Human League - The Lebanon (Virgin)

Long time no hear, and it's a pretty heavy subject. A rousing chorus and a snappy guitar riff (that reminds me somewhat of the Banshees) go together to make a big hit. (Dave Gahan, Smash Hits, April 26, 1984)

Heavier than the League's last couple of singles. Jo Callis rediscovers his guitar and adds a U2/Public Image riff to the normal synth and deep throat backing. It's a grower, but politics and pop don't mix, so I'm told. (Andy Strickland, Record Mirror, April 28, 1984)

It's hardly fair that The Human League should be criticised for making their records so slowly, since no one gave them a time limit in the first place. On the other hand. . . AND ABOUT TIME TOO!! 1984's Human League has a harder (as in rock) sound and it's mirrored by their lyrics. "I must be dreaming/It can't be true," says Phil Oakey of the Lebanese war, and he could just as easily be talking about the Libyan siege in London. This isn't too jolly, and some might say The Human League should keep their noses out of politics. I bet Phil's got an answer for that one too. (Paul Simper, No 1, April 28, 1984)

Human League - Louise (Virgin)

When Hysteria first came out, this was the track everyone pointed to and exclaimed: "that should have been the single". Wishful thinking, I reckon, to see this somewhat drab ballad as this year's "Don't You Want Me", but it'll probably be a hit of some sort all the same. All I know is, that nagging bass line is going to drive me raving mad. (Dave Rimmer, Smash Hits, November 22, 1984)

'Hello Louise, remember me?' Hey, it's uncle Phil and t'boys and girls in t'League with
the third single pulled from the disappointing Hysteria LP. The last single "Life On Your Own" was a perfect League single - catchy, glamorous with just a hint of heartache. "Louise" is also another Mills & Boon electro romance, but Phil Oakey's deadpan delivery sounds as romantic as a wellington boot. (Adrian Tierney-Jones, No 1, November 10, 1984)

Beneath the lumpy synthesiser squeals and dull, thudding rhythms lies a simple, plaintive peach of a song. Its insidious melody and Oakey-Cokey's appropriately deadpan delivery would all but wrench out those heart strings if it wasn't for all those bleeding Bontempis sounding like a budgie chirping on a digital watch alarm. (Pedro, Record Mirror, November 10, 1984)

Human League - Human (Virgin)

Hands up anyone who actually remembers the Human League. Sheffield's own were last gracing the charts in 1984 with 'Louise'. Then Phil Oakey went off to do things with Giorgio Moroder. Now they're back with this smoochy little number which at first isn't all that impressive. However for want of anything better to play we've given it quite a few listens here at No.1 and it does grow on you - honest. With time this could be a massive hit. 5/5 (Pat Thomas, No 1, August 16, 1986)

Long-awaited re-appearance of the Leaguesters, and I'm seemingly the sole objector at rm. What infiltrates the charts with unswerving regularity these days, they ponder? Mostly American, mostly medallion-sporting balladeers. Aw shucks, we can't fail. Exactly the girlie nonsense I consistently fall for, but not this time. As for that dumb blonde talkover twixt 'I'm only huuuman'... yeeuurrk! Limp, listless and resolutely installed in the subconscious. Mammoth hit. (Lesley O'Toole, Record Mirror, August 16, 1986)

Just about everybody in the Smash Hits' "office" tried to bully me into awarding this record the unparalleled accolade of Single Of The Fortnight. At first I agreed. After all, it is a beautifully crafted, warm and melodic tune. A perfect pop record, no less. It's also remarkably similar to many other songs by artistes like The SOS Band. Change. Alexander O'Neal and Cherelle who have all, together with "Human", been produced by the much in demand team of Jimmy Jam and Terry Lewis. There is one howlingly evident difference, though: Philip Oakey can't sing. The vocals on this single sound, as on all League records, fragile and unconfident. "I'm only human, born to make mistakes," sings Philip in his own unique flat style. Jam and Lewis actually turned down Lionel Richie to make this record and I would guess that as well as producing it, they arranged it, played all the instruments on it and probably wrote most of it as well. Pity they couldn't sing on it or get someone else in to do the job. (Simon Mills, Smash Hits. August 13, 1986)