to be more dance oriented, will follow next June) is designed to turn this impression around. For the most part the album succeeds in its effort to establish Michael's seriousness and deliver him from caricature.

"Everybody's got to sell/But when you shake your ass/They notice fast," Michael sings on "Freedom 90." This is a far cry from the George Michael who, with sidekick Andrew Ridgeley, unabashedly titled a Wham! album Make It Big and scored a Number One U.S. single in 1985 with "Careless Whisper," a danceable ballad dying to sound soulful. By the time he released Faith, in 1987, Michael seemed to want more from his music than just sales. So, for his crisp productions of "Faith" and "Father Figure," for example, he concocted silken rockabilly riffs and very simple, effective Middle Eastern bridges in such a way that both white and black kids couldn't miss – or resist – them.

He was a pop-craft natural, even though memories of "Wake Me Up Before You Go-Go" – Wham!'s first U.S. smash hit and a savage test of one's sense of humor - clung to Faith, as well as to the hit "I Want Your Sex," his provocateur move. Even if his strong, smooth voice sometimes seemed as concerned with set decoration as with the dramatic situations in his songs, Michael proved on his first solo album that he could write and produce music – specifically, a deceptively simple kind of professional, hummable pop.

Michael, like Lionel Richie, has a definitive Eighties pop sensibility – Sixties-style virtuosity or Seventies studio obsessiveness isn't for him – and on Listen Without Prejudice he broadens and refines it. With his opening songs – "Praying for Time," the lead single and a distraught look at the world's astounding woundedness, and "Freedom 90," which buoys dance beats with revitalizing gospel choruses – Michael challenges and shares confessional secrets with his audience.

In "Praying for Time," testifying against slow descending chords, Michael offers the healing passage of time as the only balm for physical and emotional hunger, poverty, hypocrisy and hatred. In "Freedom 90," as the accumulation of syncopated accents signals compulsion as much as it spices the groove, Michael wonders whether, in the past, "it was enough for me/To win the race?/A prettier face/Brand new clothes and a big fat place/On your rock and roll TV