80s music tourbooks and books - Human League

News, releases, polls and general chat about The Human League and related topics

Re: 80s music tourbooks and books - Human League

Postby negative1 » Fri Apr 22, 2016 6:26 am

got the book.

its in great shape.
very interesting so far.

some pictures, and a very short discography.

once its digitized, it will be easier for everyone to read.

later
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Re: 80s music tourbooks and books - Human League

Postby negative1 » Tue Aug 09, 2016 4:21 am

just finished perfect pop.

i think it is the best book about the human league's early years.

lots of great details, stories, and funny also.

highly recommended, will be converting it to a PDF for easier reading.

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Re: 80s music tourbooks and books - Human League

Postby negative1 » Sun Jan 22, 2017 7:06 pm

ok, i've scanned the book and converted it now.
its scanned at 300dpi.

will be doing OCR on to convert to text.
if anyone wants it once done, let me know in a PM.

samples.
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Re: 80s music tourbooks and books - Human League

Postby cs15 » Mon Jan 23, 2017 6:22 pm

Well I can tell you that's in 100 X better condition than my copy. Mine is dog eared, crumpled and falling apart. I remember brining it to a League gig in the hope of getting it signed by the band but at the start of the gig I stuffed it down the back of my trousers to 'protect it' from getting damaged. It didn't work. When I handed it to Philip to get it signed I could see him look at it as if to say 'this has been in the wars'. He still signed it though. =D
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Re: 80s music tourbooks and books - Human League

Postby negative1 » Mon Jan 23, 2017 10:06 pm

Nice story about the book. haha. i got it used off amazon.

Here's the first chapter, for those that want a preview.
==========================================================
CHAPTER ONE

'How Dare They?'

It wasn't a witch that stood atop the highest hill in a desolate landscape with its head held high. It was a young man, barely twenty-three years of age. A cruel wind blew through his hair, and the lightning revealed his delicate features, lost in thought.
Everyone has dreams. Some say that it is these of that the world is made. And for this man they were certainly the foundation. Musing gently on the world's peculiar nature, and the pitfalls, he began his descent,lost his footing and fell headlong into a handily camouflaged pit shaft.
For the author it was a handy beginning.
For the young man it was a sign from on high ...


I have seen them in the streets. I have seen them in the clubs. I have watched them on the tube trains, smiling in lust. Boy or girl, it doesn't matter. This nation is under a spell.

Those old recession blues that descend from time to time have, as usual, given way to the clarion call of glamour. That most lazy of forms has once more been summoned up from below at a time of national crisis, in a manner none too far from the legend of King Arthur. Music is once more bolstered by the limitless dreams and limited reserves of a country's youth. When thoughts turn hazy they also turn to heroes.
Fame, and doubtless fortune, for a Sheffield sextet. Sweet dreams and damp underwear for a million youngsters. That same old story.
To see Human League crooner Phil Oakey with his two girls by his side is to see the perfect trio. For a teenager in love with any of them is to be a wistful thinker, and the fact that the love affair can only end when you refuse to buy any more of their records is clouded by a more natural desire to support people who do things you wouldn't dare.

Smart and sleek, The Human League reek of creativity and harmless fun. The passport to imitation that goes on with every television performance and every concert, With every poster and every article. No one has achieved so much in such a short time since, oh ... (the mists of time descend) ... Adam Ant, all of a year ago. A chilling thought for would-be entertainers, that a reign could be so short, but for the followers a concentrated period of bliss, and con¬spiratorial comfort.
The Human League have a rosy future spreading before them, as they realise one ambition. To be just like Abba.
For the girls there is but one man in The Human League. Phil Oakey. Tall, clean, practically a marine. One moment a wayward actor, the next a belt-driven mannequin, just waiting to be purchased. The proudest jaw, the perfect nipples, and the most promising bank account.
'Bloody hell! He's wearing make up!'

For the boys The Oakey is less appealing. And from what I can gather, the girls aren't either! Possibly mass enchant¬ment will come and Miss Catherall and Sulley will provoke many a wet dream, but for the moment it is the music that counts above all.
As you can see, the provocation inherent in this band is never degrading, never cheap, and barely manufactured. If the band hadn't been successful their requirements would be the same as they are now. That is just one of the reasons why mass popularity has come to The Human League, and why it will last for a long, long time to come. They are the intelligent specimens in a whirlpool designed expressly for cretins and automatons.
The Human League have performed miracles for pop credibility. .

In 1981 the charts enjoyed a constant barrage of multi-dimensional pop music that finally smashed the hardy resistance of disco, ending up with Dollar, Bowie, Bucks Fizz, Adam and the Ants, Orchestral Manouvres, Duran Duran, Haircut 100. Name a successful band and they were pure pop. Week in, week out, the radios were bursting, and the biggest bubble of all in the latter stages belonged to the Human League as 'Don't You Want Me' stayed at Number One forever.
Pop historians will always tell you that pop music beguiles in a cyclical way, with strange chromosomical whims and fancies percolating in our blood streams and six senses, building up to a desire or craving for a bit of flash. Bright moments in gloomy times. As towns everywhere echoed to the sound of summer riots, the music industry went in the opposite direction as it has so often in the past. Inflation, unemployment and racial tension were prevalent in the news, but in the trivial aspects of our private lives there seemed nothing finer than a glistening three minutes.

As per usual the major record companies played the per-centage game. All manner of 'pop' records are churned out
dogmatically every week with the faint hope, and stalwart belief that at least one must somehow take off. But there is never a replacement for the bands that develop in their own way, in their native counties, gradually rising to national stardom. Then the floodgates open and purely derivative records shower forth, like a sewer overflowing. It happened with punk, it happened with the New Romantic boom (lasting a full five minutes), and in 1981 the synths were out in force. The kids of the Eighties are becoming shrewd, con¬founding convention.

The fact remains inarguable that one band at one time can dominate proceedings. Adam had a wonderful six months of foolhardy over exposure; from commercial obscurity to a pelvis-thrusting household fantasy in the winking of an eye (arched eyebrow strictly optional), whilst below him, as there always is and shall always be, several bands were jockeying for position, enjoying the night life socialising ... waiting for their chance.
With the poise and promise of The Human League there were no explosions, simply a steady realisation of quality, a pruning of intellectual surplus and the honing of fantasy fodder. Finally after several years of constant repetition, the band realised one persistent ambition: to be thought of as an English Abba, and they get closer every day.

Punk, from which The Human League originated (in impetus rather than musical content) had effectively drained the constipated music scene of its more feeble malefactors, and odious pig-heads dropped to the side in abundance, but as time went by a certain complacency set in resulting in the will to avoid contention. The set rules of tradition were adhered to, the 'new values' discarded. And from 1978 (a disappointing follow up to the energy of 1977) whilst variety was generously encouraged in Independent circles, so the big bands became bigger, more acceptable and less consistent. Self indulgence became a rather dubious lodger in the minds of the bigger names. Even the best known and loved commit¬ted acts of drabness that a year before would have been
totally unthinkable. Johnny Rotten reverted to his natural surname of Lydon and went off on an aural tangent, wailing spectacularly, like an over-loud friend at a party. Joe Strummer and his Clash cronies fell in love with the nostalgic imagery of rock and roll, playing a new ball game and losing a great deal of their marbles. The lesser known punk bands became virtually extinct, and in their wake the fetid breath of power pop was slowly rising.

It was from such an awkward start that pop did become fashionable once more, but not in terms of what it produced: the emphasis being continually on what might be achieved in months to come, but never on what was produced by the school of '78, who had neither the ability nor the inkling to achieve greatness. Try as they might greatness wasn't thrust upon them either and it was the middle of 1979 before the music scene once again became a joyous thing.
The Independent record labels, prompted by the leader, Rough Trade, thrived and found a shoestring budget was all that was needed to produce regular records, with small over-heads and small returns that were nothing to be ashamed of. As the recession hit the big boys the Indies were spreading like wildfire, and on one such label there was a portly gentleman by the name of Daniel Miller with his fictional 'band' The Normal who released the first influential record of the new electronic genre, a snappy item called 'TVOD' that was not without gaudy overtones, like much of the early Human League work.
For a youth-dominated area of music this created quite a stir as there was little electronic music appreciated or heard other than Kraftwerk, and although not overtly influential in terms of actual bands Daniel Miller certainly opened a lot of ears to what was to come.
Orchestral Manouvres In The Dark were soon around town promoting their first great single, 'Electricity', Echo and the Bunnymen, with the 'revolutionary' drum machine were regarded as other innovators, and the scene was set for a year with fledgling bands and their covens of followers
providing many an anistic renaissance in the more fashion-able areas of town.

And after OMD and their contemporaries had laid the sterner foundations it was the pasty faced Gary Numan, with his neat lines in bravado and all round self-confidence, who became the first post-punk star. Influenced himself largely by the work of early Ultravox when John Foxx was their enigmatic singer (cruelly dismissed at the time by critics as a Roxy Music rip-off despite a total lack of similarity), he flaunted his limited skills at the publics and was rewarded with a fanatical following who have developed over the years and actually stuck by him; a rare enough event when you consider the obscurity that so many flashes in the pan end up with.

Numan (unkindly described by Oakey as resembling 'A big wild slug') chaned a course that The Human League were to follow later in their life. If you observe the following discussion by the original Human Leagues their criticisms of him then could easily be turned against them these days.
Phil: 'Have you ever listened to his LPs for a long time? I think he's very good. He surprised me cause he's not what he seems at all, like us really. People think he's the cool king of synthesizers whereas that's not what he's about. What he's about is writing catchy tunes.'
Martyn: (After Phil's 'slug' discussion) 'From our point of view he looks worse, but the number of girls you see walking round town with Gary Numan badges .. .'
Phil: 'But how many more would there be if he was still a blonds like the cover of Replicas?'
Martyn: 'They all think he's some son of new superstar. The fact that we;ve seen some deterioration in his visual appearance is.irrelevant. They're into the fantasy aspect of him. The futuristic aspect ofit all.'
Ian: 'What they're into is his music.'
Martyn: 'Are you trying to tell me that if he went on dressed like we usually go on . .. no make-ups no slicked back hair, no daft logos ... that single would never have got
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to Number One and this one wouldn't have got anywhere near the Top Ten? Good luck to him, to be honest. Is there anyone in this business that doesn't want to get rich and famous?'

Apparently not, but what the wild slug had over the Human League and many of the god-awful pretenders to the 'Futurist' throne was the ability to construct catchy tunes regularly, adding personal indulgences through art as an after-thought. The League were badly dressed, up to their necks in high-brow lyricism, and strangely inhuman.

Naturally a great deal about the punk fans changed, as for them much of it was nothing more 'than fashion. Whilst today's spiky haired rebels adopt the whole ethic as a life style the 1977 brigade concealed a whole host of rich kids, clothes designers, general parasites and art school phonies whose ultimate rebellious act might be to tear up old copies of the Radio Times. They adopted new fashions without shame.
Fashionable clothes shops certainly did well out of the colourful scene that resulted but the record companies had a hard time deciding on acts to snap up, and many worthless imitators found their three year (with options) deals evaporating after a few months. They really needed new stars to combat the rise of the Independents.

Gradually they changed and became more adept at signing the hipper gangs in town, and one, the new streamlined (and considerably duller) Ultravox became very popular~ cementing further their mastery of the electric, pop strains that were soon to become so widespread. Their old front man John Foxx (mainly thanks to name dropping from our old friend the wild slug) also became well known. The Human League merely grew restless.
Radio stations, long derided for their denial of punk's existence, breathed a sigh of relief.
They were finally free to mirror contemporary music as they wished it. Weak and decidedly vapid. Ultravox were a great hit, and so it went on. With The Pistols largely

forgotten you were free to champion the sloth-like Clash. Then the Human League issued their first singles only old stalwarts like John Peel expressed a real interest, but with the air waves reflecting music for the under thirties once more, bands on a medium route fared well. The Human League released a cover version of 'Rock 'n' Roll' as part of their 'Holiday '80' EP and found fleeting fame on Top of the Pops, although the sight that met seven million youngsters' eyes couldn't have been that appetising as the record didn't last much longer.

As young girls dominated this market, so all the para-phernalia that punk had advocated the destruction of re-appeared. The audience were no longer on a par with the bands. Reverence became something other than a moniker for a vicar. Independence even became out of fashion for a while as innocuous combos started slipping into thecharts.

It's a common enough desire but The Human League wanted success and hadn't expected it to take so long. In their hearts 'Being Boiled', their first single, was a possible million seller. What was going wrong? Were they possibly not as attractive, talented and generally desirable as they thought they were?
Successful bands before them acted firmly on the old hunting instincts, so necessary to 'get on' in any walk oflife, and they learnt that humility would get you nowhere. The League had to flaunt themselves more, but that doesn't come till later in our story.
Punk had certainly created some rebellious stars, but these twinkled and faded fast. Their aggression, surliness and rejection of all things facile found them a small devoted audience but the ordinary kid on the street wasn't interested in home truths, as there were headier matters to concentrate on. The reduction of spots, the problems of puberty and adolescence, how many posters will fit on the bedroom wall...

So the determination and artistic self-belief that goes hand in hand with cheap thrills flourished and became the
new watchword. God knows the trinket mongers that were loved to death before (Roxy, Bolan, The Bay City Rollers to name but three, Sweet, Gary Glitter and David Essex to mention three more) had very little meaning to their largest audience other than filling the traditional role of any star. Fantasy and escapism.
Adam Ant, with the aid of a great deal of panache (not forgetting the research), made his contemporaries look dowdy by comparison. He filled young hearts with hope, smudgy mascara-laden eyes with tears of deluded love, and his record company's bank accounts with the world's main motivator. His singles were accompanied with lavish promotional videos and his pride in his appearance made him truly the King of new pop. It also meant that new bands hoping to get noticed in the same circles (the League amongst them) would have to follow too. All things Indepen¬dent returned to staunch underground status.
And in this area The Human League had a respectable niche, but more by good fortune than design as they were loved for their originality rather than their art. By crossing through the barriers of popular music (family entertainers if you like) they have assured themselves oflasting appeal. Six people intruding on public thoughts, all across the board.

This vast audience contains such varied groups of people
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that it can only be in their favour. A hearty band of pre-dominantly female fans weigh in at between twelve and sixteen years old, but such is the interest in music these days that the younger brothers and sisters have already started their record collections, and there's a fair chance that 'Don't You Want Me?' is in there somewhere. Youths fresh from the initial punk surge have followed the League's flowering development, and as no great shift in musical product has occurred, have maintained their loyalties, so the band that gets beamed so regularly into people's homes get support from the youngest possible market, extending through the teenagers and into the young married quarters.

Such fame and fortune that bands can achieve has that
nasty habit of disappearing in a welter of over publicity and repetitive songs. Biographies (like this onel), posters, and an all round saturation of the teenage magazine sector certainly don't help, but with unscrupulous record companies that always prefer a quick, essentially large, killing rather than long-term success, it takes a special band to avoid the 'one year then bugger off' syndrome.
Perchance that The Human League have enough tricks secreted to withstand the pressures. Their image hasn't been panicularly contrived, and isn't reliant on easily outmoded symbols. Their music is not prone to commercial or fashion-able whims. It has no set allegiance. There are many future routes. Many roads for the Oakey mane to swing proudly down. And behind him in a glorious hunting party, a new audience if the current one grows restless, for today's younger age group are tomorrow's teenagers, if you get my drift.

Already the band have provided more money for their record company than anyone last year, with the exception of Adam, as charts were swamped and racks creaked under the weight of re-released earlier material that the current audience didn't know existed.
Their rise began in the summer of 1981 with the single 'Boys and Girls', the first after the split in their ranks, and the fifth single actually released. It crept into the lower regions of the charts then crept discreetly out again, speedily followed by 'Sound of the Crowd' in May that actually broached the Top Twenty, eventually reaching Number Twelve and turning them into blue eyed boys and girls.
'Love Action', 'Open Your Heart' and 'Don't You Want Me?' completed the damage, aided and abetted by substan¬tial twelve inch releases that always boost the initial chan placings of records. These tracks were also featured on their third album 'Dare!', that topped the album chart at the same time as 'Don't You Want Me?' in the singles chart.

As with most bands reaping 'sudden' success, it had all been the result of several years' laborious work, struggle and
frustration with a tiny flirtation in mid 1980 (the 'Holiday '80' double single set).
The Human League had a slow, somewhat conventional, development, as much due to their geographical location as their stumbling artistic achievements.
As with all the bands springing up with the punk upsurge they were influenced by the energy and idea that anyone could get up and do it. Founder members Ian Craig Marsh and Martyn Ware applied the knowledge gathered from their jobs as computer operators to delve into the simplistic world of pre-programmed electronically synthesized music.

Disregarding their first attempt, the crassly named Dead Daughters, the Human League proved themselves to be amusing alternatives in the new scene. Far from essential but wildly exciting for the eyes and ears, they provided short term entertainment, leaving the fans with an immediate impact that lessened over the subsequent gigs. If they had one problem it was coming up with new material, and once you've seen one Human League show you have in effect seen them all. As it was their music became little more than an accompanying soundtrack to the immediate slide show of their fourth recruit, Adrian Wright. Going to a Human League gig was like going to the Saturday morning pictures. With new bands appearing nationwide there was a lot to choose from and The Human League couldn't guarantee wildly devoted fans at every gig. Impact was strong but hardly long lasting.

One fan, Philip Greener, twenty-three, formerly resident of Sunbury but planning a new life in Australia, summed it up when he told me: 'They had a lot going for them, but not necessarily a lot of people.Their main gigs came after they'd supported a few bands like The Banshees but whenever I saw them I'd always wait a while before I saw them again. They were like watching a TV show several times otherwise.'

A less demanding fan, Eric Benn, formerly of the Surly Youth fanzine and now drummer with Goodnight Forever,
admits that they were occasionally tiresome but, 'I just liked the sound. It was as different from the main arena of music as the Factory bands were. Almost as po-faced too. I was impressed by their simple use of sound because it was quite clear that they weren't that good, but with machinery like they had it was pretty hard to make mistakes. They had a lot of great tunes to start with that rapidly deteriorated, but when they were good they were excellent, and now that they're no longer writing boring material they're one of the best bands around. I thought they were finished a year ago.'
Fourteen-year-old Coleen Ridgway, the stereotype teen-age fan, if I might stoop so low, simply has eyes for Phil. 'I've only seen them once and it was really exciting. They have a really good show, just like Adam has, and Phil looks really nice. I've got all their recent records and my Dad said he'd buy me the others for my birthday.'
But what is it about them that you particularly like?
'Phil.' .

The most poignant statement has to be that of Martin Russian, who wrote the NMX fanzine in Sheffieldfor several years and documented the turbulent existence of The Human League.

'I always knew The Human League would be successful. Back in '78 when we watched them at Psalter Lane, NowSoc
and The Limit we used to speculate whether Human League or Def Leppard (Sheffield's premier Heavy Metal band) would make it onto Top of the Pops first. The Human League made it, though not as quickly as we thought, on account of that dreadful cover of "Rock 'n' Roll Pan II", which seemed like cheating, and it failed to persuade the record buying public to embark on an orgy of League product consumption. So why now and not then? Phil Oakey claims"Sound of the Crowd" was the first release well enough produced to be a hit, but I remember him telling me when "Reproduction" was released how happy he was with the sound, then after that flopped and "Travelogue" came out how "Reproduction" was badly produced but "Travelogue"
was excellent. So the fact he put down past League releases shouldn't be taken too seriously. It's all part of the amusing process of running down Marsh and Ware, whose presence in the group was undoubtedly a disruptive influence in Oakey's quest for fame at all costs, and by sticking to principles they may have indeed prevented the League from gaining commercial success earlier. Listening to "Dare" it's apparent that sugary tunes like "Open Your Heart" form part of their appeal now, but other material isn't really different to what the old League did (compare "Sound of the Crowd" / "Crow and a Baby" for example).

'The real reason for the Human League achieving fame and fortune now is nothing to do with anything as mundane as music, but image and the way they've been marketed. You see, no matter how much poor old Phil went on about wanting to be like Abba or The Bee Gees nobody ever took him seriously. The industry kept regarding anything original, especiallyas original as not using drums or guitars, as anti-establishment, bizarre, rebellious, even subversive, and only accessible to a minority of the market. Anything new and fresh was lumped in under that much used and abused vague term "New Wave" and if that wasn't inane, back-to-the-brainless-sixties pop pap, it was safer to keep feeding the masses disco and geriatric "stars" and keep the Human League and their ilk for somemythical underground market. Then along came futurism, the London clique acting as catalysts to bring many diverse threads under one banner to make it easier to exploit. Like each successive sub¬culture, it was born amongst the few then forced on the masses by professional exploiters, the difference being this time that the original clique made sure they stayed in the forefront and shared in the profiteering. With its wholesome, handsome men, and its messages of harmless fun, glamour, anti-drugs and anti-rebellion it was obviously more attrac¬tive to a younger market than any of the fads that pre¬ceded it. The new pop became the new teenybop. Though the Human League were quite isolated from what was happening in London their music was among the electronic sounds used as a stop gap to fill the dancefloor before Spandau and Duran Duran had product ready. Quite unwit-tingly they had found their little niche.'

Strong, almost unkind words from young Martin there, but in many ways true. The League's destiny has never rested fully in their own hands. The course has never been dear, and the only thing they can do now is concentrate on the future. They got the breaks and they can be grateful. But they also got their rewards for several years of making good (sometimes great) music whilst the charts were full of crap.
The fans around London that I knew were not noted for their devotion to anyone, except the early Ants, but everyone found the League fairly enigmatic. The music papers pounced when the Sheffield scene, dragged into some great 'industrial' scenario, became the week's hip thing. Phil Oakey's face, or more correctly his hair, became a frequent visitor to the hallowed pages of print.

Not all the criticism was kind and the League developed a healthy cynicism that even led them to compile their 'death list', but the anti-points raised never seemed to affect the band or change their direction. Perhaps the well-aimed barbs found their way into Oakey's heart and he staggered to bed each night cursing the anonymous faces down south. He must surely at one time have gritted his teeth whilst back-combing his glossy mane and snarled 'l'll show them. One day I'll show them all.'

Tears on his pyjamas for three years. Tragic.
Mind you, they were a distant enough group onstage. There was no real communication with an audience, but you cannot really accuse the Oakey of being a pretentious self¬loving swine for that. The slide show was an integral pan of the show, and more often than not a dominating feature as cheers from the crowd for particular slides (Captain Scarlet was always a fave) were often louder than the applause at the end of a particular song, and in that sequence of images
song titles were included. No one was called upon to actually say the introductions, they simply flashed onto the screen. It was all a bit inhuman league. The most we ever got onstage from the performers was an occasional 'Thank you' and the coy smile that Oakey issued whenever he turned slowly round to look at the band.
Often presented as a cocky little sod, Oakey does at least possess a sarcastic sense of humour which he aims at all targets, including himself, and the band have always had the habit of knocking the pretensions out of one another.

It cannot be forgotten that the League were always very different. The vast majority of bands were sweating shaking bodies, veins bulging on foreheads, throats devastated by roars of a vehement nature. The Human League were always dead cool. They sauntered onstage. They remained glued to the spot. They couldn't dance and they didn't. Nor for that matter did the audience. They offered a smooth pre¬sentation and unique arrangements for the day. They offered humour and relief. Their subject matter was as con¬fusing as it was interesting.
Whilst Johnny Rotten advocated anarchy and condemned the monarchy and whilst Joe Strummer hinted at riots to come, The Human League were best known for a song about silk worms.

They were going nowhere.
Slowly.
==================
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Re: 80s music tourbooks and books - Human League

Postby negative1 » Mon Feb 06, 2017 5:33 am

Here is the discography, just for reference:

Code: Select all
HUMAN LEAGUE
RELEASE DATES

Release Date   Title         Label   Cat No       
APRIL 1978   Being Boiled/Circus of Death single   Fast   Fast 4                     
JUNE 1979   Dignity of Labour Parts I-IV e.p.   Fast   Fast 10                     
JULY 1979       I Don’t Depend on You/Cruel single   Virgin   Virgin VS 269       
OCTOBER 1979   Reproduction album         Virgin   Virgin V 2133                   
OCTOBER 1979   Empire State Human / Introducing       Virgin   Virgin VS 294                       
JANUARY 1980   Fast product ‘The First Year Plan’    EMI   EMI EMC 3312                                         

             album Compilation. Both sides ‘Being Boiled’ 
APRIL 1980   Holidays ’80 e.p.         Virgin   Virgin SV 105                     
MAY 1980   Travellogue album         Virgin   Virgin V2160                     
MAY 1980   Empire State Human / Introducing   Virgin   Virgin VS 351                                         

        Toyota City/Only After Dark single                                            
MAY 1980   Empire State Human/Introducing 12”   Virgin   Virgin VS 35112                 
AUGUST 1980   Machines compilation album. One   Virgin                          
      track ‘Being Boiled’                                 
AUGUST 1980   Being Boiled / Circus of Death single   Fast / EMI   EMI Fast 4                           
AUGUST 1980   ‘Cash Cows’ compilation album.    Virgin   Virgin                                 
FEBRUARY 1981   Boys and Girls / Tom Baker single   Virgin   Virgin VS 395


   Release Date   Title         Label   Cat No       
APRIL 1981   The Sound of the Crowd / Add your voice   Virgin   Virgin VS 416                     
APRIL 1981   The Sound of the Crowd/Instrumental     Virgin   Virgin VS 41612 
                12 inch single                     
JULY 1981       Love Action / Hard Times single         Virgin   Virgin VS 435       
JULY 1981   Love Action / Hard Times/Instrumentals   Virgin   Virgin VS 43512   
                12 inch single     
OCTOBER 1981   Open Your Heart / Non-Stop single       Virgin   Virgin VS 453                       
OCTOBER 1981   Open Your Heart/Non-Stop 12 inch single Virgin   Virgin VS 45312
OCTOBER 1981   Dare album            Virgin   Virgin VS 2192                     
NOVEMBER 1981   Dare album. Picture Disc.      Virgin   Virgin VS 2192                     
NOVEMBER 1981   ‘Methods of  Dance’ compilation album   Virgin   Virgin                                           
      One track ‘Do or Die Dub’                                                
DECEMBER 1981   Don’t You Want Me / Seconds single   Virgin   Virgin VS 466                 
DECEMBER 1981   Don’t You Want Me/Seconds single
                                         w/poster   Virgin   Virgin VS 466           
DECEMBER 1981    Don’t You Want Me / Instrumental   Virgin   Virgin VS 46612 
                Seconds 12 inch single      
JANUARY 1982   ‘Fast Product: The First Year Plan’ compilation   EMI   EMC 3312
                album 2 tracks, both EMI sides of 'Being Boiled'       

HUMAN LEAGUE
DISCOGRAPHY
 
Being Boiled/Circus of Death single Fast. Fast 4.     
Recorded: January 1978 at Devonshire Lane Studios,
Sheffield. Released: April 1978.
The Human League Personnel:
Words and Music -Oakey/Ware/Marsh.
Phil Oakey -Vocals.
Ian Craig Marsh -Synthesiser.
Martyn Ware -Synthesiser.
Produced and Engineered by The Human League.
Highest Position in Chart: 8. First Entered chart:
January 1980
When originally released this single, recorded in Mono, sold
only two thousand copies. It was then re-released by EMI
Records in August 1980, and again in January 1982.

The Dignity of Labour e.p. Fast. Fast 10.             
Recorded: January 1978 at Devonshire Lane Studios,
Sheffield. Released: lst June
1979 The Human League
Personnel:
Words and Music -The Human League (Oakey/
Ware/Marsh)
Phil Oakey -Vocals
Martyn Ware -Synthesiser
Ian Craig Marsh -Synthesiser
Adrian Wright -'Director of Visuals'
Produced and Engineered by The Human League
This record never made the charts, being considered too any
for re-releasing, and guaranteed to get little airplay anyway.
Worth seeking out by collectors for the free flexi disc that was
included of the band discussing the record itself.

I Don't Depend On You/Cruel (Instrumental) single. Virgin
VS 269                                                   
Recorded: June 1979
135
Released: July 1979
Human League Personnel: Words and
Music -Ware/Oakey/Marsh
Phil Oakey -Vocals
Martyn Ware -Synthesisers
Ian Craig Marsh -Synthesisers
Adrian Wright -'Director of Visuals' Backing
Vocals -Mystery Girls
Produced and Engineered by Colin Thurston and 'The Men'.
This single, recorded under the name ofThe Men remains
something of a mystery item. It never sold enough to enter the
charts and has yet to be re-released.

Reproduction album. Virgin. V 2133.
Recorded: Workshop Studios, Love St., Sheffield 4th/21st
July 1979 Released: 5th October 1979
Numbers sold: £1 million pound sales

Track Listing:                         
Side One
-Almost Medieval
Circus of Death           
The Path of Least Resistance
Blind Youth               
The Word Before Last  Empire
State Human
Side Two
-Morale                       
You've Lost That Loving Feeling Austerity/Girl One (Medley)               
Zero As A Limit

   The Human League Personnel:
Words and Music -Oakey/Ware/Marsh, except for 'You've
Lost That Loving Feeling', which was Spector.' Mann/Weil.
Phil Oakey -Vocals and Synthesiser
Martyn Ware -Vocals and Synthesiser
Ian Craig Marsh -Vocals and Syntbesiser

136

Adrian Wright -Slides and Films Co-Produced between The
Human League and Colin Thurston
Assistant Engineers: Gordon Milne and Richard Lengyel
Highest Position in Chart: 51 First Entered Chart: October
1979
When first released this album entered the charts, reaching 27,
and when The Human League became successful in 1981, it
re-entered the charts reaching Number 51.

Empire State Human/Introduclng Virgin VS 294 (Deleted)
Recorded: July 1979 Released: 12th October 1979 The
Human League Personnel:
Words and Music -Oakey,IWare/Marsh
Phil Oakey -Vocals
Martyn Ware -Synthesisers/Backing Vocals
Ian Craig Marsh -Synthesisers/Backing Vocals
Adrian Wright -Slides and Films
Co-Produced by The Human League and Colin Thurston
Highest Chart Position: 62 First Entered Chart: 21st June
1980
Deleted after it first appeared this single was then rereleased as
Virgin VS 351 with the first 15,000 accompanied by a free
single comprising 'Toyota City' (The Human League),
produced by Richard Manwaring and The Human League,
and 'Only After Dark' (Mick Ronson/S. Richardson) also
produced by The Human League and -Richard Manwaring. It
reached Number 62.
Virgin also released a twelve inch version, VS 35112.

Holidays '80 e.p, Virgin SV 105             
Recorded: February 1980 (except for 'Dance Vision')
Released: April 1980

137

'Being Boiled': Words and Music -The Human League With
synthetic horns programmed by the Boys of Buddha
Produced and Engineered by The Human League and
John Leckie
'Marianne': Words and Music -The Human League Produced
and Engineered by The Human League and
John Leckie. 'Rock 'n' Roll/Nightclubbing': Words
and Music -Glitter/Leander/Pop/Bowie
'Dance Vision': Words and Music -Ware/Marsh Recorded
opposite Kelvin Flats, Sheffield by Ian Craig
Marsh and Manyn Ware as The Future. Produced and
Engineered by Ware and Marsh, in November 1977. First
Entered Chan: 10th May 1980 Highest Position: 56

Travelogue album. Virgin. V 2160
Released: 23rd May 1980
Recorded: Monumental Pictures Studio March 1980, except
'Toyota City', recorded at Devonshire Lane April 1978

Track Listing:
Side One - The Black Hit of Space
Only After Dark                 
Life Kills                     
Dreams of Leaving             
Toyota City
Side Two - Crow and a Baby
The Touchables         
Gordon's Gin             
Being Boiled             
WXJL Tonight

Words and Music -Oakey/Ware Marsh except 'Gordon's
Gin' (Jeff Wayne) and 'Only After Dark' (Mid: Ronson:

138

Human League Personnel:             
Phil Oakey -Vocals and Synthesiser
Martyn Ware -Synthesiser             
Ian Craig Marsh -Synthesiser       
Adrian Wright -Slides and Films
Produced and Engineered by The Human League, Richard
Manwaring and John Leckie
First Entered Chart: June 1980
Highest Position in Chart: 16

Boys and Girls/Tom Baker single Virgin VS 395
Recorded: February 1981 Released: 20th February
1981 The Human League Personnel:
Words and Music –Oakey/Wright
Phil Oakey -Vocals/Synthesiser
Adrian Wright -Vocals/Synthesiser
Joanne Catherall-Vocals
Susanne Stilley -Vocals
Produced and Engineered by The Human League
Highest Position in Chart: 48 First Entered Chart:
February 29th 1981

Sound of the Crowd/Sound of the Crowd (Add your voice) single Virgin VS 416                             
Recorded: March 1981 -Genetic Studios Released: 24th April
1981 The Human League Personnel:
Words and Music -Burden/Oakey
Philip Oakey -Vocals
Adrian Wright -Synthesiser
Ian Burden -Synthesiser
Joanne Catherall -Backing Vocals
Susanne Sulley -Backing Vocals
Produced and Engineered by Martin Rushent and The Human
League Highest Position in Chart: 12

139

First entered Chart: 27th April 1981
A twelve inch version, (VS 41612) with extended instru-
mentals was also released. Number Sold: 500,000

Love Action / Hard Times single Virgin VS 435
Recorded: March 1981 - Genetic Studios
Released: 31st July 1981 The Human
League Personnel:
Words and Music -Oakey/WrightiCallis/Burden
Phil Oakey -Vocals
Adrian Wright -Synthesiser
jo Callis -Synthesiser
Ian Burden -Synthesiser
Joanne Catherall-Backing Vocals
Susanne Sulley -Backing Vocals
Produced and Engineered by Martin Rushent and The
Human League at Genetic Studios
Highest Position in Chan: 3 First
Entered Chart: 8th August 1981.
Number Sold: 500,000
A twelve inch (VS 43512) including extended instruments was
also released.

Open Your Heart / Non-Stop single Virgin VS 453
Recorded: March 1981 -Genetic Studios
Released: 2nd October 1981 The Human
League Personnel:
Words and Music -Oakey/Callis/Wright
Phil Oakey -Vocals & Synthesiser
Susanne Sulley –Vocals
Joanne Catherall -Vocals
Adrian Wright -Slides & Synthesiser
jo Callis -Synthesiser
Produced and Engineered by Martin Rushent and The
Human League Highest Position in Chart: 6

140

First Entered Chart: October 10th 1981 Sold:
500,000 A twelve inch (VS 453 12) was also
released.

Dare album Virgin V 2192
Recorded: March 1981-Genetic
Released: 16th October 1981 The
Human League Personnel:
Words and Music -Oakey/WrightlBurden/Callis) except
for 'Get Carter' (Budd)
Ian Burden -Synthesiser
Jo Callis -Synthesiser
Joanne Catherall-Vocals
Phil Oakey -Vocals & Synthesiser
Susanne Sulley -Vocals
Adrian Wright -Slides & Synthesiser

Track Listing:
Side One -The Things That Dreams Are Made of         
Open Your Heart
Sound of the Crowd
Darkness
Do or Die
Side Two -Get Carter
I am the Law
Seconds
Love Action
Don't You Want Me

Produced and Engineered by Martin Rushent & The
Human League Assist Engineer: Dave Allen Highest Position in
Chart: Number One First Entered Chart: 20th October 1981
Number sold: 1 million sales in the UK. 5 million world wide.
A picture disc (VP 2192) was released of the album in
November 1981.
Don't You Want Me/Seconds single Virgin VS 466.
Recorded: March 1981 -Genetic.
Released: 27th November 1981
The Human League Personnel:
Words and Music -Oakey/Callis/Wright
Ian Burden -Synthesiser
Jo Callis -Synthesiser
Joanne Catherall-Vocals
Phil Oakey -Vocals & Synthesiser
Susanne Sulley -Vocals
Adrian Wright -Synthesiser
Produced and Engineered by Manin Rushent and The
Human League Highest Position in
Chart: Number One First entered chart:
3rd December 1981 Sold: 500,000.
As usual a twelve inch version, including an instrumental of
'Don't You Want Me?' was released (VS 46612), and some of
the standard seven inch releases included a free poster of the
band.

'Fast Product: The First Year Plan~ EMI EMI EMC 3312
Released: January 1980
A compilation featuring the Fast back catalogue, acquired by
EMI, including both sides of 'Being Boiled', and was rereleased
in January 1982.

'Machines' Virgin (Virgin V 2177)
Released: August 1980 A compilation featuring a re-recorded
version of 'Being Boiled',

'Cash Cows' Virgin
Released: August 1980 Two different versions of this album
exist, although both contain 'The Black Hit of Space'

142

'Methods of Dance' Virgin
Released: November 1981
Another Virgin compilation, ironically including work from
BEF and Heaven 17, that features an alternative version of
'Do Or Die Dub' that appeared on 'Dare'.
 

negative1
Member
 
Posts: 119
Joined: Tue Dec 04, 2007 10:59 pm

Re: 80s music tourbooks and books - Human League

Postby negative1 » Mon Feb 06, 2017 5:35 am

here is the discography for reference from the recent anthology:

Code: Select all
DISCOGRAPHY

UK RELEASES / ALBUMS

REPRODUCTION (Virgin October 1979)
V2133
1 Almost Medieval
2 Circus Of Death
3 The Path Of Least Resistance
4 Blind Youth
5 The Word Before Last
6 Empire State Eluman
7 Morale...
8 You’ve Lost That Loving Feeling
9 Austerity / Girl One (medley)
10 Zero As A Limit

TRAVELOGUE (Virgin May 1980)
V2160
1 The Black Hit Of Space
2 Only After Dark
3 Life Kills
4 Dreams Of Leaving
5 Toyota City
6 Crow And A Baby
7 The Touchabies
8 Gordon's Gin
9 Being Boiled
10 WXJL Tonight

DARE (Virgin October 1981)
V2192
1 The Things That Dreams Are Made Of
2 Open Your Heart
3 The Sound Of The Crowd
4 Darkness
5 Do Or Die
6 Get Carter 07 I Am The Law
8 Seconds
9 Love Action (I Believe In Love)
10 Don’t You Want Me

LOVE AND DANCING (Virgin June 1982)
OVED6
1 Hard Times
2 Love Action (I Believe In Love)
3 Don't You Want Me
4 Things That Dreams Are Made Of
5 Do Or Die
6 Seconds
7 Open Your Heart
8 The Sound Of The Crowd

HYSTERIA (Virgin May 1984)
V2315
1 I’m Coming Back
2 I Love You Too Much
3 Rock Me Again And Again And Again And Again And Again And Again (Six Times)
4 Louise
5 The Lebanon
6 Betrayed
7 The Sign
8 So Hurt
9 Life On Your Own
10 Don’t You Know I Want You

CRASH (Virgin September 1986)
V2391
1 Money
2 Swang
3 Human
4 Jam
5 Are You Ever Coming Back?
6 I Need Your Loving
7 Party
8 Love On The Run
9 The Real Thing
10 Love Is All That Matters

GREATEST HITS (Virgin November 1988) 209375
1 Mirror Man
2 (Keep Feeling) Fascination
3 The Sound Of The Crowd
4 The Lebanon
5 Human
6 Together in Electric Dreams
7 Don’t You Want Me
8 Being Boiled
9 Love Action (I Believe In Love)
10 Louise
11 Open Your Heart
12 Love Is All That Matters
13 Life On Your Own

ROMANTIC? (Virgin September 1990) V2624
1 Kiss The Future
2 A Doorway
3 Heart Like A Wheel
4 Men Are Dreamers
5 Mister Moon And Mister Sun
6 Soundtrack To A Generation
7 Rebound
8 The Stars Are Going Out
9 Let’s Get Together Again
10 Get It Right This Time

OCTOPUS (EastWest January 1995) 4509-98750
1 Tell Me When
2 These Are The Days
3 One Man In My Heart
4 Words
5 Filling Up With Heaven
6 House Full Of Nothing
7 John Cleese; Is He Funny?
8 Never Again
9 Cruel Young Lover

GREATEST HITS (Virgin May 1995) CDV2792
1 Don't You Want Me
2 Love Action (I Believe In Love)
3 Mirror Man
4 Tell Me When
5 Stay With Me Tonight
6 Open Your Heart
7 (Keep Feeling) Fascination
8 The Sound Of The Crowd
9 Being Boiled
10 The Lebanon
11 Love Is All That Matters
12 Louise
13 Life On Your Own
14 Together In Electric Dreams
15 Human
16 Don’t You Want Me (Snap 7" Remix)

THE BEST OF (Virgin January 1998) SITHCD1
1 Love Action (I Believe In Love)
2 Mirror Man
3 Open Your Heart
4 The Sound Of The Crowd
5 Don’t You Know I Want You
6 Life On Your Own
7 Seconds
8 Hard Times
9 Do Or Die
10 Heart Like A Wheel
11 The Lebanon
12 Get It Right This Time
13 Louise
14 Kiss The Future
15 Human
16 Let’s Get Together Again

SECRETS (Papillon Records July 2001) BTFLYCD0019
1 All I Ever Wanted
2 Nervous
3 Love Me Madly?
4  Shameless
5 122.3 BPM
6 Never Give Up Your Heart
7 Ran
8 The Snake
9 Ringinglow
10 Liar
11 Lament
12 Reflections
13 Brute
14 Sin City
15 Release
16 You’ll Be Sorry

------------------------------------------------------------------------------------------------

THE GOLDEN HOUR OF THE FUTURE (Black Melody October 2002) MELCD4
1 Dance Like A Star (First Version)
2  Looking For The Black Haired Girls
3 4JG
4 Blank Clocks
5 Cairo
6 Dominion Advertisement
7 Dada Dada Duchamp Vortex
8 Daz
9 Future Religion
10 Disco Disaster
11 Interface
12 The Circus Of Dr Lao
13 Reach Out (I’ll Be There) (Instrumental)
14 New Pink Floyd
15 Once Upon A Time In The West (Funeral March)
16 Overkill Disaster Crash (First Version)
17 The Year Of The Jet Packs
18 Pulse Lovers
19 King Of Kings
20 The Last Man On Earth

THE VERY BEST OF (Virgin September 2003)
5926462
1 Don't You Want Me
2 Love Action (I Believe In Love)
3 Open Your Heart
4 The Sound Of The Crowd
5 Mirror Man
6 (Keep Feeling) Fascination
7 The Lebanon
8 Life On Your Own
9 (Together In) Electric Dreams
10 Louise
11 Human
12 Heart Like A Wheel
13 Tell Me When
14 One Man In My Heart
15 All I Ever Wanted
16 Being Boiled
17 Empire State Human

LIVE AT THE DOME (Snapper Music March 2005)
SDPCD213
1 Hard Times/Love Action (I Believe In Love)
2 Mirror Man
3 Louise
4 The Snake
5 Darkness
6 All I Ever Wanted
7 Open Your Heart
8  The Lebanon
9 Human
10 The Things That Dreams Are Made Of
11 (Keep Feeling) Fascination
12 Don't You Want Me
13  Together In Electric Dreams
Video:
1 Mirror Man
2 Human
3 (Keep Feeling) Fascination

ORIGINAL REMIXES & RARETIES (Virgin November 2005) CDV3011
1 Being Boiled (Travelogue Version)
2 The Sound Of The Crowd (Complete)
3 Hard Times (Single Version)
4 Non-Stop (Single Version)
5 Don't You Want Me (Ext Dance Mix)
6 Mirror Man (Extended)
7 You Remind Me Of Gold (Single Version)
8 (Keep Feeling)Fascination (Improvisation Fade)
9 Total Panic (Single Version)
10 The Lebanon (Extended)
11 Life On Your Own (Extended)
12 Together In Electric Dreams (Extended)
13 Human (Extended)
14 Heart Like A Wheel (Extended)

FASCINATION! (Digital Download Virgin November 2008)
1 (Keep Feeling) Fascination (Extended)
2 Mirror Man
3 Hard Times
4 I Love You Too Much
5 You Remind Me Of Gold
6 (Keep Feeling) Fascination (Improvisation)
7 I Love You Too Much (Dub Version)

CREDO (Wall Of Sound March 2011)
WOS085CD
1 Never Let Me Go
2 Night People
3 Sky
4 Into The Night
5 Egomaniac
6 Single Minded
7 Electric Shock
8 Get Together
9 Privilege
10 Breaking The Chains
11 When The Stars Start To Shine

ESSENTIAL (EMI September 2011)
5099968023225
1 Don't You Want Me
2 Love Action (I Believe In Love)
3 Open Your Heart
4 The Sound Of The Crowd
5 Mirror Man
6 (Keep Feeling) Fascination
7 The Lebanon
8 Life On Your Own
9 Together In Electric Dreams
10 Louise
11 Human
12 Heart Like A Wheel
13 Being Boiled
14 Empire State Human
15 Don't You Know I Want You

SOUNDTRACK TO A GENERATION (Disky November 1988)
VI875302
1 Human
2 Kiss the Future
3 Together in Electric Dreams
4 Are You Ever Coming Back?
5 Betrayed
6 Hard Times
7 Get It Right This Time
8 I Need Your Loving
9 Do Or Die
10 Rebound
11 Sountrack To A Generation
12 Empire State Human
13 The Real Thing
14 Don't You Know I Want You

GREATEST HITS (EMI Gold August 2012)
509962436328

CD
1 Love Action (I Believe In Love)
2 Mirror Man (Extended Version)
3 Open Your Heart
4 The Sound Of The Crowd (12" Version)
5 Don't You Know I Want You
6 Life On Your Own
7 Seconds
8 Hard Times (Instrumental Version)
9 Do Or Die
10 Heart Like A Wheel
11 The Lebanon
12 Get It Right This Time
13 Louise
14 Kiss The Future
15 Human (Extended Version)
16 Let's Get Together Again

DVD
1 Love Action (I Believe in Love)
2 Open Your Heart
3 Don't You Want Me
4 Mirror Man
5 (Keep Feeling) Fascination
6 The Lebanon
7 Life On Your Own
8 Together In Electric Dreams
9 Louise
10 Human

--------------------------------------------------------------------------------
DISCOGRAPHY

SINGLES / VIDEO / DVD

BEING BOILED (7” Fast Records June 1978)
FAST 4
A1 Being Boiled
B1 Circus Of Death

THE DIGNITY OF LABOUR (12” Fast Records April 1979)
FAST 10
A1 The Dignity Of Labour Part 1
A2 The Dignity Of Labour Part 2
B1 The Dignity Of Labour Part 3
B2 The Dignity Of Labour Part 4

EMPIRE STATE HUMAN (7” Virgin September 1979)
VS294
A1 Empire State Human
B1 Introducing

HOLIDAY 80 (Double 7” Virgin April 1980)
SV105
A1 Marianne
A2 Dancevision
B1 Being Boiled
B2 Rock’N'Roll / Nightclubbing

ONLY AFTER DARK (7” Virgin June 1980) Free 7” with re-release of
Empire State Human single
VS351
A1 Only After Dark
B1 WXJL Tonight

BOYS AND GIRLS (7” Virgin February 1981)
VS395
A1 Boys And Girls
B1 Tom Baker

THE SOUND OF THE CROWD (7” Virgin April 1981)
VS 416
A1 The Sound Of The Crowd
B1 The Sound Of The Crowd (Add Your Voice)

LOVE ACTION (I BELIEVE IN LOVE) (7” Virgin July 1981)
VS435
A1 Love Action (I Believe In Love)
B1 Hard Times

OPEN YOUR HEART (7” Virgin October 1981)
VS453
A1 Open Your Heart
B1 Non-Stop

DON’T YOU WANT ME (7” Virgin November 1981)
VS466
A1 Don’t You Want Me
B1 Seconds

MIRROR MAN (7” Virgin December 1982)
VS522
A1 Mirror Man
B1 You Remind Me Of Gold

(KEEP FEELING) FASCINATION (7” Virgin April 1983)
VS569
A1 (Keep Feeling) Fascination
B1 Total Panic

THE LEBANON (7” Virgin April 1984)
VS672
A1 The Lebanon
B1 Thirteen

LIFE ON YOUR OWN (7” Virgin June 1984)
VS688
A1 Life On Your Own
B1 The World Tonight

LOUISE (7” Virgin June 1984)
VS723
A1 Louise
B1 The Sign (Extended Re-Mix Version)

HUMAN (7” Virgin August 1986)
VS880
A1 Human
B1 Human (Instrumental)

I NEED YOUR LOVING (7” Virgin November 1986)
VS900
A1 I Need Your Loving
B1 I Need Your Loving (Instrumental Version)

LOVE IS ALL THAT MATTERS (7” Virgin September 1988)
VS1025
A1 Love Is All That Matters (Edit)
B1 I Love You Too Much

HEART LIKE A WHEEL (7” Virgin August 1990)
VS1262
A1 Heart Like A Wheel
B1 Rebound

SOUNDTRACK TO A GENERATION (7” Virgin October 1990)
VS1303
A1 Soundtrack To A Generation (Edit)
B1 Soundtrack To A Generation (Instrumental)

TELL ME WHEN (CD EastWest December 1994)
YZ882CD1
1 Tell Me When (7” Edit)
2 Tell Me When (Mix 1)
3 Kimi Ni MuneKyun
4 The Bus To Crookes

ONE MAN IN MY HEART (CD EastWest March 1995)
YZ904CD1
1 One Man In My Heart
2 One Man In My Heart (TO.E.C. Extended)
3 One Man In My Heart (TO.E.C. Unplugged)
4 These Are The Days (Sonic Radiation)

FILLING UP WITH HEAVEN (CD EastWest June 1995)
YZ944CD1
1 Filling Up With Heaven
2 Filling Up With Heaven (Neil McLellan Vocal Mix)
3 John Clesse; Is He Funny? (ULA Remix)
4 John Clesse; Is He Funny9 (Self Preservation Society House Mix)

STAY WITH ME TONIGHT (CD EastWest January 1996)
EW020CD
1 Stay With Me Tonight (Single Version)
2 Stay With Me Tonight (Space Kittens Vocal Mix)
3 Stay With Me Tonight (Space Kittens Future Dub)
4 Stay With Me Tonight (The Biff & Memphis Remix)
5 Stay With Me Tonight (The Biff & Memphis DMix)

ALL I EVER WANTED (CD Papillon June 2001)
BTFLYS0012
1 All I Ever Wanted (Dave Bascombe Mix)
2 Tranquility
3 All I Ever Wanted (The Vanity Case Mix)

EXCERPTS FROM THE GOLDEN HOUR OF THE FUTURE (12” Black Melody September 2002)
MEL3
A1 Dance Like A Star (V.1)
A2 C’est Grave
A3 Titled U.N.
B1 Dance Like A Star (V.2)
B2 Treatment
B3 Last Man On earth

THE THINGS THAT DREAMS ARE MADE OF (7” Genetic Recordings November 2007)
GEMR001
A1 The Things That Dreams Are Made Of (More Of Mix)
B1 The Things That Dreams Are Made Of (Justus Koncke Vocal Mix Edit)

NIGHT PEOPLE (Digital Download Wall Of Sound November 2010) WOS092D
01 Night People

NEVER LET ME GO (Digital Download Wall Of Sound March 2011) WOS108D
01 Never Let Me Go

SKY (Digital Download Wall Of Sound July 2011)
WOS111D
01 Sky (Radio Edit)

OTHER SINGLE RELEASES

I DON'T DEPEND ON YOU (7” Virgin June 1979) Released as The Men 600 094
A1 I Don’t Depend On You
B1 Cruel (Instrumental)

ROCK’N'ROLL (7” Virgin 1980 - Australia)
K-8039
A1 Rock’N’Roll B1 Toyota City

I’M COMING BACK (7” Virgin 1984 - Canada Promo)
VDJ007
A1 I’m Coming Back
B1 Life On Your Own

ARE YOU EVER COMING BACK? (7” Virgin 1986 - Canada)
VS 1370
A1 Are You Ever Coming Back?
B1 Jam

----------------------------------------------------------------------------------------------------------

YMO VS THE HUMAN LEAGUE (CD Alfa April 1993 - Japan)
ALCA-475
1 Behind The Mask
2 Kimi Ni Mune Kyun
3 Kimi Ni Mune Kyun (Extended Version)
4 Fire Cracker / Tong Poo

YOU’LL BE SORRY (CD L Music December 2002 Canada Promo) LMCD0302-2 DJ
1 You’ll Be Sorry (Original Version)
2 You’ll Be Sorry (Radio Mix)
3 You’ll Be Sorry (Black & Blue Mix)
4 You’ll Be Sorry (Dub Mix)
5 You’ll Be Sorry (Karaoke Mix)

LOVE ME MADLY? (CD Nukove September 2003 - Benelux) NUKVOB001-CD
1 Love Me Madly? (Zenn Eternal Countdown Edit)
2 Love Me Madly? (Dave Bascombe Mix)
3 Love Me Madly? (Voice Of Buddha Remix)
4 Love Me Madly? (Cuzco Remix)

EGOMANIAC (Digital Download Wall Of Sound March 2011 - Germany)
1 Egomaniac

VIDEO/DVD

VIDEO SINGLE (VHS Virgin November 1983)
VIRV SIN1
1 Mirror Man
2 Love Action
3 Don’t You Want Me

GREATEST HITS (VHS Virgin November 1988)
VVD244
1 Circus Of Death
2 The Sound Of The Crowd
3 Love Action (I Believe In Love)
4 Open Your Heart
5 Don’t You Want Me
6 Mirror Man
7 (Keep Feeling) Fascination
8 The Lebanon
9 Life On Your Own
10 Together In Electric Dreams
11 Louise
12 Human

GREATEST HITS (VHS Virgin November 1995)
1 Circus Of Death
2 Empire State Human
3 The Sound Of The Crowd
4 Love Action (I Believe In Love)
5 Open Your Heart
6 Don't You Want Me
7 Mirror Man
8 (Keep Feeling) Fascination
9 The Lebanon
10 Life On Your Own
11 Louise
12 Human
13 I Need Your Loving
14 Love Is All That Matters
15 Soundtrack To A Generation

THE VERY BEST OF (DVD Virgin September 2003) VDVD7
1 Circus Of Death
2 Empire State Human
3 Love Action (I Believe In Love)
4 Open Your Heart
5 Don’t You Want Me
6 Mirror Man
7 (Keep Feeling) Fascination
8 The Lebanon
9 Life On Your Own
10 Together In Electric Dreams
11 Louise
12 Human
13 I Need Your Loving
14 Love Is All That Matters
15 Heart Like A Wheel
16 Soundtrack To A Generation
17 Tell Me When
18 One Man In My Heart
19 All I Ever Wanted
20 The Sound Of The Crowd (Top Of The Pops)
21 Love Action (I Believe In Love) (Top Of The Pops)
22 Open Your Heart (Top Of The Pops)
23 Don’t You Want Me (Top Of The Pops)
24 The Stars Are Going Out (Later With Jools Holland)
25 The Sound Of The Crowd (Later With Jools Holland)
26 Interview

LIVE AT THE DOME (DVD Secrets Films November 2004) DR-4461
1 Hard Times
2 Love Action (I Believe In Love)
3 Mirror Man
4 Louise
5 The Snake
6 Heart Like A Wheel
7 Darkness
8 All I Ever Wanted
9 Open Your Heart
10 The Lebanon
11 One Man In My Heart
12 Human
13 The Things That Dreams Are Made Of
14 Love Me Madly?
15 (Keep Feeling) Fascination
16 Tell Me When
17 Don't You Want Me
18 Empire State Human
19 Together In Electric Dreams
20 The Sound Of The Crowd

-----------------------------------------------------------------------

TRACKLISTING

THE CDS

DISC1

1. Being Boiled
Fast Version
(Marsh / Oakey / Ware)
Produced by The Human League
Published by EMI Virgin Music Ltd
(P) 1978 Holdings Ecosse Ltd t/a Fast Product

2. The Dignity Of Labour (Part 3)
2003 Digital Remaster
(Marsh / Ware)
Produced by The Human League
Published by EMI Virgin Music Ltd
(P) 2003 Virgin Records Ltd

3. Empire State Human
(Marsh / Oakey / Ware)
Co-produced by The Human League & Colin Thurston
Published by EMI Virgin Music Ltd
(P) 1979 Virgin Records Ltd

4. Only After Dark
2003 Remaster
(Richardson / Ronson)
Produced by The Human League & Richard Manwaring
Published by MainMan Publishing
(P) 2003 Virgin Records Ltd

5. Nightclubbing
(Bowie / Osterberg)
Produced by The Human League & John Leckie
Published by James Osterberg Music / Bewley Bros / S.A.R.L. Fluer Music
(P) 2016 Virgin Records Ltd.

6. Boys And Girls
2003 Digital Remaster
(Oakey/Wright)
Produced by The Human League & John Leckie
Published by EMI Virgin Music Ltd
(P) 2003 Virgin Records Ltd

7. The Sound Of The Crowd
Instrumental
(Burden / Oakey)
Produced by Martin Rushent & The Human League
Published by Dinsong Ltd / EMi Virgin Music Ltd
(P) 1981 Virgin Records Ltd

8. Hard Times
(Callis / Oakey / Wright)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd.
Ministry Of Sound Music Publishing Ltd.
(P) 1981 Virgin Records Ltd..

9. Love Action (I Believe In Love)
(Burden / Oakey)
Produced by Martin Rushent & The Human League
Published by Dinsongs Ltd. / EMI Virgin Music Ltd.
(P) 1981 Virgin Records Ltd

10. Open Your Heart
(Callis / Oakey)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(P) 1981 Virgin Records Ltd.

11. Don’t You Want Me
(Callis / Oakey / Wright)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd. / Warner Chappell
(P) 1981 Virgin Records Ltd.

12. Mirror Man
(Burden / Callis / Oakey)
Produced by Martin Rushent & The Human League
Published by Sound Diagrams Ltd. / Ten Music Ltd.
Virgin Music Publishing Ltd.
(P) 1982 Virgin Records Ltd.

13. You Remind Me Of Gold
(Oakey)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd
(P) 1982 Virgin Records Ltd

14. (Keep Feeling) Fascination
Extended Version
(Callis / Oakey)
Produced by Martin Rushent & The Human League
Remixed by Chris Thomas
Published by EMI Virgin Music Ltd / Sound Diagrams Ltd Warner Chappell Music Ltd
(P) 1983 Virgin Records Ltd

15. The Lebanon
7” Version
(Callis / Oakey)
Produced by Hugh Padgham, Chris Thomas & The Human League
Engineered by Bill Price, Gavin McKillop & Renate Blauel
Mixed by Hugh Padgham
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(P) 1984 Virgin Records Ltd

16. Louise
DJ Edit
(Callis / Oakey / Wright)
Produced by Hugh Padgham, Chris Thomas & The Human League
Engineered by Bill Price, Gavin McKillop & Renate Blauel
Mixed by Hugh Padgham
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(P) 2016 Virgin Records Ltd
This Compilation (P) 2016 Virgin Records Ltd.
(C) 2016 Artist Choice Ltd

DISC 2

1. Life On Your Own
Single Version
(Callis / Oakey / Wright)
Produced by Hugh Padgham, Chris Thomas & The Human League
Engineered by Bill Price, Gavin McKillop & Renate Blauel
Mixed by Hugh Padgham
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(P) 2016 Virgin Records Ltd

2. Human
Extended Version
(Harris / Lewis)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc.
Engineered by Steve Hodge Published by Flyte Tyme Tunes
(P) 1986 Virgin Records Ltd

3. I Need Your Loving
DJ Edit
(Lewis / Harris / Williams / Eiland / Lewis / Richey)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc.
Engineered by Steve Hodge Published by EMI Music Publishing Ltd
(P) 2016 Virgin Records Ltd

4. Love Is All That Matters
Edit
(Harris / Lewis)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc.
Engineered by Steve Hodge Published by Flyte Tyme Tunes
(P) 2016 Virgin Records Ltd

5. Heart Like A Wheel
William Orbit Remix
(Callis /Reynolds)
Produced by Martin Rushent
Remixed by William Orbit
Published by Universal Music Publishing Ltd
(P) 2016 Virgin Records Ltd

6. Soundtrack To A Generation
Edit
(Oakey / Sutton)
Produced by Bob Kraushaar
Published by EMI Virgin Music Ltd
(P) 1990 Virgin Records Ltd

7. Tell Me When
Edit / Remastered 2003
(Beckett /Oakey)
Produced by Ian Stanley
Mixed by Dave Bascombe & Mark “Spike" Stent
Published by EMI Virgin Music Ltd. / Universal MCA Music Ltd
(P) 2003 Warner Music UK Ltd

8. One Man In My Heart
(Oakey / Sutton)
Produced by Ian Stanley Mixed by Mark "Spike" Stent
Published by EMI Virgin Music Ltd
(P) 1995 Warner Music UK Ltd

------------------------------------------------------------------------------

9. Filling Up With Heaven
(Oakey / Stanley)
Produced by Ian Stanley Mixed by Mark 'Spike' Stent
Published by EMI Virgin Music Ltd. / Universal Island Music Ltd
(P) 1995 Warner Music UK Ltd

10. Stay With Me Tonight
(Oakey / Stanley)
Produced by Ian Stanley Mixed by Mark ’Spike' Stent
Published by EMI Virgin Music Ltd / Universal Island Music Ltd
(P) 1995 Warner Music UK Ltd

11. All I Ever Wanted
Radio Edit
(Oakey / Sutton)
Produced by Toy Mixed by Dave Bascombe
Published by BMG Music Ltd
(P) 2001 Artist Choice Ltd

12. Night People
Radio Edit
(Oakey / Barton)
Produced by I Monster
Published by Copyright Control / BMG Music Ltd Licensed courtesy of [PI AS]
(P) 2016 Wall Of Sound Ltd

13. Never Let Me Go
(Oakey / Barton / Honer / Gosling)
Produced by I Monster
Published by Copyright Control / BMG Music Ltd Licensed courtesy of [PIAS]
(P) 2011 Wall Of Sound Ltd

14. Sky
Radio Edit
(Oakey / Barton)
Produced by I Monster
Published by Copyright Control / BMG Music Ltd Licensed courtesy of [PIAS]
(P) 2011 Wall Of Sound Ltd
This Compilation (P) 2016 Virgin Records Ltd.
(C) 2016 Artist Choice Ltd

DISC 3

1. The Path Of Least Resistance
Previously unreleased early version
(Marsh / Oakey / Ware)
(P) 2016 Virgin Records Ltd.

2. No Time
Previously unreleased early version of „The Word Before Last'
(Marsh / Oakey / Ware)
(P) 2016 Virgin Records Ltd.

3. Being Boiled
State Of The Art Mix
(Marsh / Oakey / Ware)
(P) 2016 Virgin Records Ltd.

4. Stylopops You Broke My Heart
Previously unreleased early version of ..Marianne"
(Marsh / Oakey / Ware)
(P) 2016 Virgin Records Ltd.

5. I Am The Law
Previously unreleased early version
(Oakey / Wright)
(P) 2016 Virgin Records Ltd.

6. Darkness
Previously unreleased early version
(Callis / Wright)
(P) 2016 Virgin Records Ltd.

7. Louise
Early version
(Callis / Oakey / Wright)
Produced by The Human League, Hugh Padgham & Chris Thomas
Engineered by Bill Price, Gavin McKillop & Renate Blauel
(P) 2016 Virgin Records Ltd

8. The Real Thing
Early version
(Burden / Fellows / Oakey / Russell)
(P) 2016 Virgin Records Ltd

9. Love On The Run
Early version
(Burden / Oakey / Russell)
(P) 2016 Virgin Records Ltd

10. A Doorway
Early version
(Dennett / Sutton / Oakey)
(P) 2016 Virgin Records Ltd

11. FM
Early version of .Soundtrack To A Generation"
(Oakey / Sutton)
(P) 2016 Virgin Records Ltd

12. Happening Woman
Early version of .Filling Up With Heaven”
(Oakey/Stanley)
(P) 2016 Artist Choice Ltd

13. Give It Back
Early version of .Houseful of Nothing"
(Beckett / Oakey / Stanley)
(P) 2016 Artist Choice Ltd

14. NewStart
Early version of .All I Ever Wanted'
(Oakey / Sutton)
(P) 2016 Artist Choice Ltd

15. SH5
Early version of “Liar"
(Oakey / Sutton)
(P) 2016 Artist Choice Ltd

16. Biller
Early version of .Single Minded”
(Barton / Oakey)
(P) 2016 Artist Choice Ltd

17. Jupiter
Early version of “Sky"
(Barton / Oakey)
(P) 2016 Artist Choice Ltd


This Compilation (P) 2016 Virgin Records Ltd. (C) 2016 Artist Choice Ltd

-------------------------------------------------------------------------------------------------------

TRACKLISTING


THE DVD

Promo Videos

1. Circus Of Death
(Marsh / Oakey / Ware)
Published by EMI Virgin Music Ltd
(C) 2003 Virgin Records Ltd
Video directed by Russel Mulcahy

2. Empire State Human
(Marsh / Oakey / Ware)
Co-produced by The Human League & Colin Thurston
Published by EMI Virgin Music Ltd
(C) 2003 Virgin Records Ltd
Video directed by Russel Mulcahy

3. Love Action (I Believe in Love)
(Burden / Oakey)
Produced by Martin Rushent & The Human League
Published by Dinsong Ltd / EMI Virgin Music Ltd
(C) 1981 Virgin Records Ltd.
Video directed by Steve Barron

4. Open Your Heart
(Callis / Oakey)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd
Ministry Of Sound Music Publishing Ltd
(C) 2003 Virgin Records Ltd
Video directed by Brian Grant

5. Don't You Want Me
(Callis / Oakey / Wright)
Produced by Martin Rushent & The Human League
Published by EMI Virgin Music Ltd. / Warner Chappell
(C) 1981 Virgin Records Ltd.
Video directed by Steve Barron

6. Mirror Man
(Burden / Callis / Oakey)
Produced by Martin Rushent & The Human League
Published by Sound Diagrams Ltd. / Ten Music Ltd. / Virgin Music Publishing Ltd.
(C) 2003 Virgin Records Ltd \Video directed by Duffy

7. (Keep Feeling) Fascination
(Callis / Oakey)
Produced by Martin Rushent & The Human League
Mixed by Chris Thomas
Published by EMI Virgin Music Ltd / Sound Diagrams Ltd / Warner Chappell Music Ltd
(C) 1982 Virgin Records Ltd
Video directed by Steve Barron

8. The Lebanon
(Callis / Oakey)
Produced by The Human League .Chris Thomas & Hugh Padgham
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(C) 1982 Virgin Records Ltd
Video directed by Simon Milne

9. Life On Your Own
(Callis / Oakey / Wright)
Produced by The Human League .Chris Thomas & Hugh Padgham
Engineered by Bill Price / Gavin McKillop / Renate Blaue!
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(C) 2003 Virgin Records Ltd
Video directed by Simon Milne

10. Louise
(Callis / Oakey / Wright)
Produced by The Human League .Chris Thomas & Hugh Padgham
Engineered by Bill Price / Gavin McKillop / Renate Blauel
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
(C) 2003 Virgin Records Ltd
Video directed by Steve Barron

11. Human
(Harris / Lewis)
(Harris / Lewis)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc.
Engineered by Steve Hodge
Published by EMI Music Publishing Ltd / Flyte Tyme Tunes
(C) 2003 Virgin Records Ltd
Video directed by Andy Morahan

12. I Need Your Loving
(Harris / Lewis / Eiland / Richey / Williams / Davis)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc.
Engineered by Steve Hodge
Published by EMI Music Publishing Ltd
(C) 2003 Virgin Records Ltd
Video directed by Andy Morahan

13. Love Is All That Matters
(Harris / Lewis)
Produced by Jimmy Jam & Terry Lewis for Flyte Tyme Productions Inc
Published by EMI Music Publishing Ltd
(C) 2003 Virgin Records Ltd

14. Heart Like A Wheel
(Callis/Reynolds)
Produced by Martin Rushent
Published by Universal Music Publishing Ltd
(C) 2003 Virgin Records Ltd
Video directed by Andy Morahan

15. Soundtrack To A Generation
(Oakey / Sutton)
Produced by Bob Kraushaar
Published by EMI Virgin Music Ltd
(C) 2003 Virgin Records Ltd
Video directed by Pete Cornish

16. Tell Me When
(Beckett / Oakey)
Produced by Ian Stanley
Mixed by Dave Bascombe & Mark "Spike" Stent
Published by EMI Virgin Music Ltd. / Universal MCA Music Ltd
(C) 2003 Warner Music UK Ltd
Video directed by Andy Morahan

17. One Man In My Heart
(Oakey / Sutton)
Produced by Ian Stanley Mixed by Mark "Spike' Stent
Published by EMI Virgin Music Ltd.
(C) 1995 Warner Music UK Ltd
Video directed by Andy Morahan

18. All I Ever Wanted
(Oakey / Sutton)
Produced by Toy Published by BMG Music
(C) 2016 Artist Choice Ltd

19. Filling Up With Heaven
(Oakey/Stan ley)
Produced by Ian Stanley Mixed by Mark “Spike" Stent
Published by EMI Virgin Music Ltd / Universal-Island Music Ltd
(C) 1995 Warner Music UK Ltd

20. Night People
(Oakey / Barton)
Produced by I Monster
Published by Copyright Control / BMG Music Ltd Licensed courtesy of [PIAS]
(C)2016 Wall Of Sound Ltd
Video directed by Rob Simpkins

21. Never Let Me Go
(Barton / Honer / Gosling / Oakey)
Produced by I Monster
Published by Copyright Control / BMG Music Ltd Licensed courtesy of [PIAS]
(C) 2011 Wall Of Sound Ltd
Video directed by Ewan Jones Morris & Casey Raymond

This Compilation (P) 2016 Virgin Records Ltd.
(C) 2016 Artist Choice Ltd

-------------------------------------------------------------------------------------------------

Live at The BBC

1. The Path Of Least Resistance
(Marsh / Oakey / Ware)
Published by EMI Virgin Music Ltd
Broadcast on "Mainstream’ 6 November 1979

2. Empire State Human
(Marsh / Oakey / Ware)
Published by EMI Virgin Music Ltd
Broadcast on “Mainstream’ 6 November 1979

3. Rock and Roll Part 2
(Glitter/Leander)
Published by MCA Music Ltd.
Broadcast on “Top Of The Pops” 8 May 1980

4. The Sound Of The Crowd
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Top Of The Pops” 21 May 1981

5. The Sound Of The Crowd
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Top Of The Pops” 30 April 1981

6. Love Action
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Top Of The Pops” 6 August 1981

7. Open Your Heart
(Callis / Oakey)
Published by EMI Virgin Music Ltd Ministry Of Sound Music Publishing Ltd
Broadcast on “Top Of The Pops” 8 October 1981

8. Don’t You Want Me
(Callis / Oakey / Wright)
Published by EMI Virgin Music Ltd. / Warner Chappell
Broadcast on “Top Of The Pops" 21 December 1981

9. Love Action
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Top Of The Pops” 25 December 1981

10. Love Action
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Multi Coloured Swap Shop” 30 May 1982

11. Mirror Man
(Burden / Callis / Oakey)
Published by EMI Virgin Music Ltd / Notting Hill Music (UK) Ltd
Warner Chappell Music Ltd
Broadcast on “Top Of The Pops” 18 November 1982

12. Keep Feeling (Fascination)
(Callis / Oakey)
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
Broadcast on "Top Of The Pops” 5 May 1983

13. The Lebanon
(Callis/Oakey)
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
Broadcast on “Top Of The Pops” 3 May 1984

14. Life On Your Own
(Callis / Oakey / Wright)
Published by EMI Virgin Music Ltd / Warner Chappell Music Ltd
Broadcast on “Top Of The Pops” 28 June 1984

15.1‘m Coming Back
(Oakey / Wright)
Published by EMI Virgin Music Ltd
Broadcast on "The Oxford Road Show” 25 August 1984

16. Rock Me Again And Again And Again And Again And Again And Again (Six Times)
(Austin / Brown)
Published by Intersong Music Ltd.
Broadcast on “The Oxford Road Show” 25 August 1984

17. Human
(Harris / Lewis)
Published by EMI Music Publishing Ltd Broadcast on “Wogan” 13 August 1986

18. Human
(Harris / Lewis)
Published by EMI Music Publishing Ltd Broadcast on “Top Of The Pops” 23 September 1986

19. Heart Like A Wheel
(Callis/Reynolds)
Published by Universal Music Publishing Ltd
Broadcast on "Wogan” 13 August 1990

20. Heart Like A Wheel
(Callis/Reynolds)
Published by Universal Music Publishing Ltd
Broadcast on “Top Of The Pops” 23 August 1990

21. Tell Me When
(Beckett /Oakey)
Published by EMI Virgin Music Ltd. / Universal MCA Music Ltd
Broadcast on “Top Of The Pops" 22 December 1994

22. Tell Me When
(Beckett /Oakey)
Published by EMI Virgin Music Ltd. / Universal MCA Music Ltd
Broadcast on “Top Of The Pops" 5 January 1995

23. One Man In My Heart
(Oakey / Sutton)
Published by EMI Virgin Music Ltd.
Broadcast on "Top Of The Pops" 16 March 1995

24. The Stars Are Going Out
(Oakey / Sutton)
Published by Copyright Control / EMI Virgin Music Ltd
Broadcast on “Later With Jools Holland" 25 November 1995

25. The Sound Of The Crowd
(Burden / Oakey)
Published by Dinsong Ltd / EMI Virgin Music Ltd
Broadcast on “Later With Jools Holland" 25 November 1995
Tracks 1 to 25 (C) 2016 BBC


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