1988, and it's basically a drum machine, a slow bass pulse and that gospel organ carrying the whole thing. Michael leaves most of the track empty on purpose and the restraint is the point. Coming at it from the electronic-body end of things, it's the programming that holds me: the beat barely moves, no fills, just that mechanical pulse sitting under a voice doing all the lifting. He doesn't soften anything to make it play wider, and i respect that. Sags a little in the last stretch, but the bones are honest.
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the machine barely doing anything is the whole reason it holds up, that snare has so much space around it. anyone covering this fills the gaps in and kills it. anyway
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