The singer’s face is barely visible in the inky darkness of the vocal booth, but the voice that fills the adjacent control room at SARM West Studios in London is very familiar. The song is one of irony and loss — “Ma ma ma babe/Look at your hands/You’ve got two fat children and a drunken man/Betcha don’t like your life/Betcha don’t like it.” There is, however, an unmistakable virile quality to the singer’s emphatic delivery, a sensual self-confidence that meshes perfectly with the taut erotic bounce of the guitars underneath. His occasional bursts of lusty falsetto — “Whooo!” — are also a dead giveaway.
The singer’s face is barely visible in the inky darkness of the vocal booth, but the voice that fills the adjacent control room at SARM West Studios in London is very familiar. The song is one of irony and loss — “Ma ma ma babe/Look at your hands/You’ve got two fat children and a drunken man/Betcha don’t like your life/Betcha don’t like it.” There is, however, an unmistakable virile quality to the singer’s emphatic delivery, a sensual self-confidence that meshes perfectly with the taut erotic bounce of the guitars underneath. His occasional bursts of lusty falsetto — “Whooo!” — are also a dead giveaway.
Read the full article at RollingStone.com https://www.rollingstone.com/music/features/the-second-coming-of-george-michael-19861120
