“All I Ever Wanted” is a synth-pop track by the Human League, released as the lead single from their 2001 album “Secrets”. Featuring the classic band structure of Philip Oakey’s baritone lead vocals with backing harmonies from Joanne Catherall and Susan Ann Sulley, the song adheres to the signature Human League sound. Notably, Sulley was credited under her married name, Susan Gayle, leading to some confusion among fans who speculated she had been replaced. Released in July 2001, the single marked the band’s latest major-label release but peaked at a modest #47 on the UK Singles Chart.
The Human League, after signing with Papillon Records (a subsidiary of the Chrysalis Group), recorded “Secrets”, their first studio album since 1995's “Octopus”. The lead single, “All I Ever Wanted,” was backed by a professionally produced music video, raising expectations for a successful return, much like their “Octopus” era, but Papillon’s indecision over the release date led to delays and uncertainty, even frustrating frontman Philip Oakey, who was left unsure of the single’s actual release timing.
The single was eventually released on July 23, 2001, but logistical issues meant that many UK stores didn’t receive copies on launch day, causing fans to struggle to find it. Initial midweek charts showed the single positioned within the top 30, but as stores sold out of limited stock, it dropped in ranking. This distribution mishap resulted in the single peaking at only number 47 in the UK charts, where it lingered briefly before falling off. Despite fans' criticisms, Philip Oakey defended Papillon Records, acknowledging the label’s substantial investment in “Secrets”. However, the disappointing release left the band privately devastated. In 2003, after the collapse of Papillon Records, a follow-up single from Secrets, "Love Me Madly?," was released privately by Michiel Van Bokhorst's Nukove Records, a company set up especially to release Human League records.
The music video was filmed on a minimal set designed to evoke a science fiction theme. Like previous Human League videos, it had no narrative, featuring only Philip Oakey, Joanne Catherall, and Susan Ann Sulley dressed in black against a stark, futuristic white background. To address concerns over the band's age, the filmmakers used bright lighting and high exposure to give a youthful appearance. This technique suited Oakey's and Catherall's darker features, but it resulted in Sulley, with her blonde hair and fair complexion, appearing overexposed throughout the video.
HUMAN LEAGUE - LOUISE
Released: November 5, 1984
Charts: UK: #13
"Louise" is a 1984 single by English synth-pop band The Human League, reaching number 13 on the UK Singles Chart. Written by Philip Oakey, Jo Callis, and Philip Adrian Wright, the song features Oakey on lead vocals, with backing vocals by Susan Ann Sulley and Joanne Catherall. The track uses analogue synthesizers played by Oakey, Callis, Wright, and Ian Burden, and was produced by Chris Thomas and Hugh Padgham. "Louise" was the third single from the album “Hysteria”.
The Human League's 1984 album “Hysteria” took three years to complete after the success of “Dare”, a long delay in the rapid-paced 1980s pop scene. While songs like “The Lebanon” and “Life on Your Own” had mixed receptions—“The Lebanon” with its blunt social commentary and “Life on Your Own” being a wintery track launched in summer—the album’s true highlight was “Louise”.
"Louise" tells a complex story of a man encountering his former lover on a bus, creating a moment that appears hopeful but is actually layered with darker themes. Although it seems to suggest a potential reconciliation, songwriter Philip Oakey reveals that it's a follow-up to “Don't You Want Me”, exploring the man's unresolved feelings and self-deception. The man fantasizes that his ex is still drawn to him, reflecting his inability to accept reality. Oakey describes the song as highlighting men's illusions of control over women, even when they’re self-deluded. Musically, "Louise" mirrors “Don't You Want Me” with its near-spoken vocals, electric piano chords, and a distinct synthesizer-driven brass solo, creating a catchy yet somber atmosphere.
The music video directed by Steve Barron, delves into the song's nuanced themes, mirroring the story and characters from “Don't You Want Me”. Filmed in black and white to convey depth, the video was seen as drab by music TV stations, but it revisits characters and props from the 1981 video, including Susan Ann Sulley’s trench coat and similar hairstyle. Oakey plays a writer navigating a canal boat, narrating scenes that unfold along the road beside the canal, where flashbacks and new interactions with the original characters take place. Notable elements include a London Routemaster bus in a stunt scene and a symbolic moment between Oakey and Catherall, referencing their real-life close relationship. Despite Barron’s detailed vision, the video’s complex, "artsy" approach led to mixed public reception, with its storyline often misunderstood. This video was Barron’s final project with the band, marking the end of a long collaboration.
5.11.24
HUMAN LEAGUE – HUMAN
Llançament: 11 d’agost de 1986
Llistes: EUA: #1 (1 setmana) Regne Unit: #8
"Human" és una cançó de 1986 de la banda de synthpop The Human League. Va ser el primer single del seu cinquè àlbum d’estudi, “Crash”, i va ser escrita i produïda pel duo de productors nord-americans Jimmy Jam i Terry Lewis. La cançó va ser un gran èxit a Amèrica del Nord, assolint el primer lloc a les llistes de senzills dels Estats Units i el Canadà venent un milió de copies als EUA. Al Regne Unit, el single va tornar la banda al top ten per primera vegada des de 1983, assolint el vuitè lloc.
El procés de gravació del cinquè àlbum de The Human League s'havia estancat. Les disputes internes, que van provocar la sortida de Jo Callis de la banda, i la insatisfacció amb els resultats finals havien portat el grup al límit. En aquest punt, el seu segell discogràfic, Virgin, va suggerir que acceptessin una oferta dels productors nord-americans de R&B Jimmy Jam i Terry Lewis per treballar en material que el duo tenia. Jam i Lewis, que en aquell moment triomfaven gràcies a l’èxit de l’àlbum “Control” de Janet Jackson, eren fans de Human League i van contactar amb Virgin per oferir els seus serveis. La col·laboració va tornar a encarrilar la banda, produint tot l'àlbum i escrivint tres cançons per a ells, els futurs senzills “I Need Your Loving” i “Love is All That Matters”, a més del single principal, “Human”.
"Human" és una balada emotiva de pop/soul que tracta la infidelitat d’una parella que S’havia separat per raons no especificades. Les dues primeres estrofes mostren Oakey confessant la seva infidelitat i disculpant-se per ella, afirmant que només era “humà”. La tercera estrofa fa un gir, amb la dona (Jo Catherall) acceptant la disculpa i admetent que ella també havia estat infidel mentre ell era fora. La cançó conté diversos moments parlats, incloent tota l'estrofa de Catherall. Aquests elements parlats estaven influenciats per l’èxit de Gary Numan “Are “Friends” Electric?”, enregistrat amb el seu grup The Tubeway Army.
La cançó comptava amb un videoclip brillant, que va tenir molt èxit a MTV, ajudant a impulsar la cançó fins al primer lloc de les llistes de Billboard, mentre també guanyava suport al mercat de R&B gràcies a la participació de Jam & Lewis en la seva producció.
HUMAN LEAGUE – HUMAN
Released: August 11, 1986
Charts: US: #1 (1 week) UK: #8
“Human” is a 1986 song by synthpop band The Human League. It was the lead single from their fifth studio album, “Crash”, and was written and produced by American production duo Jimmy Jam and Terry Lewis. The song was a huge smash hit in North America, topping both American and Canadian singles charts, becoming a million seller in the former. In the UK, the single returned the band to the top ten for the first time since 1983, peaking at #8.
The recording process had stalled on Human League’s fifth album. Infighting, resulting in Jo Callis leaving the band, and unhappiness with the finished results, had bought the band to breaking point, when their record label, Virgin, suggested that they accept an offer from American R&B producers Jimmy Jam and Terry Lewis to work on some material the duo had. Jam and Lewis, flying high due to the success of Janet Jackson’s album “Control” were fans of the band, and had contacted Virgin to offer their services. The collaboration put the band back on track, producing the entire album, and writing three songs for it, the future singles, “I Need Your Loving” and “Love is All That Matters”, and the lead single, “Human”.
“Human” is an emotive pop/soul ballad dealing with the joint infidelity of a couple who had been apart for unspecified reasons. The first two verses concern Oakey confessing his infidelity, and apologising for it, stating that he was “only human”. The third verse flips things, with the woman (Jo Catherall) accepting his apology and admitting she'd also been unfaithful while he was away. The song has several spoken word moments, including the entirety of Catherall's verse. The spoken word elements were influenced by Gary Numan's hit “Are “Friends” Electric?”, recorded under his group name, The Tubeway Army.
The song had a glossy accompanying video, which proved a big hit on MTV, helping propel the song to the top of the Billboard charts, while also gaining support from the R&B market because of Jam & Lewis' involvement with it.
SHANNON - LET THE MUSIC PLAY
Llançament: 19 de setembre de 1983
Posició a les llistes: UK: #14 US: #8
"Let the Music Play", llançada el 19 de setembre de 1983, va ser el primer senzill de la cantant nord-americana Shannon i la cançó principal del seu àlbum de 1984 del mateix nom. Escrita per Chris Barbosa i Ed Chisolm, i produïda per Barbosa i Mark Liggett, la cançó va ser el primer de quatre número u de Shannon a la llista de Dance Club Songs dels Estats Units. Va ser un gran èxit crossover, assolint el número 2 a la llista Hot R&B/Hip-Hop Songs i arribant al número 8 a la Billboard Hot 100 a principis de 1984. Sovint es considera una pista pionera en el gènere dance-pop i continua sent el seu únic èxit al top 40 als Estats Units.
"Let the Music Play" es va convertir en una cançó de ball destacada el 1983, revitalitzant la música per ballar en un moment en què el disco havia perdut popularitat a les ràdios nord-americanes. Coneguda per la seva producció innovadora, la cançó presentava una barreja de ritmes inspirats en el llatí i beats electro, incloent l'ús pioner de la Roland TR-808 i la TB-303, que van crear el característic "so Shannon". Aquest so va definir més tard el gènere freestyle, fusionant patrons rítmics de màquina de percussió amb hooks melòdics.
Després del seu èxit com a hit de club, va guanyar popularitat generalitzada, resultant en més de vuit milions de vendes d'àlbums a tot el món. Brenda Shannon Greene, descoberta per Barbosa i Liggett, va donar vida a la versió inicial de la cançó, “Fire and Ice”, com "Let the Music Play", sent un gran fita en la música de ball. El freestyle va continuar prosperant amb artistes com Lisa Lisa and Cult Jam i Expose.
El videoclip dirigit per Nigel Dick mostra Shannon preparant-se per a una actuació en un vestuari abans de sortir a un escenari buit per cantar i ballar. A mesura que avança la cançó, ballarins masculins i femenins vestits amb camises i corbates de papallona s'uneixen a ella a l'escenari. Cap al final del vídeo, un ballarí agafa Shannon a coll per a un breu duet. El vídeo conclou amb una rutina coreografiada que presenta Shannon i els ballarins.
SHANNON - LET THE MUSIC PLAY
Released: September 19, 1983
Charted: UK: #14 US: #8
"Let the Music Play," released on September 19, 1983, was American singer Shannon's debut single and the lead track from her 1984 album of the same name. Written by Chris Barbosa and Ed Chisolm, and produced by Barbosa and Mark Liggett, the song marked Shannon’s first of four number-one hits on the US Dance Club Songs chart. It was a significant crossover success, reaching No. 2 on the Hot R&B/Hip-Hop Songs chart and peaking at No. 8 on the Billboard Hot 100 in early 1984. Often regarded as a pioneering track in the "dance-pop" genre, it remains Shannon's only top-40 hit in the US.
"Let the Music Play" became a breakthrough dance track in 1983, revitalizing dance music during a period when disco had fallen out of favor on mainstream US radio. Known for its innovative production, the song featured a unique mix of Latin-inspired rhythms and electro beats, including pioneering use of the Roland TR-808 and TB-303, which created the signature "Shannon Sound." This sound later defined the freestyle genre, blending syncopated drum-machine patterns with melodic hooks.
After its success as a club hit, the track gained widespread popularity, leading to over eight million album sales worldwide. Brenda Shannon Greene, discovered by Barbosa and Liggett, brought the song’s early version, “Fire and Ice,” to life as "Let the Music Play," marking a major milestone in dance music. Freestyle continued to thrive with artists like Lisa Lisa and Cult Jam and Expose.
The music video directed by Nigel Dick, showcases Shannon preparing for a performance in a dressing room before stepping onto an empty theater stage to sing and dance. As the song progresses, male and female dancers dressed in dress shirts and bow ties join her on stage. Near the end of the video, one dancer takes Shannon in his arms for a brief duet. The video concludes with a choreographed routine featuring Shannon and the dancers.
4.11.24
HUMAN LEAGUE - LOVE ACTION (I BELIEVE IN LOVE)
Llançament: 31 de juliol de 1981
Llistes d’èxits: Regne Unit: #3
"Love Action (I Believe in Love)" és un single de 1981 escrit pel vocalista principal Philip Oakey i el teclista Ian Burden. Llançada al Regne Unit, la cançó destaca la veu d'Oakey i el treball de sintetitzador de Jo Callis, Philip Adrian Wright i Ian Burden. La producció va utilitzar àmpliament sintetitzadors analògics, caixes de ritmes i seqüenciadors, amb Martin Rushent com a productor i David M. Allen com a enginyer tècnic, responsables de la programació i altres elements tècnics.
Aquest single va ser el segon dels tres que The Human League va llançar el 1981 abans de l’àlbum “Dare” Publicat com a doble cara A juntament amb el tema "Hard Times", que no apareix a l'àlbum, el senzill va rebre una forta promoció a la premsa musical, subratllant la versió limitada en maxi-single per a discoteques. La banda va classificar aquesta cançó com a 'Vermella', indicant que era una peça per ballar dins del seu sistema de categorització 'Vermell' (ball) i 'Blau' (pop).
El single va marcar un punt d'inflexió per a la banda el 1981, arribant al número 3 a les llistes del Regne Unit i donant-los l'èxit que tant havien buscat. Després de la frustració per la manca de reconeixement de les seves cançons anteriors, "Love Action" va demostrar la capacitat del grup per crear música ballable que connectés amb un ampli públic. L’èxit del senzill els va posar en el punt de mira mediàtic i va reforçar el suport de Virgin Records, preparant el camí per al llançament de “Dare” quatre mesos després.
La cançó és en part autobiogràfica, amb el vocalista Phil Oakey reflexionant sobre les seves relacions passades. Amb frases com "I've been a husband and a lover too” (Jo també he estat marit i amant), Oakey explora temes com la infidelitat i l’obertura en les relacions, i descriu la cançó com una visió positiva sobre l’honestedat en la vida sentimental. El títol i la lletra fan referència a Lou Reed, específicament a la seva cançó "I Believe in Love" i una menció a Reed com "the old man." Oakey va confirmar aquesta influència en una entrevista, explicant que Reed, de Velvet Underground, va influir en la seva manera de veure l’amor i les relacions.
Inicialment, “Love Action (I Believe in Love)” es va llançar sense un videoclip promocional, a causa dels alts costos i el perfil modest de la banda en aquell moment. En comptes d’això, es va utilitzar metratge de les seves actuacions a televisió, especialment a Top of the Pops, per a la promoció. Després de l’èxit aclaparador de "Don't You Want Me," es va produir un videoclip per al llançament de la cançó als Estats Units el 1982. El vídeo, inspirat lliurement en la pel·lícula “The Graduate”, comença amb una escena d'església que replica la pel·lícula, amb Phil Oakey en el paper del personatge de Dustin Hoffman. Filmada principalment en un barri deteriorat del sud de Londres, el vídeo presenta Joanne Catherall amb un vestit de núvia i Susan Ann Sulley en una escena dramàtica llançant objectes per un pis, fins i tot colpejant accidentalment un membre de l’equip amb una làmpada.
HUMAN LEAGUE - LOVE ACTION (I BELIEVE IN LOVE)
Released: July 31, 1981
Charts: UK: #3
"Love Action (I Believe in Love)" is a 1981 single written by lead vocalist Philip Oakey and keyboardist Ian Burden. Released in the UK, the song showcases Oakey’s lead vocals and synthesizer work from Jo Callis, Philip Adrian Wright, and Ian Burden. Production involved extensive use of analogue synthesizers, drum machines, and sequencing, with producer Martin Rushent and engineer David M. Allen handling programming and technical elements.
"Love Action (I Believe in Love)" was the second of three singles from The Human League's “Dare” to be released ahead of the album in 1981. Paired as a double A-side with the non-album track "Hard Times," the single received strong promotion in the music press, highlighting the limited 12" disco mix release. The band categorized the track as 'Red,' indicating it as a dance track within their unique 'Red' (dance) and 'Blue' (pop) labeling system.
This single marked a turning point for the band in 1981, reaching No. 3 on the UK charts and bringing them long-sought success. Previously frustrated with the lack of recognition for their earlier songs, "Love Action" showcased the band’s ability to create danceable music that resonated widely. The success of this single placed the band in the media spotlight and reinforce Virgin Records' support for the group, setting up “Dare” for its release four months later.
This song is partly autobiographical, with vocalist Phil Oakey reflecting on his past relationships. In lyrics like "I've been a husband and a lover too," Oakey touches on themes of infidelity and openness in relationships, describing the song as a hopeful take on embracing honesty about one's sex life. The title and lyrics reference Lou Reed’s influence, specifically his song "I Believe in Love" and a nod to Reed himself as “the old man.” Oakey confirmed this in an interview, explaining that Reed, of Velvet Underground fame, inspired his view on love and relationships.
Initially “Love Action (I Believe in Love)” was released without a dedicated promotional video due to the high costs and the band’s modest profile at the time. Instead, footage from their TV performances, particularly on Top of the Pops, was used for promotion, but after the massive success of "Don't You Want Me," a video was produced for the song’s 1982 U.S. release. The video, loosely inspired by the movie “The Graduate”, opens with a church scene replicating the film, with Phil Oakey in the role of Dustin Hoffman’s character. Filmed mainly on a run-down South London estate, the video features Joanne Catherall in a wedding dress and Susan Ann Sulley in a dramatic scene where she throws objects around a flat, even accidentally hitting a crew member with a flying lamp.
