Wham!
Fantastic

Sampled drums. Rivers of notes from keyboards of every kind. Synthesizers a go-go. Hairstyles that calling them flamboyant is an understatement. This is (almost) all that's left of the '80s, as Raf sang. Just as the '60s had the Beatles and the Stones, the '70s had Led Zeppelin and Progressive rock, the era of rampant consumerism and unrestrained individualism brought forth bands like Wham!, Spandau Ballet, Culture Club, Duran Duran. But also Madonna, Prince, and the Eurythmics.

What had been built with dreams fueled by hallucinogens in the '60s, and subsequently destroyed with punk (whose ideals were diametrically opposed) reassembled in another form. The new idols were not asked to be virtuosos of their instruments, no. They did not need lyrics that would make Leopardi pale. They didn't need to have overly nonconformist attitudes. All that's asked of them is to sell their image, preferably in the best possible way, and never mind if sometimes the music takes a backseat. If then, as many suggest, every work must be judged in its space-time context of reference, when one reviews the careers of bands like Wham! the first reaction is to smile, the second to disgust.

The debut of the English duo thus sees George Michael on vocals, aided by the "ghost" Andrew Ridgeley. Going back to what was mentioned earlier, these two handsome young men have no other merit than (arguable) good looks. Granted, the good George at least puts in enthusiasm, and this is apparent from the album. If the intent is to entertain, young George achieves this with Wham Rap! (Enjoy What You Do?) (appreciable at least for the groove, as they say in cultured circles) and with the horns of Club Tropicana, as well as with Bad Boys. If instead, you want to go directly to the hearts of young women, there are the sighs of Nothing Looks the Same in the Light and the grit of Love Machine.
The instrumental setup is practically nonexistent; no matter, if you have the warm and aggressive voice of Michael. The lyrics fully reflect the attitude of these two pseudo-bohemian nineteen-year-olds, guys to whom fate really wanted to give a big push towards success. The fact that only one of the two managed (partially) to exploit this wave is another story. For three years (1983-86) the two leather jacket wearers will spend their time singing about the life of the incorrigible and amused bachelor, and how it isn't worth trading it for marriage (as in Young Guns, their debut single).

With hindsight, the whole Wham! project could be considered as a sort of preamble to George Michael's solo career. On the other hand, the life of the youthful teenager cannot be led indefinitely, and sooner or later one must necessarily grow up. Unfortunately, after the first albums, the singer got lost in the mire of his own popularity, with rare comebacks.