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Speaker 1: Welcome everybody to the Shirley 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.

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Speaker 1: Shake my but.

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Speaker 3: 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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Jane V. Graves and Jason Caliban.

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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 Exit 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. So let's do this, all right.

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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 1: 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 masacre

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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 impressed 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 but

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putting 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 they were young. Guys were

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really young, like when they got started they were nineteen yeah,

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But George had an ability to write catchy tunes, and

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Andrew wanted to be the biggest band in the world

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and it'd 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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of 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 2: I saw this. One of the songs that they played

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on top of the pops was young Guns go for It.

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But these guys had a rap song. These are two

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English white guys in nineteen eighty two who were rapping

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that was 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 2: If you heard of that one, yeah, Actually, I think

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everybody in the world had a copy of This is

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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 Minute Work and

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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. In the eighties,

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aides had just become a thing, and this was a

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shocking and scary thing that was associated at the time

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with that lifestyle, and so they convinced him at the

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time to just keep it a secret, and so for

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the 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 whim at the time was a young

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lady named Brooke 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 2: George Michael and Brook Shields. That's a pretty powerful early

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eighties couple right there. Yeah. Okay, so of those singles

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that Wham put out from 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 had

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who never had a chance with her. And then you know,

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he 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, he happens to a couple of years later,

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come across Jane again and she has seen him doing

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some DJing and she's now enamored with him, and so

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he starts seeing Jane without telling Helen, and he said

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this song. He remembers coming up with it on the bus,

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like he very very vividly remembers, you know, in the

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bus home and as he's handing the money to the

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bus driver, as he's about to get off the bus,

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this sax solo comes into his head, unmistakable sax ol.

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Speaker 2: Right, yeah, I heard him say that. At that time

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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 sacks 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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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 wis 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 Ridgeley 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 1: Yeah, it's strange. I haven't been able to find an

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answer as to why they did it this way, other

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than maybe that George had this kind of deeper, longer

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connection with the song. I mean, it was before he

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had formed a band with Andrew that he started putting

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this song together. So maybe it was just an agreement

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between he and Andrew that, hey, this song I just

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feel like needs to be my song. That's the only

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reason that I can think, because it was. I mean,

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they were still Wham together, they were still touring together,

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but one album cover just has him. I mean, it's

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just George Michael Careless Whisper, and then the alternative one

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is one that says Wham on it Careless Whisper featuring

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

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be more of a solo single than a Wham single.

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

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big deal. I mean, that was that allowed other bands

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to come in. It kind of improved the relationship between

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China and the West and allowing things like that to happen.

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But that was that was a huge deal for them globally.

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I mean they were already a big success in Europe

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and in the Americas, but to do that that created

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such a buzz about him that obviously the money just

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poured in 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 I know, they're twenty

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two years old.

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Speaker 1: Yeah, it's insane. So at the time that George had

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decided to form this band with Andrew, he went to

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his father and told him what his plan was, and

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his father was like, why do you want to do this?

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Why don't you just want to come and run the

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restaurant with me. This was what you're supposed to do.

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You're never going to amount to anything as a musician,

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and so that was kind of a big blow for him. Obviously,

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he 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

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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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play China in nineteen eighty five. They also play Live

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Aid in nineteen eighty five.

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Speaker 1: Yes, which was Live Aid produced by Bob Belard, who

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later his wife would have an affair and ultimately a

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child with Michael us.

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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. These are great catchy.

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Speaker 1: Pop tunes yep.

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Speaker 2: But at this point they're still 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

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to separate himself from Wham, he needs to separate himself

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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

268
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that young, teeny bopper Wham character and continue to write

269
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songs and successful songs will probably make a bazillion dollars

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in all the success in the world. But he really

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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 2: You know he's not wrong about that either.

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Speaker 1: No. I mean the reason that I Want Your Sex

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was the first big boom from this album is because

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

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you to go out and buy my albums for your kids.

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Speaker 2: All right. So a lot of people say that his

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sort of first steps as a solo artist came with

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Careless Whisper, and I would agree with that. But his

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leap came not with Faith but with a song that

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came out in early nineteen eighty seven. Sometimes it's this

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kid's forgotten, I think, But the song I Knew You

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Were Waiting for Me with Aretha Franklin.

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

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a soulful song that was not the bubblegum pop that

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Wham had been putting out before.

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

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number one in April of nineteen eighty seven, was number

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one for two weeks, So if you're counting at home,

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that's number One's with Waking Up Before You Go Go

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Everything She wants Careless Whisper and Now I Knew You

295
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were waiting for Me with the Queen of Soul.

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Speaker 1: Are We ready to jump into the album.

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Speaker 2: Yeah, let's 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. He wanted to set

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himself out as a musical artist who is not the

301
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bubblegum pop artist for kids. So what does he do.

302
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He takes this song that was a huge hit for

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Wham and he plays it on an organ as if

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it's sacred, and then all of a sudden that music

305
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stops and the guitar comes in.

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

307
00:16:40,759 --> 00:16:44,240
and I didn't recognize that that is the Wham song Freedom.

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

309
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I listened to that organ, I'm like, wait a minute,

310
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I recognize that organ tune. What is that? And as

311
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I played it in my head, I was like, I'm

312
00:16:53,279 --> 00:16:56,080
singing the lyrics to a different George Michael. No, this

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is the Wham song Freedom from Make a Big Thing.

314
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Speaker 2: Okay, So in my opinion, the organ tune for Freedom

315
00:17:03,200 --> 00:17:05,920
sounds like a funeral and I think he's putting to

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death Wham.

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Speaker 1: Yeah that's a certainly that's another way to look at

318
00:17:09,799 --> 00:17:11,599
it too. I don't know. I don't know which one

319
00:17:11,640 --> 00:17:14,160
of them is the right, but it's either way the

320
00:17:14,359 --> 00:17:18,759
equally the same, same idea. What was before is no longer.

321
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We are now something new.

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Speaker 2: Okay. So I don't think we've mentioned this before, but curiously,

323
00:17:24,319 --> 00:17:28,440
the Faith album was released October thirtieth of nineteen eighty seven. Okay.

324
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The first single was I Want Your Sex. That came

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out was released June first of eighty seven, so five

326
00:17:35,680 --> 00:17:38,440
months prior to the album being released, right, And the

327
00:17:38,480 --> 00:17:41,720
second single, Faith was released October twelfth, nineteen eighty seven.

328
00:17:41,839 --> 00:17:44,799
It's kind of curious of the dates how they had

329
00:17:44,839 --> 00:17:47,839
two singles released before the album was even available. All right,

330
00:17:47,920 --> 00:17:51,359
So Faith is the second single released October twelfth, nineteen

331
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eighty seven. This one hit number one December twelfth, nineteen

332
00:17:55,079 --> 00:17:57,839
eighty seven, only took seven weeks to reach the top

333
00:17:57,920 --> 00:18:01,039
spot on the Hot one hundred. That's like a rocket,

334
00:18:01,119 --> 00:18:03,680
I mean, that's shooting up the charts yep, and was

335
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number one for four weeks.

336
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Speaker 1: So during the recording of the song, he did something

337
00:18:09,240 --> 00:18:12,440
that we've talked about before that Lang would do, and

338
00:18:12,599 --> 00:18:17,079
he built this song piece by piece. He would record

339
00:18:17,599 --> 00:18:21,680
line by line, sometimes word by word to get it

340
00:18:22,079 --> 00:18:26,720
just perfect. But obviously what came out sounds very polished

341
00:18:26,880 --> 00:18:30,400
and fluid, so it was a very well produced song.

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00:18:30,519 --> 00:18:33,319
Speaker 2: This is a fantastic pop song. It's not a rocker

343
00:18:33,359 --> 00:18:35,519
by any stretch, but it's just a great pop song.

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Speaker 1: It's not the rock of the nineteen eighties. It's the

345
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rock of like the nineteen sixties. This is Bo Diddley.

346
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I mean, this is done. No, no, this is that

347
00:18:44,000 --> 00:18:48,680
reimagined it. And so that little guitar beat that he's

348
00:18:48,720 --> 00:18:52,000
got going on is all about the early rock and

349
00:18:52,119 --> 00:18:54,880
roll style. And I mean, crap, he looks like the

350
00:18:55,039 --> 00:18:57,799
nineteen eighty seven version of Elvis.

351
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Speaker 2: Yes, I mean it absolutely got the.

352
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Speaker 1: Elvis hair, except it's frosted. The jeans, the leather, the glasses.

353
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I mean it's it is all right there. And then

354
00:19:07,279 --> 00:19:10,799
he's got that guitar and he's swiveling his hips just

355
00:19:10,960 --> 00:19:11,440
like the camp.

356
00:19:11,839 --> 00:19:14,319
Speaker 2: Okay, so this was the number one single of the

357
00:19:14,359 --> 00:19:16,480
year in the United States in nineteen eighty eight. Okay,

358
00:19:16,519 --> 00:19:18,960
it was the song of nineteen eighty eight. Let's talk

359
00:19:18,960 --> 00:19:21,200
about the look for a second, all right. So he

360
00:19:21,599 --> 00:19:26,799
has created this character, this masculine character with the leather jacket,

361
00:19:26,920 --> 00:19:31,000
cowboy boots, the jeans, the guitar, the ray band, sunglasses,

362
00:19:31,119 --> 00:19:32,599
the five o'clock's.

363
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Speaker 1: Double, the bearded wonder.

364
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Speaker 2: This was all a character that he created. And I

365
00:19:36,000 --> 00:19:38,519
was talking to you off air. I think this is

366
00:19:38,599 --> 00:19:41,319
based on other than the five o'clock shadow and the

367
00:19:41,319 --> 00:19:44,920
ear ring and the frosted hair. This is Maverick from

368
00:19:44,960 --> 00:19:47,799
Top Dock. Oh yeah, oh, the leather jacket, the ray bands,

369
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the jeans, you know, the boots.

370
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Speaker 1: And the guitar. I mean, and the guitar is you

371
00:19:51,640 --> 00:19:53,880
said it's a costume, it's a character. I mean, any

372
00:19:53,920 --> 00:19:56,640
guitar player watching him play is going to go, You're

373
00:19:56,680 --> 00:20:02,440
not playing that guitar. What is he doing? And so

374
00:20:02,559 --> 00:20:04,960
somebody actually asked him the like, okay, you don't play

375
00:20:05,000 --> 00:20:08,279
the guitar, why are you in this video with a guitar?

376
00:20:08,440 --> 00:20:11,599
And he said, Americans, if you stick a guitar on,

377
00:20:11,720 --> 00:20:13,200
you have a big penis.

378
00:20:13,079 --> 00:20:21,000
Speaker 2: Something that he's intending to be a lot of things

379
00:20:21,000 --> 00:20:22,960
in this video, including a guitar.

380
00:20:22,680 --> 00:20:26,440
Speaker 1: Player, fighter jets, guitars, penises. There you go.

381
00:20:29,960 --> 00:20:32,519
Speaker 2: This song is covered by Limp Biscuit. Have you heard

382
00:20:32,559 --> 00:20:35,240
this version of it? Uh? Yeah, I guess it would

383
00:20:35,240 --> 00:20:39,000
be nice touch about it.

384
00:20:39,599 --> 00:20:43,279
Speaker 1: I know, not everybody he has got a body like me.

385
00:20:45,079 --> 00:20:48,400
Speaker 2: Yeah, I'm not a fan. I'm not a fan. I

386
00:20:48,599 --> 00:20:50,200
just stick with the George Michael version.

387
00:20:50,640 --> 00:20:50,839
Speaker 1: Right.

388
00:20:51,279 --> 00:20:54,960
Speaker 2: This song was featured in Big Bang Theory The Goldbergs,

389
00:20:54,960 --> 00:20:57,559
which is a great show, The Office, and the movie

390
00:20:57,599 --> 00:20:59,359
Ready Player One. It's a great song.

391
00:21:00,240 --> 00:21:01,519
Speaker 1: Where is it a Ready Player one?

392
00:21:01,680 --> 00:21:04,400
Speaker 2: When he goes to the library? When oh Man, when

393
00:21:04,400 --> 00:21:06,359
he goes to the library. Okay, all right, So this

394
00:21:06,480 --> 00:21:08,839
song was knocked out of the number one spot by

395
00:21:09,240 --> 00:21:12,039
So Emotional, by Whitney Houston, one of the pop stars

396
00:21:12,039 --> 00:21:14,279
at the time that he was trying to reach that level.

397
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Speaker 1: Yeah. Well, and it had been. The album itself was

398
00:21:17,920 --> 00:21:21,319
in number one in and out several times, knocked out

399
00:21:21,319 --> 00:21:23,880
at one point, I think by Tiffany and her debut album.

400
00:21:24,000 --> 00:21:27,279
Speaker 2: Yes. So they asked him, you know, what does faith

401
00:21:27,400 --> 00:21:28,200
mean to you?

402
00:21:28,200 --> 00:21:28,440
Speaker 1: You know?

403
00:21:28,480 --> 00:21:30,559
Speaker 2: And he said, well, it represents the way I felt

404
00:21:30,599 --> 00:21:33,039
at the moment. It's kind of like another word for

405
00:21:33,119 --> 00:21:36,680
hope or optimism. So it was just a strong word.

406
00:21:36,720 --> 00:21:40,079
He liked the idea of being a simple idea for

407
00:21:40,160 --> 00:21:43,240
the song, and then he actually this was his second

408
00:21:43,359 --> 00:21:46,160
choice for the title of the album. The original choice

409
00:21:46,200 --> 00:21:48,599
to be the name of the album was Kissing a Fool,

410
00:21:48,720 --> 00:21:50,960
but he liked the simplicity of this song and that

411
00:21:51,079 --> 00:21:53,119
word so much that it became fair. And I think

412
00:21:53,119 --> 00:21:54,279
there's a right choice.

413
00:21:54,000 --> 00:21:58,240
Speaker 1: Absolutely, all right, moving on to track number two, I

414
00:21:58,279 --> 00:21:59,480
Will Be Your Father Figure.

415
00:22:00,480 --> 00:22:00,920
Speaker 3: That's a.

416
00:22:03,119 --> 00:22:05,359
Speaker 2: Song same.

417
00:22:10,400 --> 00:22:17,799
Speaker 3: So de Sid.

418
00:22:19,880 --> 00:22:24,319
Speaker 2: This song's a masterpiece. Okay, this song is a pop masterpiece.

419
00:22:25,400 --> 00:22:28,920
Speaker 1: Well it is. It definitely needs to be a part

420
00:22:29,039 --> 00:22:36,240
of the Makeout Slash four Play Slash Finish Off mixtape

421
00:22:36,480 --> 00:22:42,359
of nineteen eighty seven. So you guys know that, Like

422
00:22:42,640 --> 00:22:45,559
we talked back and forth before we have these episodes

423
00:22:45,599 --> 00:22:47,920
and talk what we're about, what we're doing. And Jason

424
00:22:47,920 --> 00:22:51,759
at one for says, I just ran like three miles

425
00:22:51,759 --> 00:22:55,480
and listened to the Faith album and it was a

426
00:22:55,480 --> 00:23:00,480
little weird from time to time. I cannot imagine running

427
00:23:00,559 --> 00:23:03,640
and sweating out in the Oklahoma son to I Will

428
00:23:03,680 --> 00:23:04,319
Be Your Father.

429
00:23:07,200 --> 00:23:11,319
Speaker 2: I got to do my research, man. So Father Vigor

430
00:23:11,599 --> 00:23:15,240
was actually the fourth single. It stayed number one for

431
00:23:15,279 --> 00:23:19,359
two weeks. It was released December twenty eighth, nineteen eighty seven,

432
00:23:19,680 --> 00:23:23,279
hit number one February twenty seventh, nineteen eighty eight. Again

433
00:23:23,359 --> 00:23:25,640
that's two months to reach the top. That's really fast,

434
00:23:25,880 --> 00:23:28,079
and it knocked out Never Going to Give You Up

435
00:23:28,119 --> 00:23:32,160
by Rick Ashley, Oh the Rick Roll. And this reached

436
00:23:32,240 --> 00:23:34,960
number one in the United States, but it only got

437
00:23:35,000 --> 00:23:37,759
to number eleven in the United Kingdom. It was the

438
00:23:37,799 --> 00:23:40,279
first time that he failed to reach the top ten

439
00:23:40,440 --> 00:23:42,960
in his home country. And I'm like, with this song,

440
00:23:43,039 --> 00:23:44,640
this is the one that didn't make the top ten.

441
00:23:45,079 --> 00:23:46,440
That's crazy, all right.

442
00:23:46,480 --> 00:23:52,680
Speaker 1: So this video was directed by George Michael and Andy Morahan,

443
00:23:52,920 --> 00:23:56,000
who had also done the video for Faith and I

444
00:23:56,079 --> 00:23:59,359
Want Your Sex and Monkey, and they both together ended

445
00:23:59,400 --> 00:24:02,000
up winning the award for Best Direction in a Video

446
00:24:02,079 --> 00:24:05,079
for Father Figure in the nineteen eighty eight MTV Video

447
00:24:05,319 --> 00:24:06,359
Music Awards.

448
00:24:06,559 --> 00:24:09,759
Speaker 2: Nicely to Come a moon Man. Yeah this video, he's

449
00:24:09,799 --> 00:24:12,319
a cab driver and then he meets that high fashion

450
00:24:12,440 --> 00:24:14,960
model and they kind of stare at each other longingly.

451
00:24:15,160 --> 00:24:18,359
That high fashion model is Tanya Coleridge, by the way,

452
00:24:18,440 --> 00:24:20,759
who at the time I thought every woman just wore

453
00:24:20,920 --> 00:24:25,640
garter belts, and you know, like, this is exactly what

454
00:24:25,720 --> 00:24:26,880
I want my life to be.

455
00:24:27,160 --> 00:24:30,759
Speaker 1: Right. Jason got married and his wife's getting ready. He's like,

456
00:24:31,119 --> 00:24:33,519
are you gonna put on your guard belt. We're about

457
00:24:33,519 --> 00:24:35,160
to head out and forgetting your garter.

458
00:24:35,400 --> 00:24:38,160
Speaker 2: That's right, don't put your launch I'll take yours beds

459
00:24:38,160 --> 00:24:39,240
off and put on your lingerie.

460
00:24:39,319 --> 00:24:41,599
Speaker 1: Let's go. It's hilarious. So I don't know if you

461
00:24:41,720 --> 00:24:44,000
have you seen the movie Atomic Blonde, I have not. Okay,

462
00:24:44,200 --> 00:24:46,720
talk about a sensual movie. It's not a sentual movie.

463
00:24:46,720 --> 00:24:48,720
There's a there's a few pretty central parts in it,

464
00:24:49,000 --> 00:24:52,319
but this song is essential as it is is part

465
00:24:52,359 --> 00:24:55,400
of this huge fight scene in it. And to throw

466
00:24:55,440 --> 00:24:58,240
it back to the Tom Cruise top gun thing, the

467
00:24:58,319 --> 00:25:01,240
producers actually wanted to use take My Breath Away by

468
00:25:01,279 --> 00:25:04,240
Berlin in the scene, but they couldn't clear it, and

469
00:25:04,319 --> 00:25:09,279
so instead they use this in a kick but Charlie's

470
00:25:09,279 --> 00:25:13,400
Throne beautiful and bad a making it awesome.

471
00:25:13,880 --> 00:25:16,799
Speaker 2: Nice cool, that's really cool. Father Figure was sampled in

472
00:25:16,960 --> 00:25:20,400
PM Don's Looking Through Patient Eyes nineteen ninety three. It

473
00:25:20,519 --> 00:25:23,440
was sampled in the song Father by Ill COOLJ. And

474
00:25:23,480 --> 00:25:26,920
it was sampled by Destiny's Child in Winter Paradise. Pretty

475
00:25:26,960 --> 00:25:30,359
impactful song. Absolutely, Okay, what's your feeling on this song?

476
00:25:30,400 --> 00:25:31,160
You like this one?

477
00:25:31,359 --> 00:25:33,759
Speaker 1: Oh? Man? I love it so far. I mean, I'll

478
00:25:33,759 --> 00:25:35,839
just say the first the first several song, the first

479
00:25:35,920 --> 00:25:37,640
four songs at the very least, and we'll have to

480
00:25:37,640 --> 00:25:40,519
go through but out of the box are fan freaking

481
00:25:40,559 --> 00:25:44,960
tastic Faith Dynamo. I mean, the throwback to the fifty

482
00:25:45,000 --> 00:25:51,039
sixties rock and the poppy drums and hooks. It's amazing.

483
00:25:51,119 --> 00:25:53,839
And then father figure, my gosh, I mean the song

484
00:25:54,079 --> 00:25:57,680
was made to make out too, and so why wouldn't you, Yeah,

485
00:25:57,759 --> 00:26:00,720
why wouldn't you at my age, which would have been thirteen,

486
00:26:01,240 --> 00:26:02,319
love that song.

487
00:26:02,440 --> 00:26:04,880
Speaker 2: Right all right? So that brings us to the most

488
00:26:04,960 --> 00:26:11,119
controversial song on the album. This song is called I

489
00:26:11,160 --> 00:26:11,880
Want Your Sex.

490
00:26:14,960 --> 00:26:18,400
Speaker 1: So you want to tell me what you said you

491
00:26:18,400 --> 00:26:19,720
thought the music sounded.

492
00:26:21,119 --> 00:26:29,799
Speaker 4: This song and juicy, Yep, there's something very sex sounding

493
00:26:29,920 --> 00:26:31,119
about this music.

494
00:26:31,160 --> 00:26:33,279
Speaker 1: I don't know what they did, how they made the

495
00:26:33,319 --> 00:26:36,079
plunking and the blipping and the blooping and all of

496
00:26:36,119 --> 00:26:38,960
that with the instruments. I don't know how they did

497
00:26:39,000 --> 00:26:40,759
what they did, but it just it's just like, man,

498
00:26:40,759 --> 00:26:42,359
it sounds like doing it.

499
00:26:42,359 --> 00:26:45,400
Speaker 2: It does. It sounds like yes, like a wet porno

500
00:26:45,480 --> 00:26:49,720
at the beginning of the song. This song was released

501
00:26:49,759 --> 00:26:52,920
originally on the Beverly Hills Cop two soundtrack.

502
00:26:53,119 --> 00:26:56,319
Speaker 1: Really, I did not know that it was one of

503
00:26:56,359 --> 00:26:56,759
the hits.

504
00:26:56,880 --> 00:27:00,400
Speaker 2: So like Shakedown, Cross My Broken Heart, and I Watch

505
00:27:00,440 --> 00:27:02,480
Your Sex. It was actually played in the movie during

506
00:27:02,519 --> 00:27:05,640
the strip club scene. But this was released June first,

507
00:27:05,759 --> 00:27:08,599
nineteen eighty seven. And like you said, this was a

508
00:27:08,759 --> 00:27:11,839
stark difference from Wham. Right out of the gate. He's

509
00:27:11,839 --> 00:27:14,599
demonstrating I'm done with that teeny bopper crap. I'm making

510
00:27:14,599 --> 00:27:15,640
a song about sex.

511
00:27:15,880 --> 00:27:17,519
Speaker 1: And if you are, if you happen to be an

512
00:27:17,519 --> 00:27:21,519
aspiring music artist, I think that we've learned from def Leppard,

513
00:27:21,680 --> 00:27:24,519
Pour Some Sugar in Me, Van Halen, Black and Blue,

514
00:27:25,000 --> 00:27:28,519
and George Michael. If you write a song that strippers

515
00:27:28,519 --> 00:27:31,079
want to strip to, then you're probably going to have

516
00:27:31,119 --> 00:27:31,400
a hit.

517
00:27:32,720 --> 00:27:35,240
Speaker 2: That's right, Okay, So here's something that I do want

518
00:27:35,279 --> 00:27:37,759
to dive into. This to me is very interesting. Growing

519
00:27:37,839 --> 00:27:40,640
up in the Midwest, I definitely remember this song. There

520
00:27:40,720 --> 00:27:44,000
was a big backlash by parents and stuff about playing

521
00:27:44,039 --> 00:27:47,160
this song. It was kind of the first song popular

522
00:27:47,240 --> 00:27:50,599
song that had the word sex in it, right, So

523
00:27:50,640 --> 00:27:54,000
you had, like Prince had songs that he had that

524
00:27:54,119 --> 00:27:57,160
were sexual in nature, but they weren't the hits, right.

525
00:27:57,240 --> 00:27:59,319
There were other tracks on the album. But nineteen ninety

526
00:27:59,400 --> 00:28:02,759
nine was what out front. You know, Delirious was out front.

527
00:28:03,359 --> 00:28:05,200
This is the first song that was like a hit

528
00:28:05,319 --> 00:28:08,079
song had the word sex in it. This, yeah, only

529
00:28:08,160 --> 00:28:11,519
reached number two. So it only reached number two because

530
00:28:12,079 --> 00:28:15,559
at the time that was based on sales like single

531
00:28:15,599 --> 00:28:17,880
sales and radio play, and there were a lot of

532
00:28:18,000 --> 00:28:20,799
radio stations around the country that refused to play the song.

533
00:28:21,079 --> 00:28:24,039
I remember there were certain radio stations that had alternate

534
00:28:24,160 --> 00:28:27,400
versions of it that the song was called I Want

535
00:28:27,400 --> 00:28:29,400
Your Love, and it was this loop from the song

536
00:28:29,440 --> 00:28:31,559
where they've played I Want Your Love, I Want you Love.

537
00:28:31,759 --> 00:28:34,599
Speaker 1: Sexual Healing is about the closest you got to the

538
00:28:34,640 --> 00:28:37,519
mention of sex and a song, and that was that

539
00:28:37,599 --> 00:28:41,240
was A eighty two by Marvin Gay. But this is not,

540
00:28:41,440 --> 00:28:43,680
I mean, this isn't just a song mentioned in sex

541
00:28:43,680 --> 00:28:47,200
and the title. This is a guy who's I mean,

542
00:28:47,279 --> 00:28:49,640
just depending on your perspective and your where you stand

543
00:28:49,680 --> 00:28:51,720
on these type of things, it's a guy. It's either

544
00:28:51,759 --> 00:28:53,839
a guy who's tired of getting teased or a guy

545
00:28:53,880 --> 00:28:56,519
who's pushing a girl a little too hard. As a

546
00:28:56,640 --> 00:28:59,240
dad of a daughter, I'm like, what are you talking about?

547
00:28:59,279 --> 00:29:02,440
Like this, start your mouth he is, he's a good

548
00:29:02,440 --> 00:29:05,000
girl alone, stop pressuring her.

549
00:29:05,680 --> 00:29:09,039
Speaker 2: Yeah, a man's got his patience and that is where

550
00:29:09,119 --> 00:29:15,039
his ended. According to this song, sex is natural, sex

551
00:29:15,160 --> 00:29:20,319
is good. Not everybody does it, but everybody should. Sex

552
00:29:20,400 --> 00:29:24,279
is natural, sex is fun, and sex's best when it's.

553
00:29:24,119 --> 00:29:31,799
Speaker 1: One on one. Although I'm not really sure if he

554
00:29:31,960 --> 00:29:33,960
bought into that line, I don't know if he believed.

555
00:29:33,960 --> 00:29:35,160
Speaker 2: I don't think he did either.

556
00:29:37,319 --> 00:29:39,440
Speaker 1: There was a there's a part of this video that

557
00:29:39,480 --> 00:29:42,119
I from. This is just from memory. I did not

558
00:29:42,240 --> 00:29:45,119
go back and research this thing, but it seemed to

559
00:29:45,160 --> 00:29:49,000
me that that even MTV was resistant to playing the

560
00:29:49,079 --> 00:29:52,599
video until they put that part in where he's writing

561
00:29:52,839 --> 00:29:56,279
on the girl explore monogamy. He's like writing with lipstick

562
00:29:56,319 --> 00:29:57,279
on the girl, right.

563
00:29:57,400 --> 00:29:59,920
Speaker 2: Yeah, that was a big deal. Yeah, even MTV was

564
00:30:00,000 --> 00:30:01,720
carried off by this song. I do want to mention

565
00:30:01,799 --> 00:30:03,640
one other thing before we dive into the video, because

566
00:30:03,640 --> 00:30:05,759
I do want to get into the video. Casey Cason

567
00:30:05,839 --> 00:30:08,880
would not say the title of this song during the

568
00:30:08,880 --> 00:30:11,759
Top forty countdown. He would say things like George Michael's

569
00:30:11,799 --> 00:30:14,519
greatest hits is up next at number two or whatever.

570
00:30:14,920 --> 00:30:17,319
He would not say I want your Sex, which, even

571
00:30:17,400 --> 00:30:19,240
to me at the time, I'm like, I didn't know

572
00:30:19,279 --> 00:30:25,359
sex is something you could possess, like we have Yeah,

573
00:30:25,359 --> 00:30:29,240
I've got my sex, but I want your sex together

574
00:30:29,319 --> 00:30:33,880
we have sex. Yeah, Okay, So let's talk about the

575
00:30:33,960 --> 00:30:37,960
video for a second. Okay, Like you said, MTV made

576
00:30:38,079 --> 00:30:42,079
him because they were concerned about the AIDS epidemic. They

577
00:30:42,119 --> 00:30:45,839
were concerned that this was going to be promoting promiscuous activities,

578
00:30:46,160 --> 00:30:48,640
and so they made him put this little PSA at

579
00:30:48,640 --> 00:30:51,480
the beginning of the video where he's talking about this

580
00:30:51,559 --> 00:30:54,799
is not about crazy sex. This is about monogamy.

581
00:30:55,160 --> 00:30:58,440
Speaker 1: There are so many songs that are about what he's

582
00:30:58,480 --> 00:31:01,240
talking about in this song leading up to this song, right,

583
00:31:01,279 --> 00:31:05,359
I mean, You've got Darling Nikki and Erotic City by Prince.

584
00:31:05,480 --> 00:31:08,440
I mean, Prince was pushing the envelope the whole time.

585
00:31:08,599 --> 00:31:13,599
He just wasn't saying the word sex. And there probably

586
00:31:13,640 --> 00:31:17,119
even those songs are a bit more graphic than I

587
00:31:17,160 --> 00:31:20,039
Want Your Sex is because he's actually because he's not

588
00:31:20,079 --> 00:31:24,000
actually talking about having sex as much as as Prince

589
00:31:24,000 --> 00:31:26,359
does in some of his other songs. But man, the

590
00:31:26,559 --> 00:31:30,559
I mean, after this song came out, you had I

591
00:31:30,640 --> 00:31:33,599
Want to sex you up, and I touched myself and

592
00:31:33,680 --> 00:31:37,279
I mean all kinds of I mean then, and of

593
00:31:37,279 --> 00:31:42,000
course Prince releases cream and get off. It's it is.

594
00:31:42,200 --> 00:31:44,839
It is amazing. What when somebody finally just goes, oh,

595
00:31:44,839 --> 00:31:46,640
there's the line, yeah, I'll just go ahead and step

596
00:31:46,640 --> 00:31:48,599
over that, and everybody's like, yeah, step over go.

597
00:31:51,119 --> 00:31:53,799
Speaker 2: Okay, So you mentioned Prince. Let's talk about Prince for

598
00:31:53,880 --> 00:31:56,319
just a second. Because one of the things that George

599
00:31:56,359 --> 00:31:58,559
Michael does in this song, and he actually does it

600
00:31:58,839 --> 00:32:02,640
other songs on this album, is he artificially pitches up

601
00:32:02,720 --> 00:32:05,920
his voice similar to what Prince did in the Sign

602
00:32:05,920 --> 00:32:08,640
of the Times album. Okay music video when we talk about.

603
00:32:08,440 --> 00:32:11,200
Speaker 1: Music video, Yeah, just to quote here, Okay. So, I

604
00:32:11,200 --> 00:32:15,039
mean this is the time of AIDS being a very

605
00:32:15,240 --> 00:32:18,920
huge factor. Safe sex was what everybody was all about

606
00:32:18,960 --> 00:32:21,559
at the time that this thing came out, and George

607
00:32:21,599 --> 00:32:24,440
said this, He said, the media has divided love and

608
00:32:24,599 --> 00:32:29,000
sex incredibly. The emphasis of the AIDS campaign has been

609
00:32:29,039 --> 00:32:33,160
on safe sex. But the campaign has missed relationships. It's

610
00:32:33,200 --> 00:32:37,000
missed emotion, it's missed monogamy. I Want Your Sex is

611
00:32:37,000 --> 00:32:40,880
about attaching lust to love, not just to strangers.

612
00:32:41,000 --> 00:32:43,960
Speaker 2: In the music video, once again directed by Andy Morahan.

613
00:32:44,160 --> 00:32:47,319
This features George Michael's girlfriend at the time, Kathy Young.

614
00:32:47,440 --> 00:32:51,160
In the video, he writes the words explore and monogamy

615
00:32:51,440 --> 00:32:54,440
on her back in lipstick, which, as a fourteen year

616
00:32:54,480 --> 00:32:56,920
old I thought that is the coolest thing that one

617
00:32:57,000 --> 00:33:01,519
could possibly do. I would have written the words I

618
00:33:01,640 --> 00:33:05,880
Want Your Sex in lipstick. But you know, okay, one

619
00:33:05,920 --> 00:33:07,839
of the things I want to mention on the album

620
00:33:08,000 --> 00:33:10,640
on the LP. On the CD, I Want Your Sex

621
00:33:10,720 --> 00:33:14,119
Part one and Part two are lumped together in this

622
00:33:14,160 --> 00:33:17,839
big long song. Oh yeah, see that bothers me. I

623
00:33:18,319 --> 00:33:19,720
take I separate those.

624
00:33:19,720 --> 00:33:22,640
Speaker 1: Yeah, you should. This is a pop single, and no

625
00:33:22,880 --> 00:33:28,000
pop single needs to be nine minutes long. I mean,

626
00:33:28,160 --> 00:33:31,799
save that for the album Rock of Lynyrd Skinnyard. If

627
00:33:31,839 --> 00:33:35,160
the song lasts longer than the sex last made the

628
00:33:35,279 --> 00:33:40,400
song too long, that's great.

629
00:33:40,440 --> 00:33:43,079
Speaker 2: Well, I guess if we're done with I Want Your

630
00:33:43,079 --> 00:33:44,920
Sex Part one, we can move on to I Want

631
00:33:44,920 --> 00:33:45,720
Your Sex Part two.

632
00:33:46,200 --> 00:33:48,880
Speaker 1: Okay, shouldn't it happen? That's all I really could say

633
00:33:48,920 --> 00:33:50,160
about this, but go ahead.

634
00:33:50,119 --> 00:33:53,559
Speaker 2: Okay, all right? So, so Part one of I Want

635
00:33:53,559 --> 00:33:58,920
Your Sex is known as Rhythm one Lust Rhythm one Lust. Okay, yeah,

636
00:33:59,279 --> 00:34:01,160
I Want Your Sex Part two. It sounds like the

637
00:34:01,200 --> 00:34:05,559
lounge act version of a great song, Rhythm to Brass

638
00:34:05,799 --> 00:34:07,759
in Love, Rhythm to brass and Love.

639
00:34:07,799 --> 00:34:08,519
Speaker 1: Thank you.

640
00:34:08,840 --> 00:34:11,159
Speaker 2: So the song that we know as I Want Your

641
00:34:11,199 --> 00:34:15,119
Sex is rhythm one lust. This is rhythm to brass

642
00:34:15,119 --> 00:34:20,519
in Love. This is horns and lounge act and it's

643
00:34:20,559 --> 00:34:23,400
it's the version of the great song that I don't

644
00:34:23,400 --> 00:34:24,599
want to hear. I don't like it at all.

645
00:34:24,639 --> 00:34:27,639
Speaker 1: What do you think? It is unnecessary? And it doesn't.

646
00:34:27,880 --> 00:34:31,280
It takes away from the first song instead of adding

647
00:34:31,320 --> 00:34:34,199
to it. I mean, as far as quality and listenability

648
00:34:34,239 --> 00:34:36,719
is concerned, it's not. I don't don't care.

649
00:34:36,599 --> 00:34:38,400
Speaker 2: For it me too. Just leave it off, Just leave

650
00:34:38,480 --> 00:34:40,679
the great song. Yeah, cut trim the fat here.

651
00:34:40,880 --> 00:34:44,039
Speaker 1: I'm doing this just to let you know. As to

652
00:34:44,119 --> 00:34:46,920
those weird sounds that we were talking about, they were

653
00:34:46,960 --> 00:34:51,159
generated with a very early sampling device called a green

654
00:34:51,280 --> 00:34:55,159
Gate DS three, which ran on an Apple two computer.

655
00:34:55,480 --> 00:34:56,960
Speaker 2: Oh my gosh, that's awesome.

656
00:34:57,119 --> 00:34:59,320
Speaker 1: The rhythm track on this song was the result of

657
00:34:59,360 --> 00:35:02,039
a happy accident. Most of the sounds on the song

658
00:35:02,079 --> 00:35:06,599
were made by using two synthesizers and a Len drum machine,

659
00:35:06,719 --> 00:35:09,480
which is also a sampler. The devices were connected to

660
00:35:09,519 --> 00:35:13,039
a MIDI unit which went a little it started messing up,

661
00:35:13,159 --> 00:35:18,159
and it triggered some random sounds, and Chris Porter says, oh,

662
00:35:18,480 --> 00:35:22,679
dang it already said it, and George said, hang on

663
00:35:22,760 --> 00:35:25,679
a second, Hang on a second. That sounds really good,

664
00:35:25,760 --> 00:35:29,599
doesn't it. And he then Chris says, it's a little

665
00:35:29,639 --> 00:35:32,639
bit weird, isn't it. And he said, yeah, but if

666
00:35:32,679 --> 00:35:34,679
we just take a bit out here and there and

667
00:35:34,760 --> 00:35:37,159
a bit they we might be able to use it.

668
00:35:37,239 --> 00:35:39,679
And that's how they came up with those sounds. And

669
00:35:39,719 --> 00:35:42,599
they recorded a few bars of that with the kind

670
00:35:42,639 --> 00:35:47,880
of squelching that's the word squelching noise, and that's where

671
00:35:47,920 --> 00:35:50,079
you get that weird sound that kind of morphs into

672
00:35:50,119 --> 00:35:51,440
the song What is next?

673
00:35:51,519 --> 00:36:00,639
Speaker 2: One more try?

674
00:36:02,400 --> 00:36:04,719
Speaker 1: This song is friggin beautiful.

675
00:36:04,960 --> 00:36:08,039
Speaker 2: Yeah, this is an amazing song. In my opinion, this

676
00:36:08,119 --> 00:36:12,000
is either the first or second best song on the album,

677
00:36:12,599 --> 00:36:13,639
this or Father Figure.

678
00:36:13,840 --> 00:36:14,760
Speaker 1: I love this song.

679
00:36:15,519 --> 00:36:17,760
Speaker 2: It's so good. It's so good.

680
00:36:17,960 --> 00:36:21,119
Speaker 1: Interestingly, with Father Figure, it had started off as a

681
00:36:21,199 --> 00:36:24,719
dance style type of song, but then George Michael, who

682
00:36:25,199 --> 00:36:27,360
by the way, he produced this album himself, like he

683
00:36:27,440 --> 00:36:29,960
was the producer. He took out the drums and he

684
00:36:30,039 --> 00:36:33,519
realized that it became much more special, and he did

685
00:36:33,559 --> 00:36:35,559
kind of the same thing here with one more try.

686
00:36:35,639 --> 00:36:37,880
This is like a this is in the style of

687
00:36:37,920 --> 00:36:41,239
like Marvin Gay or Stevie Wonder. It's just an amazing ballad.

688
00:36:41,400 --> 00:36:43,679
Speaker 2: Yeah, this one almost feels gospel to me.

689
00:36:43,800 --> 00:36:43,960
Speaker 1: You know.

690
00:36:44,000 --> 00:36:46,800
Speaker 2: It starts out with that synth that almost feels like

691
00:36:46,920 --> 00:36:49,239
church music. And I think the video kind of backs

692
00:36:49,320 --> 00:36:50,079
that feeling up.

693
00:36:50,280 --> 00:36:53,159
Speaker 1: Yeah, he's got he's singing with the stained glass behind him,

694
00:36:53,159 --> 00:36:56,360
and it's just this very kind of straightforward. I mean,

695
00:36:56,400 --> 00:36:58,440
the focus is on him and the song. There's not

696
00:36:58,679 --> 00:37:01,719
it's not. The video is not a storytelling kind of video.

697
00:37:01,920 --> 00:37:04,800
It is a I'm presenting myself to you the audience

698
00:37:05,119 --> 00:37:07,239
in this way, like like you said, like a gospel song.

699
00:37:07,280 --> 00:37:09,400
Speaker 2: Okay. So this song reached number one on the Hot

700
00:37:09,440 --> 00:37:12,519
one hundred May twenty eighth of nineteen eighty eight. This

701
00:37:13,039 --> 00:37:17,360
song was a triple chart number one. Okay, this is

702
00:37:17,400 --> 00:37:20,159
a really cool fact. So it hit number one on

703
00:37:20,199 --> 00:37:22,760
the Hot one hundred, It hit number one on the

704
00:37:23,000 --> 00:37:25,840
Hot R and B chart, and number one on the

705
00:37:25,880 --> 00:37:29,920
Adult Contemporary chart. This is the last song to do

706
00:37:30,000 --> 00:37:33,480
that by a white male artist until Robin Thick did

707
00:37:33,519 --> 00:37:36,079
that with Lost Without You in two thousand and seven.

708
00:37:36,239 --> 00:37:38,599
Speaker 1: There's no question when you're listening to this album that

709
00:37:38,719 --> 00:37:43,079
the influence is predominantly the R and B music. There

710
00:37:43,079 --> 00:37:45,400
weren't there were not a whole lot of white guys

711
00:37:45,400 --> 00:37:47,920
who are putting out this kind of music, but it was.

712
00:37:48,000 --> 00:37:51,239
I mean, he really he did such a fantastic job

713
00:37:51,280 --> 00:37:51,559
with it.

714
00:37:51,639 --> 00:37:54,480
Speaker 2: So his voice is very soulful, you know, he's got

715
00:37:54,519 --> 00:37:58,800
such great vocals that the R and B community accepted him,

716
00:37:59,199 --> 00:38:01,440
which is really funny to think about. When you go

717
00:38:01,519 --> 00:38:03,400
back and listen to Wake Me Up Before you go go,

718
00:38:03,599 --> 00:38:06,639
that's about the biggest whitebread song you could possibly have,

719
00:38:06,960 --> 00:38:08,840
and you say, Okay, this guy is going to be

720
00:38:08,920 --> 00:38:11,519
number one on the R and B charts very shortly.

721
00:38:11,559 --> 00:38:13,960
Well that's a little bit hard to believe at that time.

722
00:38:14,039 --> 00:38:17,360
But this song is just so good. The interesting So

723
00:38:17,400 --> 00:38:19,119
there's a couple of interesting things about this song that

724
00:38:19,119 --> 00:38:21,639
I think are worth mentioning. So this is the third

725
00:38:21,679 --> 00:38:24,880
consecutive number one from Faith, which I Want Your Sex.

726
00:38:24,920 --> 00:38:26,920
We already talked about hit number two, mainly because the

727
00:38:27,000 --> 00:38:30,159
radio wouldn't play it. It reached number eight on the

728
00:38:30,280 --> 00:38:33,440
UK charts, so he was not doing as well in

729
00:38:34,159 --> 00:38:36,440
his home country as he did in America. It seems

730
00:38:36,519 --> 00:38:39,480
kind of crazy. This is the sixth number one.

731
00:38:39,400 --> 00:38:41,559
Speaker 1: For George Michael. Yeah, that's awesome and he did it.

732
00:38:42,199 --> 00:38:45,320
Speaker 2: This one debuted at number forty like when it was released,

733
00:38:45,920 --> 00:38:48,880
debuted at number forty and took only seven weeks to

734
00:38:48,920 --> 00:38:49,639
reach number one.

735
00:38:49,840 --> 00:38:52,639
Speaker 1: That's incredibly fast, and to do that well, the song

736
00:38:52,719 --> 00:38:57,320
has to have merit on multiple levels. Obviously, the hook

737
00:38:57,400 --> 00:38:59,440
is there, I mean, the melody on this one is

738
00:38:59,519 --> 00:39:03,880
flat out awesome. The instrumentation for the eighties was spot on.

739
00:39:04,079 --> 00:39:09,360
His voice is incredible and soulful. And then the lyrics,

740
00:39:09,480 --> 00:39:12,480
I mean, the lyrics tell you a story of a

741
00:39:12,519 --> 00:39:15,639
man who has been in bad relationships before, who's trying

742
00:39:15,679 --> 00:39:19,320
to say no to a relationship that's in front of him,

743
00:39:19,480 --> 00:39:22,639
only to be ultimately overcome the end and fall in

744
00:39:22,679 --> 00:39:26,199
love and be part of the relationship as a great storyline.

745
00:39:26,320 --> 00:39:29,199
Speaker 2: One More Try was the second longest running number one

746
00:39:29,239 --> 00:39:32,079
of nineteen eighty eight, tied with Every Rose Has Its

747
00:39:32,119 --> 00:39:36,960
Thorn by Poison, and only behind Steve Winwood's Roll with it,

748
00:39:37,119 --> 00:39:39,159
which was number one for four weeks. I was talking

749
00:39:39,159 --> 00:39:42,840
to my wife about this, and she remembers being a

750
00:39:42,880 --> 00:39:46,159
fifteen year old and this song really spoke to her heart.

751
00:39:46,199 --> 00:39:48,519
So this is her favorite song on the Faith album.

752
00:39:48,639 --> 00:39:51,840
She's not alone in that. Elton John said this is

753
00:39:51,920 --> 00:39:55,199
his favorite George Michael song and that he's not jealous

754
00:39:55,199 --> 00:39:57,039
about many songs, but this song is one that he

755
00:39:57,119 --> 00:39:58,480
wish he would have written.

756
00:39:58,559 --> 00:40:00,079
Speaker 1: That's great, that's a great comp.

757
00:40:00,360 --> 00:40:02,760
Speaker 2: Mariah Carey covered this song in twenty fourteen. Have you

758
00:40:02,760 --> 00:40:03,679
listened to that version of it?

759
00:40:03,760 --> 00:40:03,920
Speaker 1: Oh?

760
00:40:03,960 --> 00:40:06,039
Speaker 2: Okay, so I listened to it. I also listened to

761
00:40:06,079 --> 00:40:08,639
her version of def Leppards bringing on the Heartbreak Not

762
00:40:09,199 --> 00:40:11,920
so good, all right, not the best, but this one

763
00:40:12,039 --> 00:40:16,840
because it's that softer, more soulful ballad. She actually does

764
00:40:16,880 --> 00:40:18,360
have a good version of this. I thought it was good.

765
00:40:27,000 --> 00:40:30,320
Speaker 1: It's not horrible, but it's it's not as good as

766
00:40:30,360 --> 00:40:30,880
the first one.

767
00:40:31,000 --> 00:40:32,880
Speaker 2: It's not as good as the first one. Let's talk

768
00:40:32,880 --> 00:40:35,320
about the video for a second, Okay. This video was

769
00:40:35,360 --> 00:40:39,000
directed by Tony Scott. Tony Scott is the director of Thailand.

770
00:40:39,400 --> 00:40:42,719
Speaker 1: Yes, yeah, well, I mean and you can definitely see

771
00:40:42,719 --> 00:40:46,719
the top gun like the take My breath Away part

772
00:40:46,800 --> 00:40:51,679
of Top Gun exafinitely the style of this video for sure,

773
00:40:51,840 --> 00:40:54,559
the blowing sheets and perfect for this song.

774
00:40:55,159 --> 00:40:57,880
Speaker 2: Last little tidbit I've got on this. This was knocked

775
00:40:57,880 --> 00:41:00,920
out of the number one spot by Rick Astley's Together Forever.

776
00:41:01,159 --> 00:41:03,679
So Rick Astley also knocked Father Figure out of the

777
00:41:03,760 --> 00:41:05,360
number one spot, which is kind of interesting.

778
00:41:05,480 --> 00:41:09,239
Speaker 1: So George Michael has been Rick rolled a couple times.

779
00:41:08,960 --> 00:41:13,400
Speaker 2: Now, Freaking Rick Astley keeps kicking me out. All right,

780
00:41:13,920 --> 00:41:16,480
stop your tape, kick it out, flip it over for

781
00:41:16,559 --> 00:41:17,000
side two.

782
00:41:20,800 --> 00:41:25,800
Speaker 1: Okay. The first song on side two is hard Day.

783
00:41:26,039 --> 00:41:29,519
Speaker 2: Don't Bring Me Down. Okay. This song is actually the

784
00:41:29,599 --> 00:41:33,039
third single of the Fate, which to me was kind

785
00:41:33,039 --> 00:41:35,880
of a surprise because I wasn't familiar with the song.

786
00:41:36,119 --> 00:41:38,760
They didn't make a video for this song. I didn't

787
00:41:38,800 --> 00:41:40,559
know it. I didn't hear it. But it's good.

788
00:41:40,599 --> 00:41:43,440
Speaker 1: I like it. It's got that funk. It's one of the

789
00:41:43,480 --> 00:41:46,400
funky songs on the album. It's and I dig it.

790
00:41:46,440 --> 00:41:49,480
But I feel like they just kind of missed the

791
00:41:49,599 --> 00:41:52,519
mark a little bit. It's not bad. It just I

792
00:41:53,159 --> 00:41:55,559
heard this and I was like, this could be a single,

793
00:41:55,719 --> 00:41:58,719
but it's just missing something and I can't even put

794
00:41:58,719 --> 00:42:00,440
my finger on it. But I guess they felt like

795
00:42:00,480 --> 00:42:02,800
it wasn't missing anything because obviously they released it as.

796
00:42:02,719 --> 00:42:05,039
Speaker 2: A single Father Figure be a hit today, kissing it

797
00:42:05,400 --> 00:42:07,639
to be a hit today. This one, it's a little

798
00:42:07,679 --> 00:42:08,400
bit eighties.

799
00:42:08,599 --> 00:42:10,039
Speaker 1: Yeah, let me let me listen to this.

800
00:42:10,000 --> 00:42:14,400
Speaker 2: Which we love eighties. We love eighties, so don't get

801
00:42:14,440 --> 00:42:16,280
me wrong on that. I really like the chorus in

802
00:42:16,320 --> 00:42:16,840
the song.

803
00:42:16,920 --> 00:42:20,320
Speaker 1: So you get this really interesting kind of almost Native

804
00:42:20,360 --> 00:42:24,199
American style whistling going on, and I don't know, yeah,

805
00:42:24,239 --> 00:42:26,360
I describe that, and then it comes with the en

806
00:42:26,480 --> 00:42:30,400
with a total dance funk. Okay. So my feeling on

807
00:42:30,440 --> 00:42:35,360
this song is that the bass line overwhelms the song

808
00:42:35,519 --> 00:42:39,960
main don't but no No, Main New bound Down. I mean,

809
00:42:40,000 --> 00:42:42,880
it's just in your face if you had that organ

810
00:42:42,920 --> 00:42:46,280
instead of that synthesizer there, or even just a piano

811
00:42:46,480 --> 00:42:49,039
or something. I don't know that. It's just it kind

812
00:42:49,039 --> 00:42:51,880
of misses the mark for me. Okay, that's fair, that's fun.

813
00:42:52,000 --> 00:42:54,800
Speaker 2: This song was written and originally produced by George Michael,

814
00:42:54,880 --> 00:42:57,800
like we said, and released only in the US and Australia.

815
00:42:57,840 --> 00:42:59,679
I don't really get that. I don't know why you

816
00:42:59,719 --> 00:43:02,440
record companies do these types of things. Either release it

817
00:43:02,599 --> 00:43:06,320
or don't release it. But anyway released October thirtieth, nineteen

818
00:43:06,360 --> 00:43:09,360
eighty seven. It released it. It reached the top five

819
00:43:09,559 --> 00:43:13,119
on the US Hot Dance Club Songs chart and it

820
00:43:13,239 --> 00:43:15,119
was the top It was in the top forty of

821
00:43:15,159 --> 00:43:17,119
the US R and B chart. So this song was

822
00:43:17,199 --> 00:43:19,719
the B side of the I Wancher Sex single and

823
00:43:19,760 --> 00:43:22,239
when they released Hard Day as a single. On the

824
00:43:22,320 --> 00:43:25,199
B side of Hard Day was an extended version of

825
00:43:25,199 --> 00:43:27,239
I Want Your six. So the lyrics are addressed to

826
00:43:27,280 --> 00:43:29,920
a woman that the singer is like obsessed with. But

827
00:43:30,000 --> 00:43:33,119
in the last verse, George Michael is like singing a

828
00:43:33,199 --> 00:43:36,519
duet with himself, so it's it's his male voice and

829
00:43:36,559 --> 00:43:40,639
then this sped up, pitched up version of himself as

830
00:43:40,679 --> 00:43:41,400
the female.

831
00:43:41,679 --> 00:43:45,079
Speaker 1: Okay, hold on, hold on, hold on, hold on, listen

832
00:43:45,119 --> 00:43:46,280
to this sweet.

833
00:43:45,960 --> 00:43:57,239
Speaker 2: Little mouths and gets in the when the people don't understand.

834
00:43:56,840 --> 00:43:58,719
Speaker 1: You're telling me that this is George Michael.

835
00:43:59,159 --> 00:44:05,159
Speaker 2: That's yes, no freaking way, yes, yes, And you know

836
00:44:05,199 --> 00:44:07,239
where he got the idea from, Dodge Prince.

837
00:44:07,840 --> 00:44:10,800
Speaker 1: I'm blown away right now. I was going to look

838
00:44:10,840 --> 00:44:14,119
and see who the who the duet was with and

839
00:44:14,159 --> 00:44:17,199
you're telling me the girl at the end of this

840
00:44:17,400 --> 00:44:20,440
song is not a girl, it's George Michael.

841
00:44:20,639 --> 00:44:22,000
Speaker 2: Yes, that's exactly right.

842
00:44:22,519 --> 00:44:28,679
Speaker 1: That's fan freakantastic. Okay, my mind is blown, So.

843
00:44:28,800 --> 00:44:30,679
Speaker 2: Unpack this with me for just a second. So we

844
00:44:30,719 --> 00:44:34,000
know George Michael is a big fan of Prince. Prince's

845
00:44:34,039 --> 00:44:36,360
Sign of the Times album came out in spring of

846
00:44:36,400 --> 00:44:36,920
eighty seven.

847
00:44:37,320 --> 00:44:41,119
Speaker 1: Prince foreshadowing, by the way, quick foreshadowing, We're doing Sign

848
00:44:41,199 --> 00:44:44,880
of the Times in a future episode versus you to

849
00:44:45,440 --> 00:44:46,280
the Joshua Tree.

850
00:44:46,320 --> 00:44:47,920
Speaker 2: Awesome. I can't wait to get into that one.

851
00:44:47,960 --> 00:44:50,400
Speaker 1: But oh, it's gonna be fantastic, but I'm sorry. So

852
00:44:50,559 --> 00:44:54,920
George Michael is listening to Prince do some stuff off

853
00:44:54,960 --> 00:44:56,880
of Sign of the Times and comes up with this idea.

854
00:44:57,079 --> 00:45:00,400
Speaker 2: Yeah, Prince had this alter ego, this female version of

855
00:45:00,440 --> 00:45:03,079
himself that he called Camille, and so when he would

856
00:45:03,119 --> 00:45:07,719
sing these female parts, he would raise and pitch up

857
00:45:07,719 --> 00:45:10,440
his voice. If you're familiar with the song, you got

858
00:45:10,480 --> 00:45:14,239
the look that he sings with Sheena Easton. Yes, it's

859
00:45:14,280 --> 00:45:16,880
that's Camille. And he had this whole album planned where

860
00:45:16,880 --> 00:45:21,039
he was going to sing as Camille. So anyway, George Michael,

861
00:45:21,840 --> 00:45:24,280
being enamored with Prince thought, I'm gonna give that a try.

862
00:45:24,320 --> 00:45:26,480
He actually does it a little bit on a watcher

863
00:45:26,559 --> 00:45:29,599
sex if you go back and listen to that. But

864
00:45:30,000 --> 00:45:33,239
this song in particular, anyway, that is him singing as

865
00:45:33,239 --> 00:45:33,960
the female part.

866
00:45:34,079 --> 00:45:37,320
Speaker 1: That is that's amazing. That's some solid that's a solid

867
00:45:37,360 --> 00:45:39,920
bit of producing right there. I had no idea. I

868
00:45:39,960 --> 00:45:44,199
thought it was a real girl singing that part. I'm

869
00:45:44,320 --> 00:45:47,559
just floored. Thank you, thank you for blowing my mind today.

870
00:45:47,880 --> 00:45:49,119
Speaker 2: Yes, you're welcome.

871
00:45:50,280 --> 00:46:01,280
Speaker 1: Moving on. Next song is hand him out? Okay, so

872
00:46:01,400 --> 00:46:04,079
is this intro is in? I have an expectation of

873
00:46:04,119 --> 00:46:07,679
a song, right you get very the drums are solid

874
00:46:07,719 --> 00:46:10,400
in here, and then you get the piano coming in,

875
00:46:10,440 --> 00:46:12,119
and then you get that bass again that I thought

876
00:46:12,159 --> 00:46:15,159
was kind of overwhelming on hard day. But it's not

877
00:46:15,199 --> 00:46:17,920
so overwhelming. It's just a simple bassline and then the

878
00:46:18,039 --> 00:46:23,320
lyrics I love in his voice. I love, but this

879
00:46:23,599 --> 00:46:27,079
melody doesn't belong with these drums, Like I feel like

880
00:46:27,280 --> 00:46:29,960
it was a great song that somebody bought brought a

881
00:46:30,000 --> 00:46:32,400
drum machine to and it's like, oh hey, let's put

882
00:46:32,400 --> 00:46:35,320
these drums to this. And if I was there in

883
00:46:35,320 --> 00:46:37,159
the studio. I'd be like, yeah, that's a nice trick,

884
00:46:37,239 --> 00:46:39,199
but take that crap out of here. This is good.

885
00:46:39,320 --> 00:46:41,920
They don't need these drums in here. This is like

886
00:46:43,039 --> 00:46:46,320
in the Ghetto by Elvis. This needs to be slowed

887
00:46:46,360 --> 00:46:50,760
down a little bit, have real instruments and no drums

888
00:46:51,199 --> 00:46:52,679
and then it's fantastic.

889
00:46:53,239 --> 00:46:57,039
Speaker 2: Yeah, okay, okay, yeah, I think that's I think that's good.

890
00:46:57,119 --> 00:47:00,559
Speaker 1: I could see that the choice to leave the drums

891
00:47:00,599 --> 00:47:02,920
in I think it was a bad choice. And I've

892
00:47:02,920 --> 00:47:04,760
heard him. I try to look. Once I heard the song,

893
00:47:04,800 --> 00:47:07,079
I was like, I know he did an MTV unplugged,

894
00:47:07,199 --> 00:47:09,880
I know he did some other stuff maybe, and he did,

895
00:47:09,960 --> 00:47:12,880
and I'm TV unplugged in this of this song, and

896
00:47:12,920 --> 00:47:16,320
it sounds better because he's got pianos in there instead

897
00:47:16,360 --> 00:47:19,000
of the synthesizer, but it's still got the drums in there.

898
00:47:19,000 --> 00:47:21,440
And I'm just like, no, this if I could, you know,

899
00:47:21,559 --> 00:47:24,480
if I had these tracks that I could break up

900
00:47:24,559 --> 00:47:27,719
I boot that drum. I would make it a real

901
00:47:27,760 --> 00:47:31,639
piano and not this synthesizer. And if you had that,

902
00:47:31,800 --> 00:47:35,840
you got a fan freakantastic song. As it is, I'm

903
00:47:35,840 --> 00:47:37,480
gonna listen to it for about a minute, and I'm

904
00:47:37,480 --> 00:47:39,559
gonna get tired of this repetitive drum beat and I'm

905
00:47:39,559 --> 00:47:40,679
gonna fast forward.

906
00:47:40,760 --> 00:47:44,239
Speaker 2: Okay, okay, all right, So this song to me is

907
00:47:44,239 --> 00:47:48,000
is close to like Michael Jackson's Liberian Girl. It's good,

908
00:47:48,199 --> 00:47:50,400
but it never really quite gets off the ground for me.

909
00:47:50,840 --> 00:47:54,559
It's I think it finishes strong musically, it's just kind

910
00:47:54,559 --> 00:47:57,960
of jazzy and light, and his vocals never really it's

911
00:47:58,079 --> 00:48:01,199
kind of more breathy, and it doesn't really like put

912
00:48:01,239 --> 00:48:03,840
the throttle down, you know. Okay, I've got something for

913
00:48:03,880 --> 00:48:06,719
you on this tell me if I'm off bass. So

914
00:48:06,760 --> 00:48:08,480
they have the drum kit at the beginning that just

915
00:48:08,559 --> 00:48:09,079
kind of the.

916
00:48:10,719 --> 00:48:11,760
Speaker 1: Right yep.

917
00:48:12,000 --> 00:48:19,159
Speaker 2: Then it comes in with the piano, that piano line

918
00:48:19,480 --> 00:48:23,199
and it just kind of repeats. That sounds very similar

919
00:48:23,280 --> 00:48:27,760
to the piano line in Computer Blue by Prince. Different tone,

920
00:48:28,400 --> 00:48:30,800
same line, I think, see what you think?

921
00:48:33,320 --> 00:48:36,039
Speaker 1: Yeah, so that little bit, that little bit at the beginning, Yeah,

922
00:48:36,119 --> 00:48:38,519
it's the same. It sounds like the same notes, but

923
00:48:38,960 --> 00:48:41,920
Prince is cutting it short, whereas George Michael completes the

924
00:48:42,079 --> 00:48:44,559
completes the phrase on the on the music for sure.

925
00:48:44,800 --> 00:48:46,719
Speaker 2: Okay, cool, So I'm not off bas on that that

926
00:48:46,800 --> 00:48:47,440
sounded very.

927
00:48:47,360 --> 00:48:51,360
Speaker 1: At all, No, very similar. Okay, So this song is

928
00:48:52,000 --> 00:48:53,760
different from the other songs on the album because it's

929
00:48:53,840 --> 00:48:56,440
kind of a social commentary. This isn't about sex, this

930
00:48:56,519 --> 00:48:59,880
isn't about love, this isn't about relationships. This is about

931
00:49:00,159 --> 00:49:04,599
people on the streets, people who lose themselves to poverty

932
00:49:04,679 --> 00:49:06,760
and to drugs, and that's that kind of thing, and

933
00:49:07,039 --> 00:49:10,599
where their children are left. It's definitely an entirely different

934
00:49:10,760 --> 00:49:13,679
storyline than the other stuff that we have on this album.

935
00:49:13,800 --> 00:49:15,920
And that that's that's a part that I like. I mean,

936
00:49:16,079 --> 00:49:18,360
I think that that that the lyrics and the meaning

937
00:49:18,400 --> 00:49:20,880
behind the lyrics are solid. Again, I just think that

938
00:49:20,920 --> 00:49:23,559
the instrumentation they missed the they missed the mark on it.

939
00:49:23,719 --> 00:49:28,239
Next track on the CD tape or LP is look

940
00:49:28,280 --> 00:49:28,920
at Your Hands.

941
00:49:34,039 --> 00:49:36,880
Speaker 2: So this one's a little bluesy. There's more horn. It's

942
00:49:36,880 --> 00:49:40,719
interesting to see how he moves from ballad to dance

943
00:49:40,800 --> 00:49:43,679
song to jazz. We haven't got to yet and this

944
00:49:43,760 --> 00:49:44,559
is more blues.

945
00:49:44,880 --> 00:49:49,119
Speaker 1: Wow, this is this is similar to an excess. This

946
00:49:49,199 --> 00:49:53,000
has a very in excess kick feel about it. I

947
00:49:53,199 --> 00:49:53,719
like this song.

948
00:49:53,840 --> 00:49:57,679
Speaker 2: Okay. When I first listened to it, I thought to myself.

949
00:49:58,159 --> 00:50:02,280
It sounds a little bit like Bruce Willis and respect yourself.

950
00:50:02,559 --> 00:50:05,840
Speaker 1: So this song is the only song that has a

951
00:50:05,880 --> 00:50:08,800
co writer. This one was co written by George Michael

952
00:50:08,920 --> 00:50:11,719
and a guy named David Austin. It's got the rock,

953
00:50:11,880 --> 00:50:15,760
it's got the saxophone in there like the Xcess has,

954
00:50:15,840 --> 00:50:18,639
and then the piano like it. Yeah, this is strong

955
00:50:18,719 --> 00:50:21,480
in excess to me, strong in excess feel on this one?

956
00:50:21,559 --> 00:50:22,400
Speaker 2: Interesting? Okay?

957
00:50:22,599 --> 00:50:25,360
Speaker 1: Cool. Sometimes it just takes hearing a song about four

958
00:50:25,480 --> 00:50:27,199
or five times and then you fall in love with it.

959
00:50:27,239 --> 00:50:27,400
Speaker 3: You know.

960
00:50:27,880 --> 00:50:29,679
Speaker 2: That happens to me quite a little bit actually.

961
00:50:29,960 --> 00:50:33,239
Speaker 1: So this song is about a guy who is unhappy

962
00:50:33,320 --> 00:50:38,559
with is unhappy with the way that his ex girlfriend's

963
00:50:38,599 --> 00:50:42,159
life has turned out. He got two fat children and

964
00:50:42,199 --> 00:50:45,440
a drunken man. Bet you don't, bet you don't like

965
00:50:45,519 --> 00:50:52,000
your life. Uh So this one's I don't know if

966
00:50:52,039 --> 00:50:56,000
this one is pleading with her or if it's just yeah,

967
00:50:56,000 --> 00:50:58,199
I know he's just he says, I still want you tonight.

968
00:50:59,760 --> 00:51:03,519
So yeah, he's telling her she's made a big mistake.

969
00:51:04,280 --> 00:51:09,360
Your kids are brats and your your man's a dirty drunk.

970
00:51:09,400 --> 00:51:12,119
You should be with me. That's I love that's some

971
00:51:12,280 --> 00:51:21,559
that's some solid, all right. So this one is back

972
00:51:21,599 --> 00:51:24,280
to the funk. You're right, yeah, I love it. I

973
00:51:24,280 --> 00:51:26,920
mean this is the eighties music that I go back

974
00:51:26,960 --> 00:51:29,079
to and revisit and I'm just like, yeah, give me

975
00:51:29,159 --> 00:51:30,320
eighties all about it.

976
00:51:31,559 --> 00:51:34,320
Speaker 2: So this song is called Monkey. This is the sixth

977
00:51:34,599 --> 00:51:38,199
single released July third, nineteen eighty eight. This one hit

978
00:51:38,320 --> 00:51:40,320
number one on the Hot one hundred. Man, this is

979
00:51:40,440 --> 00:51:43,480
just a string of number one hits. The song on

980
00:51:43,639 --> 00:51:47,880
the LP is not as good as the song in

981
00:51:47,920 --> 00:51:50,519
the video, so it's two different versions of it. Okay,

982
00:51:50,760 --> 00:51:51,519
so this song.

983
00:51:51,599 --> 00:51:52,719
Speaker 1: Listening to the one in the video.

984
00:51:52,840 --> 00:51:56,280
Speaker 2: So the album he had to finish because he was

985
00:51:56,320 --> 00:51:59,119
on a deadline. So he got these two producers, Jimmy

986
00:51:59,159 --> 00:52:01,559
jam and Terry Lewis to work on the track after

987
00:52:01,960 --> 00:52:05,039
he heard what they did for the song Nasty by

988
00:52:05,119 --> 00:52:07,599
Janet Jackson. So they had done songs by New Edition,

989
00:52:07,719 --> 00:52:10,320
Robert Palmer, the Human League, like I said, they did

990
00:52:10,440 --> 00:52:12,800
Nasty for Janet Jackson. They ended up doing black Cat

991
00:52:12,840 --> 00:52:15,760
off of her Rhythmnation album. Michael told the pair that

992
00:52:15,800 --> 00:52:18,760
he had envisioned Monkey being more melodic with chords, but

993
00:52:18,840 --> 00:52:21,239
he was on a deadline when he recorded, so he

994
00:52:21,239 --> 00:52:23,920
didn't have the time to do it properly. Jam and

995
00:52:24,119 --> 00:52:27,679
Lewis completely reworked the song and they even got George

996
00:52:27,679 --> 00:52:30,280
Michael to re record his vocals. So the song that

997
00:52:30,360 --> 00:52:33,679
you hear on MTV that was played a ten thousand times,

998
00:52:33,760 --> 00:52:37,119
that was the Jimmy Jam Terry Lewis version, and I

999
00:52:37,320 --> 00:52:38,960
liked that version much better.

1000
00:52:39,119 --> 00:52:42,320
Speaker 1: So as long as we're talking about the video, have

1001
00:52:42,400 --> 00:52:43,559
you seen the hat that he's wearing in.

1002
00:52:43,559 --> 00:52:48,199
Speaker 2: The Can we please go?

1003
00:52:50,119 --> 00:52:50,719
Speaker 1: I'm glad?

1004
00:52:51,199 --> 00:52:55,559
Speaker 2: So this music video directed again by Andy Morahan. It

1005
00:52:55,639 --> 00:52:57,039
was choreographed by Paul Abdul.

1006
00:52:57,960 --> 00:53:03,480
Speaker 1: How many times has a made appearance on our podcast?

1007
00:53:03,760 --> 00:53:08,800
Speaker 2: Was Nuklalush paula Abduel? George Michael. Yeah, So it's intercut

1008
00:53:08,840 --> 00:53:11,480
with him in his concert footage and he looks awesome.

1009
00:53:11,639 --> 00:53:15,440
The denim jacket's running around singing looking cool, and then

1010
00:53:15,440 --> 00:53:19,239
they interspliced the white shirt and black hat, which I'm like,

1011
00:53:19,360 --> 00:53:21,840
oh man, not a good look for him.

1012
00:53:22,039 --> 00:53:25,000
Speaker 1: Think about this, Think about this? Okay. There were guys

1013
00:53:25,039 --> 00:53:28,719
that existed in nineteen eighty seven nineteen eighty eight that

1014
00:53:29,280 --> 00:53:33,199
knew that girls liked George Michael, and they knew that

1015
00:53:33,360 --> 00:53:37,000
George Michael wore that hat, and so they went out

1016
00:53:37,039 --> 00:53:39,239
and bought a hat so that they could look like

1017
00:53:39,280 --> 00:53:39,920
George Michael.

1018
00:53:41,000 --> 00:53:43,880
Speaker 2: Yes, I think you are probably right about that.

1019
00:53:44,880 --> 00:53:47,320
Speaker 1: They also wore suspenders with blue cheeses.

1020
00:53:47,920 --> 00:53:52,360
Speaker 2: Yes, yes, and the five o'clock shadow was definitely in

1021
00:53:52,679 --> 00:53:56,519
during this summer. So when this song, when I'm fourteen,

1022
00:53:56,639 --> 00:53:59,280
fifteen years old, I don't really know what a monkey is.

1023
00:53:59,320 --> 00:54:02,039
I don't understand and it I don't get the reference.

1024
00:54:02,159 --> 00:54:06,679
But the song is about a drug habit. The monkey

1025
00:54:07,159 --> 00:54:09,440
on your back is a drug habit. Do you love

1026
00:54:09,559 --> 00:54:11,639
your drug habit or do you love me?

1027
00:54:12,119 --> 00:54:16,199
Speaker 1: It's interesting that that's what this is about, because George

1028
00:54:16,199 --> 00:54:19,559
Michael admittedly had a pretty significant drug habit at the

1029
00:54:19,559 --> 00:54:22,519
time that this this album came out, like he and

1030
00:54:22,559 --> 00:54:25,199
his girlfriend that he had picked up from the eyewinter

1031
00:54:25,280 --> 00:54:29,000
Sex video were doing ecstasy and drinking heavily every single day.

1032
00:54:29,079 --> 00:54:33,159
Speaker 2: Okay, number one hit Super Fun Dance eighties.

1033
00:54:33,840 --> 00:54:35,960
Speaker 1: Yeah, I'll turn it on. I like it.

1034
00:54:35,960 --> 00:54:37,000
Speaker 2: It's good, I like it.

1035
00:54:37,039 --> 00:54:40,719
Speaker 1: So this single was released in nineteen eighty eight, and

1036
00:54:40,760 --> 00:54:43,760
it reached number one on the US Billboard Hot one

1037
00:54:43,800 --> 00:54:47,840
hundred and number thirteen on the UK Singles Chart. Monkey

1038
00:54:47,880 --> 00:54:51,639
debuted at number forty two on July ninth, and by

1039
00:54:51,800 --> 00:54:55,840
August twenty seventh, nineteen eighty eight, it was number one

1040
00:54:56,039 --> 00:54:58,480
and it stayed there for two weeks. So with this,

1041
00:54:58,599 --> 00:55:03,280
he joined Michael jacks and Whitney Houston as three artists

1042
00:55:03,719 --> 00:55:07,599
who had four or more consecutive number one singles during

1043
00:55:07,639 --> 00:55:11,119
the nineteen eighty seven eighty eight era. From one album.

1044
00:55:11,199 --> 00:55:15,559
Speaker 2: Michael Jackson had five number one hits from Bad Flashback

1045
00:55:15,599 --> 00:55:17,440
to Our Bad Episode episode two.

1046
00:55:17,519 --> 00:55:19,519
Speaker 1: Whitney Houston had seven.

1047
00:55:19,840 --> 00:55:22,320
Speaker 2: That's incredible. It's incredible.

1048
00:55:22,559 --> 00:55:26,039
Speaker 1: It was off two albums. But that's pretty that's pretty impressive.

1049
00:55:26,079 --> 00:55:26,920
Speaker 2: It's impressive.

1050
00:55:27,679 --> 00:55:30,679
Speaker 1: Monkey also reached number one on the US Hot Dance

1051
00:55:30,719 --> 00:55:34,400
Club Play chart, and it was his first dance number

1052
00:55:34,440 --> 00:55:38,000
one when they released the single version was that remixed

1053
00:55:38,119 --> 00:55:40,320
version by Jimmy jam and Terry Lewis.

1054
00:55:40,639 --> 00:55:42,320
Speaker 2: Yeah, that's the better version for sure.

1055
00:55:44,559 --> 00:55:47,000
Speaker 1: Last song on the vinyl, but not the last song

1056
00:55:47,039 --> 00:55:50,239
if you had a CD or a cassette and that

1057
00:55:50,360 --> 00:55:52,199
song is Singapore.

1058
00:56:00,000 --> 00:56:04,480
Speaker 2: It's beautiful. Another stone cold killer on this album. So

1059
00:56:04,559 --> 00:56:08,400
Kissing the Fool was the seventh single released November twenty

1060
00:56:08,400 --> 00:56:11,159
first nineteen eighty eight. This song, to me sounds something

1061
00:56:11,360 --> 00:56:15,039
like Harry Connick Junior would sing. It's definitely more jazz.

1062
00:56:15,679 --> 00:56:19,960
Speaker 1: This is what I wanted for Hard Day. If they

1063
00:56:20,039 --> 00:56:22,639
had done Hard Day like this, Hard Day could have

1064
00:56:22,679 --> 00:56:25,840
potentially been another number one head. I think we know

1065
00:56:26,000 --> 00:56:30,800
that with pop in the eighties, you're gonna use synthesizers,

1066
00:56:30,840 --> 00:56:34,599
you're gonna use drum machines. But George Michael is saying

1067
00:56:34,639 --> 00:56:37,400
on this particular song, I don't even have to do that, right.

1068
00:56:37,760 --> 00:56:40,719
I can give you. I can give you old school piano,

1069
00:56:41,199 --> 00:56:45,039
old school stand up bass, and me singing the blues,

1070
00:56:45,440 --> 00:56:46,639
and you're gonna follow him off.

1071
00:56:46,719 --> 00:56:50,480
Speaker 2: According to George Michael, the vocals were recorded a cappella

1072
00:56:50,800 --> 00:56:54,880
one take one take Wow Somewhere Joe Elliott is crying

1073
00:56:54,920 --> 00:56:55,559
when he hears that.

1074
00:57:00,039 --> 00:57:02,320
Speaker 1: I was drinking himself to sleep.

1075
00:57:05,440 --> 00:57:08,360
Speaker 2: This album was originally supposed to be called Kissing It Full.

1076
00:57:08,559 --> 00:57:10,639
That was the working title for the album for a

1077
00:57:10,679 --> 00:57:13,079
long time until at the last minute they kind of

1078
00:57:13,119 --> 00:57:14,280
changed it to Faith.

1079
00:57:14,480 --> 00:57:18,760
Speaker 1: So this was the least successful of the singles released.

1080
00:57:19,000 --> 00:57:21,800
It made it to number eighteen on the UK Singles

1081
00:57:21,880 --> 00:57:25,360
Chart and it became the first single in five, not

1082
00:57:25,440 --> 00:57:28,079
to make number one on the Billboard Hot one hundred

1083
00:57:28,119 --> 00:57:30,920
in the US, but it was number one on the

1084
00:57:31,079 --> 00:57:35,360
Hot Adult Contemporary Tracks and became number five on the

1085
00:57:35,400 --> 00:57:36,599
Billboard Hot one hundred.

1086
00:57:36,719 --> 00:57:39,159
Speaker 2: So the best part to me this song is when

1087
00:57:39,199 --> 00:57:54,599
the big band jumps in at the end and the

1088
00:57:54,679 --> 00:57:55,920
vocals take off at that.

1089
00:57:56,440 --> 00:58:00,360
Speaker 1: It's interesting that you say that it kind of reminds

1090
00:58:00,360 --> 00:58:03,480
you of Harry Connic. The song was actually covered by

1091
00:58:03,599 --> 00:58:07,920
Michael Bubla, and it is whereas you can listen to

1092
00:58:08,400 --> 00:58:10,840
so many of the songs on this album and go, yeah, okay,

1093
00:58:10,840 --> 00:58:12,840
this is kind of dated. I can say this is eighties.

1094
00:58:13,400 --> 00:58:15,639
This song is timeless.

1095
00:58:15,760 --> 00:58:18,840
Speaker 2: It is timeless. Yeah, okay, great song. I love this song.

1096
00:58:18,840 --> 00:58:19,519
It's beautiful.

1097
00:58:19,639 --> 00:58:21,800
Speaker 1: How did it feel when you were running and listening?

1098
00:58:25,079 --> 00:58:28,760
Speaker 2: Yes? Again, a little bit weird exercising while listening to

1099
00:58:28,800 --> 00:58:33,159
this album. Okay. So that brings us to the last

1100
00:58:33,199 --> 00:58:36,760
song on the tape, at least a last request, I

1101
00:58:36,800 --> 00:58:38,199
Want Your Sex Part three.

1102
00:58:38,480 --> 00:58:40,480
Speaker 1: We think I was trying to pressure you into sex

1103
00:58:41,400 --> 00:58:45,119
and apparently didn't work. So let me make last request.

1104
00:58:45,800 --> 00:58:48,400
This song probably should have happened even less than I

1105
00:58:48,440 --> 00:58:52,079
Want Your Sex Part two? Give it up? I mean,

1106
00:58:52,239 --> 00:58:54,360
just let it go. She's not interested.

1107
00:58:54,639 --> 00:58:56,519
Speaker 2: She's very tired and has a hitdache.

1108
00:58:56,599 --> 00:59:01,679
Speaker 1: And again this horribly dated with this synthier and drum

1109
00:59:01,679 --> 00:59:02,480
machine drums.

1110
00:59:02,639 --> 00:59:06,880
Speaker 2: So I've seen enough cinemax after dark movies. This this

1111
00:59:07,079 --> 00:59:08,159
has the feel.

1112
00:59:13,159 --> 00:59:14,840
Speaker 1: I don't know if that's a confession you want to

1113
00:59:14,880 --> 00:59:15,880
make on the air, bro.

1114
00:59:18,800 --> 00:59:22,599
Speaker 2: This has the cinemax after a dark type.

1115
00:59:23,199 --> 00:59:31,960
Speaker 1: You're saying this is the eighties version of boun Oh.

1116
00:59:32,000 --> 00:59:32,880
That's hilarious.

1117
00:59:37,119 --> 00:59:39,639
Speaker 2: It's got kind of a sexy beat the horns. I

1118
00:59:40,000 --> 00:59:44,000
think that as the song closes, it sounds a little

1119
00:59:44,000 --> 00:59:46,599
bit like You Belong to the City by Glenn Frye.

1120
00:59:46,960 --> 00:59:49,400
This song needed to be trimmed. This is not a

1121
00:59:49,639 --> 00:59:52,159
worthy track on Faith No.

1122
00:59:52,679 --> 00:59:55,920
Speaker 1: They wisely left it off of the LP. I'm not

1123
00:59:55,960 --> 00:59:58,039
sure why they brought it back for the CD and

1124
00:59:58,079 --> 00:59:59,719
the tape as a bonus track. I don't know.

1125
01:00:00,280 --> 01:00:02,199
Speaker 2: So I did want to bring this up. I don't

1126
01:00:02,199 --> 01:00:04,679
know if we really got into this when we covered

1127
01:00:04,840 --> 01:00:07,039
I Want Your Sex. For a song to show up

1128
01:00:07,119 --> 01:00:09,800
in three parts on an album, I mean it was

1129
01:00:09,840 --> 01:00:11,480
a huge hit. Don't get me wrong. I'm not saying

1130
01:00:11,519 --> 01:00:14,599
it wasn't big hit, but for three versions of basically

1131
01:00:14,639 --> 01:00:18,760
the same song, and then from this point on he

1132
01:00:18,800 --> 01:00:21,440
ignores it. They don't play it live, he doesn't mention it,

1133
01:00:21,760 --> 01:00:24,920
he didn't talk about it. It's very interesting his relationship

1134
01:00:24,960 --> 01:00:25,440
with that song.

1135
01:00:26,880 --> 01:00:29,400
Speaker 1: Okay, we're getting big picture here, and I'm going to

1136
01:00:29,480 --> 01:00:33,480
say this. He reinvents himself. And he does that deliberately,

1137
01:00:34,000 --> 01:00:39,079
at least throughout the eighties, right, I mean, and when

1138
01:00:39,079 --> 01:00:42,320
he does his next album, the first video that comes out,

1139
01:00:42,480 --> 01:00:45,000
he's blowing up the jacket, he's blowing up the jukebox,

1140
01:00:45,000 --> 01:00:47,199
he's blowing up the guitar. I mean, he's getting rid

1141
01:00:47,239 --> 01:00:49,599
of all of that. He's like, that ain't me. You're

1142
01:00:49,639 --> 01:00:51,880
not going to define me. That's not who I am.

1143
01:00:52,239 --> 01:00:54,719
I can do it all. I am not just a

1144
01:00:54,760 --> 01:00:58,320
pop person. I'm not just a I want your sex person,

1145
01:00:58,599 --> 01:01:01,440
not sex symbol only. I'm not any of those things.

1146
01:01:01,440 --> 01:01:03,440
You can't put me in a box. And so I'm

1147
01:01:03,480 --> 01:01:06,400
going to redefine myself. And when we talked about Michael Jackson,

1148
01:01:06,519 --> 01:01:09,079
I talked about how I didn't feel like Bad was

1149
01:01:09,119 --> 01:01:11,119
a better album because I felt like it was really

1150
01:01:11,199 --> 01:01:14,760
just a thriller part two, which I mean, thriller is fantastic,

1151
01:01:14,800 --> 01:01:17,199
So why not make a part two? But there are

1152
01:01:17,239 --> 01:01:20,960
certain artists out there who refuse to do that. George

1153
01:01:20,960 --> 01:01:24,480
Michael is obviously one of those guys. Prince is obviously

1154
01:01:24,519 --> 01:01:26,880
one of those guys. You've noted a couple times that

1155
01:01:26,920 --> 01:01:29,119
he took a cue from Prince, and I think he

1156
01:01:29,199 --> 01:01:32,559
totally did that big picture wise with his albums as well.

1157
01:01:32,639 --> 01:01:35,679
Prince is not making Purple Rain Part two with Sign

1158
01:01:35,719 --> 01:01:40,239
of the Times. He's making something wholly different, Ye wholly different,

1159
01:01:40,400 --> 01:01:43,199
And that's something admirable to be able to go, Hey,

1160
01:01:43,239 --> 01:01:46,400
I'm going to be a completely different type of artists

1161
01:01:46,599 --> 01:01:49,519
and I'm still gonna make hits. That's something impressive.

1162
01:01:49,760 --> 01:01:53,199
Speaker 2: It is impressive. It is impressive, and I marvel at

1163
01:01:53,320 --> 01:01:56,119
not only did he completely change his image from this

1164
01:01:56,199 --> 01:01:59,079
album to the next album, but he weaves his way

1165
01:01:59,159 --> 01:02:02,360
in and out of different genres of music on this album,

1166
01:02:02,480 --> 01:02:06,719
Like we said, dance, pop, rock, jazz, gospel.

1167
01:02:07,159 --> 01:02:10,880
Speaker 1: How many different categories of music did he write a

1168
01:02:11,000 --> 01:02:11,519
hit for?

1169
01:02:11,920 --> 01:02:16,159
Speaker 2: Oh my gosh, so rap? Initially his first success was

1170
01:02:16,199 --> 01:02:23,679
in rap, bubblegum pop with wham right, I mean mainstream pop, rock, jazz,

1171
01:02:24,280 --> 01:02:27,840
R and B, R and B adult contemporary dance, dance,

1172
01:02:28,280 --> 01:02:28,920
fun funk.

1173
01:02:29,199 --> 01:02:33,760
Speaker 1: It's pretty, it's pretty freaking impressive, it's super pretty freaking impressive.

1174
01:02:33,880 --> 01:02:37,360
Speaker 2: And the guy's got a voice like an angel. So

1175
01:02:37,400 --> 01:02:40,840
this is kind of moving us into the impact and

1176
01:02:40,920 --> 01:02:43,840
the reception that the Faith album had. It won the

1177
01:02:43,880 --> 01:02:46,400
Grammy for Album of the Year from the nineteen eighty

1178
01:02:46,480 --> 01:02:50,400
nine American Music Awards. He won Favorite Pop Rock Male Artists,

1179
01:02:50,679 --> 01:02:54,639
Favorite Soul R and B Male Artists, which we need

1180
01:02:54,639 --> 01:02:57,639
to talk about, and Favorite Soul R and B Album

1181
01:02:57,719 --> 01:03:00,800
for Faith. There was some backlash on this. Interesting so

1182
01:03:01,199 --> 01:03:04,519
a white artist winning the R and B Best Artist Award,

1183
01:03:04,800 --> 01:03:09,639
this was not looked upon very favorably. Although it's admirable

1184
01:03:09,719 --> 01:03:12,960
that he crossed over into black audiences, he made it.

1185
01:03:13,079 --> 01:03:15,079
The album was number one on the R and B charts,

1186
01:03:15,400 --> 01:03:18,800
and for him to be the first white solars to

1187
01:03:19,519 --> 01:03:23,400
do that super impressive. But people like Gladys Knight was

1188
01:03:23,599 --> 01:03:26,159
very vocal and criticized him for that, even though it's

1189
01:03:26,159 --> 01:03:28,639
not his fault, all right, I do think it's interesting

1190
01:03:28,719 --> 01:03:32,440
when he when he sang Careless Whisper as the last

1191
01:03:32,480 --> 01:03:35,800
song on the last concert of the Faith tour, he

1192
01:03:35,880 --> 01:03:38,800
said to himself, I don't know if I'll ever do

1193
01:03:38,880 --> 01:03:42,800
this again. For him to work so hard, gain so

1194
01:03:43,000 --> 01:03:45,519
much success and get to the top and say I'm

1195
01:03:45,519 --> 01:03:47,119
not sure I'm going to do this ever again kind

1196
01:03:47,119 --> 01:03:47,559
of interesting.

1197
01:03:47,719 --> 01:03:50,320
Speaker 1: It is. It's crazy. So just to touch on the

1198
01:03:50,360 --> 01:03:55,599
awards real quick, okay, yep nominated for Album of the

1199
01:03:55,679 --> 01:04:00,639
Year and one Yes Father Figure was nominated for Best

1200
01:04:00,679 --> 01:04:04,239
Pop Vocal Performance by a Male. This also received the

1201
01:04:04,480 --> 01:04:08,199
Favorite Soul R and B Album for the American Music Awards,

1202
01:04:08,639 --> 01:04:12,280
as well as the Favorite Soul R and B Male

1203
01:04:12,440 --> 01:04:17,280
Artists MTV Video Music Awards. Both Faith and Father Figure

1204
01:04:17,280 --> 01:04:21,320
were nominated, and Father Figure one for Best Direction in

1205
01:04:21,360 --> 01:04:24,360
a Video, Father Figure one for Best Direction in a Video.

1206
01:04:24,480 --> 01:04:28,880
He had other nominations, but ultimately he received the Video

1207
01:04:29,079 --> 01:04:32,400
Vanguard Award and he won. For the brit Awards, won

1208
01:04:32,519 --> 01:04:33,840
Best British Male Artist.

1209
01:04:34,000 --> 01:04:37,039
Speaker 2: It's impressive. I mean, that's a heck of a year, man. Yeah,

1210
01:04:37,079 --> 01:04:39,800
I was gonna mention this too. Faith was the best

1211
01:04:39,840 --> 01:04:42,239
selling album of nineteen eighty eight in the United States,

1212
01:04:42,360 --> 01:04:46,400
eleven million copies in the United States alone, twenty million

1213
01:04:46,440 --> 01:04:50,000
copies of Face sold worldwide. That's the fifty second best

1214
01:04:50,039 --> 01:04:52,000
selling album of all time. In the US.

1215
01:04:52,280 --> 01:04:54,519
Speaker 1: Okay, wow, yeah.

1216
01:04:54,159 --> 01:04:57,800
Speaker 2: So this is an interesting tidbit just regarding the show

1217
01:04:57,840 --> 01:05:01,119
That you Can't Be Serious podcast. Okay, So Faith was

1218
01:05:01,159 --> 01:05:03,920
the number one selling album of nineteen eighty eight, covered

1219
01:05:03,920 --> 01:05:05,719
by The Shore that you Can't Be Serious Podcast. The

1220
01:05:05,800 --> 01:05:08,079
number two best selling album of eighty eight the Dirty

1221
01:05:08,119 --> 01:05:12,119
Dancing Soundtrack, which we have slated sometime maybe in twenty

1222
01:05:12,159 --> 01:05:16,400
twenty one. Number three that year, Hysteria covered by The

1223
01:05:16,400 --> 01:05:19,320
Shore That you Can't Be Serious Podcast, Number four, Kick,

1224
01:05:19,719 --> 01:05:22,920
number five bad, and number six appatit for destruction.

1225
01:05:23,159 --> 01:05:28,880
Speaker 1: Well, we don't pick losers. We don't pick losers.

1226
01:05:29,119 --> 01:05:32,360
Speaker 2: That's right. Debbie Gibson at number seven, I'm not sure

1227
01:05:32,519 --> 01:05:33,360
that was going to make the.

1228
01:05:33,639 --> 01:05:36,400
Speaker 1: Oh yeah, dude, We're definitely doing a Debbie Gibson versus

1229
01:05:36,400 --> 01:05:39,360
Tiffany episode. It's gonna happen, right.

1230
01:05:42,719 --> 01:05:44,880
Speaker 2: We've got to talk a little bit about sort of

1231
01:05:44,960 --> 01:05:46,280
the tragedy.

1232
01:05:47,000 --> 01:05:50,239
Speaker 1: Yeah, okay, all right, So all the success in the

1233
01:05:50,280 --> 01:05:53,840
world can always save you. Tragically, with both of the

1234
01:05:53,840 --> 01:05:58,760
bands that we're comparing, we lose an artist without comparison.

1235
01:05:58,920 --> 01:06:02,440
The world has lost something special in both of their deaths.

1236
01:06:02,880 --> 01:06:06,599
Speaker 2: And it's tragic, true, it is. It is so Georgia.

1237
01:06:06,639 --> 01:06:10,239
Michael died Christmas Day, twenty sixteen, at age fifty three.

1238
01:06:10,559 --> 01:06:14,679
The autopsy report was indeterminable, but I think it's just

1239
01:06:15,280 --> 01:06:17,719
in general, drugs and alcohol got him in the end.

1240
01:06:17,920 --> 01:06:21,519
Michael Hutchins died November twenty second, nineteen ninety seven.

1241
01:06:21,800 --> 01:06:26,679
Speaker 1: His death was very unusual. He had, in all respects,

1242
01:06:26,719 --> 01:06:30,000
appeared to be in a good mood. He had plans

1243
01:06:30,039 --> 01:06:33,239
to do work with other artists. And you know, they

1244
01:06:33,239 --> 01:06:36,920
say this stuff all the time about people who commit suicide,

1245
01:06:37,559 --> 01:06:42,519
but with his particular situation, it does seem very strange

1246
01:06:43,159 --> 01:06:46,559
that he would have committed suicide. But he had become

1247
01:06:46,599 --> 01:06:52,320
involved in a relationship with Bob Geldolf's wife, Paula Yates,

1248
01:06:52,800 --> 01:06:58,800
and she was leaving Bob, and there were custody battles

1249
01:06:58,800 --> 01:07:01,920
going on in their divorce, and there was a plan

1250
01:07:02,280 --> 01:07:06,800
that she and her children, as well as the child

1251
01:07:06,920 --> 01:07:13,800
that she had with Michael Hutchins, Tiger Lily, We're supposed

1252
01:07:13,840 --> 01:07:17,400
to come to be with him over the Christmas holiday,

1253
01:07:18,159 --> 01:07:22,639
and because of the divorce dispute, that they were not

1254
01:07:22,760 --> 01:07:25,119
able to come. She called and gave him that news.

1255
01:07:25,800 --> 01:07:30,239
He became very depressed. This was all within the span

1256
01:07:30,280 --> 01:07:32,840
of a day, became very depressed, called a couple of

1257
01:07:32,880 --> 01:07:36,639
different people to tell them what was going on and

1258
01:07:36,679 --> 01:07:39,880
how he was feeling. And one of those people even

1259
01:07:39,960 --> 01:07:42,800
came to the hotel room that he was staying in

1260
01:07:42,840 --> 01:07:45,920
and knocked on the door to come and talk to him,

1261
01:07:45,960 --> 01:07:48,280
even though it was in the wee hours of the morning,

1262
01:07:48,880 --> 01:07:52,639
and she didn't get a response and so left, and sadly,

1263
01:07:52,719 --> 01:07:57,400
that next morning they found him hanging in his closet.

1264
01:07:57,880 --> 01:08:01,480
It's again, not some thing that they thought was foul play,

1265
01:08:02,400 --> 01:08:05,599
but something that a lot of folks had trouble believing

1266
01:08:05,880 --> 01:08:10,280
was deliberate, despite the fact that he appeared to be

1267
01:08:10,280 --> 01:08:12,840
completely alone. So I don't you know, I don't want

1268
01:08:12,840 --> 01:08:16,239
to speculate on it, but the thing is, we lost

1269
01:08:16,279 --> 01:08:20,479
again another truly great artist. And on that happy note,

1270
01:08:20,479 --> 01:08:21,880
how about we do some vile.

1271
01:08:21,760 --> 01:08:26,560
Speaker 2: Y all right, thank you, Let's transition to something a

1272
01:08:26,560 --> 01:08:29,840
little happier. Final judgment, where are you? No?

1273
01:08:29,960 --> 01:08:30,520
Speaker 1: You go first?

1274
01:08:30,520 --> 01:08:31,319
Speaker 2: You want me to go first?

1275
01:08:31,359 --> 01:08:31,760
Speaker 1: All right?

1276
01:08:31,840 --> 01:08:37,560
Speaker 2: So these two albums I owned both, I love both. However,

1277
01:08:37,920 --> 01:08:43,359
I think that Faith has some songs that needed to

1278
01:08:43,399 --> 01:08:46,560
be cut. It brings down the album as a whole.

1279
01:08:46,680 --> 01:08:49,800
Some of these just kind of hanger ons. I do

1280
01:08:49,880 --> 01:08:52,079
think Faith gets a lot of credit with me for

1281
01:08:52,159 --> 01:08:57,720
having so many songs, so many different genres, different styles,

1282
01:08:58,359 --> 01:09:01,319
certainly styles that were not my favorite at the time.

1283
01:09:01,520 --> 01:09:04,439
Jazz was not something I listened to typically, but through

1284
01:09:04,560 --> 01:09:07,039
Kissing a Fool I was introduced to that. But a

1285
01:09:07,079 --> 01:09:09,920
lot of great songs. I don't think Faith has aged

1286
01:09:10,000 --> 01:09:13,960
quite as well. I love every song on Kick. I

1287
01:09:13,960 --> 01:09:15,960
could pop it in. I could definitely go jogging to

1288
01:09:16,000 --> 01:09:17,680
Kick a little bit easier than I could Faith. But

1289
01:09:18,000 --> 01:09:20,520
my vote as a whole, Kick is the better album,

1290
01:09:20,560 --> 01:09:21,760
not a bad song on it. Ye.

1291
01:09:23,399 --> 01:09:27,159
Speaker 1: Okay. When we started this podcast, I had a decision

1292
01:09:27,159 --> 01:09:29,359
in my head. I knew what I was picking in

1293
01:09:29,439 --> 01:09:33,279
my head, right. Yeah, And as with many things, as

1294
01:09:33,319 --> 01:09:35,640
we revisit and we listen, and we go through the

1295
01:09:35,800 --> 01:09:40,239
entire album, and things appeal to you more on the

1296
01:09:40,319 --> 01:09:45,199
second or third or the fourth listen, your perspective's change. Now.

1297
01:09:45,560 --> 01:09:47,760
I'm a rock guy. I am not a pop guy.

1298
01:09:47,880 --> 01:09:51,000
I like some pop music, and that's I mean, I'm

1299
01:09:51,079 --> 01:09:54,720
not a snob about it. It's just not my thing, right,

1300
01:09:54,760 --> 01:09:57,279
And so what I have to do in my head

1301
01:09:57,399 --> 01:10:00,319
is I have to take that out and say, okay,

1302
01:10:00,560 --> 01:10:05,920
take your presuppositions and your predispositions away and look at

1303
01:10:05,920 --> 01:10:10,720
these albums side by side for what they were. And

1304
01:10:11,159 --> 01:10:15,319
even though probably song wise I'm going to pick in

1305
01:10:15,439 --> 01:10:18,720
excess kick, Never Tear Us Apart is I've said my

1306
01:10:18,800 --> 01:10:21,359
favorite song. If you put all of these songs up

1307
01:10:21,399 --> 01:10:24,359
on the board, I'm writing number one, next two, Never

1308
01:10:24,399 --> 01:10:28,720
Tear Us Apart and Devil Inside and Need You Tonight

1309
01:10:28,960 --> 01:10:34,439
are both fantastic songs. New Sensation What Yes lows my

1310
01:10:34,479 --> 01:10:37,600
mind and it's rock, which I love, right, but it's

1311
01:10:37,760 --> 01:10:40,960
all rock. And so when we listen to Guns n'

1312
01:10:41,039 --> 01:10:44,199
Roses versus Back in Black, what did I say? I said,

1313
01:10:44,560 --> 01:10:48,960
Appetite for Destruction was better than Back in Black because

1314
01:10:49,159 --> 01:10:53,560
it had variety, it had variation. And so even though

1315
01:10:53,880 --> 01:10:56,880
when we started I knew I was picking an excess kick,

1316
01:10:57,039 --> 01:11:00,760
I gotta say today I'm picking George Michael Faith love It.

1317
01:11:01,520 --> 01:11:03,920
Number one hit after number one hit after number one

1318
01:11:04,000 --> 01:11:07,920
hit in completely different genres you have. I mean, I've

1319
01:11:07,920 --> 01:11:09,760
got songs on there that I don't like. I would

1320
01:11:09,760 --> 01:11:12,159
have redone them and done them a completely different way.

1321
01:11:12,359 --> 01:11:14,800
But when you look at these albums as a whole.

1322
01:11:15,000 --> 01:11:20,359
George Michael has produced a better product. And that's the

1323
01:11:20,359 --> 01:11:23,479
way people felt in nineteen eighty eight, nineteen eighty nine,

1324
01:11:24,119 --> 01:11:26,960
and I gotta say they were right. If you if

1325
01:11:27,000 --> 01:11:30,159
you take out the ones that are dated and you

1326
01:11:30,199 --> 01:11:34,920
put them next to the next to these songs from Kick,

1327
01:11:35,119 --> 01:11:37,239
taking out the ones that are dated, I still say,

1328
01:11:37,319 --> 01:11:39,680
I'm gonna have to say that Faith wins today.

1329
01:11:39,920 --> 01:11:43,640
Speaker 2: Wow, I love it, man, that's great. It's crazy for me.

1330
01:11:43,760 --> 01:11:46,000
Speaker 1: I would never have expected it. Yeah, I would never

1331
01:11:46,039 --> 01:11:50,359
have expected to pick that. Never I'm I'm still I'm

1332
01:11:50,399 --> 01:11:52,800
probably going to wake up tomorrow and I'm probably gonna

1333
01:11:52,800 --> 01:11:53,960
wake up in the middle of the night and go,

1334
01:11:54,039 --> 01:11:58,399
what the crap did I just say? Because I love Kick,

1335
01:11:58,479 --> 01:12:02,439
I love the rock and the ah. Man, I'm wavering already.

1336
01:12:02,479 --> 01:12:05,640
I'm starting to waffle. We better turn the microphones off before.

1337
01:12:06,920 --> 01:12:09,479
Speaker 2: Hey. I think it's cool for us to grow as

1338
01:12:09,479 --> 01:12:14,000
we rediscover these albums together. So hopefully there's somebody out

1339
01:12:14,000 --> 01:12:17,000
there who listened to the podcast who changed their mind.

1340
01:12:17,119 --> 01:12:19,920
I think that's great when people hit us up on

1341
01:12:19,920 --> 01:12:22,560
Facebook and they say, hey, I initially thought this, and

1342
01:12:22,640 --> 01:12:24,359
now I think that I just.

1343
01:12:24,560 --> 01:12:26,680
Speaker 1: I would like to point out that. This is kind

1344
01:12:26,720 --> 01:12:29,960
of momentous because as far as pop and rock are concerned,

1345
01:12:30,720 --> 01:12:33,199
you're the pop guy and I'm the rock guy. If

1346
01:12:33,239 --> 01:12:35,560
we got to say one's sure, that's true. I just

1347
01:12:35,600 --> 01:12:37,640
picked the pop I just picked the pop album, and

1348
01:12:37,680 --> 01:12:38,800
you picked the rock album.

1349
01:12:38,960 --> 01:12:41,800
Speaker 2: I know, I know. Hey yeah that's called growth.

1350
01:12:43,960 --> 01:12:47,199
Speaker 1: All right, Well, tell us what you guys think. Am

1351
01:12:47,239 --> 01:12:51,239
I crazy? Is Jason crazy? Are they? Is it an

1352
01:12:51,359 --> 01:12:54,319
unanswerable question which of these two albums are better? It

1353
01:12:54,399 --> 01:12:56,479
might be, but sometimes you just got to put your

1354
01:12:56,479 --> 01:12:58,159
foot down and say this is the way it is.

1355
01:12:58,439 --> 01:12:58,960
Speaker 2: That's great.

1356
01:12:59,039 --> 01:13:01,720
Speaker 1: I feel Jason has been fun.

1357
01:13:02,039 --> 01:13:03,520
Speaker 2: Yep, de tax you next week.

1358
01:13:03,840 --> 01:13:04,760
Speaker 1: Al right, bye,