Top 8 Wham! & George Michael Songs of the '80s

Although the "guilty feet have got no rhythm" concept and the blaringly cheesy saxophone break in this tune have always set my teeth on edge, there's no denying this song gave audiences their first glimpse of George Michael as the consummate pop craftsman. His efforts with Wham! previously had been exceedingly slight almost by design, but when Michael decided to turn his attentions to more adult material, his deliberate mastery grew ever more apparent. An undisputed '80s classic.

There will surely be many who disagree, but to my mind this tune is Wham! and George Michael's first flawlessly great hit song, its first one not marred by cheesy saxophone as in "Careless Whisper" or extreme flounciness (complete with a Doris Day reference) as in "Wake Me Up Before You Go-Go." Despite its dated synthesizers, the single features tight, pointed lyrics and one of Michael's most measured vocal performances as part of the duo. From verse to chorus, this is simply pop gold.

On this impossibly catchy number, Michael indulges his fascination with girl-group pop melodies, and perhaps never before has such a sound been this infectious. As on his best compositions, Michael displays an uncanny knack for matching solid, tuneful verses with an escalating, delightfully linked pre-chorus and chorus. I'm sure I did a pretty good job of not appreciating this song when I was younger, but now that I'm older and artificial strictures about what to listen to are fewer, I'm a permanent fan.

From its stylish synth opening, this seasonally hamstrung hit introduces an intoxicating sophistipop aura that always suited George Michael better than his goofier, up-tempo efforts. Although this tune was underappreciated upon initial release, it has since definitely become an '80s pop classic regardless of its limiting Yuletide theme. Michael has always written his most convincing lyrics about heartbreak and longing, and he smartly plays to his strengths both musically and vocally here.

Although this is technically an Aretha Franklin tune, Michael most certainly makes a distinctive contribution to the majesty of this rousing soul-pop confection that comes quite close to gospel glory. Michael more than holds his own with the Queen of Soul here, showing off his versatility and depth of passion as a vocalist. And although this is one of the few occasions Michael veers away from his own songwriting to interpret someone else's tune, he reveals a solid sense of taste in doing so.

Although Michael does a rather embarrassing Elvis Presley impression of pretending to play the guitar in the iconic video for this song, the tune itself is a brilliant appropriation of the Bo Diddley beat for a strange but effective combination with Michael's shimmering pop sensibility. A foot-tapper through and through, this oft-played ditty is so bulletproof that it forced me, remarkably, to form a reluctant, brief appreciation for Limp Bizkit via that band's inspired '90s cover of the song.

Another inescapable tune from Michael's smash 1987 Faith album, "Father Figure" casts a creepily seductive spell, as the combination of all things paternal with Michael's rampant sexuality at that point in his career is more than a little unnerving. But none of these confusing signals regarding sexuality matter ultimately, as Michael's penchant for pop transcendence stubbornly keeps upping the ante. The song's bridge stands as one of the '80s loveliest melodic moments.

Michael was intent on challenging a variety of margins on his landmark solo album, most of them sexual, but on this slow-dance staple of the '80s he demonstrates a mastery of atmosphere through his extreme willingness to slow things down. One would be hard-pressed to find a pop music tempo slower than this one, but as usual Michael doesn't rely solely on gimmickry. His vocal performance here cements a firm place for Michael as one of the finest singers and melodic craftsmen of the '80s.