the part to him yet again. "It has to twitch upwards a little just there! See...? And not too much." Napier-Bell consulted with Wexler over Michael's dispute with the sax sound. "Is there really something George wants that's different from what the sax player is playing?" Napier-Bell asked. "Definitely!" replied Wexler. "I've seen things like this before. There's some tiny nuance that the sax player is somehow not getting right. Although you and I can't hear what it is, it may be the very thing that will make the record a hit. The success of pop records is so ephemeral, so unbelievably unpredictable, we just can't take the risk of being impatient. But this sax player's not going to get it, is he!" The version Wexler produced was released later in the year, as a (4:41) B-side "Special Version" on 12" in the UK and Japan. The record label Innervision was going to put out the Wexler version of "Careless Whisper" after the Club Fantastic Megamix as early as 1983. Song publisher Dick Leahy said that while he could not stop the release of the Club Fantastic Megamix, he could stop the release of this single on the basis that as a publisher they "have the right to grant the first license of the recording of a tune of which he controls the copyright". He was unable to do anything about the Club Fantastic Megamix because it was already released material. He said: "We knew how big that song could be, so it was necessary to upset a few people to stop it." Towards the end of 1983, Michael was also committed to touring with Wham! to promote Fantastic, so according to him it would not have made sense to release "Careless Whisper" as a solo single in the middle of the tour, despite it being part of the setlist. Michael later went back to London's Sarm West's Studio 2 to re-record the track, the backbone of which was done with a live rhythm section in one take, with "loads of stuff bunged on [overdubbed] later" as Michael added, although the feel of it was basically live. Michael elaborated on the song's production and how it turned out in the end: After hiring and firing several other different sax players, for which the BBC characterized as struggling to play all the notes with "the right amount of fluidity and still