For lovers of the pop music he recorded, however, the album is an incredibly moving trip through the memories and emotions of a remarkable musician who, as it turns out, is still capable of amazing things. When he was in his 20s, George Michael came off as an immature young man who was uninterested in much beyond his status as a pop star. He wasn't one of the best singers in the U.K., but a singer and producer who couldn't sing. He was a bit of a caricature of Elton John, with a talent so potent that he had to be at the very top of the charts, without any effort. He was also a bit of a cuckold, perhaps because he was aware that his relationship with the woman he loved, Fibi Fadel, was fragile.
That George Michael became a major international star and icon as a result of his music is well known, but not nearly so well remembered is that even he made some of his best music as a solo performer. To his credit, he was always very good at what he did, and by his early 30s, he had created a classic new sound with sophisticated pop songs that were capable of sweeping audiences off their feet. By the time he was 38, he had created a new sound that became a huge international hit. He was far from the best singer in the U.K., but he's one of the best pop singers in the world, and he knew it.
After achieving his dream of becoming a solo star, he quickly discovered that he didn't know how to have a serious romantic relationship. He made some of the best music of his career when he was in his 40s, but he also made the worst, most disappointing music of his career. It didn't help that his success in the U.K.
Those following Michael's career have probably heard most of the tracks here, and if that's the case, they will appreciate the record's sameness. But it's impossible to resist the huge songs, and Michael's deft ability to connect with the entire spectrum of human emotion is apparent on every track. The best songs here may be the album's very best, and Michael's voice is just perfect for the material.
Where it is not definitive, it is still a remarkably strong compilation and a testament to the remarkable continuity of his career. What's more, it is the ideal introduction to his first two American LPs -- Dancing in the Moonlight and Too Funky -- which he seemed to have forgotten, or had trouble discussing. In a sense, this collection is a gift from George Michael to his U.K. fans, who would never have heard Too Funky, so it's doubly appreciated -- and his fans in the U.S. are likely to take some consolation from this solid collection.
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