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Dare released as Dare! Dare became critically acclaimed and has proved to be a genre-defining album, whose influence can be felt in many areas of pop music. A remix album based on DareLove and Dancingwas released in Dare is the third studio album from the Human League but differs greatly from their previous two, Reproduction and Travelogue. This is due to a split in the original line up, the subsequent reformation of the band with new personnel and the difference in musical style under Philip Oakey's direction.
After the acrimonious split of the original band in October and the subsequent recruitment of Sulley and Catherall, the new band had only just survived a European tour by bringing in session keyboardist Ian Burden to temporarily assist.
The band were deeply in debt and only barely commercially viable. They recorded the track " Boys and Girls " from the tour, which Virgin then quickly released as a single. The style of "Boys and Girls" belonged to the original, now defunct Human League. Sulley and Catherall who were busy with school, were not used other than for publicity. The synthesiser work was basic as Oakey and Wright admitted they lacked the skill of Marsh and Ware.
Oakey's first move was to invite guitarist and keyboard player Ian Burden from the tour back to join the band full-time. As a trained musician, not only were Burden's keyboard skills vastly superior to Oakey and Wright's but he instantly proved to be an adept songwriter and composer as well.
Virgin had suggested that Oakey needed professional production and paired him with veteran producer Martin Rushent, an expert on emerging music technologies of the time.
In addition Rushent's studios were better-equipped for the type of music the band was making. A downside would be that the distance would cause problems for Sulley and Catherall who were taking their final school exams and had to be bussed down from Sheffield regularly. The first result of their recording sessions was released in April entitled "The Sound of the Crowd"; it would be a defining moment for the band. With the sophisticated synthesiser work of Burden aided by Wright, Oakey's deep baritone lead vocal and for the first time female backing vocals from teenage dancers now full vocalists Sulley and Catherall it would prove to be the band's keystone sound.
The final addition to the band would be the experienced guitarist and songwriter Jo Callis formerly of punk rock band The Rezilloswho quickly had to learn the synthesiser. Oakey accepts that Martin Rushent's adept sequencing and programming skills brought a professional edge to the band's sound, and added many new elements and techniques. Oakey, Burden, Wright and Callis set about writing new material, bringing in Sulley and Catherall from Sheffield as often as they were available.
The aim was another album for the Human League within a year. Virgin were at this point lukewarm but keen that the band released another single as soon as possible. The first release from the now complete new team came in August"Love Action I Believe in Love " was the band's first major critical and commercial success and peaked at number three in the UK.
It brought the band to the forefront of public attention and would also see Virgin give the green light for an album release with a 6—12 month timescale. The band now had much new material to work with and set about arranging it into a viable album. By September the prototype album was ready to go and provisionally entitled Dareafter a Vogue magazine cover U. Oakey explained the story behind the album name at the time:.
To set the scene for the album's release Virgin released one of the album tracks immediately in advance of the album. Virgin began heavily advertising the release of the new album, set for the end of October Whilst it was still in the charts, Dare premiered to critical acclaim. It was also condemned by the Musicians' Unionwho believed the How to talk to older females technology employed by the Human League was making traditional musicians redundant and a threat to their monopoly.
Soon they would begin a "Keep It Live" campaign believing that bands like the Human League would be able to perform concerts at the touch of a button. Oakey was unhappy with the decision and originally fought it, believing it to be the weakest track on Dare ; for that reason it had been relegated to the last track on the B-side of the vinyl album. Oakey was eventually overruled by Virgin. In the Human League considered themselves a "song based group"; this was a deliberate distinction differentiating the band from other electronic artists who specialised in principally instrumental work.
Often the meanings behind the songs have only been disclosed by Oakey in various interviews given since the album's release. An important point is that the album essentially evolved during and wasn't written from a single conceptual starting point. Often informally abbreviated TTDAMO, the song is a tribute to the simple pleasures in life which is then juxtaposed against a greater ambition. Oakey namechecks some of his and Wright's favourite things, an eclectic list from ice cream to the Ramones to Norman Wisdom.
The song contains the album title lyric " Philip Adrian Wright called the song a metaphor for the band's ambition in The song is about the pain caused by an infidelity and the subsequent relationship breakdown. Oakey sings in a higher key than usual, but still leads with Sulley and Catherall's backing now mixed as a Webcam model sites layer.
So we don't do it live very often. It was released as a single October intentionally two weeks before Dare. Originally it was the first "new Human League-style" track created under Rushent's production. It is an electropop anthem, pre-Jo Callis, heavily featuring Burden's single-voice keyboard with incidental bass keyboards by Philip Adrian Wright. The vocal style is the band's keystone sound of Oakey's baritone lead and for the first time, the girlish female interaction from Sulley and Catherall in their first vocal role.
It was released as a single in April The album version is a re-recording and not the version that was released as the original single. In keeping with the title, the song is about the subconscious fears from deep within the soul which manifest themselves when the singer is alone at night. Written mainly by Philip Adrian Wright, it is based on his experience in trying to sleep after reading a horror novel.
The instrumental increases tempo to a frenzy of pitch blending as the song reaches its culmination. It is a track that still contains the obvious influences of the original Human League of Oakey, Ware, Marsh and Wright.
The chorus is repeated several times in succession with Oakey now joined by a chanting Sulley and Catherall. Oakey speaking in described it as "a song about being in love with a girl who has been taken over by a poltergeist. Like the film Carrie. Joanne Catherall in the same interview says it "has a latiny sic feel.
Included as a short interlude, the track is a minimalist instrumental cover version of Roy Budd 's theme for the film Get Carter. It is played on a single voice on a Casio VL-1using the preset 'Fantasy' with a digital 'reverb' effect. On its second repeat, additionally to the reverb a stereo 'chorus' is further added making the sound 'bigger', on the third repeat heavier 'Ensemble Chorus' is added making the single VL-1 sound like a dozen.
Arranged by Oakey, Callis and Rushent. A song with a brassy synthesised instrumental, the title and lyrics were inspired by the character Judge Dredd from the British comic book AD. He goes on to say, "It's specifically Blitzcrank skin code from a policeman's point of view.
It's very easy to run the police down until you need them. There's very often a change of heart when you get your car stolen. Kennedy inand its impact on the wider world. Where Oakey berates the unnamed Lee Harvey Oswaldcharacterised by the lyrics "it took seconds of your time to take his life" Dare discography "a shot that was heard around the world". When played live the song is often accompanied by background Pashto cartoon meena of Kennedy.
It includes references to his own various relationships, their problems and successes; with Oakey often referring to himself.
Complete with the famous lyric "This is Phil talking! It is underscored by two backing synthesiser lines programmed by Rushent on the arcane Roland MC-8 sequencer together with his Linn LM-1 drum programming and Burden's keyboard work. It is the only track on the album Dare to feature Callis on Guitar but the guitar is not heard as it triggered the Roland System synthesiser.
Rushent and Callis would be responsible for the final mix which was disliked by the rest of the band as it was not the dark and brooding track they had envisaged. The track is different from the rest of Darenot only for its pop sound but also because it features a female joint lead vocal. Against Oakey's wishes, it was released as a single in Porn movies sex tube ; the song then became the band's biggest hit and one of the highest selling singles of all time in the UK.
The album was a massive commercial success, selling in large numbers, taking it Running wild davenport iowa to number one in the UK Albums Chart in early Dare discography It was expected to be the finish to an enormously successful year for the band, but because of its extraordinary commercial success Virgin's Draper decided he wanted yet another single from the album before the end of Dare would eventually remain in the UK Albums Chart for an enduring 71 weeks.
Music video was a very new phenomenon and cable TV station MTV had only just started up to capitalise on this new media but had very little material to work with. Virgin Records syndicated the video to MTV which was played around the clock. The release of Dare! Although critics were not as universally applauding as in the UK, the commercial success of Dare!
The success of Dare was responsible for saving the label from impending bankruptcy. A very grateful Richard Branson sent Philip Oakey a motorcycle as a thank you present, but Oakey had to return it as he couldn't ride it.
Dare has been re-released a number of times since its original creation. Later releases of the album included the additional Omegle video phone "Hard Times" and "Non Stop".
The cover art and other album artwork is based on a concept that Oakey wanted, that the album should look like an edition of Vogue magazine. The final design is a joint effort between Philip Adrian Wright also the band's director of visuals and graphic designer Ken Ansell.
Its typography closely resembles the cover of Vogue's April issue, which inspired the album's title. Oakey is solo on the front cover with Sulley and Catherall on the internal gatefold, and the whole band on the reverse. The artwork has been reproduced in numerous forms for the various re-releases and sold as posters. Explaining why the band's portraits are close cropped and the girls had their hair tied back for their photographs, Susan Ann Sulley explains, "we wanted Dare discography to still be able to buy the album in five years, we thought that hair styles would be the first thing to date.
We had no idea people would still be buying it 25 years later. I think it's a masterpiece. A trite sound, a retarded glam image and a mock respect.
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