George MichaelGeorge Michael was blessed with one of the warmest soul voices in pop history. His music moves effortlessly between euphoric dance numbers and heartbreaking ballads, never shying away from his own pain and insecurity. The result is a timeless body of work that offers both comfort and liberation.
These are the ten best songs by George Michael.
Cast your vote - the ranking shifts live based on the votes.
Careless Whisper
That one saxophone riff is etched in the collective memory and immediately sets a mood of regret and longing. The production is smooth and romantic, but the emotion is raw. Especially in the wailing at the end, you hear the despair of someone who knows they've broken something beautiful. A timeless classic where guilt never sounded so beautiful.
A Different Corner
Rarely did loneliness sound so beautiful. Without drums, with only sparse synthesizers, his voice stands completely naked in the space. Every breath and every tremor is audible. The song feels like an open nerve; a musical translation of the emptiness you feel after a broken relationship. It's pure, honest, and hits like a sledgehammer.
Overrated as hell tbh, A Different Corner is completely carried by radio overplay.
Cowboys and Angels
In this smoky waltz, Michael shows his class as a pure crooner. The jazzy bass line and the long, melancholic saxophone solo take you to a deserted bar late at night. His voice glides smoothly over the complex melodies, full of melancholy and resignation. It's a stylish, cinematic masterpiece about impossible love.
Honestly certified classic.
Jesus to a Child
The bossa nova rhythms gently sway like waves in the background, while the synthesizers create a warm, melancholic haze. Michael sings with a barely suppressed sob, full of love and mourning. It's music that offers comfort in the darkest moments; intimate, fragile, and painfully beautiful.
The drum fill right before the chorus in Jesus to a Child is pure genius.
Freedom! '90
The piano hammers with optimism and the beat forces you to move, while the gospel choir in the chorus lifts the song to an euphoric level. Michael sounds here not just as a singer, but as someone throwing off their chains and burning their past. It's pure, infectious zest for life wrapped in an irresistible groove.
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Don't Let the Sun Go Down on Me (with Elton John)
An absolute goosebump moment. It begins small and intimate, but the emotion in the room is palpable when George Michael sings the first notes with enormous respect for the original. When Elton John comes in and the full band bursts through, the song becomes a triumph. It's a celebration of friendship and vocal mastery, with the joy of singing together bursting from the stage.
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Praying for Time
Here we hear George Michael at his most somber and most vulnerable. The dark piano chords and the gritty drum beat leave no room for escape. His voice sounds tired and desperate, begging for change in a cold world. The swelling strings offer no comfort, but rather intensify the feeling of helplessness. An impressive indictment of the times.
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Father Figure
This song slowly gets under your skin. The subtle eastern influences and the heavy, slow bass line create a mesmerizing, almost mystical atmosphere. Michael sings here seductively and whispering, as if sharing a secret in your ear. The gospel choir in the background makes the carnal desire in the lyrics something sacred and spiritual, which keeps the song fascinating.
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Faith
It starts with that holy church organ, but quickly explodes into pure rock-'n'-roll lust. The production is genius in its simplicity: a dry guitar stroke, a simple beat, and Michael's voice going from a whisper to a growl. It sounds playful, sexy, and self-assured. You hear the pleasure of an artist who finally feels free after his Wham! period to define his own, adult sound.
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Killer / Papa Was a Rollin' Stone (Live)
In this live performance, you feel the pure, raw energy of an artist at the peak of his abilities. The mash-up combines the chilly, electronic beat of Adamski with the deep soul of The Temptations, resulting in a steamy atmosphere. Michael sings with a compelling fierceness, and when the horns come in, the concert becomes a smoldering club night. You hear the audience go wild on the groove as George keeps tight control.
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Still mind-blowing to think about: that one saxophone riff is etched in the collective memory and immediately sets a mood of regret and longing.
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