| | Wham 12 Inch Mixes CD - Import Wham Discography of CDs
This release collects five extended LP mixes of singles by 1980s pop icons Wham!
Another slab of Wham! that, when paired with the slightly earlier Best Remixes LP, pretty much wrapped up the best club cuts that this staple of the 1980s had to offer. This stateside mini-album offered an alternative but familiar set, one that was better suited to hardcore fans than the Japanese import that had hit the racks two years earlier. Leaving behind the more radio-friendly pap of the duo's mainstream successes, where 12" Mixes shines is across Wham!'s earlier, more politically motivated pop. It's the controversial "Young Guns (Go For It)," which burned the PC police and titillated young hipsters with its abortion-as-birth-control catch phrase, and the Michael Jackson-inspired, synthesized blue-eyed soul of "Everything She Wants" that provide the thrill ride here, as do other early nuggets "Wham Rap! Social Mix" and "Bad Boys." The seven-minute "Freedom (Long Mix)" and the pure silliness of "I'm Your Man" round out this superior set. With more than enough synths and tongue-in-cheeky innuendo to satisfy any club-groover, 12" Mixes is unmitigated in its purpose, and proof enough that, no matter how much the duo were laughed out of serious circles of the time, they were nearly single-handedly responsible for revitalizing a tired dance-oriented youth. That's not a shabby legacy. ~ Amy Hanson
1995 Epic reissue featuring 12in mixes of five of the duo'sbiggest & best: 'Wham Rap!', 'Careless Whisper', 'Freedom','Everything She Wants' and 'I'm Your Man'. Originallyreleased in 1986 on Epic. Standard jewelcase. 12 Inch Mixes Review
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Purchase 12 Inch Mixes CD To buy, Click on price to add to cart | Wham Make It Big CD (1984)
12 Inch Mixes
 $7.59   
The title was a promise to themselves, Wham!'s assurance that they would make it big after struggling out of the gates the first time out. They succeeded on a grander scale than they ever could have imagined, conquering the world and elsewhere with this effervescent set of giddy new wave pop-soul, thereby making George Michael a superstar and consigning Andrew Ridgeley to the confines of Trivial Pursuit. It was so big and the singles were so strong that it's easy to overlook its patchwork qualities. It's no longer than eight tracks, short even for the pre-CD era, and while the four singles are strong, the rest is filler, including an Isley Brothers cover. Thankfully, it's the kind of filler that's so tied to its time that it's fascinating in its stilted post-disco dance-pop rhythms and Thatcher/Reagan materialism ...
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Named after Godard's 1959 science-fiction masterpiece and heavily influenced by '80s synth bands like Depeche Mode, Alphaville was the Munich-based trio of Marian Gold, Bernhard Lloyd and Frank Mertens. Following their all-keyboards approach longer after synth-pop was fashionable but unfortunately ...
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Portland's the Shaky Hands, who had an, uhh, shakeup of their own in 2008 when founding member and drummer Colin Anderson left the group, seem to have been left none the worse from the experience, with new drummer Jake Morris handling the percussive duties on Let It Die, the band's third full-length, with no problems. References are plenty on the disc -- fellow Pacific Northwesterners the Thermals, with whom the Shaky Hands toured before the recording of this album, the Hold Steady, the power pop of Big Star, the heartland rock of John Mellencamp, the '90s alt-rock of the Gin Blossoms. Even the title was one already used by an unnamed Canadian indie rock iTunes goddess. Still, there are moments here that stick -- the opening chords of the title song, the subtle catchiness of the hook in "Already Gone" -- and one shouldn't insinuate that the Shaky Hands are trying to copy anyone. The band would truly move into its own, however, with a stronger sense of self. ~ Marisa Brown
Portland's the Shaky Hands, who had an, uhh, shakeup of their own in 2008 when founding member and drummer Colin Anderson left the group, seem to have been left none the worse from the experience, with new drummer Jake Morris handling the percussive duties on Let It Die, the band's third full-length, with no problems. What the band is seemingly lacking, however, is a distinct identity, which makes Let It Die, though not particularly offensive, also a not particularly memorable album. References are plenty -- fellow Pacific Northwesterners the Thermals, with whom the Shaky Hands toured before the recording of this album, the Hold Steady, the power pop of Big Star, the heartland rock of John Mellencamp, the '90s alt-rock of the Gin Blossoms. Even the title was one already used by an unnamed Canadian indie rock iTunes goddess -- but the Shaky Hands never seem able to find themselves, or their ...
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