Wham Greatest Hits Rar
As George celebrates his first chart-topping album in almost a decade, we count down the biggest selling digital downloads of a solo career that goes back 30 years!On looking at last week’s Official Albums Chart race, you could be forgiven for thinking you’d accidentally been transported back in time. Could the pop legends George Michael and Kylie Minogue really be battling it out for Number 1 album? Or were we flicking through a 1988 copy of the dear departed Smash Hits? Well, no, your eyes were bang up to date and it was a victory for George –.Symphonica is also the former Wham!
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Songs By Wham
Singer’s first full-length album in nearly ten years, and there have been some pretty big changes to the way we live or lives since Patience perched atop the Official Albums Chart in 2004. For a start, we’ve all gone digital!
Facebook and YouTube launched in the UK in 2005, with Twitter taking its first chirp a year later.Digital downloads were included in the Official Singles Chart for the first time in 2005, and since then we’ve seen countless old favourites back in the charts – this week saw Human League’s 1981 Number 1 Don’t You Want Me back in the UK-wide Top 40 and at.Looking at Symphonica’s first-week sales, it seems plenty of George Michael fans still like having that CD in their hands – three quarters of the copies of Symphonica bought that week were in physical format. But when it comes to George’s downloads, which tracks have shifted the most?
Have the early classics still got the staying power, or are George’s newer tracks getting all the attention?It’s only right that George’s very first solo Number 1 should get top billing on his list of most downloaded tracks. Those guilty feet may not have rhythm, but they sure know how to shift a few copies – Careless Whisper is George’s biggest selling download, with over 100,000 digital sales.
Not bad for a song that was released 30 years ago!Although George was still part of dynamic duo Wham! With pal Andrew Ridgeley when Careless Whisper topped the Official Singles Chart, it was credited as a solo release for George. Being a more serious ballad, it didn’t quite fit in with Wham!’s fun fun fun music ethic and habit of sticking shuttlecocks down their shorts (they really did this), so it was George’s first foray into solo stardom. If you include physical sales, Careless Whisper has sold over 1.4 million copies in the UK, one of two million sellers for George – the other is Wham!’s festive classic Last Christmas.Coming up just behind is Faith, the title track from George’s first solo album. In its iconic video, George did a spot of boogying with his favourite guitar and leather jacket, taking the song to Number 2 in autumn 1987.In bronze position is George’s fourth Number 1 of his solo career, Don’t Let The Sun Go Down On Me, featuring rock legend and the original singer of the song, Elton John.
The guys performed the track together at Live Aid in 1985 and enjoyed it so much they got together again to sing it at one of George’s concerts in Chicago in 1991, with all proceeds going to charity.It was the second time George had teamed up with a megastar to collaborate on a chart-topper (old Wham! Colleague Andrew Ridgeley aside, of course). In 1987, George scored a Number 1 with legendary Aretha Franklin on I Knew You Were Waiting (For Me), which spent two weeks at the top. It comes in sixth on George’s countdown of most downloaded tracks.Coming in fourth on George’s download top sellers is I Can’t Make You Love Me, first released as a double-A side with 1997 single Older. The track, a cover originally released by American singer Bonnie Raitt in 1991, has found new fans thanks to being a staple of TV talent show auditionees and finalists.
You know what not enough greatest hits albums start with? Politicised UK hip-hop tracks from 1982, that's what. Yet here we find 'Wham! Rap (Enjoy What You Do)' telling the three million unemployed not to give up on the life they want while the backing singers butchly chirp 'D.H.S.S.!' Has there been a band - pop or otherwise - since that have gone for such an enticingly bizarre opening gambit? Alright, probably, but not exactly on an everyday basis, which is part of what makes The Final something of a prince among its peers. To new listeners, it's bound to be full of genuinely unaccountable surprises.
For those who were fans at the time, it's a marvellous vindication. And for those for whom Wham!
Were the enemy in the 1980s, it shows them unexpectedly ripe for reassessment. Not that they actually were seen as the enemy in the early days. In fact, the NME wouldn't be this excited about pop rap again until the resistance-anihilating emergence of Betty Boo almost a decade later, and the attraction is pretty clear even now. Subsequent singles would move the band further into the white-boy soul territory that the likes of 'No Parlez' and the early Style Council singles would occupy to tremendous commercial and critical effect, and their penchant for teenage kicks coupled with a sharp observational edge (consider, for instance, 'Young Guns (Go For It)'s reference to 'sleepless nights on an HP bed') rang far truer than the fantastical farces then peddled by the rest of the New Pop brigade. Plus, they had a keen ear for the iconic moment (the dropped-out instrumentation at the 'caution pays' point of 'Young Guns' still delights, while Dee C Lee's cartoon purr on 'Bad Boys' is a hoot, and that single's 'wooh!wooh!'
S were clearly custom-built for their ubiquity), and, while ' Club Tropicana' was roundly criticised as being too Thatcherite, hindsight renders it an interesting snapshot of a culture in flux. 'Y Viva Espana', eleven years earlier regarded holidays as impossilby exotic, while 'Girls And Boys', eleven years later, would paint them as blase bacchanalia, whereas, for Wham!, there was fun to be had in the world becoming available to all. And didn't the world just welcome them for it? Neil Tennant's often spoken of the Pet Shop Boys having an imperial phase in '87/'88, but, really, it had nothing on the one illustrated here, since, frankly, few do.
'Wake Me Up Before You Go Go', 'Careless Whisper', 'Freedom', 'Last Christmas' (included here in its 'Pudding Mix', which is essentially the familiar version with an inexplicable hula intro) and 'Everything She Wants' all reached number two or above in under eight months, and all remain key elements of the pop canon. It's interesting, hearing them back-to-back, to note that all five are driven by real or imagined infidelity (fascinatingly, in later years George Michael's 'Spinning The Wheel' would be effectively the horrific moment at which his 'Wake Me Up.' Self actually wakes), which makes it all the more intriguing that they were so utterly embraced, and also that there's some startlingly audacious songwriting going on at this stage. 'Last Christmas' in particular demands a staggering amount of conviction to sidestep the risk of cheese overload, yet George manages to perform lines like 'Happy Christmas' / I wrapped it up and sent it / With a note saying I loved you / I meant it' (awful written down, obviously) unbeatably. And anyone that can tackle the Doris Day and guilty feet lyrics that well as well has to be applauded for sheer chutzpah even if the tunes themselves were lacking, which their enduring populist winningness would indicate is very far indeed from the case.Of course, like everyone else involved in Band Aid (with the notable exception of U2), their momentum would dissolve immediately thereafter, and reinventing themselves in 1985 as the All-New, All-Different SexWham! Really didn't help. After all, 'I'm Your Man' might still work on some terms, and can thankfully blot out all memory of the Alfie Moon version when listened to now, but the truth is that, for reasons that are rather clearer now, George couldn't really do sex all that well at that point (in retrospect, this makes 'Fastlove and 'Outside' even greater achievements), but by then their work was pretty much done anyway.
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He sounds far more at home in balladeering mode on 'A Different Corner', which cemented his Terribly Serious reputation in spite of the fact that the shuttlecocks-in-shorts era really wasn't that distant a memory by then, and 'The Final Single', all of which appears here bar the re-done 'Wham! Rap', is a decent enough coda to the pair's career: 'The Edge Of Heaven' is, by their own standards, marginally by-numbers, although 'Battlestations', with its remarkable breathiness and oddly Soft Cell-reaclling synthesised brass, is this album's real curio, and the cover of Was (Not Was)'s 'Where Did Your Heart Go' proves to be a soaring fusion of their soulful roots and the grown-up pop instincts that George was keen to hone.And then there was no more, and, in fairness, there really doesn't need to be. Afterwards, Andrew Ridgeley tried an ill-advised solo album before realising he could retire cheerfully to the south coast and live as Mr One Of Bananarama, while George, occasional troubles notwithstanding, put the whole of music royalty in his rolodex, met the man of his dreams, and carried on selling kajillions of records, which must count as happy endings all round.
Even after 22 years, the Wham! Story remains an incredibly useful one for new bands, given that they managed to never outstay their welcome, never squander an ounce of goodwill, and never descend into acrimony, and, as an accompanying textbook to just what pop can do in the right hands, The Final still feels like a sizeable success today.