Young Guns (Go For It) - Wham 7" 45

Product Information

I don't think it's necessarily about sex. It's about wanting to start the day with some love and affection. Maybe a warm cuddle. I'm not alone in interpreting it that way! For example: The projected follow-up, Listen Without Prejudice Vol 2, never appeared: he gave music intended for it away to an Aids charity album and also donated the proceeds of another, Too Funky, when it was released as a single in 1992. That's the persona they carried through during their first album, 1983's Fantastic, which featured huge singles such as 'Young Guns (Go For It)', 'Wham! Rap', 'Bad Boys', and ' Club Tropicana'. There were far fewer pop hooks on offer, more social commentary, a sense of melancholy introspection that infects the only two songs you could reasonably describe as uptempo.

Harris, John (19 September 2008). "Sentenced to a lifetime of stress". theguardian.com . Retrieved 11 January 2017. George wrote the song about a teenage lad's worry that his best friend was getting too committed to a girl when he should have been enjoying his youth and the single life. It featured a middle eight aside in which the girl conversely tried to get her boyfriend to ditch the best friend, prompting a vocal battle, akin to a tug of war, between the girlfriend and the best friend which prompted the "go for it!" aspect of the song, as featured in the title.Ridgeley and Michael worked persistently to get a foot in the door with recording executives. Ridgeley would frequently run into Mark Dean from Innervision Records at The Three Crowns in Hertfordshire, and hand him the band's demo tape. [12]

Kent Music Report – National Top 100 Singles for 1983". Kent Music Report . Retrieved 22 January 2023– via Imgur.com. Paul Kelbie, Scotland Correspondent (17 August 2012). "How Wham! made Lindsay Anderson see red in China". The Independent . Retrieved 11 December 2015. As it turned out, those first impressions were wrong. Wham! were a noticeably smarter and more complex band than their brash front suggested. Wham Rap was a song not so much about indifference to unemployment as resilience in the face of it. Herbert, E. (2017). George Michael - The Life: 1963-2016: The Man, The Legend, The Music. John Blake Publishing. p.24. ISBN 978-1-78606-471-4 . Retrieved 17 June 2019. I believe this is another amazingly on point and nuanced commentary on the insanity that follows emotionally abusive relationships. The abuser has no anxieties, no emotional pain, or salience/memory for that matter, so the survivor appears to be the crazy one, obsessed with the abuse and that buzzword that seems to ignite arguments about diagnosing people without a degree, etc. funny how you say the words domestic violence, abuse, abuse survivor and boom the subject changes. Anyways, I especially relate to her midnights becoming afternoons, complex PTSD often leads to this phenomenon, whether due to purposeful sleep deprivation by the abuser, or just hyper vigilance associated with the PTSD, along with the fear of facing people, especially your loved ones, whoVinyl plays really well considering it’s a picture disc - shame it looks shoddy with the wrinkled paper inside the disc. The next single from the Wham! album was " Careless Whisper", but it featured only George Michael in the music video. In certain markets, the single was promoted as "Wham! featuring George Michael", and in other markets, including the UK, it was credited to George Michael as a solo act but, unlike any Wham! single except "Wham Rap!" and "Club Tropicana", it was also co-written with Andrew Ridgeley. The song, about a remorseful two-timer, had more emotional depth than previous releases. It reached No. 1, selling over 1.3 million copies in the UK. [23] "Careless Whisper" marked a new phase in Michael's career, as his label Columbia/Epic began to somewhat distance him from the group Wham!'s playboy image. Wham! was just outside the top 40 threshold of the UK Singles Chart before their Top of the Pops performance, which meant they had not climbed high enough in normal circumstances to get on the show, but they were recruited nonetheless as the highest-placed artists still climbing the charts from outside the top 40. Qualen, J. (1985). The Music Industry: The End of Vinyl?. Comedia's Media and Communications Industry Profile Series. Vol.5. London: Routledge. ISBN 0-906890-58-6.