broomqueesha's Full Review: Faith by George Michael
The Main Idea
George Michael (real name Yorgos Kyriatou Panayioutou - wow, now that's a doozy!) was the driving force behind that dynamic pop duo known as Wham! in the 80's. In 1987, however, Mr. Wake-Me-Up-Before-You-Go-Go decided to go solo and released his own debut, Faith. The seven-million-selling smash is bursting with the danceable energy that made Wham! so popular, but, more importantly, it set George Michael apart as a different entity, a different artist. With a slew of hit singles, every track on this record sounds different and has a different purpose. Faith is the quintessential solo record that has stood the test of time; Nick Carter and Justin Timberlake wish they could do it this well.
The title track is actually quite different from the majority of this album. Faith is rather simple and country-tinged, with just George singing over some plucky acoustic guitars and borderline-cheesy handclaps. I guess it's too bad that, whenever I listen to this song, I think of that completely atrocious remake Limp Bizkit did a few years back. Anyway, Father Figure is just as excellent. With its rousing background vocals that are reminiscent of a gospel choir and its well-written lyrics - "I will be your father figure/Put your tiny hand in mine/I will be your preacher teacher/Anything you have in mind/I will be your father figure/I have had enough of crime/I will be the one who loves you/Until the end of time" - and classy piano and fingersnaps, this dramatic ballad is one of my favorite songs of all time. The same holds true for One More Try, which is vocally stunning. The way George drags out those "you"'s and "go"'s is enough to make even today's most gifted female singers green with envy. It's a real tearjerker of a ballad, with more piano and a strong bassline.
George's controversial signature smash, I Want Your Sex, is actually in three parts. The first rhythm, entitled "Lust," is the recognizable single version, featuring thumping drums and a complete onslaught of drums. The lyrics are so cheesy and mindless - "What's your definition of dirty baby/What do you consider pornography/Don't you know i love you till it hurts me baby/Don't you think it's time you had sex with me" - I don't understand how anyone could take them seriously enough to raise a big stink about them. Part 2, called "Brass In Love," tones down the cheese and turns up the funk with its plethora of horns and keyboards and a strong bassline. Though it's not quite as in-your-face as the first version, the lyrics are still stupid and George's vocal acrobatics are still borderline scary. The final version, tacked on as an entirely different track called A Last Request, is meant to be more sensual and romantic, with its jazzy, atmospheric production and George's deeper vocals. Honestly, I find it rather boring. The raunch is always better.
Hard Day is a pulsating dance tune, bass-heavy, with a throbbing staccato beat. It actually switches tempos several times, from quick and danceable to slower and more brooding, throughout the song, but it's very repetitive lyrically. Also, the whole make-yourself-sound-like-a-chipmunk-by-altering-your-voice thing at the end is kind of stupid. There's also a Shep Pettibone Remix here, but it's not very different from the original, except the hook is stuttery and irritating this time. Hand To Mouth is one of my personal favorite songs here. It's more socially conscious lyrically and I like how all the synths and computers are toned down for a more natural, contemplative sound. There's still keyboards aplenty, but George's delivery is also more subdued as he uses less vocal riffs and runs and sings rather softly. It's a nice, calm track.
Look At Your Hands has some definite country leanings in its twangy guitars and George's attitude-filled delivery. All of the "na na"'s and "ma ma"'s can get pretty irritating after a while, but it's still a good song with great percussion and a nice lyrical concept. The danceable Monkey is also borderline annoying, despite its catchy hook: "Why can't you do it?/Why can't you set your monkey free?/Always giving in to it/Do you love the monkey or do you love me?/Why can't you do it/Why do I have to share my baby with a monkey?" It's horribly overproduced with way too many synthesizers that drown out the vocals. I like it, but I would like it a lot more if everything was toned down. Kissing A Fool is pure jazz with soft production, melodic keyboards, and the occasional horns. The lazy bassline and George's understated, sexy delivery add to the atmosphere and prove that he can really pull off any genre of music vocally.
Final Thoughts Faith is a motley mix of pop, R&B, dance, jazz, and Lord knows what else, and that's what I like most about it. George Michael effortlessly makes the transition from soulful balladeer to playful heartbreaker in the matter of a few songs, and not many singers, particularly male singers, can pull that off as smoothly as him. As his first solo effort, Faith asserts George's identity as his own artist, away from Wham!, and sets him apart from the rather bubblegum, preprocessed pop music of the late 80's. In the end, this record is a well thought-out package of eleven tracks, each of which has something new and different to offer. By penning each cut himself and putting his own vocal stamp on them, George makes Faith an essential album for any pop or R&B fan.
Key Tracks: "Father Figure," "One More Try," and "Hand To Mouth"
Great Music To Play While: Wondering whatever happened to that other guy from Wham! (what was his name again?...), showing off your wee-wee to an undercover cop, and remembering how you felt when you first realized that all these songs were written about men.
Other Albums By This Artist:Listen Without Prejudice Vol. 1, Five Live, Older, Ladies & Gentlemen: The Best Of George Michael, Songs From The Last Century, Patience
*Tear* This is going to be my last review for a looooooooong time. *tear*
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