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10 février 2008 7 10 /02 /février /2008 11:15
Cat. No. Pays Format Description   Image
Epic A 3143 UK 7" Bad Boys (3'20'')/(Instrumental) (3'25''), A-label promo.  
Bad Boys UK Promo p/s
Epic A 3143 UK 7" Bad Boys (3'20'')/(Instrumental) (3'25''), limited edition poster sleeve.  
Bad Boys UK 7 Poster p/s
Epic A 3143 UK 7" Bad Boys (3'20'')/(Instrumental) (3'25''), glossy p/s.  
Bad Boys UK p/s
Epic A 3143 UK 7" Bad Boys (3'20'')/(Instrumental) (3'25''), smooth p/s.  
Bad Boys UK 7 smooth p/s
Epic WA 3143 UK 7" Bad Boys (3'20'')/(Instrumental) (3'25''), limited edition picture disc.  
Bad Boys UK picture disc
Innervision A 3143 IRE 7" Bad Boys (3'20'')/(Instrumental) (3'25''), yellow Innervision label, 1983.   
Bad Boys Ireland #1
Innervision A 3143 IRE 7" Bad Boys (3'20'')/(Instrumental) (3'25''), red Innervision label, 1983.   
Bad Boys Ireland #2
Epic A 3143 NL 7" Bad Boys (3'20'')/(Instrumental) (3'25''), limited edition poster sleeve.  
Bad Boys NL 7 Poster p/s
Epic A 3143 NL 7" Bad Boys (3'20'')/(Instrumental) (3'25''), p/s.  
Bad Boys NL 7 p/s
Epic A 3143 Spain 7" Bad Boys (3'20'')/(Instrumental) (3'25''), p/s.  
Bad Boys Spain p/s
Epic A 3143 Italy 7" Bad Boys (3'20'')/(Instrumental) (3'25''), promo, p/s.   
Bad Boys Spain promo p/s
Epic A 3143 Italy 7" Bad Boys (3'20'')/(Instrumental) (3'25''), p/s.   
Bad Boys Spain p/s
CBS SSC 5479 South Africa 7" Bad Boys (3'20'')/(Instrumental) (3'25''), 1983.  
Bad Boys South Africa
Epic ES 856 AUSSIE 7" Bad Boys (3'20'')/(Instrumental) (3'25''), white label promo, 1983.  
Bad Boys Aussie Promo
Epic ES 856 AUSSIE 7" Bad Boys (3'20'')/(Instrumental) (3'25''), 1983.  
Bad Boys AUSSIE
Epic ES 856 New Zealand 7" Bad Boys (3'20'')/(Instrumental) (3'25''), p/s, 1983.  
Bad Boys New Zealand p/s
Columbia 38-03932 US 7" Bad Boys (3'20'')/(Instrumental) (3'25''), promo.  
Bad Boys US Promo
CBS CSR 1274 Peru 7"  
Bad Boys (Chico Malos) (3'20'')/(Instrumental) (3'25''). 
 
Bad Boys Peru
CBS CS-10917 Philippines 7" Bad Boys (3'20'')/Come On! (4'25''), 1983.  
Bad Boys Philippines
Epic 07.5P-260 Japan 7" Bad Boys (3'20'')/(Instrumental) (3'25''), promo, special cardboard gatefold p/s with live pics inside and insert, 1983.  
Bad Boys Jap p/s
Epic 07.5P-260 Japan 7" Bad Boys (3'20'')/(Instrumental) (3'25''), promo, p/s.  
Bad Boys Jap p/s
Epic 07.5P-260 Japan 7" Bad Boys (3'20'')/(Instrumental) (3'25''), p/s.  
Bad Boys Japan p/s
Epic 07.5P-260 Japan 7" Bad Boys (3'20'')/(Instrumental) (3'25''), gatefold p/s.  
Bad Boys Japan g/fold sleeve rear side
Epic 07.5P-260 Japan 7" Bad Boys (3'20'')/(Instrumental) (3'25''), limited edition with stickers, p/s.  
Bad Boys Jap sticker p/s
Epic TA 3143 UK 12" Bad Boys (12"-Version w/o intro) (4'58'')/(Instrumental) (3'25''), gold promo stamped glossy p/s.   
Bad Boys UK Promo p/s
Epic TA 3143 UK 12" Bad Boys (12"-Version w/o intro) (4'58'')/(Instrumental) (3'25''), glossy p/s.  
Bad Boys UK p/s
Epic TA 3143 UK 12" Bad Boys (12"-Version w/o intro) (4'58'')/(Instrumental) (3'25''), smooth p/s.  
Bad Boys UK p/s
Epic A 12.3143 NL 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), p/s.  
Bad Boys UK p/s
Epic A 12.3143 Spain 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), p/s.   
Bad Boys Spain p/s
CBS XSSC 5480 South Africa 12" Bad Boys (12"-version w/o intro) (4'58'')/(Instrumental) (3'25''), title sleeve, 1983.    
Epic ES 12063 AUSSIE 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), white label promo, 1983.  
Bad Boys Aussie Promo
Epic ES 12063 AUSSIE 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), custom sleeve, 1983.  
Bad Boys Aussie
Columbia 44-03933 US 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), printed promo sleeve & labels, p/s.  
Bad Boys US p/s
Columbia 44-03933 US 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), gold promo stamped p/s.  
Bad Boys US p/s
Columbia 44-03933 US 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), gold promo stamped p/s, Wham!U.K. label.   
Bad Boys US p/s
Columbia 44-03933 US 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), "WHAM! UK"-p/s, 1983.  
Bad Boys US p/s
Columbia 12CXP-03933 Canada 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), gold promo stamped p/s.   
Bad Boys Canada p/s
Columbia 12CXP-03933 Canada 12" Bad Boys (12"-Version) (4'58'')/(Instrumental) (3'25''), p/s.   
Bad Boys Canada p/s
CBS MS-4.046 Venezuela 12" Chicos malos (Bad Boys) (12"-Version) (4'58'')/(Instrumental) (3'25''), p/s.   
Bad Boys Venezuela p/s
CBS 442-1207 Colombia 12" Bad Boys (chicos malos) (3'20'')/Club Tropicana (4'25'')/Wham Rap! (Enjoy What You Do?) (Diviertete con lo que haces) (Special U.S. Remix) (6'43''), promo.     
Epic QY.3P-90065 Japan 12" Bad Boys ([Unique] Mix) (4'58'')/Young Guns (12"-Version UK) (5'10''), promo only, unique mix and unique p/s.   
Bad Boys Japan Promo p/s
Epic 12.3P-512 Japan 12" Bad Boys (12"-Version) (4'58'')/Club Tropicana (4'25''), unique p/s.  
Bad Boys Japan p/s
 
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10 février 2008 7 10 /02 /février /2008 11:10
Cat. No. Pays Format Description   Image
Trident Recording Studios UK 7" Young Guns (Go For It!) (3'41''), 1-sided acetate, 1982.    
Young Guns acetate
Innervision A 2766 UK 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), promo, orange Innervision label, p/s, 1982.   
Young Guns UK Promo p/s
Innervision A 2766 UK 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), orange Innervision label, p/s, 1982.  
Young Guns UK p/s
Innervision A 2766 UK 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), plastic Innervision label, p/s, 1982.  
Young Guns UK p/s
Innervision A 2766 UK 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), white Innervision label, p/s, 1982.  
Young Guns UK p/s
Innervision A 2766 IRE 7" Young Guns (Go For It!) (3'41'')/Going For It! (5'10''), red label, 1982.  
Young Guns Ireland #1
Innervision A 2766 IRE 7" Young Guns (Go For It!) (3'41'')/Going For It! (5'10''), yellow label, 1982.   
Young Guns Ireland #2
Epic A 2766 NL 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), p/s, 1982.  
Young Guns NL p/s
Epic A 2766 France 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), p/s, 1982.  
Young Guns France p/s
Epic A 2766 Spain 7" Young Guns (Go For It!) (3'41''), 1-sided promo, p/s, 1982.   
Young Guns Spain Promo p/s
Epic A 2766 Spain 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), p/s with lyrics on the back, 1982.  
Young Guns E p/s
Epic A 2766 Portugal 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), p/s, 1982.  
Young Guns P p/s
CBS SSC 5404 South Africa 7"  
Young Guns (Go For It!) (3'41'')/Going For It (5'10''), 1982. 
 
Young Guns PTY p/s
Epic ES 816 AUSSIE 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), 1982.  
Young Guns Aussie
Columbia 38-03611 US 7" Young Guns (Go For It!) (3'41'')/same, promo, Wham!UK issue, with totally different p/s, 1982.  
Young Guns US promo p/s
Columbia 38-03611 US 7" Young Guns (Go For It!) (3'41'')/same, promo, Wham! issue, 1982.  
Young Guns USA Promo
Columbia 38-03611 US 7" Young Guns (Go For It!) (3'41'')/Going For It (4'49''), 1982.   
Young Guns USA
Columbia DJC4-8529 Canada 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), promo, one label-side with short Wham! bio reads one-sided single only but plays both sides, 1982.  
Young Guns CAN Promo
Columbia 38-03611 Canada 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), 1982.   
Young Guns CAN
Epic 07.5P-212 Japan 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), promo, picture insert, 1982.  
Young Guns Japan promo p/s
Epic 07.5P-212 Japan 7" Young Guns (Go For It!) (3'41'')/Going For It (5'10''), picture insert, 1982.   
Young Guns Japan p/s
Old Gold 9962 UK 7" Young Guns (Go For It!) (3'41'')/Bad Boys (3'20''), Old Gold re-issue, mis-pressed 2 x side b-labels, p/s, 1991.  
Young Guns Old Gold re-issue
Trident Recording Studios UK 12" Young Guns (Go For It!) (12" version) (5'10''), 1-sided acetate, 1982.     
Innervision A13.2766 UK 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It (5'10''), white label promo, "Wham!"-stickered custom sleeve, 1982.  
Young Guns UK Promo
Innervision A13.2766 UK 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It (5'10''), p/s, 1982.   
Young Guns UK p/s
Innervision A13.2766 UK 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It (5'10''),with new Innervision-Label, p/s, 1982.  
Young Guns UK p/s
Innervision A13.2766 UK 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It (5'10''), "DJ"-Matrix, "Special U.S. Remix"-stickered p/s, 1982.  
Young Guns UK Remix
Epic A12.2766 NL 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), p/s, 1982.  
Young Guns NL p/s
Epic A12.2766 NL 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), p/s "33tours"-stickered for France, 1982.  
Young Guns NL for France p/s
Epic IVL A13 2766 Spain 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), p/s, 1982.   
Young Guns Spain p/s
CBS XSSC 5441 South Africa 12" Young Guns (Go For It!) (5'10'')/Young Guns (Go For It!) (Instrumental) (4'50''), 1982.   
Young Guns South Africa
Epic ES 12052 AUSSIE 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It! (5'10''), promo label, gold promo stamped p/s, 1982.  
Young Guns Aussie Promo
Epic ES 12052 AUSSIE 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It! (5'10''), p/s, 1982.   
Young Guns Aussie p/s
Epic ES 12052 New Zealand 12" Young Guns (Go For It!) (12" version) (5'10'')/Going For It!) (5'10''), p/s, 1982.   
Young Guns New Zealnd p/s
Columbia 44-03501 US 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), gold promo stamped custom sleeve, 1982.  
Young Guns USA Promo
Columbia 44-03501 US 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), title stickered custom sleeve, 1982.  
Young Guns USA
Columbia 44H 07557 US 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Bad Boys (4'58''), rerelease on Mixed Masters Series, title stickered custom sleeve, 1987.  
Young Guns USA rerelease
Columbia 12C4 03501 Canada 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Going For It! (5'10''), stickered custom sleeve, 1982.  
Young Guns Canada Custom
Columbia 12CXP 8541 Canada 12" Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Wham Rap! (Enjoy What You Do?) (Special U.S. Remix) (6'43''), p/s, 1982.  
Young Guns Canada p/s
CBS BS-35,039 Mexico 12" Pistoleros Jovenes (Intentalo) (Young Guns) (Go For It!) (12" version) (7'41'')*/(3'41''), label reads Intentandolo (Going For It!), *exclusive mix, red vinyl, custom sleeve, 1982.   
Epic 6516683 NL CD Young Guns (Go For It!) (U.S. Re-Mix) (7'00'')/Bad Boys (12" version) (4'58''), Mixed Masters re-issue, 3"CD made in Austria with adapter, title sleeve, 1988.  
Young Guns CD re-issue
Glo Productions UK Video Young Guns (Go For It!), promo, 1982.   
Young Guns promo video
Columbia, no cat. no. US Memorabilia Young Guns, promotional 'Wham!UK' stickered toy gun, 1982.   
Young Gun
Sony Music 2016489 EU DVD V. A.: Pop & Wave Vlip Mix No.1, exclusively includes Young Guns (Go For It!) video clip, 2002.   
Pop & Wave DVD p/s
Classic Pictures DVD6061X UK DVD V. A.: 80s DVD Jukebox, exclusively includes Young Guns (Go For It!) German Musikladen TV appearance, 2003.    
80s DVD Jukebox p/s
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Cat. No. Pays Format Description   Image
Innervision XPS 153 UK 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), white label promo, very first Wham! 7" promo, 1982.  
Wham Rap! UK w/l Promo
Innervision A 2442 UK 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), promo, very first Wham! 7" promo, 1982.  
Wham Rap! UK Promo
Innervision A 2442 UK 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), very first Wham! 7", 1982.  
Wham Rap! UK
Innervision A 2442 UK 7" Wham Rap! (Special U.S. Re-Mix) (aka Special U.S. Remix Part I) (3'30'')/(Special Club Re-Mix) (aka Special U.S. Re-Mix Part II) (3'03''), re-release, white p/s, 1982.  
Wham Rap! UK white p/s
Innervision A 2442 UK 7" Wham Rap! (Special U.S. Remix Part I) (aka Special U.S. Re-Mix) (3'30'')/(Special U.S. Re-Mix Part II) (aka Special Club Re-Mix) (3'03''), re-release, blue p/s, 1982.  
Wham Rap! UK blue p/s
Innervision A 2442 IRE 7" Wham Rap! (Special U.S. Re-Mix) (3'30'')/(Special Club Re-Mix) (3'03''), re-release, 1982.     
Epic A 2442 NL 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), p/s, 1982.  
Wham Rap! NL p/s
Epic A 2442 France 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), p/s, 1982.  
Wham Rap! France p/s
Epic A 2442 Spain 7" Wham Rap! (7" version), 1-sided promo, totally different p/s, 1982.   
Wham Rap! Spain p/s
Epic A 2442 Spain 7" Wham Rap! (7" version) (3'30'')/(Club Mix) (4'02''), totally different p/s, 1982.  
Wham Rap! Spain p/s
Epic ES 832 AUSSIE 7" Wham Rap! (Special U.S. Re-Mix) (aka Special U.S. Remix Part I) (3'30'')/(Special Club Re-Mix) (aka Special U.S. Re-Mix Part II) (3'03''), promo, 1982.     
Epic ES 832 AUSSIE 7" Wham Rap! (Special U.S. Re-Mix) (aka Special U.S. Remix Part I) (3'30'')/(Special Club Re-Mix) (aka Special U.S. Re-Mix Part II) (3'03''), stamped promo, 1982.   
Wham Rap! Aussie Promo Stamp
Epic ES 832 AUSSIE 7" Wham Rap! (Special U.S. Re-Mix) (aka Special U.S. Remix Part I) (3'30'')/(Special Club Re-Mix) (aka Special U.S. Re-Mix Part II) (3'03''), 1982.  
Wham Rap! Aussie
CBS SSC-5449 South Africa 7"  
Wham Rap! (Special U.S. Re-Mix) (aka Special U.S. Remix Part I) (3'30'')/(Special Club Re-Mix) (aka Special U.S. Re-Mix Part II) (3'03''), 1982. 
 
Wham Rap! South Africa
Innervision A13 2442 UK 12" Wham Rap! (Unsocial Mix) (6'36'')/(Social Mix) (6'46''), white label promo w/ press sheet, 1st Wham! 12" white label, 1982.   
Wham Rap! UK w/label Promo
Innervision A13 2442 UK 12" Wham Rap! (Unsocial Mix) (6'36'')/(Social Mix) (6'46''), gold promo stamped stickered custom sleeve, very first Wham! 12", 1982.   
Wham Rap! UK
Innervision A13 2442 UK 12" Wham Rap! (Unsocial Mix) (6'36'')/(Social Mix) (6'46''), stickered custom sleeve, very first Wham! 12", 1982.  
Wham Rap! UK
Innervision A13 2442 UK 12" Wham Rap! (Unsocial Mix) (6'36'')/(Social Mix) (6'46''), stickered custom sleeve, very first Wham! 12", white Innervision label, 1982.     
Innervision XPR 1227 UK 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Special U.S. 7" Remix)* (3'40''), re-release, stickered custom sleeve, *exclusive mix, white label promo, 1982.  
Wham Rap! UK Remix Promo
Innervision A13 2442 UK 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Unsocial Mix) (6'36''), re-release, white p/s with written "Special US 12" Remix", 1982.  
Wham Rap! UK Remix #1
Innervision A13 2442 UK 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Special Club Re-Mix) (aka Social Mix) (6'46''), re-release, white p/s with "stamp" "Special US Remix", 1982.  
Wham Rap! UK Remix #2
Innervision A13 2442 UK 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Special Club Re-Mix) (aka Social Mix) (6'46''), re-release, blue p/s, 1982.  
Wham Rap! UK Remix #3
Innervision A13 2442/A13 2766 UK 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Special Club Re-Mix) (aka Social Mix) (6'46''), Young Guns (US Re-Mix) (7'00'')/Going For It! (5'10''), limited edition stickered US Remix Special Two 12" For The Price Of One, Wham Rap!: re-release, labels read Unsocial/Social Mixes, white p/s with "stamp" "Special US Remix", Young Guns: p/s, 1982.  
Wham Rap! UK Doubble 12
Epic A12.2442 NL 12" Wham Rap! (Social Mix) (6'46'')/(Unsocial Mix) (6'36''), plays Unsocial on A-side and Social Mix on B-side, p/s, 1982.  
Wham Rap! Holland p/s
Epic A12.2442 NL 12" Wham Rap! (Social Mix) (6'46'')/(Unsocial Mix) (6'36''), for export to France with "33tours Maxi Single"-Sticker, plays Unsocial on A-side and Social Mix on B-side, p/s, 1982.   
Wham Rap! Holland for France p/s
Epic A13.2442 Spain 12" Wham Rap! (Social Mix) (6'46'')/(Unsocial Mix) (6'36''), plays Unsocial on A-side and Social Mix on B-side, totally different p/s, 1982.  
Wham Rap! Spain p/s
Epic ES 12054 New Zealand 12" Wham Rap! (Special U.S. Remix) (6'43'')/(Special Club Re-Mix) (aka Social Mix) (6'46''), white p/s with "stamp" "Special US Remix", 1982.  
Wham Rap! New Zealand p/s
Columbia 44-03177 US 12" Enjoy What You Do (Wham Rap) (Vocal) (6'58'')/(Instrumental) (6'03''), promo, custom sleeve, 1982.  
Wham Rap! USA Promo #1
Columbia 44-03177 US 12" Enjoy What You Do (Wham Rap) (Vocal) (6'58'')/(Instrumental) (6'03''), gold promo-stamped custom sleeve, stickered, 1982.
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If You Were There



undefined




                                                                 If You Were There

I'm Your Man

Everything She Wants

Club Tropicana

Wake Me Up Before You Go-Go

Like A Baby

Freedom

The Edge Of Heaven

Wham Rap !

Young Guns ( Go For It )

Last Christmas

A Ray Of Sunshine

Where Did You Heart Go ?

Everything She wants' 97

I'm You'r Man'  96





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The-Final.jpg










LAST CHRISTMAS
Paroles et musique : GEORGE MICHAEL

lastchristmas.jpg

Last Christmas, I gave you my heart
But the very next day, you gave it away
This year to save me from tears
I'll give it to someone special (X2)
Once bitten and twice shy
I keep my distance, but you still catch my eye
Tell me baby, do you recognise me?
Well, it's been a year, it doesn't surprise me
(Happy Christmas)
I wrapped it up and sent it
With a note saying "I love you" I meant it
Now I know what a fool I've been
But if you kissed me now, I know you'd fool me again
(REFRAIN)
A crowded room, friends with tired eyes
I'm hiding from you and your soul of ice
My god I thought you were someone to rely on
Me? I guess I was a shoulder to cry on
A face on a lover with a fire in his heart
A man undercover but you tore me apart (ooh, ooh)
Now i've found a real love, you'll never fool me again
(REFRAIN X2)
(Gave you my heart)
(You gave me away)
(A face on a lover with a fire in his heart)
(A man undercover but you tore me apart)
(Maybe, next year)
(I'll give it to someone)
(I'll give it to someone special)
(I'll give it to someone)
(I'll give it to someone special)
Ooh, give me something in return
Hold my heart and watch it burn
(I'll give it to someone)
(I'll give it to someone special)
I thought you were here to stay
How can love be for a day?
(I thought you were someone special)
(Gave you my heart)
(I'll give it to someone)
(I'll give it to someone)
Last christmas I gave you my heart
You gave it away
(I'll give it to someone)
(I'll give it to someone)










I'm Your Man 

Paroles et musique : George Michael


imyourman.jpg

Call me good
Call me bad
Call me anything you want to baby
But I know, Uh-huh, that your sad
And I know I'll make you happy
With the one thing that you never had
Baby, I'm your man
Don't you know that?
Baby, I'm your man
You bet!
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
You're so good, you're divine
Wanna take you, wanna make you
But they tell me it's a crime! Oh
Everybody knows where the good people go
But where we're going baby
Ain't no such word as no
Baby, I'm your man
Don't you know that?
Baby, I'm your man
You bet!
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
(Come on baby, yeah, ooh take me home,
please don't leave me here, to do it on my own....)
First class information
I'll be your sexual inspiration

And with some stimulation
We can do it right ..... o
So why waste time
With other guys?
When you can have mine
I ain't asking for no sacrifice
Baby you're friends do not need to know!
I've got a real nice place to go
Listen
I don't need you to care
I don't need you to understand yeah
All I want is for you to be there

And when I'm turned o
If you want me
I'm your man!
Baby, I'm your man
Don't you know that?
Baby, I'm your man
You bet!
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,
Right do it with me
If you're gonna do it, do it right,

Right do it with me
If you're gonna do it, do it right,
Right do it with me
Now listen
If you're gonna do

You know what I say?
If you're gonna do it
Don't throw it away
Don't throw it baby
Don't throw it
Because
I'll be your boy, I'll be your man
I'll be the one who understands
I'll be your first, I'll be your last
I'll be the only one you ask
I'll be your friend, I'll be your boy
I'll be the one who brings you joy
I'll be your hope, I'll be your pearl

I'll take you half way round the world
I'll make you rich - I'll make you poor
Just don't use the door
Do it with me.





A Different  Corner 

Paroles et musique : George Michael

A-Different-Corner.jpg

I'd say love was a magical thing
I'd say love would keep us from pain
Had I been there, had I been there
I would promise you all of my life
But to lose you would cut like a knife
So I don't dare, no I don't dare
'Cause I've never come close in all of these years
You are the only one to stop my tears
And I'm so scared, I'm so scared
Take me back in time maybe I can forget
Turn a different corner and we never would have met
Would you care?
I don't understand it, for you it's a breeze
Little by little you've brought me to my knees
Don't you care?
No I've never come close in all of these years
You are the only one to stop my tears
I'm so scared of this love
And if all that there is, is this fear of being used
I should go back to being lonely and confused
If I could, I would, I swear.

 


 


Where Did Your Heart Go ?

Paroles et Musique : Don Was & Dave Was

wheredidyourheartgo.jpg

I spend my nights down on the wharf
In unlit alleyways
By the church downtown
Where Sally prays
Come down sometime
We'll share a rusty can of corn...
And listen to the radio
I love you, I love you, it says...

Where did your heart go
Did you put it on a train
Did you leave it in the rain
Or down in Mexico
Where did your heart go
Did you put it on a train
Did you leave it in the rain
Or down in Mexico

You cry, but I don't know
I've heard it all before
There it goes again, the slamming of the door
Sometimes the river calls me
And at night it calls my name
Says "put your troubles down beside me"
Things have always been the same...

And rock 'n' roll won't teach me
What the river said that night
I jumped into this beauty
And drifted out of sight...
Where did your heart go
Did you put it on a train
Did you leave it in the rain
Or down in Mexico...






The Edge Of Heaven 

Paroles et musque : George Michael

 

  The-Edge-of-Heaven.jpg


I would lock you up
But I could not bear
To hear you screaming to be let free
I would chain you up
If I thought you'd swear
The only one that mattered
Was me, me, me
I would strap you up
But don't worry baby
You know I wouldn't hurt you
'Less you wanted me to
It's too late to stop
Won't the heaven's save me
My Daddy says the devil looks alot like you

Take me to the edge of heaven
Tell me that my soul's forgiven
Hide your babies eyes and we can
Take me to the edge of heaven
One last time might be forever
When the passion dies
It's just a matter of time
Before my heart is looking for a home

Yeah, yeah, yeah
La, la, la, la, la, la
Yeah, yeah, yeah, yeah (X2)
I'm like a maniac at the end of the day
I'm like a doggie barking at your door
So come and take me back
To the place you stay
And maybe we can do it once more
I'm dangerous, but don't worry baby
I get excited at the things that you do
And there's a place for us, in a dirty movie
'Cause no-one does it better than me and you

Take me to the edge of heaven
Tell me that my soul's forgiven
Hide your babies eyes and we can
Take me to the edge of heaven
One last time might be forever
When the passion dies
It's just a matter of time
Before my heart is looking for a home
I ain't got no more worries
I'm gonna spend some time with you
Loving you takes such courage
And don't you think that I know it
I know it, I know it
Filthy
Take me to the edge of heaven
Tell me that my soul's forgiven
Hide your babies eyes and we can (we can, woah)
Take me to the edge of heaven
One last time might be forever
Don't you tell me lies
Because believe me baby
One day you'll wake up on your own (Woo)
I ain't got no more worries
I ain't got no more time for you
Loving you takes such courage
Everyone's got their eye on you
I ain't got no more worries
I ain't got no more time for you
Loving you takes such courage

And don't you think that I know it
I know it, I know it

 
Repost 0
9 février 2008 6 09 /02 /février /2008 14:30
Mag-It-Big.jpg








Whake Me Up Before You Go-Go

P
aroles et musique :  GEORGE MICHAEL et ANDREW RIDGELEY

Wake-Me-Up-Before-You-Go-Go.jpg

Jitterbug!
Jitterbug!
Jitterbug!
Jitterbug!
You put the boom-boom into my heart,
You send my soul sky high,
When your loving starts.
A jitterbug into my brain,
Till my feet do the same.
But something's bugging me,
Something ain't right.
My best friend told me what you did last night.
You left me sleeping in my bed,
I was dreaming,
But I should have been with you instead.
Wake me up before you go-go,
Don't leave me hanging on like a yo-yo.
Wake me up before you go-go,
I don't wanna miss it when you hit that high.
Wake me up before you go-go,
'Cos I'm not planning on going solo.
Wake me up before you go-go,
Take me dancing tonight.
You put the grey skies out of my way,
You make the sun shine brighter than Doris Day.
Turned a bright spark into a flame,
My beats per minute never been the same.
'Cos you're my lady I'm your fool,
It makes me crazy when you act so cruel.
Come on baby lets not fight,
We'll go dancing,
Everything wiil be alright.
Cuddle up baby, move in tight,
We'll go dancing tomorrow night.
It's cold out there but it's warm in bed,
They can dance, We'll stay at home instead.



EVERYTHING SHE WANTS
Paroles et musique : GEORGE MICHAEL

Every-Thing-She-Wants.jpg


Somebody told me
Boy everything she wants is everything she sees
I guess I must have loved you
Because I said you were the perfect girl for me, baby
And now we're six months older
And everything you want and everything you see
Is out of reach not good enough
I don't know what the hell you want from me, oh
Somebody tell me
(won't you tell me)
Why I work so hard for you
(To give you money, work to give you money)
Some people work for a living
Some people work for fun
Girl I just work for you
They told me marriage was give and take
Well you've shown me you can take
You've got some giving to do
And now you tell me that your having my baby
I'll tell you that I'm happy if you want me to
But one step further and my back will break
If my best isn't good enough
Then how can it be good enough for two
I can't work any harder than I do
Somebody tell me
(won't you tell me)
Why I work so hard for you
(To give you money, work to give you money)
Oh Why do I do the things I do
I'd tell you if I knew
My God, I don't even think that I love you

(Won't you tell me)
( Give you money, work to give you money)
How could you settle for a boy like me
When all I could see was the end of the week
All the things we sign and the things we buy
Ain't gonna keep us together
It's just a matter of time
My situation, never changes
Walking in and out of that door
Like a stranger, but with wages
I give you all you say you want more
And all I could see was the end of the week
All the things we sign, and the things we buy
Ain't gonna keep us together
Girl it's just a matter of time
(Just a matter of)
Somebody tell me
(won't you tell me)
Why I work so hard for you
(To give you money, work to give you money)




Heartbeat
Paroles et musique: GEORGE MICHAEL


Another summer, another vacation is over.
A September morning with the sun and smell of the clover.
Down by the gates we sit and watch all our friends go by.
And pretend we don't hear the bell that rings through the summer sky.
I was happy with the kisses she gave me.
It's just that happy was all she made me.
Happy that was until I saw you.

Heartbeat, heartbeat, why do you fail me now?
You hurt me, desert me in my darkest hour.
Heartbeat, heartbeat, why do you keep me here?
How could I help but admire her beauty.
Standing on the line between desire and duty.
Heartbeat, heartbeat, it will end in tears.

I need a lover, but love's such a dangerous place to be.
Oh, if we were meant for each other then why don't you answer me.
Don't keep me waiting, you know that I long to be by your side.
We could even be together, tonight.
I was happy with the kisses she gave me.
Now there's nothing on earth that can save me.
Why should I care I can have you?

Heartbeat, heartbeat, why do you fail me now?
You hurt me, desert me in my darkest hour.
Heartbeat, heartbeat, why do you keep me here?
How could I help but admire her beauty.
Standing on the line between desire and duty.
Heartbeat, heartbeat, it will end in tears...





Like A Baby
Parole et musique: GEORGE MICHAEL


Foreign skies.
That blinded me to empty charms.
I crossed the ocean and fell into your arms.
So sure, so wrong.
You sang me a simple tune,
I took it for a song.
Say goodbye, don't tell me why you have to go.
Loving you was as good as gold.
(as good as gold)
I'd love to love you, really love you
But you see,
There's something you should know.
I really didn't think you'd go.
Because today,
I could have sworn I heard you say :
I love you, I want you, I need to be with you.
Today, I saw something in your face.
Stay here beside me, I need your love to hide me.
You lied.
And now you've gone away.
And left me crying like a baby
(Like a baby)




Freedom
Paroles et musique : GEORGE MICHAEL

Freedom.jpg
Every day I hear a different story.
People saying that you're no good for me.
Saw you lover with another and she's making a fool of you.
If you loved me baby, you'd deny it.
But you laugh and tell me I should try it.
Tell me I'm a baby and I don't understand.
But you know that I'll forgive you.
Just this once, twice, forever.
'Cos baby, you could drag me to hell and back.
Just as long as we're together.
And you do.
I don't want your freedom.
I don't want to play around.
I don't want nobody, baby.
Part time love just brings me down.
I don't need your freedom.
Girl, all I want right now is you.
Like a prisoner who has his own key.
But I can't escape until you love me.
I just go from day to day.
Knowing all about the other boys.

You take my hand and tell me.
I'm a fool to give you all that I do.
I bet you someday baby, someone says the same to you;
But you know that I'll forgive you.
Just this once, twice, forever.
'Cos baby, you could drag me to hell and back.
Just as long as we're together.
And you do.
I don't want your freedom.
I don't want to play around.

I don't want nobody, baby.
Part time love just brings me down.
I don't need your freedom.
Girl, all I want right now is you.
(Can't you see I'm hurting baby?)
You're hurting me, baby, hurting me, baby,
Oh oh ...
You're hurting me, baby, hurting me, baby
But you know that I'll forgive you.
Just this once, twice, forever.
'Cos baby, you could drag me to hell and back.
Just as long as we're together.
And you do.
I don't want your freedom.
I don't need to play around.
I don't want nobody, baby.
Part time love just brings me down.
I don't want your freedom.
I don't want to play around.
I don't want nobody, baby.
Part time love just brings me down.
I don't want your, I don't want your.





IF YOU WERE THERE
Paroles et musique : The Isles Brothers


If-You-Were-There.jpg

You're the one that makes my day,
A dream come true.
Yet and still you wonder,
If I think of you.
You ought to see how the other girls behave,
When you're not around.
And only then you would know,
That it's on your finger i'm wound.
Uh-huh
If you were there you'd know.
If you were there you'd know.
If you were there you'd know.
That I care.
There's no need for you not to have faith in me.
'Cos it's by your side girl,
That I long to be.
Yes there are times with my friends,
When I don't have much to say.
But what you don't know is with you,
I could never act that way.
If you were there you'd know.
If you were there you'd know.

If you were there you'd know.
That I care.
I care for you baby.
I swear that I care.
There's no need for you not to have faith in me.
'Cos it's by you're side girl,
That I long to be.
Yes there are times with my friends,
When I don't have much to say. (Uh-huh)
But what you don't know is with you,
I could never act that way.
If you were there you'd know.
If you were there you'd know.
If you were there you'd know.
That I care.
I care for you baby.
I swear that I care for you baby.
I do.
Have faith in me.
I care for you baby.
Oh-oh



CREDIT CARD BABY

Paroles et musique : George Michael

You said that you loved me
I thought that it was true
You said that you needed me
And baby I believed that too
I thought that you were shy
But you put me straight with a wink of your eye
I should have known better I know
But now my hand's in my pocket every time I see you cry
People think that you're so sweet
But they don't know you quite like I do
I guess they think I'm a lucky guy
But you're not fooling Everybody
You can have my credit card Baby
But keep your red hot fingers off of my heart lady
All I know is what I see
You're getting what you want and girl It ain't just me.
No matter how you cry I'm not giving any love away
Do you think I'm crazy
All I know is what I see but what can I do
When you pretend that you're in love with me baby.
Don't tell me you love me, Because I know that it's not true.
Just tell me you need my money
Girl you know I'll give it to you.
Between the ocean and the sky.
There are things that you can't buy.
And if you look you'll see, one of them is me.
Take your hands out of my pockets
Dig until the day you die.
People think that you're so sweet
But they don't know you quite like I do
I guess they think I'm a lucky guy
But you're not fooling Everybody
You can have my credit card Baby
But keep your red hot fingers off of my heart lady
All I know is what I see
You're getting what you want and girl It ain't just me.
No matter how you cry I'm not giving any love away
Do you think I'm crazy
All I know is what I see but what can I do
When you pretend that you're in love with me baby.







CARELESS WHISPER

Paroles et musique : GEORGE MICHAEL et ANDREW RIDGELEY

Careless-Whisper.jpg

Time can never mend
The careless whispers, of a good friend
To the heart and mind, ignorance is kind
There's no comfort in the truth
Pain is all you'll find
(Should've known better, yeah)
I feel so unsure
As I take your hand and lead you to the dance floor
As the music dies, something in your eyes
Calls to mind a silver screen
And all its sad good-byes
I'm never gonna dance again
Guilty feet have got no rhythm
Though it's easy to pretend
I know your not a fool

Should've known better than to cheat a friend
And waste the chance that I'd been given
So I'm never gonna dance again
The way I danced with you
Time can never mend
The careless whispers of a good friend
To the heart and mind

Ignorance is kind
There's no comfort in the truth
Pain is all you'll find

(Never without your love)
Tonight the music seems so loud
I wish that we could lose this crowd
Maybe it's better this way
We'd hurt each other with the things we'd want to say
We could have been so good together
We could have lived this dance forever
But now who's gonna dance with me
Please stay

(Now that you're gone)

Now that you're gone.
(Now that you're gone)
Was what I did so wrong, so wrong,
That you had to leave me alone.


Repost 0
9 février 2008 6 09 /02 /février /2008 14:01
FANTASTIC.jpg
A Ray Of Sunshine
Paroles et musique : GEORGE MICHAEL 

Move it move it baby
Can't you see i'm ready to dance?
And I can't stop this rhythm in my heart
Move it move it baby
Can't you see i'm ready to dance?
Without this beat my life would fall apart
Shuffle on your feet till the floor is hot
Gotta make alot of money, gonna break your heart
Watch out boy (watch out boy)
Shuffle on your feet till the floor is hot
Gotta make alot of money, gonna break your heart
But i'm the only one with the key
And that's me
Sometimes
You wake up in the morning with the bass line
A ray of sunshine
Sometimes
You know today you're gonna have a good time
And you're ready to go
Move it move it baby
Can't you see i'm ready to dance?
And I can't stop this rhythm in my heart
Move it move it baby
Can't you see i'm ready to dance?
Without this beat my life would fall apart
Shuffle to the beat, gonna take a cut
There's money in your feet, gimme what you got
Watch out boy (watch out boy)
Shuffle to the beat, gonna take a cut

There's money in your feet, gonna stitch you up
Any other boy that you see

But not me
Sometimes
You wake up in the morning with the bass line
A ray of sunshine
Sometimes
You know today you're gonna have a good time
And you're ready to go
Turn the music up
Turn the music up, turn it up
Because it's all I've-
All that I've got
Shuffle to the beat...






BAD BOYS 

Paroles et musique :  GEORGE MICHAEL




badboys.jpg

Woo Woo
Dear Mummy, Dear Daddy
You had plans for me (oh yeah)
I was your only son
And long before this baby boy could count to three
You knew just what he would become
Run along to school
No child of mine grows up a fool
Run along to school
When you tried to tell me what to do
I just shut my mouth and smiled at you
One thing that I know for sure
Bad Boys
Stick together, never sad boys
Good guys
They made rules for fools, so get wise...
Dear Mummy, Dear Daddy
Now I'm nineteen, as you see
I'm handsome, tall and strong
So what the hell gives you the right to look at me
As if to say "Hell, what went wrong?"
Where were you last night?
You look as if you had a fight

Where were you last night?
Well I think that you may just be right
But don't try and keep me in tonight

Because I'm big enough to break down the door
Bad Boys
Stick together, never sad boys
Good guys
They made rules for fools, so get wise...
Boys like you, are bad through and through
Girls like me, always seem to be with you ...
We can't help but worry
You're in such a hurry
Mixing with the wrong boys
Playing with the wrong toys
Easy girls, late nights, cigarettes and love bites
Why do you have to be so cruel?
You're such a fool
Bad Boys
Stick together, never sad boys
Good guys
They made rules for fools, so get wise.

Bad Boys
Stick together, never sad boys
Good guys

They made rules for fools, so get wise...





LOVE MACHINE 
Paroles et musique :  Moore/ Griffin 

REFRAIN
I'm just a love machine
And I won't work for nobody but you
I'm just a love machine
A huggin', kissin' fiend
I think it's high time you knew
Whenever I think of you, my mind blows a fuse (baby)
When I look in your eyes, my meter starts to rise
And I become confused
My voltage regulator cools, when I'm sitting next to you
Electricity starts to flow, and my indicator starts to glow - Wooo
REFRAIN
Na, na na na na, na na na na, woo-woo-woo
Na, na na na na, na na na na, na naaah
REFRAIN
I'm gentle as a lamb, I'm not that hard to programme
There's no way that you can lose
My chassis fits like a glove, I've got a button for love
That you have got to use
If you look into my file, I am sure you can find out how
To turn me on just set my dial, and let me love you for a little while - ooh
REFRAIN
Na, na na na na, na na na na, woo-woo-woo
Na, na na na na, na na na na, na naaah
I'm just a love machine
And I won't work for nobody but you
I'm just a love machine
A huggin', kissin' fiend
REFRAIN






W
HAM RAP !
Paroles et musique : GEORGE MICHAEL et ANDREW RIDGELEY

wham-Rap.jpg
WHAM!
BAM!
I AM!
A MAN!
JOB OR NO JOB, YOU CAN'T TELL ME THAT I'M NOT
DO!
YOU!
ENJOY WHAT YOU DO?
IF NOT
JUST STOP!
DON'T STAY THERE AND ROT!
You got soul.....
You got soul.....
I said get, get, get on down, said get, get, get on down
I said get, get, get on down, said get, get, get on down
Hey everybody take a look at me
I've got street credibility
I may not have a job, but I have a good time
With the boys that I meet "down on the line"
I said, I-DON'T-NEED-YOU
So you don't approve, well who asked you to?
HEY-JERK-YOU-WORK
This boy's got better things to do
Hell,
I ain't ever gonna work, get down in the dirt
I choose, to cruise
Gonna live my life, sharp as a knife
I've found my groove, and I just can't lose
A1, Style from head to toe
Cool cat flash, gonna let you know
I'm a soul boy-I'm a dole boy
Take pleasure in leisure, I believe in joy!
(REFRAIN)
Party nights, and neon lights
We hit the floors, we hit the heights
D
ancing shoes, and pretty girls
Boys in leather kiss girls in pearls!
Hot-damn! Everybody, let's play!

So they promised you a good job-NO WAY!
One, Two, Three Rap!
C'mon Everybody, DON'T NEED THIS CRAP!
(REFRAIN)
IF YOU'RE A PUB MAN, OR A CLUB MAN
MAYBE A JET BLACK GUY WITH A HIP HI-FI
A WHITE COOL CAT WITH A TRILBY HAT
MAYBE LEATHER AND STUDS IS WHERE YOU'RE AT
MAKE THE MOST OF EVERYDAY
DON'T LET HARD TIMES STAND IN YOUR WAY GIVE A WHAM GIVE A BAM BUT DON'T GIVE A DAMN
COS THE BENEFIT GANG ARE GONNA PAY!
Now reach up high and touch your soul
The boys from Wham! will help you reach that goal
It's gonna break your mama's heart
It's gonna break your daddy's heart
But you'll throw the dice, take my advice
Because I know that you're smart
Can you dig this thing?
YEAH! Are you gonna get down?

YEAH!
Say Wham!
WHAM!
Say Bam!
BAM!

(REFRAIN X3)
INSTRUMENTAL BREAK
Do you want to work?
NO
Are you gonna have fun?

YEAH
Said One, Two, Three Rap!, C'mon Everybody
DON'T NEED THIS CRAP!
ENJOY WHAT YOU DO?
ENJOY WHAT YOU DO?
ENJOY WHAT YOU DO?
ENJOY WHAT YOU DO?
ETC...
Everybody say Wham!
WHAM!
Say Wham! Bam!
WHAM! BAM!
ENJOY WHAT YOU DO?
ENJOY WHAT YOU DO?
(D.H.S.S.)
ENJOY WHAT YOU DO?
ENJOY WHAT YOU DO?
(D.H.S.S.)
ENJOY WHAT YOU DO?
(REFRAIN)




CLUB TROPICANA
Paroles et musique: GEORGE MICHAEL et ANDREW RIDGELEY


Club-Tropicana.jpg

Let me take you to the place
Where membership's a smiling face,
Brush shoulders with the stars,
Where strangers take you by the hand,
And welcome you to wonderland -

From beneath their panamas...
Club Tropicana drinks are free,
Fun and sunshine-there's enough for everyone.
All that's missing is the sea,
But don't worry, you can suntan !
Castaways and lovers meet,
Then kiss in Tropicana's heat,
Watch the waves break on the bay.
Oh, soft white sands, a blue lagoon,
Cocktail time, a summer's tune,
A whole night's holiday !
Club Tropicana drinks are free,
Fun and sunshine-there's enough for everyone.
All that's missing is the sea,
But don't worry, you can suntan !
Club Tropicana drinks are free,
Fun and sunshine-there's enough for everyone.
All that's missing is the sea,
But don't worry, you can suntan !
Pack your bags,
And leave tonight.
Don't take your time,
Gotta move your feet, don't you miss the flight !
Pack your bags,
And leave tonight
Don't take your time,
Gotta move your feet, don't you miss the flight !
Cool, cool, cool, cool
Club Tropicana drinks are free,
Fun and sunshine-there's enough for everyone.
All that's missing is the sea,

But don't worry, you can suntan !
Cool, cool, cool, cool
Cool, cool, cool, cool 





NOTHING LOOKS THE SAME IN THE LIGHT
Paroles et musique : GEORGE MICHAEL et ANDREW RIDGELEY



I watch you breathe,
I cannot sleep,

I touch your hair,
I kiss your skin,
And hope the morning sun won't wake you too soon.
For when you wake,
And look at me.
You never know,
You just might see.
Another boy who crept in your room...
Take your time...(that's what you told me),
Take your time...
But I fell head first, and I just don't know what to do.

Nothing looks the same in the light
Only a fool like me would take to heart,
The things you said you meant last night,
Nothing looks the same in the light, I'll keep my feet firm on the ground.
Nothing looks the same in the light,
There's danger in a stranger,
With a warm hand and a kiss so right.
Nothing looks the same in the light,
It's been a pleasure, - see you around...

I watch the sun,
Upon the sheets,
I hear a car,
Out on the street.
And gently pull you close,
It's over too soon.
What can I do, but wait and see
Hold on to you, please stay with me,
Because you're the first
And I want to stay here with you.

Nothing looks the same in the light
Only a fool like me would take to heart,
The things you said you meant last night,
Nothing looks the same in the light, I'll keep my feet firm on the ground.
Nothing looks the same in the light,
There's danger in a stranger,
With a warm hand and a kiss so right.
Nothing looks the same in the light,

It's been a pleasure, - see you around...




COME ON
Paroles et musique : GEORGE MICHAEL


 REFRAIN
Come On, Everybody!
Get on, with your party!
And don't let nobody say you're wrong.
O.K.
So you've lost control,
But they'll never steal your soul.
No way!
That they're gonna spoil your fun.

Greedy men, in far off places,
Don't be afraid to show your faces.
We know what you've done is wrong,
But clap your hands, and sing along now!
Don't even bother, to let us know,
When you flick the switch and stop the show,
Because the party has begun,
And we'll still be dancing, as-you-run-now!

(REFRAIN)

Oh no, don't think that I'm not scared,
Oh no, don't think that I'm prepared.
I just take each day as it comes,
Because it may - it may -, It may be the last one!
I know they don't care about me,
I ain't got no money, ain't a V.I.P.
And I know they don't care about you,

You may - as well - enjoy your life like I do!





YOUNG GUNS ( Go For It )
Paroles et musique: GEORGE MICHAEL

Young-Guns.jpg

Hey sucker,
(What the hell's got into you?)
Hey sucker,
(Now there's nothing you can do).
Well I hadn't seen your face around town a while,
So I greeted you, with a knowing smile,
When I saw that girl upon your arm,
I knew she won your heart with a fatal charm,
I said "Soul Boy, let's hit the town !"
I said "Soul Boy, what's with the frown ?"
But in return, all you could say was
"Hi George, meet my fiancee"
Young Guns,
Having some fun,
Crazy ladies keep 'em on the run.
Wise guys realize there's danger in emotional ties.
See me, single and free,
No tears, no fears, what I want to be.
One, Two, take a look at you,
Death by matrimony!
Hey sucker,
(What the hell's got into you?)
Hey sucker!
(Now there's nothing you can do)
A married man? You're out of your head,
Sleepless nights, on an H.P. bed
A Daddy by the time you're twenty-one
If your happy with a nappy then you're in for fun.
But you're here -
And you're there -
Well there's guys like you just everywhere,
Looking back on the good old days?
Well this young gun says CAUTION PAYS!
Young Guns,
Having some fun,
Crazy ladies keep 'em on the run.
Wise guys realize there's danger in emotional ties.
See me, single and free,
No tears, no fears, what I want to be.
One, Two, take a look at you,
Death by matrimony!
I remember when we had such fun and everthing was fine,
I remember when we use to have a good time,
Partners in crime.
Tell me that's all in the past and I will gladly walk away,
Tell me that you're happy now, Turning my back -
Nothing to say!
"Hey tell this jerk to take a hike,
There's somethin' 'bout that boy I don't like",
"Well sugar he don't mean the things he said",
"Just get him outta my way, 'cause I'm seeing red,
We got plans to make, we got things to buy ,
And you're wasting time on some creepy guy",
"Hey shut up chick, that's a friend of mine,,
Just watch your mouth babe, you're out of line"
OoooooH!
GET BACK
HANDS OFF
GO FOR IT!
GET BACK
HANDS OFF
GO FOR IT!
Young Guns,
Having some fun,
Crazy ladies keep 'em on the run.
Wise guys realize there's danger in emotional ties.
See me, single and free,
No tears, no fears, what I want to be.
One, Two, take a look at you,

Death by matrimony!


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14 février 2007 3 14 /02 /février /2007 16:10

Pop Romance
Date parution 14 Février 2007





What's life like for one of the most famous couples in showbiz? Tracey Emin hooks up with George Michael and Kenny Goss - and discovers that beyond the world of private planes and screaming fans, there's an everyday love story
Published: 14 February 2007
It was 1986. I had just left art school. Everything was a struggle but life was exciting; it was as if anything could happen. I had some friends in the media world who lived in a very nice flat in Notting Hill Gate. They were fond of me and fond of my work and they came up with this genius idea of me doing a very large painting in their apartment. It was a commission of sorts, but I could do whatever I wanted.

Every day I travelled from Rochester in Kent to west London. Notting Hill was hip and trendy but, unlike now, it definitely had an itch. There was a whiff of West Indian skunk and a hangover of Donald Cammell and his film Performance. I found it all quite exciting.

I had my own keys to let myself in to the apartment. It took a good couple of weeks to do the painting. Every day my friends would leave me coffee in a saucepan (because I didn't know how to use a percolator), and I'd have some delicacy to eat, like dim sum, or alfalfa sandwiches in grainy rye bread, all of which seemed very exotic. I was very happy making the painting and I was very careful not to make a mess.

They trusted me implicitly, but there was one golden rule. They lived on the ground floor, but under no circumstances was I to allow anybody into the rest of the building. It didn't matter how many times they rang the bell or even if they banged on the window, I was to ignore it. There were a couple of photographers in the building with quite expensive equipment and my patrons, being good neighbours, were simply being responsible.

So there I was, listening to Talking Heads as loud as I could, painting away at my Turkish boat going underneath the bridge at Rochester, when I heard the doorbell ring. In fact, it didn't stop ringing. I stopped prancing around in my dungarees to see a guy leaning across the steps waving at me through the window. He was smiling but looked slightly agitated. The window was double-glazed, so I couldn't hear exactly what he was saying. I went out of the flat into the hall and knelt down at the letterbox to be eye level with the guy's crotch. He bent down to the letterbox and said: "Please, please let me in. You gotta let me in."

I told him I was really sorry. I explained the situation. The more I said I really couldn't let him in, the more desperate he became. He was so nice, I felt really sorry for him, but there was nothing I could do. He even told me his name, but it made no difference to me. All I could do was say sorry.

The next day there was a note for me by the stove. All it said was: "I hear that you left George Michael on the doorstep yesterday."


The next time I came across George (or George came across me) was in very different circumstances. It was more than 10 years later. I was sitting in The Ivy with the gallery director Carl Freedman (and, I have got to admit, very, very drunk) when from the table next to us a very smiley, handsome man wriggled his way across the chairs so he was facing me. He spoke with the most amazing, jaw-dropping, sexy Texas twang. "Sorry to interrupt," he said, "but you're Tracey, and my boyfriend is a big fan of your work and he'd love to say hello."

I was already enchanted and said: "Bring him over." But to my absolute amazement, the person sitting next to me on the banquette just smiled and said: "Hi, I'm George." I remember we had a really great chat, mainly about Cyprus. George gave me his phone number and I promised I'd ring him. I remembered looking at this torn-off piece of paper that said "George Michael", with a phone number underneath. Carefully putting it into my pocket (in my pathetic, drunken stupor), I thought: "I mustn't lose that." Of course, I did. But I remember thinking at the time how many millions and trillions of women in the world would love to have George Michael's phone number. Even though it was his boyfriend, Kenny, who lit George's fire, I still mentally associated George with millions of screaming female fans.

Years later, I bumped into George and Kenny at Heathrow airport, as we all rolled off a BA flight from Berlin. George and I had both shown our films at the 2004 Berlin Film Festival. It was brilliant. We all hugged and, even though we hadn't seen each other for years, we were strongly in each other's psyche. George had been hitting the headlines for many different reasons and I, too, had had my fair share of flak. We shared a spirit of camaraderie as we waited for Kenny to clear immigration. And then the pair of them swiftly disappeared through a secret door, special services.

The next time George and I meet it's at another airport. We are standing on the runway just about to board a private jet. Here I was, flying across the Irish Sea, with the Womble beside me, George and Kenny opposite. George's lovely sisters (who are extremely funny) are on board too, along with the rest of the entourage. George's dad, Jack, is due to meet us later in Dublin at the concert as he's got a bit of a cold and George has to look after his voice. I'm a bit disappointed about this because Jack is a Greek Cypriot and I'm hoping to have a chance to talk about Cypriot politics. George and Kenny are very relaxed. George holds Kenny's hand, raises it to his lips and kisses it as the jet climbs through the cloud, and a faint moment of nerves passes through us all.

I can't help but think how manly George and Kenny look. There's nothing poofy about them. It's more like an ancient thing, like a real man thing. Maybe it is, I smile to myself. George the ancient Greek and Kenny the Cherokee Indian. Then I start to laugh because there is no way they look like the Village People. There's nothing camp about George and Kenny whatsoever.

They've been flying around in this plane for the whole tour, and at no time has any of them seemed to take it for granted. Not George, not Kenny, not any of us. I'm genuinely excited and after a couple of glasses of wine, I started to bombard George with questions.

I look across to George and my eyes flash. "When's your birthday?"

"June the 25th," he says "And we're both Cancerian and both born in the same year, 1963."

"So you're 43 as well?" I say. "Don't you find it weird?"

He laughs. I know why he's laughing. Why should any age be weirder than any other? And then I say to him: "Forty two was a really bad one." He nods and agrees quite earnestly and then says: "You come from Margate?" "Yeah," I say. "Have you been Googling me?" "No," he says, "I've just always been interested in Margate, 'cause I used to go there as a kid." "Yeah," I say, "There used to be a massive Cypriot community down there."

I remember in 1974 it was my and my brother's birthday party. We were going to the Isle of Sheppey for a picnic and our friend Mario Papagigio wasn't allowed to come and we telephoned him and shouted down the phone: "We want Mario Papagigio!" George said: "Yeah it was a mess, the war. You and I are similar. I'm half Greek Cypriot. My mum was English. Your dad's Turkish Cypriot and your mum's English." And, quite foolishly, I tell him that we're listed somewhere as the most famous people from Cyprus.

And then, more seriously, I say: "Your mum and dad - have they always been proud of you?" George goes quiet for a while, looks up sadly and replies: "Yeah. I think really proud." This is a special thing about George. You can see as you speak to him that there is no formulaic answer. It's almost like he's thinking about it for the first time, or reiterating how he feels.

George's mum died a few years ago, and you can tell as you are talking to him that he was incredibly close to her. She comes across as a big influence, almost like a mentor of sorts. A fascinating thing about George, about the whole Panayiotou family, is that they are so "family" and they are really, really funny. I think almost any one of them could take to the stage and be a stand-up comedian. They come across as very open but also extremely tight-knit and protective. I put this down as a Mediterranean thing.

I ask George how it was for his family when he came out. "It was OK by then because I was successful. I had achieved something. I was in a position where I could take care of myself, and often success can take care of a lot of other things." I then ask George and Kenny: "Do you worry about getting old?" Between them, their ages add up to nearly a century. They both turn and smile, and I know the answer should be yes, but it's actually a lot more complicated. Kenny is very happy and contented, but gets frustrated with himself sometimes. It's like he wants to learn more, faster, but there is never enough time to do it.

We reflect on the fact that we can't do all the things we used to do. We then discuss whether we still do the things we used to do. They then ask: " Tracey, what makes you feel old?" I reply, "I've never had children, and now I'm really getting too old to have children," before adding: " Don't give me that crap about the woman who was 57 who had a baby in Italy last week!"

They laugh, so I say to George: "Have you ever wanted to have children?" "No," he groans, and, pointing his thumb at Kenny, adds: "But if he had his way, there'd be no stopping him!" Kenny interjects: " Now, George," in his really sexy Texan drawl ,"you know that isn't exactly true. I love children. I love my godchildren, nieces, and nephews, but most of all, I think people who don't have children, like us, should take more responsibility for those children who need help."

On this point, I think Kenny is absolutely right, and I ask them: "Do you think people who don't have children are different from people who do? A different species, a different kind? And do you think being gay means that you have a different kind of relationship?" The answer, of course, is yes. "So, as gay men, is your commitment within a relationship different to a heterosexual's?" Kenny replies: "Tracey, have you ever slept with a woman?"

"Yes - of course I have. I think most women have. It's called safe sex! You don't hear many women say, 'I'm off across the Heath tonight to do a bit of cruising.' Why is it OK for gay men to have such open relationships?" George says: "Maybe we've already discussed it. Maybe it's about the children thing, or maybe it's just a way of life for some people. What do heterosexual people do?" "They sleep with their friends," I say, "which somehow is a real fuck-up."

I change the subject, to make things a bit lighter. I say, "Sorry I didn't come and see you in Earls Court, but I had seen the BBC news coverage from Manchester. Thousands of women beside themselves with absolute ecstasy, crying, laughing. I can't remember how many thousands of women it was, but I decided I couldn't cope with it at Earls Court. Why do you think it is that women love you so much? It's so obvious you're gay and always have been." I think silently of all the men who must have whispered slowly into the ears of their lady friends, "If you're gonna do it, do it right. Do it with me. Now listen... I'll be your boy, I'll be your man, I'll be the one that understands..." So I say to George: "Why do you think a lot a men dislike you so much?" He looks at me completely stony faced, 100 per cent dry. "Because they feel cheated." We land.


I always get the jitters going to big concerts. To be honest, I don't really like them. The crowds, the hotdogs, the coldness and then the sweat, but this time in Dublin everything feels very gentle, very at ease. There's a sense of very thorough, military organisation, down to every last detail. In among the crowds of thousands I feel very safe and cosy, nestled between Kenny and George's larger-than-life family.

The atmosphere is electrifying. The crowds are ecstatic. My favourite moment of the whole concert is when George raises his hand towards where we are sitting and calls out to the crowd: "This song's for Kenny, Kenny, the love of my life." And the whole crowd goes into raptures. Good going for a predominantly Catholic audience; good going for any audience when you think how much things have changed in the past 20 years.

It isn't really a pop moment, it feels very classical and I think about the voice of George Michael that I remember from 20 years ago. The high-octane, beautiful teen. Now what I'm listening to is the voice of a man plus thousands of screaming women.

Now I realise why women adore George Michael so much. He simply has an incredible voice and the fact that he's gay makes him even more lovable. Given the choice of a shoulder to cry on, who would you rather have, Barry White or George Michael? George Michael or Barry White? I'm even happy to throw Robbie Williams into the equation. When we listen to love songs, to ballads, we want to trust the words that we're hearing and be able to translate them into our own lives.

George Michael is definitely on the side of vocal integrity. On top of that, he's big enough to admit his own failings, and that's exactly what he's doing to the audience. It's incredible. He apologises for being gone for so long, but now he's back. In between every song, he explains the lyrics or what the song means to him. The whole crowd is intoxicated with warmth.

Later on, back in George and Kenny's suite, we are having a late dinner. Room service arrives. The mood is very relaxed and George is genuinely happy. I ask George and Kenny lots of intimate questions but for some reason the conversation always reverts to talking about my breasts. I ask Kenny how he and George first met. "I met George at a really posh..." and then he stops. "Well, actually, we have two stories. There's the one that we tell people and the one in which we actually met. There's a really posh spa called the Beverly Hot Springs. It's a very straight, above-board spa but, you know, if we tell people we met in a spa they always get the wrong idea. So we often tell people that we met at Fred Segal." I burst out laughing and say: "The shop?" "Yes," says Kenny, " The shop." "But that sounds really camp."

Kenny continues: "Well this was 11 years ago. George still had a very strong private life then. Everyone knew he was gay but he hadn't actually come out. We just thought it sounded better that we say we met at Fred Segal's, but now we don't say it any more, we always say we met at Beverly Hot Springs because, you know, we would be at a dinner table with 10 people and some would ask us the same question at the same time and one of us would always tell a different answer so now we always say the truth. We met at a spa." I ask them if they think it is important to tell the truth. They both nod earnestly and George says simply: "Life's too short."

He has a song, "My Mother Had a Brother". The lyrics are about his uncle, who died suddenly and tragically, apparently on the day that George was born. There's mention of suicide and fear and a burden of hidden homosexuality. The number of people who walk around in life never being themselves. Being afraid of themselves, disagreeing with their internal reflection and suffering internal, physical heartache because they are well and truly closeted. George is right. Life is too short.

I leave their room at four in the morning, quite tipsy, feeling really happy and I go to sleep with the voice of an angel in my mind. Love doesn't have to be the same for everybody.

Tracey Emin, George Michael, Kenny Goss and Scott Douglas support the Terrence Higgins Trust. Tracey and Scott's fees for this article have been donated to the charity. The Terrence Higgins Trust Lighthouse Gala Auction will be held on 12 March



A quoi ressemble la vie d’un des plus célèbres couple du showbiz ?

Tracey Emin s’est introduit chez George Michael et Kenny Goss et a découvert que derrière le monde des avions privés et des fans hurlants, il y  avait une histoire d’amour de tous les jours.

C’était en 1986. Je venais de quitter l’école d’art. Tout était une bataille mais la vie était excitante. C’était comme si tout pouvait arriver. J’avais quelques amis dans le monde des médias qui vivaient dans un très joli appartement à Notting Hill gate. Ils m’adoraient et adoraient mon travail et ils sont arrivés avec l’idée géniale que je fasse un très grand tableau dans leur appartement. C’était un véritable complot mais je pouvais faire ce que je voulais.
Tous les jours, j’allais de Rochester dans le Kent à West London. Notting Hill était branché mais, pas comme maintenant : Il y avait une odeur de moufette indienne et des relents du film Performance de Donald cammel. Je trouvais cela très excitant.
J’avais mes propres clefs de l’appartement. Cela m’a pris deux bonnes semaines pour faire ce tableau. Tous les jours mes amis me laissaient du café dans un saucier (parce que je ne savais pas utiliser le percolateur), et j’avais toujours quelque chose de bon à manger, comme des sandwiches à la luzerne avec ce pain de seigle, tout cela semblait très exotique. J’étais très heureuse de faire ce tableau et je faisais très attention à ne pas mettre de désordre.
Ils me faisaient confiance implicitement, mais il y avait une règle d’or à respecter : ils vivaient au rez de chaussée mais sous aucun prétexte je ne devais faire entrer quelqu’un d’autre dans le reste du bâtiment, peu importe le nombre de fois qu’ils sonnent à la porte ou s’ils tapaient à la fenêtre, je devais les ignorer. Il y avait un couple de photographes dans l’immeuble avec du matériel très coûteux et mes patrons, en tant que bons voisins, en étaient responsables.
Alors, j’étais là, écoutant Talking Heads de plus en plus fort, peignant mon bateau turc passant sous le pont de Rochester, quand j’entendis la sonnerie retentir. En fait, elle n’arrêtait pas de sonner. J’ai arrêté de me balader en salopette en voyant un gars qui me faisait signe à travers la vitre. Il souriait mais semblait très agité. C’était un double vitrage et je n’entendais pas ce qu’il disait. Je suis sorti de l’appartement et me suis agenouillé prés de la boite aux lettres au niveau de l’entrejambe du gars. Il s’est penché vers la boite à lettre et m’a dit « s’il vous plait, laissez moi entrer, vous devez me laisser entrer »
Je lui ai dit que j’étais désolé et lui ai expliqué la situation. Plus je lui expliquai et plus il était désespéré. Il était si gentil, j’étais vraiment désolé pour lui mais je ne pouvais rien faire. IL m’a même dit son nom mais ça n’a pas fait de différence pour moi. Je pouvais juste dire que j’étais désolé.
Le lendemain, il y avait un mot pour moi prés de la cuisinière « j’ai entendu dire que tu as laissé George Michael à la porte hier «
La fois suivante ou j’ai rencontré George (ou plutôt il est venu à moi) c' était dans des circonstances nettement différentes .C’’était il y a plus de 10 ans. J’étais assise au Ivy avec le directeur de la galerie Carl Freedman (et je dois admettre très très saoule) quand de la table voisine est venu un magnifique homme, en face de moi. Il parlait avec cet accent texan fantastique et si sexy « excusez moi de vous déranger mais vous êtes Tracey et mon petit ami est fan de votre travail et voudrait vous saluer »
J’étais enchantée et dit "amenez le". Et à ma grande surprise, la personne qui s’est assise juste à côté de moi a souri et a dit « Salut, je suis George ».Je me rappelle que nous avons eu une grande conversation sur Chypre. George m’a donné son numéro de téléphone et je lui ai promis de l’appeler. Je regardais ce morceau de papier ou était marqué George Michael avec un numéro de téléphone au verso. Je l’ai mis dans ma poche en faisant très attention et j’ai pensé « Je ne dois pas le perdre ». Bien sur, je l’ai perdu. Mais je me rappelle avoir pensé à ce moment combien de millions de femmes voudraient avoir le numéro de téléphone de George Michael. Même si c’était son petit ami Kenny qui faisait battre son coeur, j’associais toujours George avec des millions de filles hurlantes.
Des années plus tard, je tombais sur George et Kenny à Heathrow air port,
alors que nous revenions d’un vol à Berlin. George et moi avions présenté nos films au festival du film de Berlin en 2004. C’était fabuleux. Nous nous sommes embrassés et même si nous ne nous étions plus vus depuis des années, nous étions toujours présents dans l’esprit de l’autre.
George avait fait la une des journaux pour beaucoup de raisons différentes et moi, aussi, j’avais eu mon lot de critiques. Nous avons partagé un franc esprit de camaraderie en attendant Kenny qui passait le contrôle de l’immigration. Puis, tous les deux ont disparu subitement par une porte secrète.
La fois suivante où nous nous sommes rencontrés George et moi étions dans un autre aéroport. Nous attendions sur la piste, d’embarquer dans un jet privé. J’étais là, volant au dessus de la mer d’Irlande, George et Kenny en face de moi. Les adorables soeurs de George (qui sont très drôles) étaient à bord aussi, avec le reste de l’entourage. Le Papa de George, Jack devait nous rencontrer plus tard, à Dublin, au concert parce qu’il était un peu grippé et George devait faire attention à sa voix. J’étais un peu déçu parce que Jack est un chypriote grec et je voulais parler de politique chypriote avec lui.
George et Kenny sont très calmes. George tient la main de Kenny, la porte à ses lèvres et l’embrasse pendant que le jet monte vers les nuages. Un faible moment de nervosité nous traverse tous.
Je ne peux m’empêcher de penser que George et Kenny sont si masculins. Il n’y a rien de «tapette » en eux. C’est plus comme quelque chose d’ancien, d’homme authentique. Ca l’est peut-être. George l’ancêtre grec et Kenny l’indien cherokee. Et je commence à rire parce qu’ils ne ressemblent en rien aux Village People. De toute façon, il n’y a vraiment rien d’effeminé en eux.
Ils ont volé dans cet avion pendant toute la tournée, et à aucun moment, pour aucun d’entre eux, ce n’était gagné. Ni George, Ni Kenny, ni aucun d’entre nous. Je suis terriblement excitée et âpres quelques verres de vin, je commence à bombarder George de questions.
J’ai regardé vers George et mes yeux ont brillé :
 « Quelle est la date de votre anniversaire ? »
« Le 25 Juin » dit-il « et nous sommes tous les deux Cancer et tous les deux nés la même année, 1963"
"Alors vous avez 43 ans aussi ? » dis-je . Vous ne trouvez pas ça bizarre ?
Il rit. Je comprends pourquoi : Pourquoi un âge serait-il plus bizarre qu’un autre ? et je lui dis : "42 ans était une mauvaise année". Il hocha la tête et acquiesce d’un air sérieux puis me demanda : "vous venez de Margate ? "Oui"répondis je « j’ai toujours été intéressé par Margate car j’y allais quand j’étais enfant" me dit-il.
Oui dis-je. Il y avait beaucoup de chypriotes là bas.
Je me rappelle en 1974, c’était mon anniversaire et celui de mon frère. Nous allions sur l’île de Sheppey pique niquer et notre ami Mario papagigio n’avait pas le droit de venir, nous lui avons téléphone et hurlé "nous voulons Mario Papagigio" George dit " Oui c’était le désordre, cette guerre. Toi et moi sommes semblables. Je suis moitié chypriote grec. Ma mère était anglaise. Ton père est un chypriote turc et ta mère anglaise".
Et bêtement, je lui dis que nous faisions partie d’une liste des gens les plus connus de Chypre.
Et, plus sérieusement, je lui dis :"ta mère et ton père ont-ils toujours été fiers de toi ?"  George est resté silencieux pendant un moment, a paru triste et a répondu : "Oui, je pense très fiers". Il y a quelque chose de spécial chez George. Vous pouvez voir en lui parlant qu’il n’y a pas de réponses préparées. C’est comme si il y pensait pour la première fois, ou réfléchit à nouveau à ce qu’il ressent.
La maman de George est morte il y a quelques années et on peut sentir en lui parlant d’elle qu’il était incroyablement proche d’elle. Elle était d’une grande influence, comme un mentor. Il y a quelque chose de fascinant chez George et même chez sa famille entière, c’est qu’ils sont très "famille" et ils sont très, très drôles. Je pense que chacun d’entre eux pourrait monter sur scène et faire un "one man show". Ils apparaissent très ouverts mais aussi très protecteurs. Je pense que c’est leur côté méditerranéen.
Je demande à George quelle a été la réaction de sa famille quand il a fait son coming out.  " C’est bien passé car j’avais du succès. J’avais réussi quelque chose. J’étais en position de m’occuper de moi et souvent le succès peut aussi prendre en charge beaucoup de choses " Ensuite, je leur demandai à tous les deux "est ce que ça vous inquiète de vieillir ?" A eux deux, ils ont presque un siècle. Ils se sont regardés et ont souri et j’ai compris que la réponse était oui mais c’est beaucoup plus compliqué que cela. Kenny est très heureux mais frustré quelquefois. Il voudrait apprendre encore et encore mais il n’a jamais assez de temps pour cela.
Nous avons réfléchi sur le fait de ne plus pouvoir faire ce que nous faisions auparavant. Puis ils m’ont demandé : »Tracey, qu’est ce qui te fait sentir que tu as vieilli ? » . J’ai répondu : « Je n’ai jamais eu d’enfants et maintenant je suis trop vieille pour en avoir » avant d’ajouter « Ne me sortez pas cette sordide histoire de cette femme de 57 ans qui a eu un bébé en Italie la semaine dernière »
Ils se sont mis à rire puis j’ai dit à George « n’as-tu jamais voulu avoir d’enfant ? » Non a-t-il gémi et pointant son doigt vers Kenny et a ajouté « Mais si il avait pu, on n’aurait pas pu l’arrêter « Kenny intervient : « Maintenant, George, avec son accent texan si sexy, tu sais que ce n’est pas exactement la vérité. J’adore les enfants. J’adore mon beau fils, mes nièces et neveux mais surtout, je pense que les gens qui n’ont pas d’enfant, comme nous, doivent prendre plus de responsabilités pour tous ces enfants qui ont besoin d’aide.
Sur ce point, je pense que Kenny a entièrement raison, et je leur demande : "pensez vous que les gens qui n’ont pas d’enfant soient différents de ceux qui en ont ? » et pensez vous qu’être gay signifie que vous vivez une relation différente ? La réponse, bien sur est oui.
« Alors, en tant qu’homosexuels, votre engagement dans une relation est différent de celui des hétérosexuels ? " Kenny me répond : « Tracey, as-tu déjà couché avec une femme ? »
« Oui, bien sur, je l’ai fait. Je pense que la plupart des femmes l’ont déjà fait. Ca s’appelle du sexe sans danger. Tu n’entends pas les femmes dire « bon, ce soir je sors et vais chasser « Pourquoi est ce que c’est normal pour les hommes gays d’avoir ce type de relations ? »
George dit : » peut-être que nous en avons déjà parlé. Peut-être que ça remonte à l’enfance, ou que c’est une façon de vivre pour certains. Que font les hétérosexuels ? Ils couchent avec leurs amis, dit-il ce qui parfois fait vraiment tout foirer «

Je change de sujet, pour alléger l’atmosphère. Je dis « désolée je ne suis pas venue te voir à Earls court, mais j’ai vu le reportage aux infos de la BBc à Manchester. Des milliers de femmes hors d’elles en extase, qui pleuraient, qui riaient. Je ne me rappelle pas combien de milliers elles étaient mais je me suis dit que Earls Court ne pouvaient pas toutes les contenir. Pourquoi pensez vous que les femmes vous aiment autant ? C’est si évident que vous êtes gay et l’avez toujours été. Je pense intérieurement à tous les hommes qui ont murmuré à l’oreille de leur petite amie « If you’re gonna do it, do it right. Do it with me. Now listen... I'll be your boy, I'll be your man, I'll be the one that understands..."
Alors je dis à George"Pourquoi pensez vous que tant d’hommes ne vous apprécient pas? Il me regarde, le visage de glace et me répond sèchement : « parce qu’ils se sentent trahi ». Et nous atterrissons.

J’ai toujours eu peur d’aller dans des gros concerts. Pour être honnête, je n’aime pas ça. La foule, les hot dogs, la chaleur et la transpiration, mais cette fois à Dublin, tout semblait si calme, très facile. Il y a un sentiment d’organisation militaire, chaque détail est pensé. Et au milieu de milliers de personnes, je me sens en sécurité et bien, comme dans une immense famille de Kenny et George.
L’atmosphère est maintenant électrique. Le Public est en extase. Mon moment préféré a été quand George a tendu les mains vers l’endroit où nous étions assis et a déclaré à l’assistance « cette chanson est pour Kenny, l’amour de ma vie « Et tout le public était ravi. Une bonne chose pour un public majoritairement catholique, bonne chose pour n’importe qui quand vous pensez combien les choses ont changé en 20 ans.
Ce n’est pas vraiment un moment de pop, c’est plus classique et je repense à la voix de George Michael d’il y a 20 ans. Une voix très belle et très aigue de jeunesse. Maintenant, j’écoute la voix d’un homme plus celles de milliers de femmes qui crient.
Maintenant, je comprends pourquoi les femmes adorent George Michael. Il a simplement une voix incroyable et le fait qu’il soit gay le rend encore plus adorable. Si vous aviez besoin d’une épaule sur qui pleurer, qui choisiriez vous, Barry White ou George Michael ? George Michael or Barry White? Je suis quand même contente de ne pas mettre Robbie Williams dans cette équation " Quand nous écoutons des chansons d’amour, nous voulons croire ce que nous entendons et être capable de transposer ces mots dans nos propres vies.
George Michael a acquis son intégrité vocale. Et en plus, il est assez fort pour admettre ses faiblesses, et c’est exactement ce qu’il fait avec son public. C’est incroyable. Il s’excuse d’être parti si longtemps, mais maintenant il est de retour. Et entre chaque chanson, il en explique les paroles et ce qu’elle signifie pour lui. La foule entière est remplie de chaleur humaine.

Un peu plus tard, de retour dans la suite de George et Kenny, nous dînons tardivement. Le room service arrive. L’ambiance est relax et George est vraiment heureux. Je leur pose beaucoup de questions intimes mais pour d’obscures raisons, la conversation revient toujours sur ma poitrine. Je demande à Kenny comment lui et George se sont rencontrés « J’ai rencontré George dans un très chic « " et il s’arrête « en fait, nous avons deux histoires. Il y a celle que nous racontons aux gens et l’autre, la vraie. Il y a un très chic spa qui s’appelle le Beverly hot springs. C’est très strict mais si nous disons aux gens que nous nous sommes rencontrés dans un spa, ils en ont toujours une fausse idée. Nous disons souvent que nous avons fait connaissance chez Fred Segal « J’éclate de rire et je dis « le magasin ? » « Oui « dit Kenny, » le magasin « mais ça, ça fait très gay «
Kenny continue : "c’était il y a 11ans. George avait toujours une vie très privée. Tout le monde savait qu’il était gay mais il ne l’avait pas avoué publiquement. Nous avons pensé que ce serait mieux de dire que nous nous étions rencontrés chez Fred Segal mais nous ne le disons plus, nous disons la vérité car imaginez que nous soyons à une table de 10 et que plusieurs personnes nous posent la question en même temps et que nous ne donnions pas la même réponse ! Maintenant, nous disons toujours la vérité. Nous nous sommes rencontrés dans un spa. » Je leur demande si c’est important de dire la vérité. Ils hochent tous les deux la tête et George dit simplement « la vie est trop courte «
Il a une chanson "My Mother Had a Brother". Elle parle de son oncle qui est mort soudainement et tragiquement, apparemment le jour de sa naissance. Il parle de suicide, de peur et d’homosexualité cachée. Le nombre de gens dans la vie qui ne peuvent être eux-mêmes, qui en ont peur, qui souffrent à l’intérieur, parce qu’ils sont bel et bien enfermés en eux. George a raison. La vie est trop courte.
Je quitte leur chambre à 4 heures du matin, un peu pompette, me sentant vraiment heureuse, et je vais dormir avec la voix d’un ange dans la tête. L’amour n’est pas le même pour tout le monde.

Tracey Emin, George Michael, Kenny Goss et Scott Douglas soutiennent le Terrence Higgins Trust. Les honoraires deTracey et Scott pour cet article ont été donnés à cet organisme de charité. Il y aura un gala pour Terrence Higgins Trust Lighthouse Gala le 12 Mars .

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