Work on the song later resumed on 1 September 1987, when a new bridge added and a 50s-inspired guitar solo by Burns - played on a Geffen custom Stratocaster - were added at Sarm West Studio 2 in London. For this song, George wanted the vocals to be "dry and in-your-face", like on Prince's songs at the time, which Porter noted "had a very tight delay on the vocals, making him sound very growly but dry and aggressive" - it was that kind of effect they managed to recreate with an AMS digital delay. ![]() While recording the vocals on the Faith album and other subsequent solo albums, Michael would usually write lyrics in front of the mic, and build the lead vocal by singing a line, each time he had Chris Porter rewind the tape so he could drop in at certain points to create the right emotional effect with his voice. Long-time bassist Deon Estus laid down a bass part, while the cathedral organ part was recorded with a Yamaha DX7 (although some sources state it is from a Roland D-50). The song began life in May 1987 at PUK Studios, Denmark with Michael doing a 2-bar LinnDrum loop and Hugh Burns playing the Bo Diddley-style acoustic rhythm guitar part on a nameless metal-bodied acoustic. ![]() It is claimed that the idea came from publisher Dick Leahy's suggestion that Michael write a rock and roll pastiche. As with the rest of the album, the track was written, arranged, and produced by Michael.
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