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1980
 The
League forged forward in this new decade despite the disappointments of
the previous year with the release of the Holiday 80 EP that included
covers of Rock 'n' Roll and the Bowie penned Night Clubbing as well as
a new composition called Marianne. A superior version of Marianne was
recorded featuring different vocals and treated drum effects but Virgin
refused to release it much to the surprise of Phil and the band. This
improved version did however appear on a rare Australian vinyl pressing
of Travelogue making it a collector's item. With only 10,000 copies pressed,
the single failed to make any impact and Virgin were quick to release
a single 7 inch of Holiday 80 dropping Marianne altogether and it reached
56 in the UK charts.
The re-release also provided the League with their first ever appearance
on Top of The Pops despite the fact that the single had failed to break
the Top 40.
On May 15th, the League began a 12-date UK tour kicking off at the Mayfair
in Newcastle and ending on the 29th at the Unity Hall in Wakefield W.Yorks.
Adrian Wright now appeared on stage as a full time band member playing
occasional keyboards as well as orchestrating the background projections.
The tour was also notable for the fact that it would be the final time
that this talented group of innovators would perform together.
May also saw the release of the second studio album entitled Travelogue
debuting at 16 on the UK album charts. Still retaining a distinctive experimental
feel to some of the tracks, Travelogue sounded more like a complete album
than its predecessor with a hint of early synth pop, making it more accessible.
Reviews however were mixed with some being disappointed by the inclusion
of cover versions and reworked mixes of older tracks such as Toyota City
and Being Boiled.
 Overall,
the album was a creative success featuring adventurous drum patterns and
memorable melodies. The technology used was simplistic and hard to manipulate
by today's digital standards (sounds had to be created from scratch as
pre-set manufactured samples were non existent), but the analogue systems
were pushed beyond the known limits and the League would be dubbed either
as 'boffins' or 'electronic pioneers'.
The album would also point the way forward for future UK artists who viewed
Travelogue as a new form of music.
As the mini UK tour finished, Empire State Human was re-released and the
first 15,000 copies contained a free single of the Travelogue track Only
After Dark. Whilst it was a distinctive cover version, the band would
have preferred a self- penned track to promote the new album and there
were plenty of catchy tracks to choose from such as Untouchables, Life
Kills and the haunting WXJL Tonight. Virgin secretly went against the
bands wishes and had already pressed the single; it was a move that angered
the band greatly.
 Empire State
Human reached 62 in the singles chart and the League were awarded with
the second Top of The Pops appearance of their career but it didn't stop
the single vanishing the following week. Surprisingly, Only After Dark
would be the only single released from Travelogue on the back of an established
track, and the perceived lack of faith from Virgin began to lead the band
into a period of self doubt and inner tensions.
By this time Martyn Ware had become
increasingly disillusioned by the lack of chart success particularly where
singles were concerned and was unhappy with the impression that they were
considered too 'arty'.
It was always the desire of the early Human League to emulate the success
of Donna Summer's I Feel Loved that featured the production skills of
Giorgio Moroder whom they admired greatly.
The League were being hailed as 'innovators' by NME and the rest of the
music press but the band were never earning more than £30.00 a week each.
Tensions also began to run high between Martyn and Phil whilst Ian was
unhappy with Adrian being invited to share song-writing credits. Disagreements
over the creative future and the fact that Gary Numan scored the first
major electronic hit single having disowned his recent rock past, proved
to be too much and November saw the departure of Ian and Martyn who both
went on to create the BEF (British Electric Foundation).
Whilst the NME announced that the creative talent had left the band, Phil
decided that he would continue with the Human League despite the turmoil
and together with Bob Last he signed a legal agreement with Martyn. It
was decided that Phil would retain the title of the Human League but in
return he would have to pay Martyn and Ian one pence from future royalties
of the next album and the singles taken from it. Phil would also be responsible
in honouring the current financial responsibility to Virgin (and the debts).
One of these commitments included an imminent European tour and the promoters
were threatening to sue the League if it wasn't completed.
With the music press instantly writing off Phil's remnants of the Human
League, and opting instead to follow the career path of Ian & Martyn,
Phil hastily set about finding replacements in time for the up and coming
tour.
The next event in League history would be destined to go down in pop folklore,
forever referred back to and sometimes doubted. With time running out,
Phil spotted two teenage girls dancing at the Crazy Daisy disco in Sheffield.
With intriguing dance routines and eye- catching make-up, Phil felt they
would be ideal as dancers and both were invited to join the band. Joanne
Catherall and Susan Sulley accepted the offer but braced themselves from
the expected concerns of their parents but fears were laid to rest when
Phil visited the girl's parents.
Both girls were still studying for their final year at school, but eventually
it was agreed that the chance of seeing Europe would be a good opportunity
for Joanne & Susan.
The arrival of the 'dancing girls' was met with typical scepticism by
the music press who were now convinced that the League were finished,
but the girls ongoing contribution to the future success of the band would
ultimately prove invaluable.
The European tour commenced, but the audiences were largely hostile to
Susan & Joanne (who had both bought tickets for the UK leg of the
tour prior to Phil's offer). Audiences had purchased tickets expecting
the original line-up and Germany proved to be a real test for the girls
who had objects thrown at them.
Using backing tapes that Martyn had prepared for an earlier tour, the
set list contained tracks from Reproduction and Travelogue though Phil
had spent some time adding overdubs to mark this new incarnation of the
Human League.
1981
The tour itself was less than successful but long time supporter and fan
Simon Draper saw enough in these performances to feel relatively optimistic
for the future. Once the tour had ended, Phil set about recording some
rough demos at Monumental Studios in Sheffield where the newly formed
Heaven 17 were busy working on their debut album Penthouse & Pavement.
One demo entitled Letting it Show (an early version of Open Your Heart)
confirmed Draper's belief that there was potential and he sought the production
expertise of Martin Rushent who was himself experimenting with complex
sound recording techniques and analogue keyboards.
The first single of the new look League under the guidance of Rushent
was rush released in February entitled Boys and Girls featuring a B-side
dedicated to 4th Dr Who Tom Baker (the actor had just quit the role after
7 years). Reaching a respectable number 47, the highest chart position
at that time for a League single, it stands as a bit of an oddity. Although
a likeable enough tune, the track contained no hint of what was to come
belonging more to the Travelogue period (it was added to the CD of that
album in 1989).
The real defining Human League single however, came just a few months
later. Perhaps with the shortcomings of Boys & Girls in mind, two
musicians were asked to join the band. Ian Burden was a conventional bass
player whom Phil had met during an earlier tour, whilst Jo Callas was
an experienced songwriter and guitarist with former Scottish punk band
The Rezillos. Upon joining, both were ordered to discard their guitars
and learn synthesizers. Concerned about the unhealthy atmosphere that
could arise from two separate groups recording at Monumental Studios,
Simon Draper advised the band to continue recording demos at Martin Rushent's
Genetic Sound studio in Reading.
 May
saw the first release that featured Ian Burden's song writing partnership
with Phil. Sound of The Crowd was a sharp blend of melody, machinery and
pop sensibility that awarded the band with their first top 20 hit. It
was also the first single to feature Joanne & Susan on backing vocals,
a stunning mix of female interaction and sequenced synths that would become
one of the League's most enduring trademarks.
Feeling
somewhat vindicated after what had been a few torturous months following
the departure of Ian & Martin, Phil began writing tracks with Adrian,
Ian & Jo that would take the appeal of Sound of The Crowd and expand
on it.
The first fruit of this recording session was released in August entitled
Love Action (I Believe in Love) peaking at number 3. The music press began
to take notice in the light of this infectious track. A new style of pop
had been created, critics began referring to the conventional guitar as
an antique and the Musician's Union regarded the new technology as a major
threat to their inclusive monopoly.
In October, Virgin released another single Open Your Heart confirming
that previous singles were no fluke. This track came complete with a catchy
sequenced bass line that had not been attempted before whilst the sleeve
provided an image for nightclub goers at the trendy Blitz club in London.
The forthcoming album was now complete and highly anticipated.
Dare premiered in late
October together with its pastiche of a Vogue magazine cover to enthusiastic
reviews, but few could have foreseen the effect that this collection of
songs would have on modern pop music. Inventive Linn drum patterns that
varied greatly from track to track would form the foundations of some
unforgettable pop moments. Dare presented cleverly crafted pop with multi-layers
of melodic lead synths. Computer driven bass lines using a technique pioneered
by Martin Rushent gave the album a sense of power and urgency that electronic
music had lacked prior to the release of Dare.
The rock establishment were horrified at the lack of conventional instruments
and a bitter debate developed over fears that the new technology would
banish guitars forever. In a move against synths, the Musician's Union
even began a campaign in the light of Dare called 'Keep it Live'. They
believed that the keyboards could compose melodies 'at the touch of a
button' thus making session musicians redundant. Unfounded fears were
also beginning to surface regarding the use of this technology during
live concerts, but it was just the typical wave of hysteria that greets
any advancement in technology.
The UK singles chart prior to Dare had previously
been dominated by tired old guitar heroes and dreary ballads that belonged
back in the 70's, when Dare hit the airwaves it provided a sound that
was years ahead of its time. The album was to change people's perception
of pop music forever.
Within a few short weeks, the album had hit the number one spot and not
only would it herald an era of electronic dominance, Dare would also open
the door for a rare and unexpected UK pop invasion of the rock dominated
US charts in the months to come.
Delighted
but not completely surprised by the success of Dare, Simon Draper told
Phil that he wanted to lift a fourth single from Dare believing that the
track Don't You Want Me would be a sure fire Christmas Number 1. Phil
and the girls were less than impressed by the suggestion feeling it would
'end their career' and the prospect of releasing a fourth single from
the same album was previously something never done by the League. During
the recording of Dare, the track had not been a favourite with Phil believing
that it wasn't as strong as the rest of the album hence the reason why
it ended up as the final track. Simon Draper however, was adamant that
the single would be released and Phil demanded that the single should
be sold with a free poster, as the band believed the track wouldn't sell
on its own.
Simon gave into the request and by the end of December; Don't You Want
Me complete with free fold-out poster was enjoying a five-week stint at
Number One. The Christmas single was aided by another League innovation
that no doubt boosted sales even further namely the 3 minute pop promo.
Directed by Steve Barron in the outskirts of Slough during one freezing
cold night, this stylistic film within a film captured the mood and feel
of this period perfectly. Shot entirely on film as opposed to cheap looking
videotape, it would dictate how future pop videos would be made and generated
a whole wave of male appreciation for Joanne and Susan.
The video was a perfect marriage between glossy visuals and perfect pop
whilst the song itself featured the classic vocal interaction between
Phil and the girls that would help set the League apart from future electronic
acts.
Don't You Want Me would become a perennial favourite and would also come
to be regarded as one of the 80's most defining pop moments together with
Soft Cell's Tainted Love by critics and pop historians. 20 years on, the
worlds most successful female artist Madonna would fondly recall the first
time she heard Don't You Want Me played at a New York nightclub, no doubt
embracing this determined young dancer to the endless possibilities of
electronic music. By the closing week of 1981, the Human League had the
number one album and single with Don't You Want Me approaching sales of
one million copies.
Since it's release, DYWM has sold over 1,430,000 copies in the UK alone
making it the 25th biggest selling single of all time.
1982
 The
New Year began well for the League with Don't You Want Me still at number
1. Virgin boss Richard Branson bought Phil a BMW motorbike in appreciation
for the League's effort in securing Virgin's first UK Number 1 hit single,
but Phil had to return the gift as he couldn't ride it.
On the back of Dare's success, Reproduction finally entered the UK charts
almost three years after its initial release reaching number 34, giving
the original line-up the belated success they so desperately wished for.
Virgin was also quick to re-release Being Boiled in January and despite
the difference in musical style to current material, the single reached
number 6.
In February another reissue of the Holiday 80 EP reached number 46 whilst
the press reported Phil's engagement to Joanne. At the annual Brit Awards,
the League were voted the Best British Newcomer with judges forgetting
that the band had formed in 1978.
During the summer, the band embarked on their
most ambitious international tour to date visiting countries as far as
Australia whilst Don't You Want Me secured the number 1 slot in the US
selling another million copies. The success of the single also heralded
a UK invasion of British music acts not seen since Beatle mania in the
early 60's.
 Meanwhile
in the UK, Martin Rushent presented Virgin with a collection of dance
remixes featuring tracks from Dare. Mostly instrumental, the mixing techniques
used were highly innovative and Virgin decided to release them in July
retailing at a special budget price of £3.99. Entitled Love
and Dancing and credited to The League Unlimited Orchestra, it became
the first remix album of its kind narrowly beating a similar project by
Soft Cell called Non-Stop Erotic Cabaret. Love and Dancing would lay down
the blueprint for future 12-inch dance remixes and it proved to be the
perfect companion to Dare whilst fans waited for new material. Within
a few months, the remix album had gone platinum.
As soon as the tour had ended, the group returned to Rushent's studio
to record new material and November 27th saw the release of the single
Mirror Man. Inspired by Ian
and Phil's love of Motown, the single was another melodic classic peaking
at number 2 over the Christmas period, and the productive partnership
between the League and Rushent sounded as vital as the Dare sessions.
back to part 1
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