I keep getting Emails from people asking me to re-upload the links and music etc. I think people are just getting to those particular pages so are not reading the reason for the dead links.
So I am putting this in place so hopefully people will read it and stop Emailing me about it.
The reason the links are dead is that my account with Media Fire has been closed with all 11,000 files lost. That is why you can not download the things and No I can not re-upload them.
Eventually I will start doing that again when I have found something suitable. In the meantime this blog will be information only blog.
Thank you all
Michaael
New Blog Forum
The 80s Music and Fame Media Forum is now open for users to chat, make new friends, leave messages for each other and leave comments on the blog sites. To access it click the link below or use the link in the side bar.
'The Sound Of The Crowd' is a song by the British synthpop group The Human League. It became the band's commercial breakthrough, reaching number 12 on the UK singles chart in May 1981.
Written jointly by lead singer Philip Oakey and keyboard player Ian Burden, the song was recorded at Genetic Sound Studios, Reading, in March 1981. Originally released as a stand-alone single in April 1981, it was subsequently re-recorded and incorporated into the studio album Dare, later in the year.
'The Sound Of The Crowd' was the first Human League song to feature female vocals from new band members Susan Ann Sulley and Joanne Catherall, interacting with Philip Oakey's baritone lead.
The single was the first to feature a distinctive, though short-lived, marketing tactic, where Human League singles were labelled 'Red' or 'Blue' to help buyers differentiate between the band's musical styles. 'Red' was for dance tracks, 'Blue' for pop songs. 'The Sound Of The Crowd' was designated 'Red'. When asked to explain the system, vocalist Sulley explained that "Red is for posers, for Spandy (Spandau Ballet) types." Oakey added: "Blue is for ABBA fans."
Click the link below to download the following: TOTP Performance Single Version 12 inch Verson Instrumental Version
'Open Your Heart' is a song by the British synthpop group The Human League. It was released as a single in the UK in October 1981 and peaked at number six in the UK Singles Chart. It was written jointly by lead singer Philip Oakey and keyboard player Jo Callis. The song features a lead vocal by Oakey and female backing vocals by Susanne Sulley (now Susan Ann Sulley) and Joanne Catherall, analogue synthesizers by Jo Callis, Philip Adrian Wright and Ian Burden. Drum machines, sequencing and programming were provided by producer Martin Rushent.
'Open Your Heart' was the last of three songs from the Dare album to be released in advance of the album itself. Unlike previous singles 'Sound of the Crowd' and 'Love Action (I Believe in Love)', 'Open Your Heart' was written specifically for the album Dare. It was chosen by Virgin executive Simon Draper to be the Dare's taster single, deliberately issued just in advance of the album. It quickly reached number six in the UK singes chart and raised the band's profile to the highest it had been to that point. Issued only three weeks before Dare, the single acted as a powerful promotional vehicle for the album.
The cover artwork and promotional video was deliberately coordinated with its parent album.
At the time, as a short-lived marketing tactic, The Human League were labeling their singles "Red" or "Blue" to help buyers differentiate between the band's musical styles. 'Open Your Heart' was the first to be designated "Blue".
Smash Hits magazine wrote at the time: "You have to give the band their due. From being considered no-hopers, they're now Virgin's biggest (financial) hope. This is a number one. It's got everything - strong chorus, instant appeal and dreamboat topping."
The music video which accompanies the original version of 'Open Your Heart' was the first video that the band recorded. Previous Human League (Mk1) releases had been promoted with footage of the band onstage, interspersed with Philip Adrian Wright's slides and visuals. The preceding single 'Love Action (I Believe in Love)' had originally been released without a video, but one was later recorded for its U.S. release in 1982.
Virgin Records and Oakey were keen to use the video to promote the future album as much as the current single, so video director Brian Grant borrowed heavily from the album’s imagery. The opening scene is a video montage of the portraits of the six band members exactly as they appear on the cover of the album. The band are all dressed and made up in the same style as Dare's photography. The video was shot in a studio on video tape and was mixed and enhanced using then cutting edge analogue video effects. Imagery of Oakey dominated most scenes, cut in with Sulley and Catherall dancing in slow motion and static shots of Wright, Callis, Burden. The final shot of the video lingers on an actual cover of (then) unreleased Dare.
Click the link below to download the following: Video Single ersion Remixed Version
'Boys and Girls' is a song by the British Synthpop group The Human League. It was released as a single in the UK in February 1981 and peaked at number 48 in the UK Singles Charts. It was written by lead singer Philip Oakey and the band's visual director / keyboard player Philip Adrian Wright.
It was the first single released by the new Human League line up of Oakey, Wright together with new teenage dancers Susanne Sulley (now called Susan Ann Sulley) and Joanne Catherall. The new line up formed after the acrimonious departure of Martyn Ware and Ian Craig Marsh from the band four months earlier.
By late 1980 Oakey was deeply in debt to Virgin Records so both he and the label were keen that he release a single to start clearing that debt as early in 1981 as possible.
'Boys and Girls' was a song that had been used on the November 1980 European tour. On return from the tour it was recorded quickly and rushed out by Virgin Records in late February 1981.
At the time it was remarked on that Sulley and Catherall were missing from the song, after the mythology that had been started in the media about their recent recruitment to the band from the Crazy Daisy Nightclub four months earlier. This was because they had both returned to school full time and 'Boys and Girls' was originally written without any female vocals. Although both Sulley and Catherall do feature on the record sleeve artwork and publicity material.
NME commented: "Boys & Girls is a cold, scary, uncomfortable effort with church bells, an operatic chorus, and, er, minimal contribution by 'Those Girls' (ie none)…"
With the benefit of hindsight critics now state that 'Boys and Girls' belongs to the earlier pre split Mk 1 Human League experimental electronic sound of Travelogue. It would be the last time that style was produced by the band as they evolved towards the Dare album sound within months.
Click the link below to download the following: Single Version Tom Baker - B-Side
Dare (or Dare! in the U.S.) is the third studio album from British synthpop band The Human League.
The album was recorded between March and September 1981 and first released in the UK on 20 October 1981, then subsequently in the U.S. in mid-1982.
The style of the album is the result of the rapid evolution of The Human League from experimental avant-garde electronic group into a commercial pop group under Philip Oakey's creative direction following the departure of fellow founding members Martyn Ware and Ian Craig Marsh.
Dare became critically acclaimed and has proved to be a genre defining album, whose influence can be felt in many areas of pop music today. The album and its four singles were hugely successful commercially, with the album reaching number 1 in the UK and being certified Triple Platinum by the BPI.
Tracklisting: 01 - The Things That Dreams Are Made Of 02 - Open Your Heart 03 - The Sound of the Crowd 04 - Darkness 05 - Do or Die 06 - Get Carter 07 - I Am the Law 08 - Seconds 09 - Love Action (I Believe in Love) 10 - Don't You Want Me
'Only After Dark' is a song by the British Synthpop group The Human League. Taken from the band's second album, Travelogue, in 1980, it is a cover version of the Mick Ronson song originally found on his 1974 debut album Slaughter On 10th Avenue. The Human League's version was produced by Colin Thurston.
The song was pressed as a single by Virgin Records following the release of the Travelogue album, but it was then decided to re-release the song 'Empire State Human' (from the band's first album) instead and include 'Only After Dark' as a free single to be given away with the first 15,000 copies of 'Empire State Human'. This was perceived by the band as a total lack of faith in their newer material, causing great resentment and anger, and would be one of the issues that contributed to the split of this line-up of The Human League some months later. As a free single it wasn't included in the UK chart mechanism, though the re-release of 'Empire State Human' to which it belonged peaked at number 62
'Travelogue' is the second full-length studio album released by the British synthpop band The Human League.
Released in May 1980, the band had yet to achieve any degree of commercial success. For Travelogue, the band worked with a new producer, Richard Mainwaring, who went on to produce OMD's platinum selling Architecture & Morality the following year.
Travelogue entered the UK album chart at number 16, which was also its chart peak, and remained on the chart for 9 weeks in 1980. Although a vast improvement on their debut album, Reproduction, which had failed to chart at all the year before, the lack of high success precipitated the departure of founding band members Martyn Ware and Ian Craig Marsh, who went on to form Heaven 17.
Their departure led to remaining members Phil Oakey and Adrian Wright moving The Human League in a new musical direction with a new line-up. As the new band then began to make a commercial impact the following year, Travelogue re-entered the chart in August 1981 for a further 33 weeks, eventually being certified Gold by the BPI in May 1982.
Two songs were released as singles from the album; a new version of the band's first single, 'Being Boiled' (as part of the Holiday '80 EP released a month before the album), and a cover of Mick Ronson's 'Only After Dark' (which was ultimately given away as a free single with a re-issue of the band's 1979 single 'Empire State Human' in June 1980). Neither of these were successful, though 'Being Boiled' would be re-issued once again in early 1982 when it finally became a top 10 hit. The album also featured a cover of the famed advertising jingle for Gordon's Gin, written by Jeff Wayne.
Virgin Records remastered and re-issued Travelogue on CD in 1988, with an expanded track listing which included the Holiday '80 EP, the disco single 'I Don't Depend on You' (originally released under the moniker 'The Men'), and the single 'Boys and Girls', which had been produced by Oakey and Wright after the line-up split.
Tracklisting:
01 - The Black Hit of Space 02 - Only After Dark 03 - Life Kills 04 - Dreams of Leaving 05 - Toyota City 06 - Crow and a Baby 07 - The Touchables 08 - Gordon's Gin 09 - Being Boiled 10 - WXJL Tonight
'Holiday '80' is an EP released by the original line-up of the British synthpop band The Human League. The EP was issued by Virgin Records in the UK in April 1980, a month before the release of the band's second album Travelogue. The EP peaked at number 56 in the UK Singles Chart in May 1980, but was later reissued and returned to the chart, peaking at number 46 in February 1982.
The recordings were produced with John Leckie, who had also been working with new wave bands such as Simple Minds and XTC. The principal song on the EP was 'Marianne', however Virgin felt the band's preferred version of the track was not strong enough and refused to release it. 'Dancevision' was an instrumental. The EP also featured a new, more elaborate recording of the band's debut single 'Being Boiled', which would subsequently be included on the Travelogue album. The last track was a medly consisting of a cover of Gary Glitter's 'Rock' N Roll' seguéing into the Iggy Pop track 'Nightclubbing'.
Click the link below to download the following:
Marianne Dancevision Being Boiled Rock’N’Roll / Nightclubbing
'The Dignity Of Labour' is a 12 inch vinyl record released in 1979. The tracks were written and performed by the The Human League with the line-up Ware, Marsh and Oakey.
The 12 inch was released as the follow-up to their earlier single 'Being Boiled', b/w 'Circus of Death', on Fast Product Records, the label that the band released their early singles.
All four parts are instrumental pieces of electronic music, 'The Dignity of Labour, Pts. 1-4'. These are loosely tied together with a story depicting the construction of the Vostok 1 spacecraft, as well as the launch of the rocket and the pioneering Soviet cosmonaut Yuri Gagarin into space. The cover art depicts Gagarin, having just landed on earth, about to receive a medal of honor.
At the time of release, the record contained a free single on Flexidisc which featured a recording of the band members and Bob Last discussing what the Flexidisc should contain, in homage to the film, Dark Star.
Tracklisting:
A1 The Dignity Of Labour Pt. 1 - The first part has the miners underground in Russia, digging up the coal to make steel
A2 The Dignity Of Labour Pt. 2 - The second part shows gantries being made from the steel, for Yuri Gagarin's spaceship
B1 The Dignity Of Labour Pt. 3 - The third part is an instrumental tribute to Yuri Gagarin
B2 The Dignity Of Labour Pt. 4 3:49
C Flexi Disc
Click the link below to download the tracks listed above:
'Don't You Want Me' is a single by British synthpop group The Human League, released from their third album Dare on 27th November, 1981. It is the band's best known and most commercially successful recording to date and has sold over 1,400,000 copies, making it the 25th most successful single of all time in the UK.
The lyrics were originally inspired after lead singer Philip Oakey read a story in a "trashy tabloid". Originally conceived as a male solo, Oakey was inspired by the film A Star Is Born and decided to turn the song into a conflicting duet with one of the band’s two teenage female vocalists. Susan Ann Sulley was asked to take on the role. Up until then, she and the other female vocalist Joanne Catherall had only been assigned backing vocals; Sulley says she was chosen only through luck of the draw. There are two more realistic explanations: that Sulley was the better singer and/or that Catherall, more introverted, shied away from the role.
Musicians Jo Callis and Philip Adrian Wright created a synthesizer score to accompany the lyrics which was much harsher than the version that was actually released. Initial versions of the song were recorded, but Virgin Records-appointed producer Martin Rushent was unhappy with them. He and Callis remixed the track, giving it a softer, and in Oakey's opinion, "poppy" sound. Oakey hated the new version and thought it the weakest track on Dare, resulting in one of his infamous rows with Rushent. Oakey disliked it so much that it was relegated to the last track on the album.
'Don't You Want Me' was released in the UK on 27th November 1981. To the amazement of the band (and especially Oakey), it shot to number one on the UK Singles chart. This success was repeated six months later in the U.S., with 'Don't You Want Me' hitting number 1 on the Billboard Hot 100 for three weeks. Billboard magazine ranked it as the sixth-biggest hit of 1982.
Today, the song is widely considered a classic of its era. Oakey still describes it as overrated but acknowledges his initial dismissal was misguided and claims pride in the track. Susan Sulley is often irritated that she constantly has to refute the mistaken assumption that the song is a reference to her and Catherall.
In 1981 record company Virgin were becoming aware that promotional music video was evolving into an important marketing tool, with MTV being launched that year. Because it was agreed that the video for Open Your Heart had looked "cheap and nasty", Virgin commissioned a much more elaborate and expensive promotional video for "Don't You Want Me".
The video for the song was filmed in Slough in November 1981 and has the theme of the filming and editing of a murder-mystery film, featuring the band members as characters and production staff. Due to it being a "making of" video, both crew and camera apparatus appear throughout. It was conceived and directed by filmmaker Steve Barron, and has at its core the interaction between a successful actress played by Susan Ann Sulley walking out on 'film director' Philip Oakey on a film set. It is loosely based on the film A Star Is Born.
Shot on a cold, wet, winter night, it was shot on 35mm film instead of the cheaper video tape prevalent at the time. Susan Sulley states now that Steve Baron was heavily influenced by the cinematography of the video for the Ultravox single 'Vienna'. Steve Baron was also influenced by François Truffaut and his film Day for Night and because of that the clapper board seen in the video bears the inscription "Le League Humaine" as a tribute to Truffaut.
The video is credited for making Oakey, Sulley and Catherall visual icons of the early 1980s; but became controversial later for a scene where Oakey shoots Sulley with a pistol from a car window (a Saab 99 turbo). The scene is often edited out of the DVD version and on music television. The other car that was used in the video is a gold W-Reg Rover SD1.
The video was released in December 1981, just as the music video culture was becoming a standard in music, and it was a major contribution to the song's commercial success.
Click the link below to download the following: Video Uncut Video Version Single Version 12 inch Extended Mix Instrumental Version Special Extended Dance Mix Ultimix Roboto Nato Mix Derrick Carter Mix Eric Prydz Remix Majik Johnson Original Booty Mix Red Jerry 7 inch Remix Snap 7 inch Remix Seconds - B-Side
The Human League have always been a favourite of mine. I particulary loved their earlier stuff.
Here is a BBC look at the band. I can't remember when the programe was on but it was a look at the bands and music of the year 1980. It was great to see the early stuff again and I hope you like it to.
'Together in Electric Dreams' is a song by Philip Oakey and producer Giorgio Moroder. It was written by Oakey and Moroder and recorded for the original soundtrack of the 1984 film Electric Dreams.
When Oakey recorded the song it was over very quickly, after the first full recording Moroder told Oakey that the first take was "good enough, as first time is always best". Oakey who thought he was just rehearsing insisted on doing another take. Moroder let him but to this day Oakey is convinced that Moroder still used the first take on the final production. Originally released to advertise the film, 'Together in Electric Dreams' quickly overshadowed the original film and became a hit single in its own right.
Oakey states that it is ironic that a track that took literally ten minutes to record would become a worldwide hit, while some of his Human League material that took over a year to record didn't
The promotional video was originally designed to promote the film Electric Dreams not the song, and this was how most U.S. viewers would see it. In the UK where the original film was a flop the promotional video was perceived to be a music video first, and often erroneously a Human League video.
Like many film soundtrack promos, the video splices key scenes from the film with footage of Philip Oakey. In addition, other promotional scenes were created especially for the video: an Electric Dreams signboard is seen behind Oakey twice, the actual movie poster is seen behind him on the freeway and the computer from the film is seen relaxing on the beach. Oakey is seen being driven around purportedly San Francisco (but was actually Los Angeles) singing the lyrics. The video would famously finish with a sock puppet parody of the MGM Lion on a TV screen, on a beach.
Giorgio Moroder himself makes a cameo appearance in the video as the boss of the radio station taken over by the computer.
Click the link below to download the following Video Single Version Prime Cuts Remix Extended Version Instrumental Version
'The Things That Dreams Are Made Of' is a song by the group The Human League. It was originally recorded for the Dare album of 1981. It was remixed, remastered and released as a dance EP single in 2008; partly to coincide with the 30th anniversary of the Human League, 26th anniversary of Dare and the band's Dare '07 tour. It reached number two in the official UK Dance Chart in February 2008.
The song started as an album track on the Human League’s Dare album, recorded at Genetic Studios in the summer of 1981 and was produced by Martin Rushent. Often informally abbreviated TTDAMO, the song is a tribute to the simple pleasures in life which are then juxtaposed against a greater ambition.
Since the recording of Dare, the Human League have frequently played the song live, principally because of its stadium friendly bass line. It was the opening track of performances on the Dare '07 tour. The song live today is now a much different and more dynamic version than the original.
Although an officially released Human League single, the band themselves did not initiate its release and have had nothing to do with the record's promotion. The track became popular with DJs and in clubs, gaining its own momentum through radio play on UK national BBC Radio One. After release it reached number two on the UK Dance Chart and number 17 on the UK Indie Chart in February 2008. It was the first return to the charts for the Human League in six years.
Click the link below to download the following: MTV Dance Video Version - Video MTV Dance Video Version Justus Knucle Dub Mix Kissy Sell Out Mix Richard Stone club Mix Llya Santana Dub Mix House Mix Richard Stone Dub Mix Richard Stone Dub Mix Richard Stone Radio Edit Original Dub Edit
'Love Action (I Believe in Love)' was released as a single, in the UK, by the group The Human League in July 1981. It peaked at number three in the UK Singles Chart, the band's first Top 10 success.
The song was written jointly by lead singer Philip Oakey and keyboard player Ian Burden and features lead vocal by Oakey and female backing vocals by Susanne Sulley (now Susan Ann Sulley) and Joanne Catherall.
'Love Action (I Believe in Love)' was the second of three songs from the Dare album to be released in advance of the album itself in 1981. It was released as a double A-side single with the non-album track 'Hard Times.
The song is a semi-autobiographical account of Oakey’s relationships. Oakey often refers to himself and at one point uses the lyric "this is Phil talking." The line was inspired by Iggy pop's line "Jesus, this is Iggy". The Human League had previously supported Iggy Pop live. Oakey borrows from another of his influences and the title 'Love action (I Believe in Love)' is named after the Lou eed song 'I Believe in Love'. The song contains another cryptic reference to Lou Reed in the lyric, "I believe what the old man said". Oakey, speaking in 1982 said, "no one ever asks me who the old man is... it's Lou (Reed)."
The single was designated 'Red' on the Human League’s short lived, self imposed labeling system of 'Blue' for pop songs and 'Red' for dance tracks.
The single made number 3 in the UK charts and placed The Human League in the forefront of media attention. It also renewed Virgin Records' faith in the band and guaranteed the release of the album that was to become Dare, just four months later.
Originally the song was released without a promotional video. The reason was that in 1981 promotional videos were still rare, very expensive and only very high-profile bands received them. At this point the Human League were not sufficiently marketable to warrant the expense of a video.
In 1982, for the U.S. release of 'Love Action', a video was shot retrospectively. The storyline is loosely based on the 1968 film The Graduate. The opening scene is an exact copy of the church scene from the film with Oakey taking Dustin Hoffman's role. The majority of the video was filmed on a derelict South London council estate. Most of the female camera time goes to Joanne Catherall, in a wedding dress for the first half. Susan Ann Sulley throws a temper tantrum in her main scene throwing objects around a flat. She accidentally manages to score a direct hit on the camera and a production crew member with a flying lamp. She momentarily breaks character and cringes as she realizes she's just hit one of the crew.
Click the link below to download the following: Video Extended Club Mix Single Version Full 12 inch Mix 12 inch Mix Extended League Unlimited Orchestra Instrumental abstraction Mix 12 inch Mix Hard Times - B-Side
'The Pop Years' was a short lived music review show that was made and broadcast on Sky 1. It had famous peope reviewing the music of a particular year or specific bands that were influencial in the 80's. In this edition the focus is on 'The Human League'. Enjoy
'I Need Your Loving' is the second single to be taken from The Human League's 1986 album, 'Crash'. This song was written by the song writing team of Harris / Lewis / Eiland / Rickey / Williams / Davis and like many others from the album, was aimed towards the US market. The single was recorded at the Flyte Time studios Minneapolis under the production of Jimmy Jam and Terry Lewis and was released by Jam and Lewis as the second single without consulting the band. The choice was a serious mistake and the single flopped badly on both sides of the Atlantic. In the UK it was promoted with a cheaply and badly filmed music video and it became the band's worst showing in the UK charts for 6 years, only reaching number 75. The song was savaged by critics at the time and has now been largely disowned by the band since.
The Music Video was recorded on a very limited budget compared to previous Human League videos. It was directed by Andy Morahan who had done the previous video for 'Human'. In many ways the video is a rehash of the video for 'The Lebanon', being filmed at a fake concert/studio appearance to an audience of extras. The camera swings wildly around the band as they play the song, and continually focuses in and out in time with the music, which caused some viewers to complain it made them feel motion sick.
Click the link below to download the following: Video
'Love Is All That Matters' is the third single taken from The Human League's 1986 album, 'Crash'. It was recorded in early 1986 at the Flyte Time studios in Minneapolis while the Human League were in residence recording Crash with producers Jimmy Jam and Terry Lewis. This single was like many others from the album, a love song aimed towards the US market. However, this single failed and only charted in the UK where it reached number 41 on ther Singles Chart. The B side is an instrumental version.
In the UK, after the dismal failure of the second single from Crash 'I Need Your Loving' had put a stop to further releases from Crash. 'Love Is All That Matters' was released principally to promote the imminent release of the (then) first Human League Greatest Hits album in 1988.
The Music Video was a result of Virgin Records beginning to lose faith in the Human League and being reluctant to invest in any further elaborate music videos; so the video was kept deliberately low budget. The video is basically edited clips of all the band’s previous music videos to that point, spliced together with animated stills from the key points from those videos. This was also designed to provide a storyboard which promoted the band’s back catalogue to generate interest in the Greatest Hits compilation.
Click the link below to download the following: Video Single Version I Love You Too Much - B-Side
'Crash' is the fifth full-length studio album released by the band The Human League and was released in 1986. Unlike the band’s previous and subsequent albums it is an R&B influenced Album. After spending two years recording their fourth album 'Hysteria', which only met with moderate commercial success the band struggled to record further material and by 1985 they had lost both 'Dare' producer Martin Rushent and musician/songwriter Jo Callis. Virgin Records, worried by the lack of progress in their previously most profitable signing, called the band principles to a meeting where a solution to the impasse in the band was sought. As the problem was perceived to be the lack of production, it was suggested that the band take up an offer to work with Minneapolis based production duo Jimmy Jam and Terry Lewis. Jam and Lewis had recently become in-demand producers following their huge global success with Janet Jackson's 'Control' album. Jam and Lewis had developed an interest in the Human League after the success of their U.S releases; they were also seeking an opportunity to cross over into the mainstream pop and saw The Human League as the perfect opportunity.
In February 1986 The Human League were flown out to Minneapolis to work at Flyte Time studios with Jam and Lewis. After initial enthusiasm on both sides the working relationship began to break down. Jam and Lewis had total control over the final album and insisted that their own tracks take precedence over the Human League's. Jam and Lewis were also intolerant of the bands' laid back working methods and their musician's lack of technical ability. Keyboard players Philip Adrian Wright and Ian Burden had been sidelined by Jam and Lewis. Wright (an original member) would not recover from the humiliation, and feeling redundant he immediately left the band on return to the UK, a year later Burden would follow him.
After 4 months in Minneapolis, Oakey pulled the band out of further recording and they returned to Sheffield leaving Jam and Lewis to complete the album using session musicians. Although at the time the band had all but washed their hands of the album post production, when released it quickly became an unexpected success. One of the Jam and Lewis compositions, 'Human', was released as the album's first single and became the Human League's second number-one in the U.S. and number 8 in the UK. The Album itself was more popular in the U.S than the UK. Follow-up singles 'I Need Your Loving' and the 1988 UK-only release 'Love Is All That Matters' were not as successful. However, the album had succeeded in returning The Human League back to mainstream prominence both sides of the Atlantic five years after their 'Dare' album. Oakey, with hindsight states that it was this album that saved the band’s career and one of the main reasons they are still recording today.
Track listing 01 - Money 02 - Swang 03 - Human 04 - Jam 05 - Are You Ever Coming Back?
06 - I Need Your Loving 07 - Party 08 - Love on the Run 09 - The Real Thing 10 - "Love Is All That Matters
'Human' is a song recorded by the British synthpop band The Human League. It was released as the first single from their 1986 album Crash. The track was written and produced by US producers Jimmy Jam and Terry Lewis. The single is a mid-tempo ballad which lyrically is an exchange between a man and a woman in a relationship who have reunited after a separation. In the first two verses Phil Oakey is apologizing to his partner for being unfaithful during her absence, and in the song's breakdown Joanne Catherall's spoken-word confession reveals that she too was unfaithful. The song's title is derived from the chorus, in which both parties in the relationship explain that they are 'only human' and 'born to make mistakes'.
'Human' eventually made it to number 8 in the UK singles chart while it also became the second million-selling number-one single for The Human League on the U.S. Billboard Hot 100 (after 'Don't You Want Me') and their second chart-topper on the U.S. Hot Dance Club Play chart (after '(Keep Feeling) Fascination'). Jam and Lewis' R&B-based production was also popular on American urban radio, bringing the Human League into the top ten of the U.S. R&B chart for the first time.
It was a welcome success for the Human League, who were starting to suffer from creative stagnation and a slight decline in fortunes after a hugely successful start to the 1980s. The Music Video for 'Human' was filmed in London during June 1986. It is heavily stylized to give a 'water reflective' effect and blue hue throughout. In the first time that the band had been presented as a 'Phil and the girls' trio, images of Oakey, Catherall and Sulley are constantly layered and blended. The video was conceived and directed by Andy Morahan.
Click the link below to download the following:
Video Extended Version Accapella VersionInstrumental Version Liebrand Mix
'(Keep Feeling) Fascination' is a dance song performed by British synthpop group The Human League it was composed by Jo Callis and Philip Oakey. 'Fascination' was released in the UK on 17th April 1983, as a non album single where it went to number 2 in the UK Singles chart.
The song involves lead singer Phil Oakey bouncing alternate verses between female co-vocalists susan Ann Sulley and Joanne Catherall,while also featuring a rare vocal role by Jo Callis. The single was later released as a single in the U.S where it was also incorporated into the band's stop gap EP Fascination!. 'Fascination' reached number 8 on the U.S. Billboard Hot 100, and was their first number 1 single on the U.S. Hot Dance Music/Club Play chart. The EP Fascination! (which is often confused with the single) contained two versions of "(Keep Feeling) Fascination": the extended mix and an improvisation, both different from the single version. The single was designated 'Red' on the Human League’s short lived, self imposed labeling system of 'Blue' for pop songs and 'Red' for dance tracks.
Click on the link below to download the follwoing:
'The Sound Of The Crowd' is a song by the British synthpop group The Human League. It became the band's commercial breakthrough, reaching number 12 on the UK singles chart in May 1981.
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