George Michael - Older (2LP)

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George Michael – Lead vocals, programming (A3, B1, B2, C2, C3, D2), bass guitar (A3, B2-3, C2-3, D1-2), keyboards (A1-2, B1-3, C1-2, D2), drums (A1, A3, B2-3, C1-3, D1-2), percussi on (A1, A3, B2-3, C1-3, D2) [click here to see more vinyl featuring George Michael] Backing Vocals – Jo Bryant (A2, B1, C3) Programmed by Pete Gleadall (B3, C1, D1), Steve McNichol (A3, B1-2, C2-3, D2) Acoustic Guitar – Hugh Burns (A1) Guitar – Alan Ross (B1), Danny Jacobs (C1), John Themis (D1) Keyboards – Dave Clews (A2, B1), Jon Douglas (A2, B1), Chris Cameron (A3), Chris Cameron (D1), David Austin (D1) Electric Piano [Rhodes Piano] – Chris Cameron (C3) Saxophone – Andy Hamilton (A2), Phil Smith (B1), Chris Davis (B1) Trumpet – Steve Sidwell (A3), John Thirkell (B1), Stuart Brooks (B1) Flugelhorn – John Thirkell (B1), Stuart Brooks (B1) Trombone – Fayyaz Virji (B1) Strings – Chris Cameron (D2) Written by George Michael (all tracks), Jon Douglas (B1), David Austin (D1) 2 LPs, gatefold jacket Original analog Master tape : YES Heavy Press : 180g Record color : black Speed : 33RPM Size : 12” Stereo Studio Record Press : Optimal Media GmbH Label : Sony Original Label : Virgin Recorded 1994–1996 at Sarm West Studio, London Engineered by Chris Porter (A1, B3, C3), Ren Swan (A2, B1), Charlie Brocco (C1), Paul Gomersall (A2 to B2, C1 to D2), Produced by George Michaels (all tracks), Jon Douglas (A2) Remastered by David Austin, John Webber at Air Studios, London Originally released in May 1996 Reissued in September 2022 Tracks: Side A Jesus to a Child Fastlove, Pt. 1 Older Side B Spinning the Wheel It Doesn't Really Matter The Strangest Thing Side C To Be Forgiven Move On Star People Side D You Have Been Loved Free Reviews : “After the success of his first two solo outings, 1987’s Faith and the groundbreaking Listen Without Prejudice Vol. 1 (1990), it would be Michael’s third LP Older that found the vocalist in a more serious and reflective mood for a number of reasons, both professional and personal. Michael allowed himself to deep dive into an emotional whirlpool of experimentation, where new sounds were implemented and his artistry was challenged. Following his multi-year legal battle with Sony that came to an end in June 1994, Michael also endured the loss of his late partner, Anselmo Feleppa, in early 1993. With a nearly six-year gap between Listen Without Prejudice and Older, it is abundantly clear that not only was the singer recovering from the painful loss of a loved one, but he was also healing in the best way he knew how: by writing music. (…) Older is one of—if not the—greatest and most accomplished albums in his esteemed repertoire. His ability to translate a level of grief most could not comprehend into song makes this album incredibly deft and authentic. At the time of Older’s release, many critics naively labelled this album as “boring” and “pretentious,” which highlights how far we have come with respect to looking at things with less of a one-dimensional view and an even greater understanding of the suffering that some in our communities face, whether out loud or in silence. Older is a true masterpiece.” Matthew Hocter, Albumism “Older is the album that many observers initially believed Listen Without Prejudice, Vol. 1 to be -- a relentlessly serious affair, George Michael's bid for artistic credibility. It's an album that makes Listen Without Prejudice sound like Faith. Michael has dispensed with the catchy, frothy dance-pop numbers that brought him fame, concentrating on stately, pretentious ballads -- even "Fastlove," the album's one dance track, lacks the carefree spark of his earlier work. Although Michael's skills as a pop craftsman still shine through -- several songs are well-constructed ballads that rank with his best material -- his earnestness sinks the album. It is one thing to be mature and another to be boring. Too often, Michael mistakes slight melodies for mature craftsmanship and Older never quite recovers. When melodies do pop up, he doesn't deliver them with enough force to make an impact, and the album slowly disappears as a result.” AllMusic Review by Stephen Thomas Erlewine Ratings : AllMusic : 3 / 5 , Discogs : 4,75 / 5 Show more