In an industry wherein sophomore slumps are more the norm than the exception, British duo Wham’s follow-up to their moderately successful debut (titled “Fantastic”) was a quantum leap from its sonic predecessor. The hit album “Make it Big” was also the first sign that the duo’s primary singer and songwriter George Michael, the boy beyond his years, was poised for longevity and sustained cultural relevance. His penchant for lyrical symbolism on the timeless classic “Careless Whisper” also suggested that he was rapidly outgrowing the teeny bopper image that he and bandmate (and best friend) Andrew Ridgeley had cultivated as part of their care-free and hedonistic path to global superstardom. For context, the album spawned three US #1 singles. The album has hit a chronological milestone of consequence today as it turns 40 and leaves me pondering over some of the lessons that the music industry can learn from the album’s success and innate ability to stand the test of the time (not common for the musical output of a teen act). Here are some of those lessons:
1) Lead with catchy while saving credibility for your second act:
It is no secret that conventional wisdom in the music business dictates that artists introduce themselves to the world with something catchy and trendy as part of their debut while showcasing their artistry as a follow-up. That being said, more often than not, that follow-up is from the same album and NOT saved for a future musical endeavor. In the Netflix documentary titled “Wham” (released in July 2023), it is made known that “Careless Whisper” was on the demo tape that was key to Wham securing their first record deal and yet, for some reason, this obvious hit was NOT featured on the duo’s debut album. It wasn’t so much a case of “save the best for last” as much as the “save the most credible for a little later”. In the context of today’s music industry, this must seem like a rather quaint idea wherein if a band does not emerge swinging (musically speaking) on their debut, they immediately forfeit prospects of a second act. The foresight and belief that Wham would have a second act is remarkable. The fact that they saved this song for later and instead led with a sound that was rebellious and catchy but very much of the time, and almost tailor-made for a youth demographic undoubtedly served them well. It also helped that to introduce their second album, Wham led with catchy (i.e. “Wake me up before you go-go”) in favor of credible.
2) Sometimes, less is more:
With only 8 tracks on the album, “Make it big” was undoubtedly on the shorter side. Some critics may have accused the duo of laziness but in releasing a shorter album, George and Andrew left room for far less “filler” (of the sort that was incredibly commonplace on pop albums from the 80s and 90s) than was customary at the time. In my humble opinion, the only song on the album that unambiguously qualifies as disposable filler is “Credit Card Baby” (Track #7). The only other song from that album that MAY have been considered “filler” at the time of its release is “Like A Baby” (the song features a long and downbeat elevator music-ish intro) but in retrospect, it is one of George Michael’s most vocally stunning moments. There is also some semblance of innocence in his vocal delivery. It is the voice of someone that had not been tainted by the hard knocks that were to follow as he grew into adulthood in the limelight. The case for shorter albums is even more compelling today with declining attention spans – and the unbundling of albums into individually “consumable” tracks.
3. Create ample room for ancillary competencies that an artist wants to nurture:
It is no secret that record labels have a lot riding on the success of their artists/bands. The paranoia that stems from this has led them to have lower trust in the abilities of newer artists. As a result, hand-holding of their artists by music industry veterans either in a songwriting or production capacity has become increasingly common. Sometimes, this attitude extends to veteran artists too (New Wave duo Tears For Fears was forced into a situation to co-write with Jacknife Lee and Sacha Skarbek on the initial writing sessions for their 2022 comeback album “The Tipping Point”). Not only does this approach constrain the creative vision and foresight of artists/bands, but it can also lead to the music output being an incoherent patchwork of ideas. Fortunately, in the case of Wham’s “Make it big”, George Michael was empowered to take on the production reins on his hit single “Careless Whisper” after he deemed the original version (produced by Jerry Wexler at the Muscle Shoals studios in Alabama) sonically inadequate. All it takes is one listen of both versions for it to become obvious why trusting George Michael with production was a wise idea – especially for the long term. The song has undoubtedly stood the test of time in a way that the dated original would have struggled to.
4. Humility is a virtue that is sometimes far superior and more appropriate than aspirations for a creative democracy are:
“There is no democracy in art”, said British hitmaker Sting in an interview in which he discussed his departure from The Police – the rock band that launched him into the musical limelight. Despite having the benefit of two incredibly skilled musicians in band mates Andy Summers and Stewart Copeland, compromise was becoming increasingly harder. When contributions to the music are not believed to be equitable, it can breed resentment among band members – even if the music royalty compensation is the same for each member. No one in a band wants to be perceived as a freeloader that benefits exclusively off the artistry of another band member. That being said, the ability to compromise on one’s musical aspirations can be a catalyst for the greater good. In the case of “Make it big”, Andrew Ridgeley exhibited the maturity required for the album to be what it was by taking a backseat in the songwriting realm – since according to Netflix’s Wham documentary, George Michael was evolving as a pop music songwriter at a far quicker pace than Andrew Ridgeley was. This could not have been an easy choice and could have been the precursor to a power struggle leading to the premature demise of their creative entity. Fans of the band did have the opportunity to get a glimpse into Andrew’s songwriting/vocal talents on the ill-fated (and stylistically very different) “Son of Albert” (released in 1990). Regardless of the album’s lack of success, it is good that Andrew Ridgeley released it. In doing so, he provided a potent counterweight to the prevalent idea that his musical talent was questionable. Taking the backseat in the way that Andrew did is easier said than done – but it is a lesson of consequence regardless.
It is hard to imagine that 40 years have gone by since the days my mother played this album almost every day in the car while driving me home from playschool in Los Angeles. The album has a special place in my heart as it kindled my longstanding and passionate love affair with music. More importantly, the album has ensured that Wham continues to be an essential ingredient in the rich history of globally ubiquitous pop music. It is also a powerful counter-narrative to the idea that the presence of “teen pop”, in the consciousness of music aficionados is ALWAYS ephemeral. Last, but not least, it is a shining example of teen pop that can transend generations. It is a shame that George Michael is not alive to celebrate this milestone. I am hoping Andrew Ridgeley celebrates on behalf of both of them. I cannot wait to see what cultural significance this album is likely to hold on its 50th birthday.
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