:12,000 --> 00:28:15,160
were certain radio stations that had alternate versions of it

570
00:28:15,680 --> 00:28:18,400
that the song was called I Want Your Love, and

571
00:28:18,400 --> 00:28:20,359
it was this loop from the song where they've played

572
00:28:20,440 --> 00:28:21,799
I Want Your Love, I Want Your Love.

573
00:28:22,000 --> 00:28:24,839
Speaker 1: Sexual Healing is about the closest you got to the

574
00:28:24,920 --> 00:28:27,799
mention of sex and a song, and that was that

575
00:28:27,839 --> 00:28:31,480
was eighty two by Marvin Gay. But this is not,

576
00:28:31,680 --> 00:28:33,920
I mean, this isn't just a song mentioned in sex

577
00:28:33,920 --> 00:28:37,440
and the title. This is a guy who's I mean,

578
00:28:37,519 --> 00:28:39,920
just depending on your perspective and your where you stand

579
00:28:39,920 --> 00:28:41,960
on these type of things, it's a guy. It's either

580
00:28:42,000 --> 00:28:44,079
a guy who's tired of getting teased or a guy

581
00:28:44,119 --> 00:28:46,799
who's pushing a girl a little too hard. As a

582
00:28:46,880 --> 00:28:49,480
dad of a daughter, I'm like, what are you talking about?

583
00:28:49,559 --> 00:28:52,920
Speaker 3: Like this? Shut your mouth? He is he's a good girl,

584
00:28:53,359 --> 00:28:55,240
her alone, stop pressuring her.

585
00:28:55,920 --> 00:28:59,319
Speaker 2: Yeah, a man's got his patience and that is where

586
00:28:59,359 --> 00:29:05,279
his end. According to this song, sex is natural, sex

587
00:29:05,400 --> 00:29:10,519
is good. Not everybody does it, but everybody should. Sex

588
00:29:10,640 --> 00:29:14,519
is natural, sex is fun, and sex's best when it's.

589
00:29:14,400 --> 00:29:19,680
Speaker 3: One on one.

590
00:29:20,440 --> 00:29:23,359
Speaker 1: Although I'm not really sure if he bought into that line,

591
00:29:23,359 --> 00:29:24,240
I don't know if he believed.

592
00:29:24,240 --> 00:29:25,519
Speaker 5: I don't think he did either.

593
00:29:27,559 --> 00:29:29,680
Speaker 1: There was a there's a part of this video that

594
00:29:29,720 --> 00:29:32,359
I from. This is just from memory. I did not

595
00:29:32,480 --> 00:29:35,319
go back and research this thing. But it seemed to

596
00:29:35,400 --> 00:29:39,599
me that even MTV was resistant to playing the video

597
00:29:40,160 --> 00:29:43,160
until they put that part in where he's writing on

598
00:29:43,279 --> 00:29:46,680
the girl explore monogamy. He's like writing with lipstick on

599
00:29:46,720 --> 00:29:47,039
the girl.

600
00:29:47,119 --> 00:29:49,960
Speaker 2: Right, Yeah, that was a big deal. Yeah, even MTV

601
00:29:50,119 --> 00:29:51,720
was scared off by this song. I do want to

602
00:29:51,759 --> 00:29:53,640
mention one other thing before we dive into the video,

603
00:29:53,640 --> 00:29:55,599
because I do want to get into the video. Casey

604
00:29:55,680 --> 00:29:59,000
Caseen would not say the title of this song during

605
00:29:59,039 --> 00:30:01,559
the Top forty countdown. He would say things like George

606
00:30:01,599 --> 00:30:04,759
Michael's greatest hits is up next at number two or whatever.

607
00:30:05,200 --> 00:30:07,599
He would not say I want your sex, which even

608
00:30:07,640 --> 00:30:09,480
to me at the time, I'm like, I didn't know

609
00:30:09,559 --> 00:30:11,599
sex is something you could possess, like.

610
00:30:13,680 --> 00:30:14,200
Speaker 5: We have.

611
00:30:15,400 --> 00:30:19,279
Speaker 3: Yeah, I've got my sex, but I want your sex.

612
00:30:19,119 --> 00:30:21,400
Speaker 2: Together we have this sex.

613
00:30:22,559 --> 00:30:22,880
Speaker 5: Yeah.

614
00:30:22,920 --> 00:30:25,759
Speaker 2: Okay, So let's talk about the video for a second. Okay,

615
00:30:25,799 --> 00:30:30,200
Like you said, MTV made him because they were concerned

616
00:30:30,240 --> 00:30:33,359
about the AIDS epidemic. They were concerned that this was

617
00:30:33,400 --> 00:30:37,160
going to be promoting promiscuous activities, and so they made

618
00:30:37,200 --> 00:30:39,480
him put this little PSA at the beginning of the

619
00:30:39,519 --> 00:30:43,640
video where he's talking about this is not about crazy sex.

620
00:30:43,680 --> 00:30:45,039
This is about monogamy.

621
00:30:45,400 --> 00:30:48,680
Speaker 1: There are so many songs that are about what he's

622
00:30:48,720 --> 00:30:51,480
talking about in this song leading up to this song, right,

623
00:30:51,519 --> 00:30:55,640
I mean, You've got Darling Nikki and Erotic City by Prince.

624
00:30:55,720 --> 00:30:58,680
I mean, Prince was pushing the envelope the whole time.

625
00:30:58,839 --> 00:31:03,839
He just wasn't saying the word sex. And there probably

626
00:31:03,880 --> 00:31:07,359
even those songs are a bit more graphic than I

627
00:31:07,400 --> 00:31:10,319
Want Your Sex is because he's actually because he's not

628
00:31:10,359 --> 00:31:14,240
actually talking about having sex as much as as Prince

629
00:31:14,279 --> 00:31:16,599
does in some of his other songs. But man, the

630
00:31:16,839 --> 00:31:20,799
I mean, after this song came out, you had I

631
00:31:20,880 --> 00:31:23,839
Want to Sex You up and I touched myself and

632
00:31:23,920 --> 00:31:27,519
I mean all kinds of I mean then, and of

633
00:31:27,559 --> 00:31:30,039
course Prince releases cream and get off.

634
00:31:31,720 --> 00:31:33,319
Speaker 3: It's it is. It is amazing.

635
00:31:33,400 --> 00:31:36,039
Speaker 1: What when somebody finally just goes, oh, there's the line, yeah,

636
00:31:36,039 --> 00:31:36,799
I'll just go ahead.

637
00:31:36,559 --> 00:31:38,839
Speaker 3: And step over that, and everybody's like, yeah, step over go.

638
00:31:41,359 --> 00:31:44,039
Speaker 2: Okay, So you mentioned Prince. Let's talk about Prince for

639
00:31:44,119 --> 00:31:46,599
just a second. Because one of the things that George

640
00:31:46,599 --> 00:31:48,839
Michael does in this song, and he actually does it

641
00:31:49,079 --> 00:31:52,880
other songs in this album, is he artificially pitches up

642
00:31:52,960 --> 00:31:56,160
his voice similar to what Prince did in the Sign

643
00:31:56,160 --> 00:31:57,039
of the Times album.

644
00:31:57,119 --> 00:31:59,079
Speaker 5: Okay, music video, we talk about music.

645
00:31:58,960 --> 00:32:01,599
Speaker 1: Video, Yeah, just to quote here, Okay, So I mean

646
00:32:01,640 --> 00:32:04,759
this is this is the time of AIDS being a

647
00:32:05,000 --> 00:32:08,839
very huge factor. Safe sex was what everybody was all

648
00:32:08,880 --> 00:32:11,119
about at the time of this thing came out and

649
00:32:11,240 --> 00:32:14,440
George said this, He said, the media has divided love

650
00:32:14,599 --> 00:32:19,039
in sex incredibly. The emphasis of the AIDS campaign has

651
00:32:19,079 --> 00:32:22,839
been on safe sex, but the campaign has missed relationships.

652
00:32:23,079 --> 00:32:27,039
It's missed emotion, it's missed monogamy. I Want Your Sex

653
00:32:27,160 --> 00:32:31,119
is about attaching lust to love, not just to strangers.

654
00:32:31,240 --> 00:32:34,200
Speaker 2: In the music video once again, directed by Andy Morahan.

655
00:32:34,400 --> 00:32:37,559
This features George Michael's girlfriend at the time, Kathy Young.

656
00:32:37,680 --> 00:32:41,440
In the video, he writes the words explore and monogamy

657
00:32:41,680 --> 00:32:44,720
on her back in lipstick, which, as a fourteen year

658
00:32:44,759 --> 00:32:46,359
old I thought that is the.

659
00:32:46,240 --> 00:32:48,039
Speaker 5: Coolest thing that one could possibly do.

660
00:32:50,279 --> 00:32:52,880
Speaker 2: I would have written the words I Want Your Sex

661
00:32:53,000 --> 00:32:56,519
in lipstick. But you know, okay, one of the things

662
00:32:56,559 --> 00:32:58,799
I want to mention on the album on the LP.

663
00:32:59,160 --> 00:33:02,119
On the CD, I Want Your Sex Part one and

664
00:33:02,240 --> 00:33:05,359
Part two are lumped together in this big long song.

665
00:33:05,880 --> 00:33:07,920
Speaker 3: Oh yeah, see that bothers me.

666
00:33:08,039 --> 00:33:09,960
Speaker 5: I take I separate those.

667
00:33:09,960 --> 00:33:10,799
Speaker 3: Yeah, you should.

668
00:33:11,000 --> 00:33:14,160
Speaker 1: This is a pop single, and no pop single needs

669
00:33:14,200 --> 00:33:19,200
to be nine minutes long. I mean, save that for

670
00:33:19,440 --> 00:33:23,079
the album Rock of Lynyrd Skinnyard. If the song lasts

671
00:33:23,160 --> 00:33:26,519
longer than the sex last you made the song too long.

672
00:33:30,119 --> 00:33:30,640
Speaker 5: That's great.

673
00:33:30,680 --> 00:33:33,319
Speaker 2: Well, I guess if we're done with I Want Your

674
00:33:33,319 --> 00:33:35,160
Sex Part one, we can move on to I Want

675
00:33:35,160 --> 00:33:35,960
Your Sex Part two.

676
00:33:36,440 --> 00:33:39,160
Speaker 1: Okay, shouldn't it happen? That's all I really could say

677
00:33:39,160 --> 00:33:40,559
about this, but go ahead.

678
00:33:40,359 --> 00:33:41,240
Speaker 5: Okay, all right?

679
00:33:41,319 --> 00:33:44,759
Speaker 2: So, so Part one of I Want Your Sex is

680
00:33:44,839 --> 00:33:49,440
known as Rhythm one Lust. Rhythm one Lust okay, Yeah,

681
00:33:49,559 --> 00:33:51,400
I Want Your Sex Part two. It sounds like the

682
00:33:51,440 --> 00:33:55,720
lounge act version of a great song, Rhythm to Brass

683
00:33:56,039 --> 00:33:58,000
in Love, Rhythm to brass and Love.

684
00:33:58,039 --> 00:33:58,759
Speaker 5: Thank you.

685
00:33:59,079 --> 00:34:01,440
Speaker 2: So the song that we know as I Want Your

686
00:34:01,440 --> 00:34:05,359
Sex is rhythm one lust. This is rhythm to brass

687
00:34:05,359 --> 00:34:10,960
in Love. This is horns and lounge act. And it's

688
00:34:11,159 --> 00:34:13,800
the version of the great song that I don't want

689
00:34:13,840 --> 00:34:14,039
to hear.

690
00:34:14,079 --> 00:34:14,880
Speaker 6: I don't like it at all.

691
00:34:14,880 --> 00:34:15,360
Speaker 5: What do you think?

692
00:34:15,480 --> 00:34:19,440
Speaker 1: It is unnecessary and it doesn't. It takes away from

693
00:34:19,719 --> 00:34:22,199
the first song instead of adding to it. I mean,

694
00:34:22,480 --> 00:34:25,360
as far as quality and listenability is concerned, it's not.

695
00:34:25,719 --> 00:34:27,000
Speaker 3: I don't care for.

696
00:34:26,960 --> 00:34:27,440
Speaker 6: It me too.

697
00:34:27,559 --> 00:34:29,599
Speaker 5: Just leave it off, Just leave the great song. Yeah,

698
00:34:29,639 --> 00:34:30,920
cut trim the fat here.

699
00:34:31,159 --> 00:34:33,800
Speaker 3: I'm doing this just to just to let you know.

700
00:34:33,840 --> 00:34:36,239
Speaker 1: As to those weird sounds that we were talking about,

701
00:34:36,840 --> 00:34:40,800
they were generated with a very early sampling device called

702
00:34:40,920 --> 00:34:44,639
a green Gate DS three, which ran on an Apple

703
00:34:44,719 --> 00:34:45,400
two computer.

704
00:34:45,760 --> 00:34:47,239
Speaker 5: Oh my gosh, that's awesome.

705
00:34:47,360 --> 00:34:49,599
Speaker 1: The rhythm track on this song was the result of

706
00:34:49,599 --> 00:34:52,280
a happy accident. Most of the sounds on the song

707
00:34:52,320 --> 00:34:56,880
were made by using two synthesizers and a Len drum machine,

708
00:34:57,000 --> 00:34:59,760
which is also sampler. The devices were connected to a

709
00:34:59,760 --> 00:35:03,280
mid unit which went a little it started messing up,

710
00:35:03,440 --> 00:35:08,400
and it triggered some random sounds and Chris Porter says, oh,

711
00:35:08,719 --> 00:35:12,960
dang it already said it. And George said, hang on

712
00:35:13,000 --> 00:35:15,880
a second, Hang on a second. That sounds really good,

713
00:35:16,000 --> 00:35:19,880
doesn't it. And he then Chris says, it's a little

714
00:35:19,880 --> 00:35:22,920
bit weird, isn't it. And he said, yeah, but if

715
00:35:22,920 --> 00:35:24,960
we just take a bit out here and there and

716
00:35:25,000 --> 00:35:27,400
a bit they we might be able to use it.

717
00:35:27,480 --> 00:35:29,960
And that's how they came up with those sounds. And

718
00:35:29,960 --> 00:35:32,880
they recorded a few bars of that with the kind

719
00:35:32,880 --> 00:35:38,119
of squelching that's the word squelching noise, And that's where

720
00:35:38,159 --> 00:35:40,360
you get that weird sound that kind of morphs into

721
00:35:40,360 --> 00:35:41,639
the song what is next?

722
00:35:41,800 --> 00:35:52,639
Speaker 6: One more try?

723
00:35:52,679 --> 00:35:54,960
Speaker 3: This song is friggin beautiful.

724
00:35:55,199 --> 00:35:56,719
Speaker 5: Yeah, this is an amazing song.

725
00:35:57,320 --> 00:36:01,639
Speaker 2: In my opinion, this is either the first or second best.

726
00:36:01,400 --> 00:36:03,880
Speaker 5: Song on the album or Father Figure.

727
00:36:04,079 --> 00:36:04,960
Speaker 3: I love this song.

728
00:36:05,800 --> 00:36:08,000
Speaker 5: It's so good. It's so good.

729
00:36:08,239 --> 00:36:11,360
Speaker 1: Interestingly, with Father Figure, it had started off as a

730
00:36:11,440 --> 00:36:14,960
dance style type of song. But then George Michael, who

731
00:36:15,440 --> 00:36:17,599
by the way, he produced this album himself, like he

732
00:36:17,679 --> 00:36:20,199
was the producer. He took out the drums and he

733
00:36:20,280 --> 00:36:23,760
realized that it became much more special, and he did

734
00:36:23,840 --> 00:36:25,800
kind of the same thing here with one more try.

735
00:36:25,880 --> 00:36:28,119
This is like a This is in the style of

736
00:36:28,159 --> 00:36:29,920
like Marvin Gay or Stevie Wonder.

737
00:36:29,960 --> 00:36:31,480
Speaker 3: It's just an amazing ballad.

738
00:36:31,639 --> 00:36:34,199
Speaker 2: Yeah, this one almost feels gospel to me. You know.

739
00:36:34,280 --> 00:36:37,079
It starts out with that synth that almost feels like

740
00:36:37,159 --> 00:36:37,800
church music.

741
00:36:37,840 --> 00:36:40,320
Speaker 5: And I think the video kind of backs that feeling up.

742
00:36:40,519 --> 00:36:43,400
Speaker 1: Yeah, he's got he's singing with the stained glass behind him,

743
00:36:43,400 --> 00:36:46,599
and it's just this very kind of straightforward. I mean,

744
00:36:46,639 --> 00:36:48,679
the focus is on him and the song. There's not

745
00:36:48,920 --> 00:36:52,039
it's not the video is not a storytelling kind of video.

746
00:36:52,159 --> 00:36:55,039
It is a I'm presenting myself to you the audience

747
00:36:55,360 --> 00:36:57,440
in this way, like like you said, like a gospel song.

748
00:36:57,559 --> 00:36:57,800
Speaker 5: Okay.

749
00:36:57,840 --> 00:36:59,719
Speaker 2: So this song reached number one on the Hot one

750
00:36:59,800 --> 00:37:02,760
hunh hundred May twenty eighth of nineteen eighty eight. This

751
00:37:03,280 --> 00:37:07,639
song was a triple chart number one. Okay, this is

752
00:37:07,639 --> 00:37:10,400
a really cool fact. So it hit number one on

753
00:37:10,440 --> 00:37:13,000
the Hot one hundred, It hit number one on the

754
00:37:13,239 --> 00:37:16,119
Hot R and B chart, and number one on the

755
00:37:16,159 --> 00:37:20,159
Adult Contemporary chart. This is the last song to do

756
00:37:20,239 --> 00:37:23,760
that by a white male artist until Robin Thick did

757
00:37:23,760 --> 00:37:26,360
that with Lost Without You in two thousand and seven.

758
00:37:26,480 --> 00:37:28,840
Speaker 1: There's no question when you're listening to this album that

759
00:37:29,000 --> 00:37:33,320
the influence is predominantly the R and B music. There

760
00:37:33,360 --> 00:37:35,599
weren't there were not a whole lot of white guys

761
00:37:35,639 --> 00:37:38,159
who were putting out this kind of music, but it was.

762
00:37:38,280 --> 00:37:41,519
I mean, he really he did such a fantastic job

763
00:37:41,559 --> 00:37:41,800
with it.

764
00:37:41,880 --> 00:37:44,760
Speaker 2: So his voice is very soulful, you know, he's got

765
00:37:44,800 --> 00:37:49,039
such great vocals that the R and B community accepted him,

766
00:37:49,440 --> 00:37:51,679
which is really funny to think about. When you go

767
00:37:51,760 --> 00:37:53,639
back and listen to Wake Me Up Before you Go go,

768
00:37:53,840 --> 00:37:56,880
that's about the biggest whitebread song you could possibly have,

769
00:37:57,199 --> 00:37:59,119
And you say, Okay, this guy is going to be

770
00:37:59,159 --> 00:38:01,960
number one on the R and B charts very shortly. Well,

771
00:38:02,039 --> 00:38:04,199
it's a little bit hard to believe at that time,

772
00:38:04,280 --> 00:38:07,480
but this song is just so good. The interesting and

773
00:38:07,519 --> 00:38:09,280
so there's a couple of interesting things about this song

774
00:38:09,280 --> 00:38:11,639
that I think are worth mentioning. So this is the

775
00:38:11,679 --> 00:38:15,159
third consecutive number one from Faith, which I Want Your Sex.

776
00:38:15,159 --> 00:38:17,159
We already talked about hit number two, mainly because the

777
00:38:17,239 --> 00:38:18,440
radio wouldn't play it.

778
00:38:18,440 --> 00:38:20,199
Speaker 5: It reached number eight.

779
00:38:20,199 --> 00:38:23,280
Speaker 2: On the UK charts, so he was not doing as

780
00:38:23,320 --> 00:38:26,239
well in his home country as he did in America.

781
00:38:26,320 --> 00:38:29,760
It seems kind of crazy. This is the sixth number one.

782
00:38:29,639 --> 00:38:30,400
Speaker 5: For George Michael.

783
00:38:30,519 --> 00:38:31,519
Speaker 3: Yeah, that's awesome and.

784
00:38:31,480 --> 00:38:31,800
Speaker 5: He did it.

785
00:38:32,440 --> 00:38:35,599
Speaker 2: This one debuted at number forty like when it was released,

786
00:38:36,159 --> 00:38:39,119
debuted at number forty and took only seven weeks to

787
00:38:39,159 --> 00:38:39,920
reach number one.

788
00:38:40,119 --> 00:38:42,880
Speaker 3: That's incredibly fast, and to do that well, the song

789
00:38:42,960 --> 00:38:47,559
has to have merit on multiple levels. Obviously, the hook

790
00:38:47,639 --> 00:38:49,719
is there, I mean, the melody on this one is

791
00:38:49,840 --> 00:38:54,119
flat out awesome. The instrumentation for the eighties was spot on.

792
00:38:54,320 --> 00:38:59,599
His voice is incredible and soulful. And then the lyrics,

793
00:38:59,679 --> 00:39:02,239
I mean, and the lyrics tell you a story of

794
00:39:02,599 --> 00:39:05,519
a man who has been in bad relationships before, who's

795
00:39:05,559 --> 00:39:09,199
trying to say no to a relationship that's in front

796
00:39:09,199 --> 00:39:12,400
of him, only to be ultimately overcoming the end and

797
00:39:12,480 --> 00:39:15,119
fall in love and be part of the relationship as

798
00:39:15,159 --> 00:39:16,440
a great storyline.

799
00:39:16,559 --> 00:39:19,440
Speaker 2: One More Try was the second longest running number one

800
00:39:19,480 --> 00:39:22,360
of nineteen eighty eight, tied with Every Rose Has Its

801
00:39:22,400 --> 00:39:27,199
Thorn by Poison, and only behind Steve Winwood's Roll with It,

802
00:39:27,360 --> 00:39:29,400
which was number one for four weeks. I was talking

803
00:39:29,440 --> 00:39:33,119
to my wife about this, and she remembers being a

804
00:39:33,119 --> 00:39:36,400
fifteen year old and this song really spoke to her heart.

805
00:39:36,480 --> 00:39:38,800
So this is her favorite song on the Faith album.

806
00:39:38,880 --> 00:39:42,079
She's not alone in that. Elton John said this is

807
00:39:42,159 --> 00:39:45,440
his favorite George Michael song and that he's not jealous

808
00:39:45,480 --> 00:39:47,320
about many songs, but this song is one that he

809
00:39:47,360 --> 00:39:48,760
wish he would have written.

810
00:39:48,800 --> 00:39:50,480
Speaker 3: That's great, that's a great compliment.

811
00:39:50,599 --> 00:39:53,000
Speaker 2: Mariah Carey covered this song on twenty fourteen. Have you

812
00:39:53,039 --> 00:39:53,920
listened to that version of it?

813
00:39:54,039 --> 00:39:54,199
Speaker 3: Oh?

814
00:39:54,239 --> 00:39:55,400
Speaker 5: Okay, so I listened to it.

815
00:39:55,480 --> 00:39:57,920
Speaker 2: I also listened to her version of def Leppards bringing

816
00:39:57,960 --> 00:40:01,400
on the Heartbreak Not so good, all right, not the best,

817
00:40:01,519 --> 00:40:06,039
but this one because it's that softer, more soulful ballad.

818
00:40:06,360 --> 00:40:08,039
Speaker 5: She actually does have a good version of this. I

819
00:40:08,079 --> 00:40:09,280
thought it was good.

820
00:40:17,239 --> 00:40:20,559
Speaker 1: It's not horrible, but it's it's not as good as

821
00:40:20,599 --> 00:40:21,159
the first one.

822
00:40:21,239 --> 00:40:22,639
Speaker 5: It's not as good as the first one.

823
00:40:22,760 --> 00:40:24,960
Speaker 2: Let's talk about the video for a second, okay. This

824
00:40:25,079 --> 00:40:27,960
video was directed by Tony Scott. Tony Scott is the

825
00:40:27,960 --> 00:40:29,239
director of Thailand.

826
00:40:29,639 --> 00:40:32,960
Speaker 1: Yes yeah, well, I mean and you can definitely see

827
00:40:32,960 --> 00:40:36,440
the top gun like the uh take my breath away.

828
00:40:36,719 --> 00:40:40,960
Part of Top Gun is definitely this style of this

829
00:40:41,079 --> 00:40:41,920
video for sure.

830
00:40:42,079 --> 00:40:44,800
Speaker 3: The blowing sheets and perfect for this song.

831
00:40:45,440 --> 00:40:48,119
Speaker 2: Last little tidbit I've got on this. This was knocked

832
00:40:48,119 --> 00:40:51,159
out of the number one spot by Rick Astley's Together Forever.

833
00:40:51,400 --> 00:40:53,960
So Rick Astley also knocked Father Figure out of the

834
00:40:54,000 --> 00:40:55,639
number one spot, which is kind of interesting.

835
00:40:55,719 --> 00:40:59,480
Speaker 1: So so George Michael has been Rick rolled a couple times.

836
00:40:59,199 --> 00:41:03,639
Speaker 2: Now, Freaking Rick Astley keeps kicking me out. All right,

837
00:41:04,159 --> 00:41:06,719
stop your tape, kick it out, flip it over for

838
00:41:06,800 --> 00:41:07,239
side two.

839
00:41:11,079 --> 00:41:11,639
Speaker 3: Okay.

840
00:41:12,440 --> 00:41:16,119
Speaker 1: The first song on side two is hard Day.

841
00:41:16,280 --> 00:41:18,199
Speaker 5: Don't Bring Me Down. Okay.

842
00:41:18,239 --> 00:41:21,840
Speaker 2: This song is actually the third single of the Fake,

843
00:41:22,119 --> 00:41:24,880
which to me was kind of a surprise because I

844
00:41:24,920 --> 00:41:27,480
wasn't familiar with the song. They didn't make a video

845
00:41:27,599 --> 00:41:30,199
for this song. I didn't know it. I didn't hear it.

846
00:41:30,280 --> 00:41:30,840
Speaker 5: But it's good.

847
00:41:30,840 --> 00:41:31,360
Speaker 6: I like it.

848
00:41:31,360 --> 00:41:34,440
Speaker 1: It's got that funk. It's one of the funky songs

849
00:41:34,480 --> 00:41:37,000
on the album. It's and I dig it. But I

850
00:41:37,039 --> 00:41:40,239
feel like they just kind of missed the mark a

851
00:41:40,320 --> 00:41:40,679
little bit.

852
00:41:40,800 --> 00:41:41,599
Speaker 3: It's not bad.

853
00:41:41,800 --> 00:41:44,719
Speaker 1: It just I heard this and I was like, this

854
00:41:44,800 --> 00:41:48,199
could be a single, but it's just missing something. And

855
00:41:48,239 --> 00:41:49,800
I can't even put my finger on it. But I

856
00:41:49,800 --> 00:41:52,199
guess they felt like it wasn't missing anything because obviously

857
00:41:52,239 --> 00:41:53,599
they released it as a single.

858
00:41:53,400 --> 00:41:55,840
Speaker 2: Father Figure be a hit today, kissing it to be

859
00:41:55,880 --> 00:41:58,639
a hit today. This one, it's a little bit eighties.

860
00:41:58,880 --> 00:42:00,679
Speaker 3: Yeah, let me let's this which.

861
00:42:00,480 --> 00:42:01,079
Speaker 5: We love eighties.

862
00:42:03,079 --> 00:42:05,360
Speaker 2: We love eighties, so don't get me wrong on that.

863
00:42:05,480 --> 00:42:07,079
I really like the chorus in the song.

864
00:42:07,159 --> 00:42:10,599
Speaker 1: So you get this really interesting kind of almost Native

865
00:42:10,599 --> 00:42:14,440
American style whistling going on, and I don't know, yeah,

866
00:42:14,480 --> 00:42:16,679
I'll describe that, and then it comes with the end

867
00:42:16,719 --> 00:42:18,719
with a total dance funk.

868
00:42:19,079 --> 00:42:19,400
Speaker 3: Okay.

869
00:42:19,440 --> 00:42:23,199
Speaker 1: So my feeling on this song is that the bass

870
00:42:23,599 --> 00:42:27,719
line overwhelms the song main and don't but no, no,

871
00:42:28,159 --> 00:42:31,000
main now, Nope, bound down. I mean, it's just in

872
00:42:31,039 --> 00:42:33,679
your face if you had that organ instead of that

873
00:42:33,719 --> 00:42:37,239
synthesizer there, or even just a piano or something. I

874
00:42:37,239 --> 00:42:39,800
don't know that, it's just it kind of misses the

875
00:42:39,800 --> 00:42:40,280
mark for me.

876
00:42:40,559 --> 00:42:42,159
Speaker 5: Okay, that's fair, that's fun.

877
00:42:42,280 --> 00:42:45,039
Speaker 2: This song was written and originally produced by George Michael,

878
00:42:45,119 --> 00:42:48,039
like we said, and released only in the US and Australia.

879
00:42:48,079 --> 00:42:50,320
I don't really get that. I don't know why record

880
00:42:50,360 --> 00:42:52,920
companies do these types of things. Either release it or

881
00:42:53,280 --> 00:42:57,199
don't release it. But anyway released October thirtieth, nineteen eighty seven.

882
00:42:57,280 --> 00:42:58,400
Speaker 5: It released it.

883
00:42:58,400 --> 00:43:01,440
Speaker 2: It reached the top five on the US Hot Dance

884
00:43:01,519 --> 00:43:04,480
Club Songs chart and it was the top It was

885
00:43:04,519 --> 00:43:06,599
in the top forty of the US R and B chart.

886
00:43:06,679 --> 00:43:08,400
So this song was the B side of the I

887
00:43:08,519 --> 00:43:11,320
Want Your Sex single, and when they released Hard Day

888
00:43:11,360 --> 00:43:13,920
as a single, on the B side of Hard Day

889
00:43:14,280 --> 00:43:16,400
was an extended version of I Want Your six. So

890
00:43:16,440 --> 00:43:18,840
the lyrics are addressed to a woman that the singer

891
00:43:18,920 --> 00:43:22,079
is like obsessed with, but in the last verse, George

892
00:43:22,079 --> 00:43:25,119
Michael is like singing a duet with himself, so it's

893
00:43:25,239 --> 00:43:28,639
it's his male voice and then this sped up, pitched

894
00:43:28,719 --> 00:43:31,599
up version of himself as the female.

895
00:43:31,920 --> 00:43:35,519
Speaker 3: Okay, hold on, hold on, hold on, hold on, listen to.

896
00:43:35,440 --> 00:43:36,719
Speaker 2: This sweet little.

897
00:43:39,400 --> 00:43:43,719
Speaker 1: And get to in the when the people don't understand.

898
00:43:47,079 --> 00:43:48,960
Speaker 3: You're telling me that this is George Michael.

899
00:43:49,360 --> 00:43:55,440
Speaker 2: Yes, yes, no, friggin way yes, yes, and you know

900
00:43:55,480 --> 00:43:57,519
where he got the idea from Doudga Prince.

901
00:43:58,119 --> 00:44:01,079
Speaker 1: I'm blown away right now. I was going to look

902
00:44:01,119 --> 00:44:04,400
and see who the who the duet was with and

903
00:44:04,440 --> 00:44:07,440
you're telling me the girl at the end of this

904
00:44:07,639 --> 00:44:10,679
song is not a girl, it's George Michael.

905
00:44:10,880 --> 00:44:12,280
Speaker 5: Yes, that's exactly right.

906
00:44:12,760 --> 00:44:18,880
Speaker 2: That's fan frea fantastic Okay, my mind is blown, So

907
00:44:19,039 --> 00:44:20,920
unpack this with me for just a second. So we

908
00:44:20,960 --> 00:44:24,239
know George Michael is a big fan of Prince. Princess

909
00:44:24,280 --> 00:44:26,599
Sign of the Times album came out in spring of

910
00:44:26,639 --> 00:44:27,199
eighty seven.

911
00:44:27,559 --> 00:44:31,400
Speaker 1: Prince foreshadowing, by the way, quick foreshadowing. We're doing Sign

912
00:44:31,440 --> 00:44:35,119
of the Times in a future episode versus you to

913
00:44:35,719 --> 00:44:36,559
the Joshua Tree.

914
00:44:36,599 --> 00:44:36,920
Speaker 5: Awesome.

915
00:44:36,960 --> 00:44:38,199
Speaker 2: I can't wait to get into that one.

916
00:44:38,239 --> 00:44:40,440
Speaker 1: But oh, it's going to be fantastic, but I'm sorry.

917
00:44:40,599 --> 00:44:45,000
So George Michael is listening to Prince do some stuff

918
00:44:45,000 --> 00:44:46,639
off of Sign of the Times and comes up with

919
00:44:46,679 --> 00:44:47,159
this idea.

920
00:44:47,360 --> 00:44:50,599
Speaker 2: Yeah, Prince had this alter ego, this female version of

921
00:44:50,679 --> 00:44:53,320
himself that he called Camille, and so when he would

922
00:44:53,400 --> 00:44:57,960
sing these female parts, he would raise and pitch up

923
00:44:58,000 --> 00:45:00,719
his voice. If you're familiar with the song, you've got

924
00:45:00,719 --> 00:45:04,480
the look that he sings with Sheena Easton. Yes, it's

925
00:45:04,519 --> 00:45:07,119
that's Camille. And he had this whole album planned where

926
00:45:07,159 --> 00:45:11,280
he was gonna sing as Camille. So anyway, George Michael,

927
00:45:12,079 --> 00:45:14,519
being enamored with Prince thought, I'm gonna give that a try.

928
00:45:14,559 --> 00:45:16,719
He actually does it a little bit on a watcher

929
00:45:16,840 --> 00:45:19,840
sex if you go back and listen to that. But

930
00:45:20,239 --> 00:45:23,480
this song in particular, anyway, that is him singing as

931
00:45:23,519 --> 00:45:24,199
the female part.

932
00:45:24,320 --> 00:45:27,599
Speaker 1: That is that's amazing. That's some solid that's a solid

933
00:45:27,599 --> 00:45:30,159
bit of producing right there. I had no idea. I

934
00:45:30,199 --> 00:45:33,960
thought it was a real girl singing that part.

935
00:45:34,199 --> 00:45:37,239
Speaker 3: I'm just floored. Thank you, thank you for blowing my

936
00:45:37,280 --> 00:45:37,840
mind today.

937
00:45:38,119 --> 00:45:39,360
Speaker 5: Yes, you're welcome.

938
00:45:40,519 --> 00:45:40,960
Speaker 3: Moving on.

939
00:45:41,360 --> 00:45:51,880
Speaker 1: Next song is hand him out? Okay, so is this

940
00:45:52,000 --> 00:45:55,000
intro is in? I have an expectation of a song, right,

941
00:45:55,119 --> 00:45:58,920
you got very The drums are solid in here, and

942
00:45:58,960 --> 00:46:01,119
then you get the coming in and then you get

943
00:46:01,159 --> 00:46:03,480
that bass again that I thought was kind of overwhelming

944
00:46:03,480 --> 00:46:06,480
on hard day. Yeah, but it's not so overwhelming. It's

945
00:46:06,519 --> 00:46:09,920
just a simple bassline and then the lyrics I love

946
00:46:10,559 --> 00:46:15,519
in his voice, I love, but this melody doesn't belong

947
00:46:15,519 --> 00:46:17,960
with these drums, Like I feel like it was a

948
00:46:18,000 --> 00:46:21,000
great song that somebody bought brought a drum machine to

949
00:46:21,239 --> 00:46:23,239
and it was like, oh hey, let's put these drums

950
00:46:23,280 --> 00:46:23,559
to this.

951
00:46:23,639 --> 00:46:25,239
Speaker 3: And if I was.

952
00:46:25,239 --> 00:46:26,800
Speaker 1: There in the studio, I'd be like, yeah, that's a

953
00:46:26,880 --> 00:46:28,800
nice trick, but take that crap out of here.

954
00:46:28,880 --> 00:46:29,480
Speaker 3: This is good.

955
00:46:29,599 --> 00:46:31,760
Speaker 1: We don't need these drums in here. This is this

956
00:46:31,920 --> 00:46:35,360
is like in the Ghetto by Elvis. This needs to

957
00:46:35,440 --> 00:46:39,920
be slowed down a little bit, have real instruments and

958
00:46:40,079 --> 00:46:42,920
no drums and then it's fantastic.

959
00:46:43,519 --> 00:46:47,280
Speaker 2: Yeah, okay, okay, yeah, I think that's I think that's good.

960
00:46:47,360 --> 00:46:50,800
Speaker 1: I can see that the choice to leave the drums

961
00:46:50,840 --> 00:46:52,800
in I think was a bad choice.

962
00:46:52,840 --> 00:46:54,239
Speaker 3: And I've heard him. I try to look.

963
00:46:54,280 --> 00:46:55,639
Speaker 1: Once I heard the song, I was like, I know

964
00:46:55,719 --> 00:46:58,360
he did an MTV unplugged, I know he did some

965
00:46:58,400 --> 00:47:01,000
other stuff maybe, and he did, And I'm imp TV

966
00:47:01,079 --> 00:47:01,599
unplugged in.

967
00:47:01,599 --> 00:47:02,639
Speaker 3: This of this song.

968
00:47:03,039 --> 00:47:06,199
Speaker 1: And it sounds better because he's got pianos in there

969
00:47:06,239 --> 00:47:08,960
instead of the synthesizer, but it's still got the drums

970
00:47:08,960 --> 00:47:11,320
in there. And I'm just like, no, this if I could,

971
00:47:11,440 --> 00:47:14,280
you know, if I had these tracks that I could

972
00:47:14,320 --> 00:47:17,599
break up I boot that drum, I would make it

973
00:47:17,639 --> 00:47:21,400
a real piano and not this synthesizer. And if you

974
00:47:21,480 --> 00:47:24,440
had that, you got a fan freakantastic song.

975
00:47:25,000 --> 00:47:25,559
Speaker 3: As it is.

976
00:47:25,920 --> 00:47:27,599
Speaker 1: I'm gonna listen to it for about a minute and

977
00:47:27,599 --> 00:47:29,639
I'm gonna get tired of this repetitive drum beat and

978
00:47:29,679 --> 00:47:30,920
I'm gonna fast forward.

979
00:47:31,000 --> 00:47:34,480
Speaker 2: Okay, okay, all right, So this song to me is

980
00:47:34,480 --> 00:47:38,239
is close to like Michael Jackson's Liberian Girl. It's good,

981
00:47:38,480 --> 00:47:40,679
but it never really quite gets off the ground for me.

982
00:47:41,079 --> 00:47:44,800
It's I think it finishes strong musically, it's just kind

983
00:47:44,840 --> 00:47:48,239
of jazzy and light, and his vocals never really it's

984
00:47:48,320 --> 00:47:51,480
kind of more breathy, and he doesn't really like put

985
00:47:51,480 --> 00:47:54,079
the throttle down, you know. Okay, I've got something for

986
00:47:54,119 --> 00:47:56,960
you on this tell me if I'm off bass. So

987
00:47:57,000 --> 00:47:59,199
they have the drum kit at the beginning that just kind.

988
00:47:59,039 --> 00:47:59,320
Speaker 4: Of the.

989
00:48:00,960 --> 00:48:02,039
Speaker 3: Right yep.

990
00:48:02,280 --> 00:48:09,400
Speaker 2: Then it comes in with the piano, that piano line

991
00:48:09,760 --> 00:48:13,440
and it just kind of repeats. That sounds very similar

992
00:48:13,519 --> 00:48:16,280
to the piano line in Computer.

993
00:48:15,960 --> 00:48:16,760
Speaker 5: Blue by Prince.

994
00:48:17,239 --> 00:48:21,079
Speaker 2: Different tone, same line, I think, see what you think?

995
00:48:23,599 --> 00:48:26,320
Speaker 1: Yeah, so that little bit, that little bit at the beginning, Yeah,

996
00:48:26,400 --> 00:48:28,760
it's the same. It sounds like the same notes, but

997
00:48:29,199 --> 00:48:32,159
Prince is cutting it short, whereas George Michael completes the

998
00:48:32,360 --> 00:48:34,800
completes the phrase on the on the music for sure.

999
00:48:35,079 --> 00:48:37,599
Speaker 2: Okay, cool, So I'm not off based on that that sounded.

1000
00:48:37,599 --> 00:48:39,119
Speaker 3: At all no very similar.

1001
00:48:39,199 --> 00:48:43,320
Speaker 1: Okay, So this song is different from the other songs

1002
00:48:43,320 --> 00:48:45,239
on the album because it's kind of a social commentary.

1003
00:48:45,320 --> 00:48:48,320
This isn't about sex, this isn't about love, this isn't

1004
00:48:48,320 --> 00:48:51,840
about relationships. This is about people on the streets, people

1005
00:48:51,880 --> 00:48:56,079
who lose themselves to poverty and to drugs, and that's

1006
00:48:56,119 --> 00:48:58,519
that kind of thing, and where their children are left.

1007
00:48:58,679 --> 00:49:02,480
It's definitely an raally different storyline than the other the

1008
00:49:02,519 --> 00:49:03,440
other stuff that we have.

1009
00:49:03,400 --> 00:49:03,880
Speaker 3: On this album.

1010
00:49:04,039 --> 00:49:06,199
Speaker 1: And that that's that's a part that I like. I mean,

1011
00:49:06,320 --> 00:49:08,599
I think that that that the lyrics and the meaning

1012
00:49:08,639 --> 00:49:10,039
behind the lyrics are solid.

1013
00:49:10,159 --> 00:49:10,840
Speaker 3: Again, I just.

1014
00:49:10,800 --> 00:49:13,360
Speaker 1: Think that the instrumentation they missed the they missed the

1015
00:49:13,400 --> 00:49:16,760
mark on it. Next track on the CD tape or

1016
00:49:17,039 --> 00:49:19,159
LP is look at Your Hands.

1017
00:49:24,280 --> 00:49:26,840
Speaker 5: So this one's a little bluesy. There's more horned.

1018
00:49:26,920 --> 00:49:30,239
Speaker 2: It's interesting to see how he moves from ballad to

1019
00:49:30,639 --> 00:49:33,719
dance song to jazz. We haven't got to yet and

1020
00:49:33,760 --> 00:49:34,800
this is more blues.

1021
00:49:35,119 --> 00:49:39,400
Speaker 1: Wow, this is this is similar to an excess. This

1022
00:49:39,440 --> 00:49:42,800
has a very in excess kick. Nice feel about it.

1023
00:49:43,159 --> 00:49:43,960
Speaker 3: I like this song.

1024
00:49:44,079 --> 00:49:47,960
Speaker 2: Okay, when I first listened to it, I thought to myself,

1025
00:49:48,400 --> 00:49:52,519
it sounds a little bit like Bruce Willis and respect yourself.

1026
00:49:52,800 --> 00:49:56,079
Speaker 1: So this song is the only song that has a

1027
00:49:56,119 --> 00:49:59,039
co writer. This one was co written by George Michael

1028
00:49:59,199 --> 00:50:01,960
and a guy named David Austin. It's got the rock,

1029
00:50:02,119 --> 00:50:05,519
it's got the the saxophone in there like the inexcess

1030
00:50:05,599 --> 00:50:08,199
ass and then the piano like it. Yeah, this is

1031
00:50:08,519 --> 00:50:11,000
strong in access to me, strong in excess.

1032
00:50:11,000 --> 00:50:11,760
Speaker 3: Feel on this one.

1033
00:50:11,800 --> 00:50:13,079
Speaker 5: Interesting, Okay, cool.

1034
00:50:13,159 --> 00:50:15,760
Speaker 1: Sometimes it just takes hearing a song about four or

1035
00:50:15,800 --> 00:50:17,440
five times and then you fall in love with it.

1036
00:50:17,480 --> 00:50:17,679
You know.

1037
00:50:18,119 --> 00:50:19,920
Speaker 2: That happens to me quite a little bit, actually.

1038
00:50:20,199 --> 00:50:23,480
Speaker 3: So this song is about a guy who is unhappy

1039
00:50:23,559 --> 00:50:28,760
with is unhappy with the way that his ex girlfriend's

1040
00:50:28,880 --> 00:50:32,400
life has turned out. You got two fat children and

1041
00:50:32,440 --> 00:50:33,360
a drunken man.

1042
00:50:33,920 --> 00:50:38,800
Speaker 1: Bet you don't, bet you don't like your life.

1043
00:50:40,440 --> 00:50:43,079
Speaker 3: So this one's I don't know if this one is

1044
00:50:43,599 --> 00:50:46,400
pleading with her or if it's just yeah, I know

1045
00:50:46,559 --> 00:50:50,880
he's just he says, I still want you tonight. So yeah,

1046
00:50:50,960 --> 00:50:54,679
he's he's telling her she's made a big mistake. Your

1047
00:50:54,760 --> 00:50:59,079
kids are brats and your your man's a dirty drunk.

1048
00:50:59,599 --> 00:51:01,760
You should with me. That's I love.

1049
00:51:02,039 --> 00:51:11,280
Speaker 1: That's some that's some solid, all right. So this one

1050
00:51:11,400 --> 00:51:14,360
is back to the funk. You're right, yeah, I love it.

1051
00:51:14,440 --> 00:51:16,960
I mean this is the eighties music that I go

1052
00:51:17,039 --> 00:51:19,239
back to and revisit and I'm just like, yeah, give

1053
00:51:19,280 --> 00:51:20,599
me eighties all about it.

1054
00:51:21,800 --> 00:51:23,320
Speaker 5: So this song is called Monkey.

1055
00:51:23,400 --> 00:51:27,800
Speaker 2: This is the sixth single released July third, nineteen eighty eight.

1056
00:51:27,920 --> 00:51:30,159
This one hit number one on the High one hundred. Man,

1057
00:51:30,239 --> 00:51:33,079
this is just a string of number one hits. The

1058
00:51:33,199 --> 00:51:37,199
song on the LP is not as good as the

1059
00:51:37,239 --> 00:51:39,000
song in the video, so.

1060
00:51:38,960 --> 00:51:40,320
Speaker 5: It's two different versions of it.

1061
00:51:40,360 --> 00:51:42,960
Speaker 3: Okay, so this song listening to the one in the video.

1062
00:51:43,079 --> 00:51:46,559
Speaker 2: So the album he had to finish because he was

1063
00:51:46,559 --> 00:51:49,360
on a deadline. So he got these two producers, Jimmy

1064
00:51:49,400 --> 00:51:51,840
jam and Terry Lewis to work on the track after

1065
00:51:52,199 --> 00:51:55,320
he heard what they did for the song Nasty by

1066
00:51:55,400 --> 00:51:57,840
Janet Jackson. So they had done songs by New Edition,

1067
00:51:57,960 --> 00:52:00,599
Robert Palmer, the Human League. Like I said, they did

1068
00:52:00,679 --> 00:52:03,039
Nasty for Janet Jackson. They ended up doing black Cat

1069
00:52:03,119 --> 00:52:06,000
off of her Rhythmation album. Michael told the pair that

1070
00:52:06,039 --> 00:52:09,000
he had envisioned Monkey being more melodic with chords, but

1071
00:52:09,079 --> 00:52:11,480
he was on a deadline when he recorded, so he

1072
00:52:11,519 --> 00:52:14,159
didn't have the time to do it properly. Jam and

1073
00:52:14,360 --> 00:52:17,920
Lewis completely reworked the song and they even got George

1074
00:52:17,960 --> 00:52:20,519
Michael to re record his vocals. So the song that

1075
00:52:20,599 --> 00:52:23,920
you hear on MTV that was played a ten thousand times,

1076
00:52:24,000 --> 00:52:27,360
that was the Jimmy Jam Terry Lewis version, and I

1077
00:52:27,559 --> 00:52:29,239
liked that version much better.

1078
00:52:29,360 --> 00:52:32,599
Speaker 1: So as long as we're talking about the video, have

1079
00:52:32,639 --> 00:52:33,800
you seen the hat that he's wearing on.

1080
00:52:37,400 --> 00:52:38,440
Speaker 3: Can we please go?

1081
00:52:40,400 --> 00:52:45,519
Speaker 2: I'm glad so this music video directed again by Andy Morahan.

1082
00:52:45,719 --> 00:52:47,320
Speaker 5: It was choreographed by Paul Abdul.

1083
00:52:48,239 --> 00:52:51,679
Speaker 1: How many times has Paula Abdul made that experience?

1084
00:52:52,480 --> 00:52:55,239
Speaker 3: On our podcast UCLA Loosh.

1085
00:52:55,199 --> 00:52:59,239
Speaker 5: Paula Abdul, George Michael. Yeah, So it's intercut with.

1086
00:52:59,239 --> 00:53:02,840
Speaker 2: Him and his footage and he looks awesome, the denim.

1087
00:53:02,920 --> 00:53:06,559
Jackie's running around singing looking cool, and then they interspliced

1088
00:53:06,599 --> 00:53:10,119
the white shirt and black hat, which I'm like, oh man,

1089
00:53:10,920 --> 00:53:12,079
not a good look for him.

1090
00:53:12,320 --> 00:53:15,239
Speaker 3: Think about this, Think about this? Okay, there were guys

1091
00:53:15,280 --> 00:53:16,440
that existed.

1092
00:53:16,039 --> 00:53:20,519
Speaker 1: In nineteen eighty seven nineteen eighty eight that knew that

1093
00:53:20,639 --> 00:53:24,360
girls liked George Michael and they knew that George Michael

1094
00:53:24,400 --> 00:53:27,760
wore that hat, and so they went out and bought

1095
00:53:27,760 --> 00:53:30,159
a hat so that they could look like George Michael.

1096
00:53:31,239 --> 00:53:34,119
Speaker 5: Yes, I think you are probably right about that.

1097
00:53:35,159 --> 00:53:37,400
Speaker 3: They also wore suspenders with blue.

1098
00:53:37,280 --> 00:53:42,440
Speaker 2: Jeans, yes, yes, and the five o'clock shadow was definitely

1099
00:53:42,480 --> 00:53:46,800
in during this summer. So when this song, when I'm fourteen,

1100
00:53:46,880 --> 00:53:49,519
fifteen years old, I don't really know what a monkey is.

1101
00:53:49,599 --> 00:53:52,480
I don't understand it. I don't get the reference. But

1102
00:53:53,840 --> 00:53:57,559
the song is about a drug habit. The monkey on

1103
00:53:57,599 --> 00:53:59,960
your back is a drug habit. Do you love your

1104
00:54:00,079 --> 00:54:01,880
drug habit or do you love me?

1105
00:54:02,360 --> 00:54:06,400
Speaker 1: It's interesting that that's what this is about, because George

1106
00:54:06,440 --> 00:54:09,800
Michael admittedly had a pretty significant drug habit at the

1107
00:54:09,800 --> 00:54:12,760
time that this this album came out, like he and

1108
00:54:12,840 --> 00:54:15,480
his girlfriend that he had picked up from the eyewinter

1109
00:54:15,519 --> 00:54:19,239
Sex video were doing ecstasy and drinking heavily every single day.

1110
00:54:19,320 --> 00:54:23,400
Speaker 2: Okay, number one hit Super Fun Dance eighties.

1111
00:54:24,079 --> 00:54:26,199
Speaker 3: Yeah, I'll turn it on. I like it.

1112
00:54:26,199 --> 00:54:27,239
Speaker 5: It's good. I like it.

1113
00:54:27,280 --> 00:54:30,960
Speaker 1: So this single was released in nineteen eighty eight, and

1114
00:54:31,000 --> 00:54:33,960
it reached number one on the US Billboard Hot one

1115
00:54:34,079 --> 00:54:38,119
hundred and number thirteen on the UK Singles Chart. Monkey

1116
00:54:38,159 --> 00:54:41,880
debuted at number forty two on July ninth, and by

1117
00:54:42,039 --> 00:54:46,119
August twenty seventh, nineteen eighty eight, it was number one

1118
00:54:46,280 --> 00:54:46,559
and it.

1119
00:54:46,559 --> 00:54:47,920
Speaker 3: Stayed there for two weeks.

1120
00:54:48,079 --> 00:54:51,960
Speaker 1: So with this, he joined Michael Jackson and Whitney Houston

1121
00:54:52,239 --> 00:54:56,880
as three artist who had four or more consecutive number

1122
00:54:56,880 --> 00:55:00,280
one singles during the nineteen eighty seven eighty eight era.

1123
00:55:00,639 --> 00:55:01,360
From one album.

1124
00:55:01,440 --> 00:55:05,840
Speaker 2: Michael Jackson had five number one hits from Bad Flashback

1125
00:55:05,880 --> 00:55:07,679
to Our Bad Episode episode two.

1126
00:55:07,760 --> 00:55:09,760
Speaker 1: Whitney Houston had seven.

1127
00:55:10,079 --> 00:55:12,519
Speaker 5: That's incredible. It's incredible.

1128
00:55:12,800 --> 00:55:13,840
Speaker 3: It was off two albums.

1129
00:55:13,840 --> 00:55:16,280
Speaker 1: But that's pretty that's pretty impressive.

1130
00:55:16,320 --> 00:55:17,159
Speaker 5: It's impressive.

1131
00:55:17,960 --> 00:55:20,880
Speaker 3: Monkey also reached number one on the US Hot Dance

1132
00:55:20,960 --> 00:55:24,679
Club Play chart, and it was his first dance number

1133
00:55:24,679 --> 00:55:28,280
one when they released the single version was that remixed

1134
00:55:28,360 --> 00:55:30,440
version by Jimmy jam and Terry Lewis.

1135
00:55:30,880 --> 00:55:32,599
Speaker 5: Yeah, that's the better version for sure.

1136
00:55:34,800 --> 00:55:37,280
Speaker 1: Last song on the vinyl, but not the last song

1137
00:55:37,320 --> 00:55:40,480
if you had a CD or a cassette, and that

1138
00:55:40,599 --> 00:55:42,519
song is Kissingle Fool.

1139
00:55:49,760 --> 00:55:54,559
Speaker 2: The song is beautiful, another stone cold killer on this album.

1140
00:55:54,599 --> 00:55:58,320
So Kissing the Fool was the seventh single released November

1141
00:55:58,360 --> 00:56:01,039
twenty first, nineteen eighty eight. This song, to me sounds

1142
00:56:01,079 --> 00:56:05,280
something like Harry Connick Junior would sing. It's definitely more jazz.

1143
00:56:05,920 --> 00:56:10,239
Speaker 1: This is what I wanted for Hard Day. If they

1144
00:56:10,280 --> 00:56:12,880
had done Hard Day like this, Hard Day could have

1145
00:56:12,920 --> 00:56:16,119
potentially been another number one head. I think we know

1146
00:56:16,239 --> 00:56:21,039
that with pop in the eighties, you're gonna use synthesizers,

1147
00:56:21,079 --> 00:56:24,840
you're gonna use drum machines. But George Michael is saying

1148
00:56:24,880 --> 00:56:27,639
on this particular song, I don't even have to do that, right.

1149
00:56:28,039 --> 00:56:29,840
Speaker 3: I can give you. I can give you.

1150
00:56:29,840 --> 00:56:34,280
Speaker 1: Old school piano, old school stand up bass, and me

1151
00:56:34,400 --> 00:56:36,880
singing the blues, and you're gonna follow them off.

1152
00:56:37,000 --> 00:56:40,719
Speaker 2: According to George Michael, the vocals were recorded a cappella

1153
00:56:41,079 --> 00:56:45,159
one take one take Wow. Somewhere Joe Elliott is crying

1154
00:56:45,159 --> 00:56:45,880
when he hears.

1155
00:56:45,679 --> 00:56:52,559
Speaker 3: That, drinking himself to sleep.

1156
00:56:55,679 --> 00:56:58,639
Speaker 2: This album was originally supposed to be called Kissing It Fool.

1157
00:56:58,800 --> 00:57:00,880
That was the working title for the album for a

1158
00:57:00,920 --> 00:57:03,320
long time until at the last minute they kind of

1159
00:57:03,400 --> 00:57:04,559
changed it to Faith.

1160
00:57:04,760 --> 00:57:09,000
Speaker 1: So this was the least successful of the singles released.

1161
00:57:09,239 --> 00:57:12,039
It made it to number eighteen on the UK Singles

1162
00:57:12,119 --> 00:57:15,599
Chart and it became the first single in five not

1163
00:57:15,679 --> 00:57:18,360
to make number one on the Billboard Hot one hundred

1164
00:57:18,360 --> 00:57:21,159
in the US, but it was number one on the

1165
00:57:21,320 --> 00:57:25,639
Hot Adult Contemporary Tracks and became number five on the

1166
00:57:25,679 --> 00:57:26,840
Billboard Hot one hundred.

1167
00:57:26,960 --> 00:57:29,400
Speaker 2: So the best part to me this song is when

1168
00:57:29,480 --> 00:57:44,840
the big band jumps in at the end and the

1169
00:57:44,920 --> 00:57:46,159
vocals take off of that.

1170
00:57:46,719 --> 00:57:50,599
Speaker 1: It's interesting that you say that it kind of reminds

1171
00:57:50,599 --> 00:57:53,639
you of Harry Connic. The song was actually covered by

1172
00:57:53,840 --> 00:57:58,199
Michael Bublay and it is whereas you can listen to

1173
00:57:58,679 --> 00:58:00,280
so many of the songs on the sound of them

1174
00:58:00,320 --> 00:58:02,000
and go, yeah, okay, this is kind of dated. I

1175
00:58:02,000 --> 00:58:05,880
can say this is eighties. This song is timeless.

1176
00:58:06,000 --> 00:58:09,079
Speaker 2: It is timeless. Yeah, okay, great song. I love this song.

1177
00:58:09,079 --> 00:58:09,760
Speaker 5: It's beautiful.

1178
00:58:09,880 --> 00:58:12,360
Speaker 3: How did it feel when you were running and listening.

1179
00:58:12,039 --> 00:58:16,679
Speaker 5: To Yes Again?

1180
00:58:16,760 --> 00:58:21,079
Speaker 2: A little bit weird exercising while listening to this album?

1181
00:58:21,159 --> 00:58:21,480
Speaker 5: Okay?

1182
00:58:21,519 --> 00:58:24,559
Speaker 2: So that brings us to the last song on the tape,

1183
00:58:24,599 --> 00:58:28,440
at least a last request, I Want Your Sex Part three.

1184
00:58:28,719 --> 00:58:30,719
Speaker 1: We think I was trying to pressure you into sex

1185
00:58:31,639 --> 00:58:32,880
and apparently didn't work.

1186
00:58:33,079 --> 00:58:35,360
Speaker 3: So let me make last request.

1187
00:58:36,039 --> 00:58:38,639
Speaker 1: This song probably should have happened even less than I

1188
00:58:38,679 --> 00:58:39,840
Want Your Sex Part two.

1189
00:58:41,480 --> 00:58:43,920
Speaker 3: Give it up. I mean, just let it go. She's

1190
00:58:43,960 --> 00:58:46,760
not interested, She's very tired and has a headache.

1191
00:58:46,880 --> 00:58:51,920
Speaker 1: And again this horribly dated with this synthesizer and drum

1192
00:58:51,960 --> 00:58:52,760
machine drums.

1193
00:58:52,880 --> 00:58:57,119
Speaker 2: So I've seen enough cinemax after dark movies. This this

1194
00:58:57,320 --> 00:58:58,440
has the feel.

1195
00:59:03,440 --> 00:59:05,119
Speaker 3: I don't know if that's a confession you want to

1196
00:59:05,119 --> 00:59:06,159
make on the air bro.

1197
00:59:09,039 --> 00:59:11,400
Speaker 5: This has the cinemax after a dark type.

1198
00:59:13,440 --> 00:59:16,599
Speaker 3: You're saying this is the eighties version of bounch.

1199
00:59:21,800 --> 00:59:22,239
Speaker 6: Oh.

1200
00:59:22,280 --> 00:59:23,239
Speaker 1: That's hilarious.

1201
00:59:27,360 --> 00:59:29,920
Speaker 2: It's got kind of a sexy beat the horns. I

1202
00:59:30,239 --> 00:59:34,239
think that as the song closes, it sounds a little

1203
00:59:34,239 --> 00:59:36,840
bit like You Belong to the City by Glenn Frye.

1204
00:59:37,199 --> 00:59:39,679
This song needed to be trimmed. This is not a

1205
00:59:39,880 --> 00:59:42,440
worthy track on Faith No.

1206
00:59:42,960 --> 00:59:45,599
Speaker 3: They wisely left it off of the LP.

1207
00:59:45,840 --> 00:59:47,840
Speaker 1: I'm not sure why they brought it back for the

1208
00:59:47,840 --> 00:59:50,000
CD and the tape as a bonus track. I don't know.

1209
00:59:50,519 --> 00:59:52,119
Speaker 5: So I did want to bring this up.

1210
00:59:52,199 --> 00:59:54,360
Speaker 2: I don't know if we really got into this when

1211
00:59:54,360 --> 00:59:56,760
we covered I Want Your Sex. For a song to

1212
00:59:56,840 --> 00:59:59,519
show up in three parts on an album, I mean,

1213
00:59:59,559 --> 01:00:00,599
it's a it was a huge hit.

1214
01:00:00,599 --> 01:00:01,199
Speaker 5: Don't get me wrong.

1215
01:00:01,239 --> 01:00:03,480
Speaker 2: I'm not saying it wasn't big hit but for three

1216
01:00:03,679 --> 01:00:08,079
versions of basically the same song, and then from this

1217
01:00:08,159 --> 01:00:10,519
point on he ignores it. They don't play it live,

1218
01:00:10,800 --> 01:00:13,599
he doesn't mention it, he didn't talk about it. It's

1219
01:00:13,719 --> 01:00:15,679
very interesting his relationship with that song.

1220
01:00:17,119 --> 01:00:20,119
Speaker 1: Okay, we're getting big picture here, and I'm gonna say this.

1221
01:00:20,639 --> 01:00:21,960
Speaker 3: He reinvents himself.

1222
01:00:22,320 --> 01:00:27,519
Speaker 1: And he does that deliberately, at least throughout the eighties, right,

1223
01:00:27,639 --> 01:00:30,559
I mean he and when he does his next album,

1224
01:00:30,920 --> 01:00:33,920
the first video that comes out, he's blowing up the jacket,

1225
01:00:33,920 --> 01:00:36,280
he's blowing up the jukebox, he's blowing up the guitar.

1226
01:00:36,360 --> 01:00:38,199
I mean, he's getting rid of all of that. He's

1227
01:00:38,239 --> 01:00:40,800
like that, ain't me. You're not going to define me.

1228
01:00:41,119 --> 01:00:44,000
That's not who I am. I can do it all.

1229
01:00:44,239 --> 01:00:46,480
I am not just a pop person. I'm not just

1230
01:00:46,719 --> 01:00:49,920
a I want your sex person, not sex symbol only.

1231
01:00:50,280 --> 01:00:52,400
I'm not any of those things. You can't put me

1232
01:00:52,440 --> 01:00:54,880
in a box. And so I'm going to redefine myself.

1233
01:00:54,920 --> 01:00:56,840
And you know, when we talked about Michael Jackson, I

1234
01:00:56,920 --> 01:00:59,400
talked about how I didn't feel like Bad was a

1235
01:00:59,440 --> 01:01:01,519
better album because I felt like it was really just

1236
01:01:01,559 --> 01:01:05,000
a Thriller Part two, which I mean thriller is fantastic,

1237
01:01:05,039 --> 01:01:07,440
so why not make a part two? But there are

1238
01:01:07,480 --> 01:01:11,199
certain artists out there who refuse to do that. George

1239
01:01:11,199 --> 01:01:14,760
Michael is obviously one of those guys. Prince is obviously

1240
01:01:14,760 --> 01:01:17,119
one of those guys. You've noted a couple times that

1241
01:01:17,159 --> 01:01:19,360
he took a cue from Prince, and I think he

1242
01:01:19,440 --> 01:01:22,800
totally did that big picture wise with his albums as well.

1243
01:01:22,920 --> 01:01:25,920
Prince is not making Purple Rain Part two with Sign

1244
01:01:26,000 --> 01:01:30,480
of the Times. He's making something wholly different, wholly different,

1245
01:01:30,679 --> 01:01:33,440
and that's something admirable to be able to go, hey,

1246
01:01:33,480 --> 01:01:36,599
I'm going to be a completely different type of artists

1247
01:01:36,840 --> 01:01:38,400
and I'm still gonna make hits.

1248
01:01:38,760 --> 01:01:39,760
Speaker 3: That's something impressive.

1249
01:01:40,000 --> 01:01:40,800
Speaker 5: It is impressive.

1250
01:01:40,840 --> 01:01:44,159
Speaker 2: It is impressive, and I marvel at not only did

1251
01:01:44,199 --> 01:01:47,199
he completely change his image from this album to the

1252
01:01:47,239 --> 01:01:49,960
next album, but he weaves his way in and out

1253
01:01:50,000 --> 01:01:56,960
of different genres of music on this album, Like we said, dance, pop, rock, jazz, gospel.

1254
01:01:57,400 --> 01:02:01,119
Speaker 1: How many different categories of music did he write a

1255
01:02:01,239 --> 01:02:01,760
hit for?

1256
01:02:02,199 --> 01:02:04,599
Speaker 5: Oh my gosh, so rap.

1257
01:02:04,719 --> 01:02:09,199
Speaker 2: Initially his first success was in rap bubblegum pop with

1258
01:02:09,320 --> 01:02:14,719
Wham right, I mean mainstream pop rock, jazz, R and

1259
01:02:14,719 --> 01:02:17,440
B R and B Adult contemporary.

1260
01:02:17,199 --> 01:02:22,199
Speaker 1: Dance, dance funk. It's pretty, it's pretty freaking impressive. It's

1261
01:02:22,280 --> 01:02:24,000
super pretty freaking impressive.

1262
01:02:24,119 --> 01:02:27,599
Speaker 2: And the guy's got a voice like an angel. So

1263
01:02:27,679 --> 01:02:31,079
this is kind of moving us into the impact and

1264
01:02:31,199 --> 01:02:34,079
the reception that the Faith album had. It won the

1265
01:02:34,119 --> 01:02:36,599
Grammy for Album of the Year from the nineteen eighty

1266
01:02:36,760 --> 01:02:40,519
nine American Music Awards. He won Favorite Pop Rock Male Artists,

1267
01:02:40,960 --> 01:02:44,880
Favorite Soul R and B Male Artists, which we need

1268
01:02:44,920 --> 01:02:47,920
to talk about, and Favorite Soul R and B Album

1269
01:02:47,960 --> 01:02:50,800
for Faith. There was some backlash on this. This is interesting,

1270
01:02:50,880 --> 01:02:54,119
so a white artist winning the R and B Best

1271
01:02:54,199 --> 01:02:59,039
Artist Award, this was not looked upon very favorably. Although

1272
01:02:59,039 --> 01:03:02,840
it's admirable that he crossed over into black audiences he

1273
01:03:02,920 --> 01:03:04,679
made it. The album was number one on the R

1274
01:03:04,679 --> 01:03:07,920
and B charts, and for him to be the first

1275
01:03:08,039 --> 01:03:12,519
white Solars to do that super impressive. But people like

1276
01:03:12,599 --> 01:03:15,880
Gladys Knight was very vocal and criticized him for that,

1277
01:03:15,920 --> 01:03:18,159
even though it's not his fault, all right, I do

1278
01:03:18,199 --> 01:03:22,239
think it's interesting when he sang Careless Whisper as the

1279
01:03:22,360 --> 01:03:25,639
last song on the last concert of the Faith tour,

1280
01:03:25,960 --> 01:03:28,639
he said to himself, I don't know if I'll ever

1281
01:03:28,880 --> 01:03:32,599
do this again. For him to work so hard, gain

1282
01:03:32,960 --> 01:03:35,559
so much success and get to the top and say

1283
01:03:35,599 --> 01:03:37,000
I'm not sure I'm going to do this ever again

1284
01:03:37,239 --> 01:03:37,800
kind of interesting.

1285
01:03:38,000 --> 01:03:39,039
Speaker 3: It is. It's crazy.

1286
01:03:39,360 --> 01:03:41,880
Speaker 1: So just to touch on the awards real quick, okay,

1287
01:03:42,320 --> 01:03:48,039
yep nominated for Album of the Year and one Yes

1288
01:03:48,320 --> 01:03:52,199
Father Figure was nominated for Best Pop Vocal Performance by

1289
01:03:52,239 --> 01:03:55,920
a Male. This also received the Favorite Soul R and

1290
01:03:55,960 --> 01:03:59,920
B Album for the American Music Awards, as well as

1291
01:04:00,159 --> 01:04:04,440
the Favorite Soul R and B Male Artists MTV Video

1292
01:04:04,559 --> 01:04:08,760
Music Awards. Both Faith and Father Figure were nominated, and

1293
01:04:08,840 --> 01:04:12,719
Father Figure one for Best Direction in a Video, Father

1294
01:04:12,760 --> 01:04:15,000
Figure one for Best Direction in a Video. He had

1295
01:04:15,039 --> 01:04:20,400
other nominations, but ultimately he received the Video Vanguard Award

1296
01:04:20,599 --> 01:04:23,480
and he won. For the brit Awards, won Best British

1297
01:04:23,480 --> 01:04:24,039
Male Artist.

1298
01:04:24,280 --> 01:04:27,280
Speaker 5: It's impressive. I mean, that's a heck of a year, man. Yeah,

1299
01:04:27,320 --> 01:04:28,440
I was gonna mention this too.

1300
01:04:29,079 --> 01:04:31,599
Speaker 2: Faith was the best selling album of nineteen eighty eight

1301
01:04:31,599 --> 01:04:35,199
in the United States, eleven million copies in the United

1302
01:04:35,239 --> 01:04:38,760
States alone, twenty million copies of Faith sold worldwide. That's

1303
01:04:38,800 --> 01:04:41,719
the fifty second best selling album of all time in

1304
01:04:41,760 --> 01:04:42,239
the US.

1305
01:04:42,519 --> 01:04:44,760
Speaker 3: Okay, wow, yeah.

1306
01:04:44,400 --> 01:04:48,000
Speaker 2: So this is an interesting tidbit just regarding the Shore

1307
01:04:48,079 --> 01:04:51,360
that you Can't Be Serious podcast. Okay, So Faith was

1308
01:04:51,400 --> 01:04:54,000
the number one selling album of nineteen eighty eight.

1309
01:04:53,880 --> 01:04:55,800
Speaker 5: Covered by the Show That You Can't Be Serious Podcast.

1310
01:04:55,920 --> 01:04:58,000
Speaker 2: The number two best selling album of eighty eight the

1311
01:04:58,039 --> 01:05:02,079
Dirty Dancing Soundtrack, which we have slated sometime maybe in

1312
01:05:02,119 --> 01:05:06,599
twenty twenty one. Number three that year, hysteria Everybody this

1313
01:05:06,679 --> 01:05:09,559
Show that You Can't Be Serious Podcast, number four Kick,

1314
01:05:09,960 --> 01:05:13,159
number five bad, and number six appatit for destruction.

1315
01:05:13,400 --> 01:05:16,920
Speaker 1: Well, we don't pick losers.

1316
01:05:17,960 --> 01:05:19,079
Speaker 3: We don't pick losers.

1317
01:05:19,360 --> 01:05:22,280
Speaker 5: That's right. Debbie gives it at number seven. I'm not

1318
01:05:22,320 --> 01:05:23,639
sure that was gonna.

1319
01:05:23,400 --> 01:05:25,840
Speaker 1: Make the Oh yeah, dude, We're definitely doing a Debbie

1320
01:05:25,880 --> 01:05:28,199
Gibson versus Tiffany episode.

1321
01:05:28,239 --> 01:05:29,679
Speaker 3: It's gonna happen, right.

1322
01:05:33,000 --> 01:05:35,159
Speaker 2: We've got to talk a little bit about sort of

1323
01:05:35,199 --> 01:05:36,400
the tragedy.

1324
01:05:37,239 --> 01:05:38,159
Speaker 3: Yeah, okay, all.

1325
01:05:38,159 --> 01:05:41,960
Speaker 1: Right, So all the success in the world can always

1326
01:05:42,000 --> 01:05:45,079
save you. Tragically, with both of the bands that we're comparing,

1327
01:05:45,280 --> 01:05:50,320
we lose an artist. Without comparison, the world has lost

1328
01:05:50,480 --> 01:05:54,239
something special in both of their deaths and It's tragic.

1329
01:05:54,960 --> 01:05:56,840
Speaker 5: It is, It is so Georgia.

1330
01:05:56,880 --> 01:06:00,960
Speaker 2: Michael died Christmas Day, twenty sixteen at HP three. The

1331
01:06:01,119 --> 01:06:06,119
autopsy report was indeterminable, but I think it's just in general,

1332
01:06:06,320 --> 01:06:09,000
drugs and alcohol got him in the end. Michael Hutchins

1333
01:06:09,039 --> 01:06:11,800
died November twenty second, nineteen ninety seven.

1334
01:06:12,039 --> 01:06:14,480
Speaker 3: His death was very unusual.

1335
01:06:14,800 --> 01:06:18,199
Speaker 1: He had, in all respects, appeared to be in a

1336
01:06:18,199 --> 01:06:22,880
good mood. He had plans to do work with other artists.

1337
01:06:22,960 --> 01:06:24,639
And you know, they say this stuff all the time

1338
01:06:24,679 --> 01:06:30,800
about people who commit suicide, but with his particular situation,

1339
01:06:30,960 --> 01:06:35,119
it does seem very strange that he would have committed suicide.

1340
01:06:35,199 --> 01:06:39,639
But he had become involved in a relationship with Bob

1341
01:06:39,679 --> 01:06:47,280
Geldolf's wife, Paula Yates, and she was leaving Bob, and

1342
01:06:47,400 --> 01:06:51,159
there were custody battles going on in their divorce, and

1343
01:06:51,199 --> 01:06:55,800
there was a plan that she and her children, as

1344
01:06:55,840 --> 01:07:00,719
well as the child that she had with Michael Hutchins,

1345
01:07:00,760 --> 01:07:06,119
Tiger Lily, We're supposed to come to be with him

1346
01:07:06,440 --> 01:07:11,679
over the Christmas holiday, and because of the divorce dispute,

1347
01:07:12,159 --> 01:07:14,400
that they were not able to come. She called and

1348
01:07:14,440 --> 01:07:19,480
gave him that news. He became very depressed. This was

1349
01:07:19,519 --> 01:07:22,320
all within the span of a day. Became very depressed,

1350
01:07:22,360 --> 01:07:25,840
called a couple of different people to tell them what

1351
01:07:25,960 --> 01:07:29,079
was going on and how he was feeling. And one

1352
01:07:29,119 --> 01:07:32,320
of those people even came to the hotel room that

1353
01:07:32,360 --> 01:07:34,639
he was staying in and knocked on the door to

1354
01:07:35,239 --> 01:07:37,239
come and talk to him, even though it was in

1355
01:07:37,280 --> 01:07:40,719
the wee hours of the morning, and she didn't get

1356
01:07:40,719 --> 01:07:43,760
a response and so left, and sadly, that next morning

1357
01:07:44,480 --> 01:07:50,039
they found him hanging in his closet. It's again, not

1358
01:07:50,119 --> 01:07:53,519
something that they thought was foul play, but something that

1359
01:07:54,039 --> 01:07:59,519
a lot of folks had trouble believing was deliberate, despite

1360
01:07:59,519 --> 01:08:01,880
the fact that appeared to be completely alone. So I

1361
01:08:01,920 --> 01:08:03,880
don't you know, I don't want to speculate on it,

1362
01:08:03,920 --> 01:08:09,559
but the thing is, we lost again another truly great artist.

1363
01:08:09,840 --> 01:08:12,039
Speaker 3: And on that happy note, how about we do some viology?

1364
01:08:12,119 --> 01:08:17,560
Speaker 2: All right, thank you, Let's transition to something a little happier.

1365
01:08:17,680 --> 01:08:20,000
Speaker 5: Final judgment A right, where are you?

1366
01:08:20,039 --> 01:08:20,119
Speaker 4: No?

1367
01:08:20,239 --> 01:08:20,760
Speaker 3: You go first?

1368
01:08:20,800 --> 01:08:21,560
Speaker 5: You want me to go first?

1369
01:08:21,600 --> 01:08:22,000
Speaker 3: All right?

1370
01:08:22,119 --> 01:08:27,840
Speaker 2: So these two albums I owned both, I love both. However,

1371
01:08:28,159 --> 01:08:33,600
I think that Faith has some songs that needed to

1372
01:08:33,640 --> 01:08:36,800
be cut. It brings down the album as a whole.

1373
01:08:36,920 --> 01:08:40,079
Some of these just kind of hanger ons. I do

1374
01:08:40,159 --> 01:08:42,319
think Faith gets a lot of credit with me for

1375
01:08:42,439 --> 01:08:48,600
having so many songs, so many different genres, different styles,

1376
01:08:48,600 --> 01:08:51,520
certainly styles that were not my favorite at the time.

1377
01:08:51,800 --> 01:08:54,680
Jazz was not something I listened to typically, but through

1378
01:08:54,800 --> 01:08:57,319
Kissing a Fool I was introduced to that. But a

1379
01:08:57,319 --> 01:08:59,840
lot of great songs. I don't think Faith has a

1380
01:09:00,279 --> 01:09:02,800
quite as well. I love every.

1381
01:09:02,640 --> 01:09:05,279
Speaker 5: Song on Kick. I could pop it in. I could

1382
01:09:05,319 --> 01:09:07,199
definitely go jogging to Kick a little bit easier than

1383
01:09:07,239 --> 01:09:07,800
I could Faith.

1384
01:09:07,880 --> 01:09:10,760
Speaker 2: But my vote as a whole, Kick is the better album,

1385
01:09:10,800 --> 01:09:11,760
not a bad song on it.

1386
01:09:11,880 --> 01:09:12,000
Speaker 5: Ye.

1387
01:09:13,640 --> 01:09:17,399
Speaker 1: Okay, when we started this podcast, I had a decision

1388
01:09:17,439 --> 01:09:19,600
in my head. I knew what I was picking in

1389
01:09:19,680 --> 01:09:23,560
my head, right. Yeah, And as with many things, as

1390
01:09:23,560 --> 01:09:25,880
we revisit and we listen and we go through the

1391
01:09:26,039 --> 01:09:30,479
entire album and things appeal to you more on the

1392
01:09:30,560 --> 01:09:34,840
second or third or the fourth listen, your perspectives change.

1393
01:09:35,119 --> 01:09:36,640
Speaker 3: Now. I'm a rock guy.

1394
01:09:36,880 --> 01:09:39,399
Speaker 1: I am not a pop guy. I like some pop music,

1395
01:09:39,439 --> 01:09:42,479
and that's I mean, I'm not a snob about it.

1396
01:09:42,479 --> 01:09:46,279
It's just not my thing, right, And so what I

1397
01:09:46,359 --> 01:09:48,359
have to do in my head is I have to

1398
01:09:48,399 --> 01:09:52,880
take that out and say, okay, take your presuppositions and

1399
01:09:52,920 --> 01:09:58,039
your predispositions away and look at these albums side by

1400
01:09:58,159 --> 01:10:04,359
side for what they were. And even though probably song wise,

1401
01:10:04,640 --> 01:10:07,520
I'm going to pick in excess kick, Never Tear Us

1402
01:10:07,560 --> 01:10:10,159
Apart is I've said my favorite song. If you put

1403
01:10:10,520 --> 01:10:12,600
all of these songs up on the board, I'm writing

1404
01:10:12,680 --> 01:10:17,199
number one next to Never Tear Us Apart? And Devil

1405
01:10:17,239 --> 01:10:22,119
Inside and Need You Tonight are both fantastic songs. New

1406
01:10:22,199 --> 01:10:26,039
Sensation What Yes lows my mind and it's rock, which

1407
01:10:26,079 --> 01:10:29,359
I love right, but it's all rock. And so when

1408
01:10:29,359 --> 01:10:32,920
we listen to Guns N' Roses versus Back in Black,

1409
01:10:33,039 --> 01:10:36,720
what did I say? I said, Appetite for Destruction was

1410
01:10:36,800 --> 01:10:40,800
better than Back in Black because it had variety, it

1411
01:10:40,840 --> 01:10:45,439
had variation. And so even though when we started I

1412
01:10:45,520 --> 01:10:48,000
knew I was picking an excess kick, I gotta say

1413
01:10:48,159 --> 01:10:52,199
today I'm picking George Michael Faith love It. Number one

1414
01:10:52,239 --> 01:10:54,640
hit after number one hit after number one hit in

1415
01:10:54,760 --> 01:10:58,680
completely different genres you have. I mean, I've got songs

1416
01:10:58,720 --> 01:11:00,640
on there that I don't like. I would redone them

1417
01:11:00,640 --> 01:11:03,039
and done them a completely different way. But when you

1418
01:11:03,079 --> 01:11:06,840
look at these albums as a whole. George Michael has

1419
01:11:06,960 --> 01:11:11,439
produced a better product. And that's the way people felt

1420
01:11:11,560 --> 01:11:15,039
in nineteen eighty eight, nineteen eighty nine, and.

1421
01:11:15,359 --> 01:11:16,319
Speaker 3: I gotta say they were right.

1422
01:11:16,479 --> 01:11:19,079
Speaker 1: If you if you take out the ones that are

1423
01:11:19,159 --> 01:11:22,720
dated and you put them next to the next to

1424
01:11:22,760 --> 01:11:26,720
these songs from Kick, taking out the ones that are dated,

1425
01:11:26,840 --> 01:11:29,319
I still say, I'm gonna have to say that Faith

1426
01:11:29,319 --> 01:11:29,960
wins today.

1427
01:11:30,159 --> 01:11:31,359
Speaker 5: Wow, I love it.

1428
01:11:31,399 --> 01:11:32,239
Speaker 2: Man, that's great.

1429
01:11:33,159 --> 01:11:33,920
Speaker 5: It's crazy for me.

1430
01:11:34,000 --> 01:11:35,319
Speaker 3: I would never have expected it.

1431
01:11:35,560 --> 01:11:37,920
Speaker 1: Yeah, I would never have expected to pick that. Never

1432
01:11:38,399 --> 01:11:42,079
I'm I'm still I'm probably going to wake up tomorrow

1433
01:11:42,199 --> 01:11:43,760
and I'm probably gonna wake up in the middle of

1434
01:11:43,760 --> 01:11:45,720
the night and go, what the crap did I just say?

1435
01:11:47,520 --> 01:11:50,880
Because I love Kick, I love the rock and oh man,

1436
01:11:50,960 --> 01:11:54,319
I'm wavering already. I'm starting to waffle. We better turn

1437
01:11:54,399 --> 01:11:56,000
the microphones off before I.

1438
01:11:57,159 --> 01:11:59,680
Speaker 2: Hey, I think it's cool for us to grow as

1439
01:11:59,720 --> 01:12:04,239
we rediscover these albums together. So hopefully there's somebody out

1440
01:12:04,239 --> 01:12:07,279
there who listened to the podcast who changed their mind.

1441
01:12:07,359 --> 01:12:10,159
I think that's great when people hit us up on

1442
01:12:10,199 --> 01:12:12,800
Facebook and they say, hey, I initially thought this, and

1443
01:12:12,880 --> 01:12:15,039
now I think that I just I.

1444
01:12:14,960 --> 01:12:17,000
Speaker 1: Would like to point out that this is kind of

1445
01:12:17,079 --> 01:12:20,199
momentous because as far as pop and rock are concerned,

1446
01:12:20,960 --> 01:12:23,479
You're the pop guy and I'm the rock guy. If

1447
01:12:23,479 --> 01:12:25,840
we got to say one's sure, that's true. I just

1448
01:12:25,840 --> 01:12:27,880
picked the pop I just picked the pop album, and

1449
01:12:27,920 --> 01:12:28,960
you picked the rock album.

1450
01:12:29,239 --> 01:12:32,039
Speaker 5: I know, I know. Hey yeah, that's called growth.

1451
01:12:34,239 --> 01:12:36,399
Speaker 3: All right, Well, tell us what you guys think.

1452
01:12:37,319 --> 01:12:41,039
Speaker 1: Am I crazy? Is Jason crazy? Are they? Is it

1453
01:12:41,039 --> 01:12:44,119
an unanswerable question which of these two albums are better?

1454
01:12:44,479 --> 01:12:46,600
It might be, but sometimes you just got to put

1455
01:12:46,640 --> 01:12:48,399
your foot down and say this is the way it is.

1456
01:12:48,680 --> 01:12:51,960
That's great, I feel Jason. It's been fun.

1457
01:12:52,319 --> 01:13:00,119
Speaker 5: Yep, D talk to you next week, all right, bye,