LEAGUE UNLIMITED ORCHESTRA - LOVE AND DANCING

Llançament: 2 de juliol de 1982  

Llistes: Regne Unit: #3   EUA: #135  

"Love and Dancing" és un àlbum de remescles de The Human League, publicat el 1982 sota el nom "The League Unlimited Orchestra" com una referència divertida a la Love Unlimited Orchestra de Barry White. L’àlbum és, sobretot, obra del productor Martin Rushent, qui el va dissenyar amb arranjaments experimentals i influències dub, pensats especialment per a la pista de ball. 

Aquest treball ofereix versions majoritàriament instrumentals de les cançons de “Dare”, l'àlbum multi-platí de Human League. Entre aquestes remescles també s'inclou una versió de “Hard Times”, que inicialment es va publicar com a cara B del single “Love Action (I Believe in Love)”. Rushent va deconstruir i reconstruir les pistes utilitzant efectes innovadors, creant una reinterpretació orientada al dance que manté l’essència experimental de la banda.

Martin Rushent va incorporar efectes retallats i sons desmuntats inspirats en l'artista de hip-hop Grandmaster Flash. Originalment, la idea de les remescles va sorgir com una solució per evitar haver de produir cares B, però amb el temps es va convertir en un àlbum complet. Tot i que inicialment el cantant Phil Oakey no estava segur del projecte, va permetre que Rushent completés l’àlbum de manera independent, resultant en una incorporació única i innovadora a la discografia de Human League.

Rushent va desenvolupar una tècnica de remescla innovadora per a “Love and Dancing”, desmuntant les cançons i tornant-les a muntar amb efectes nous i complexos. En lloc d'utilitzar samplers digitals (inexistents en aquell moment), va aconseguir efectes de veu complexos retallant i empalmant físicament fragments de cinta. Va crear una regla personalitzada per mesurar la cinta en mil·lisegons, cosa que li permetia ajustar cada segment amb precisió al ritme de la cançó. Aquest procés laboriós va donar lloc a l'efecte de “t-t-t-t” en la veu de Phil Oakey, capturant l'enfocament experimental de Rushent en la remescla i contribuint al so innovador de l'àlbum.

LEAGUE UNLIMITED ORCHESTRA - LOVE AND DANCING

Released: July 2, 1982

Charts: UK: #3   US: #135 

“Love and Dancing” is a remix album by The Human League, released in 1982 under the name "The League Unlimited Orchestra" as a playful nod to Barry White's Love Unlimited Orchestra. The album was largely the brainchild of producer Martin Rushent, who crafted it with experimental, dub-influenced arrangements designed for the dance floor. 

“Love and Dancing” is a dub-influenced remix album featuring mostly instrumental versions of tracks from The Human League's multi-platinum album “Dare”. Alongside these remixes, it includes a version of “Hard Times,” initially released as the B-side to the single “Love Action (I Believe in Love).” Martin Rushent deconstructed and reassembled the tracks with inventive effects, creating a dance-focused reinterpretation that reflects the band’s experimental roots.

Rushent incorporated chopped-up effects and deconstructed sounds inspired by hip-hop artist Grandmaster Flash. Originally created as a solution to avoid producing B-sides, the remixes evolved into a full album. Although initially unsure about the idea, lead singer Phil Oakey allowed Rushent to complete the album independently, resulting in a unique and innovative addition to The Human League's discography.

Producer Martin Rushent pioneered a unique remixing technique for “Love and Dancing” by taking songs apart and reassembling them with intricate effects. Instead of using digital samplers (which didn’t exist at the time), Rushent achieved complex vocal stutters by physically cutting and splicing tape pieces. He crafted a custom ruler to measure tape length in milliseconds, allowing him to precisely align each segment to the song’s beat. This painstaking process created the signature “t-t-t-t” effect in Phil Oakey's vocals, embodying Rushent's experimental approach to remixing and contributing to the album's groundbreaking sound.

 HUMAN LEAGUE – MIRROR MAN

Publicació: 12 de novembre de 1982  

Llistes: Regne Unit: #2  Estats Units: #30  

“Mirror Man” és un single del 1982 escrita pels membres del grup Phil Oakey, Jo Callis i Ian Burden, i es va llançar com a senzill de seguiment de l’èxit “Don’t You Want Me”. Tot i que “Mirror Man” no es va incloure en cap àlbum d'estudi de Human League, sí que apareix a l'EP exclusiu per a Amèrica del Nord, “Fascination!”. La cançó va ser un èxit mitjà als Estats Units, arribant al lloc #30, però va obtenir una millor posició al Regne Unit (#2), Austràlia (#4) i Canadà (#7).

La lletra tracta sobre canviar la teva personalitat per adaptar-te a una nova situació o relació. La cançó comença amb el protagonista llançant una pedra sobre un llac, una metàfora per deixar enrere la seva antiga personalitat i començar de nou. La tornada reafirma aquesta idea de manera més literal, dient “You know I’ll change, if change is what you desire” (Saps que canviaré, si és el que desitges), prometent que aquesta nova versió d'ell mateix complirà tots els somnis, esperances, desitjos. La segona estrofa reflexiona sobre el personatge des de la perspectiva d'un vell amic o amant, dient-li que potser ja no és qui solia ser, i que podria ser millor deixar-lo anar perquè la distància cura el dolor més intens.

Tot i que la identitat del “Mirror Man” no es va revelar en aquell moment, el 1988 Oakey va explicar que la cançó estava inspirada en el cantant pop Adam Ant. Ant era probablement l’estrella més gran del Regne Unit entre 1981 i 1982, amb èxits com “Stand and Deliver”, “Prince Charming” i “Goody Two Shoes”. Amb els seus personatges en constant canvi, com “Prince Charming” o “The Dandy Highwayman”, Adam Ant es transformava contínuament, de manera similar a David Bowie una dècada abans. Oakey va confessar que els amics d'Ant, entre els quals s'hi comptava, temien que Ant perdés el contacte amb la realitat i es cregués la seva pròpia fama. En retrospectiva, Oakey considera que va encertar, ja que Adam Ant ha lluitat amb problemes de salut mental durant la seva vida.

El single inclou com a cara B la cançó “You Remind Me of Gold”, una peça brillant que recorda els primers temps de la banda amb el seu estil electrònic més pur, però combinat amb el pop més refinat i les veus femenines característiques de l’era de “Dare”. Aquesta cançó s'ha convertit en una de les preferides dels fans.

HUMAN LEAGUE – MIRROR MAN

Released: November 12, 1982

Charts: UK: #2  US: #30

 “Mirror Man” is a 1982 single by Synth-pop band The Human League. It was written by band members Phil Oakey, Jo Callis and Ian Burden, and was released as the follow-up single to the million selling “Don’t You Want Me”. Although “Mirror Man” wasn’t featured on any of The Human League's studio albums, it did feature on the North America-only EP, “Fascination!”. The single was a medium sized hit in the United States, where it peaked at #30, but was a much bigger hit in the UK (#2), Australia (#4) and Canada (#7).

The song is about changing your personality to fit a new situation or relationship. The song begins with the singer skimming a pebble over a lake, a metaphor for leaving behind his old persona and starting again. The chorus confirms this in a more literal sense, stating “You know I’ll change, if change is what you desire”, and a promise that this new them will fulfil their “every dream, hope, desire”. The second verse looks at the character through the eyes of an old friend or lover, telling them that they might not seem to be who they once were, and it might be better to let them go as “distance heals the strongest pain”.

Although the identity of the Mirror Man wasn’t revealed at the time, in 1988, Oakey revealed it was about pop star Adam Ant. Ant was probably the biggest star in the UK between 1981 and 1982, hitting the top of the charts with songs like “Stand and Deliver”, “Prince Charming” and “Goody Two Shoes”. His ever changing alter-egos, such as the aforementioned “Prince Charming” or “The Dandy Highwayman” saw him keep changing in a chameleon-like way, similar to David Bowie a decade earlier. Oakey revealed that Ant's friends, of which he was one, feared that he was losing touch with reality and believing his own publicity, although Oakey had chosen not to reveal it at the time, so not to cause offense. In hindsight, he was correct, as Adam Ant has suffered with mental health issues continuously over his life.

The single is backed by the brilliant “You Remind Me of Gold”. It harkens back to the early days of the band, at their most electronic style, but mixed with the pop knowhow and female vocals of the “Dare” era sound. It has since become a fan favourite.

 

TALKING HEADS - PSYCHO KILLER

Publicada: Desembre de 1977

Llistes: EUA: #92 

“Psycho Killer” és una cançó de la banda de rock americana Talking Heads, inclosa al seu àlbum debut “Talking Heads: 77”. Aquesta cançó va marcar un gran avenç per al cantant principal, David Byrne, qui inicialment la veia com una cançó ximple però ràpidament va reconèixer la forta connexió amb el públic. L’èxit de la cançó va demostrar que Byrne, juntament amb els membres de la banda Chris Frantz i Tina Weymouth, podien col·laborar eficaçment en la creació musical. La popularitat de la cançó va ajudar a consolidar l’estil de Byrne i va mostrar que hi havia un públic per a l’estil poc convencional de la banda.

“Psycho Killer” va ser interpretada per primera vegada per David Byrne i Chris Frantz el 1974 amb la seva banda The Artistics. Més tard aquell mateix any, Frantz i Tina Weymouth, recentment graduats en pintura de la Rhode Island School of Design, es van traslladar a Nova York amb Byrne, formant Talking Heads. Weymouth es va convertir en la seva baixista, i al maig del 1975, la banda va començar a fer actuacions al CBGB, obrint per als Ramones. Al seu repertori hi havia originals primerencs com “Psycho Killer”, “Warning Sign” i “Love Goes to Building on Fire”, a més de versions de cançons com “96 Tears”. Aquesta exposició els va portar a un contracte amb Sire Records i, després d’afegir el guitarrista Jerry Harrison, Talking Heads va llançar “Talking Heads: 77”. “Psycho Killer” va ser el seu primer single a entrar a les llistes, arribant al número 92 el 1978.

“Psycho Killer”, acreditada a David Byrne, Chris Frantz i Tina Weymouth, és l’única cançó de “Talking Heads: 77” que no està exclusivament acreditada a Byrne. Els crèdits de composició es van convertir més tard en un punt de tensió dins la banda, ja que Byrne, sent el focus principal, semblava ser l’únic compositor. Frantz afirma que va contribuir amb la segona estrofa, mentre que Byrne ha minimitzat la seva participació, dient que només van ajudar amb algunes parts en francès.

“Psycho Killer” s’endinsa en la ment d’una persona pertorbada, capturant una sensació de perill i paranoia. David Byrne, inspirat per l’estil de rock de xoc d’Alice Cooper, va començar a escriure amb una primera estrofa inquietant que reflecteix la inestabilitat i la por del personatge:

“No puc enfrontar-me als fets  

Estic tens i nerviós i no em puc relaxar  

No puc dormir perquè el meu llit crema  

No em toquis, sóc una autèntica espurna”

Tot i que la cançó comparteix una intensitat teatral amb la música de Cooper, va resultar ser més introspectiva, alineant-se amb la intensitat natural i la persona desmanegada de Byrne. A diferència del personatge en escena de Cooper, la pròpia personalitat de Byrne es reflecteix, donant una autenticitat inquietant a la interpretació d’un “psicòpata”.

Talking Heads en van gravar una versió acústica amb el violoncel·lista Arthur Russell, que afegeix un to sinistre a la cançó. Aquesta versió es va llançar com a cara B del single i ha aparegut en diverses recopilacions.

TALKING HEADS - PSYCHO KILLER

Released: December 1977

Charted:  US: #92 

“Psycho Killer” is a song by American rock band Talking Heads, featured on their 1977 debut album “Talking Heads: 77”. The song marked a breakthrough for lead singer David Byrne, who initially saw it as a silly song but quickly recognized its strong connection with audiences. Its success affirmed that Byrne, along with bandmates Chris Frantz and Tina Weymouth, could collaborate effectively on music. The song’s popularity helped solidify Byrne’s unique style and showed there was an audience for the band’s unconventional approach.

“Psycho Killer” was initially performed by David Byrne and Chris Frantz in 1974 with their band The Artistics. Later that year, Frantz and Tina Weymouth, recent painting graduates from RISD, moved to New York City with Byrne, forming Talking Heads. Weymouth became their bass player, and by May 1975, the band began playing gigs at CBGB, opening for the Ramones. Early originals like “Psycho Killer,” “Warning Sign,” and “Love Goes to Building on Fire” were joined by covers like “96 Tears” in their setlist. This exposure led to a record deal with Sire Records, and after adding guitarist Jerry Harrison, Talking Heads released “Talking Heads: 77”. “Psycho Killer” was their first charting single, reaching #92 in 1978.

"Psycho Killer," credited to David Byrne, Chris Frantz, and Tina Weymouth, is the only song on “Talking Heads: 77” that isn’t solely credited to Byrne. Songwriting credits later became a point of tension within the band, as Byrne, being the main focus, appeared to be the primary songwriter. Frantz claims he contributed the second verse, while Byrne has minimized their involvement, stating they only helped with “some of the French stuff.” This difference in perspective reflects a recurring conflict over creative contributions within Talking Heads.

"Psycho Killer" delves into the mind of a disturbed individual, capturing a sense of danger and paranoia. David Byrne, inspired by Alice Cooper's shock rock style, began writing with a chilling opening verse that reflects the character’s instability and fear:

"I can't seem to face up to the facts  

I'm tense and nervous and I can't relax  

I can't sleep 'cause my bed's on fire  

Don't touch me, I'm a real live wire"

Although the song shares a theatrical edge with Cooper's music, it turned out more introspective, aligning with Byrne’s natural intensity and awkward persona. Unlike Cooper's on-stage character, Byrne’s own personality shines through, lending an unsettling authenticity to the song's portrayal of a "psycho killer."

The Talking Heads recorded an acoustic version of "Psycho Killer" featuring cellist Arthur Russell, which adds a sinister tone to the song. This version was released as the flip side of the single and has since appeared on various compilations. 

 HUMAN LEAGUE - BEING BOILED

Released: June 30, 1978

Charts: UK: #6 

"Being Boiled" is the Human League's debut single, originally composed by Martyn Ware and Ian Craig Marsh, with lyrics by Philip Oakey. Released in 1978, it was one of the first British singles to feature exclusively electronic instrumentation, marking a pioneering moment in synth-pop. Though initially released with limited success, it was reissued several times and eventually became a UK top ten hit in 1982.

"Being Boiled" is a dark, intense track that critiques the silkworm industry, condemning the practice of killing silkworms for silk. The lyrics, referencing themes of "slaying," "torture," and "being boiled alive," intertwine this critique with Buddhist concepts. The song opens with the unsettling line, “OK. Ready. Let’s do it,” inspired by the final words of convicted murderer Gary Gilmore before his execution in 1977.

The music for "Being Boiled" was created before Philip Oakey joined the Human League. At that time, Martyn Ware and Ian Craig Marsh were in a band called The Future and had just parted ways with their singer, Adi Newton. They invited Oakey, a former schoolmate, to try out for the band by writing lyrics for their instrumental track. Oakey returned two days later with completed lyrics, impressing Marsh so much that he instantly felt Oakey was the right fit for the band. This marked the beginning of Oakey's role as lead vocalist for what would become the Human League.

The Human League, inspired by the German electronic group Kraftwerk, aimed to make music solely with electronic instruments. In 1978, they recorded "Being Boiled" and "Circus of Death" in mono for £250 using a Roland System 100 synthesizer. The track was recorded in a factory room for just £3 using minimal equipment. Adrian Wright joined the band, adding visual flair with mood-setting slides that complemented Oakey’s striking appearance. Released on the independent Fast Product label, initially gained underground popularity, selling 3,000 copies and winning support from John Peel, but failed to chart. After the massive success of "Don't You Want Me" in 1982, EMI re-released "Being Boiled" with a slightly extended runtime and a fade-out ending instead of an abrupt cut. This reissue became a hit reaching No. 6 in the UK charts.

Recognized for inspiring other artists, "Being Boiled" was especially admired by Vince Clarke of Depeche Mode (and later Erasure), who cited it as a favorite record and a major influence in shaping his work with Depeche Mode. The song's impact also extended to other contemporaries like Soft Cell. The song has since become iconic, inspiring mashups like Richard X’s blend with TLC’s "No Scrubs" and Liberty X’s cover of "Ain’t Nobody."