Dare!

Listening to this album reminds me that if I had embarked on this musical journey a decade ago, it would have gone far differently. And by differently, I mean worse. Generally my attitude toward listening to music has been the same attitude that I have about eating at restaurants: when I take the time to leave the house, drive somewhere, and pay all that extra money for restaurant service, I want to be absolutely crazy about that food. And if I am going to purchase music, and listen to it when I could be listening to literally anything else, it ought to be damn good. Is there anything worse than a $15 burger that’s dry, or a record with one hit and nine forgettable tracks? The difference between “current me” and “10 years ago me” is that now I recognize that there is another tier of music that, while not my favorite, can be very enjoyable in certain settings, primarily those settings where the music is in the background (like during a game night with friends). So what does all this have to do with The Human League’s album Dare? Well, there was a time where I absolutely hated all music that even had hints of an 80’s feel. Synthesizers, that 80’s drum sound (I looked it up and it’s called gated reverb), all of it made me cringe. Nowadays I am better at appreciating a good pop song despite its particular textures, and so I’m actually able to get some enjoyment out of a record like this. This is early 80’s synth-pop with a sinister flair to it, with a good amount of dark lyrics. I think the sound of both vocalists really goes well with the music, and I’m always happy to hear a vocalist sing in lower registers. Like probably everyone, I was familiar with the song Don’t You Want Me, but I was surprised that there weren’t many other monster choruses here. 80’s pop will never be my favorite, but overall I didn’t hate this, and its inclusion on this list seems pretty obvious to me. My personal enjoyment: 3/5 Did it belong on this list: 4.5/5

This list really loves low-stakes 70s and 80s one hit wonders that are all but forgotten outside of classic rock radio stations that play on an endless loop in the workplace as bland, inoffensive background noise. Not. Fucking. Essential.

A synth-pop 80s purgatory is a better place to be than a 80s post-punk hell.

Just ok. It was clever of them to put the best song at the end, so you'd listen to the rest of it first

Electronic pop from this era is like pizza to me. It nearly always hits the spot. I prefer the human league lineup with ware and marsh but this is definitely choice synthpop. There is something about the relative flatness/stiffness of the delivery style that I find endlessly entertaining. An evolution from Kraftwerk that even members of Kraftwerk appreciated.

80s vibes at their finest.

WOW!!! What a surprise! Incredibly synth-heavy pop, I had never heard of this band and was ready to write it off seeing that they're responsible for "Don't You Want Me," which is a fucking crime because that song slaps! Seriously, incredible album, it's immediately going into the rotation. I'll be listening to a lot more of this band going forward. Favorite Songs: 1. The Things That Dreams are Made of 3. The Sound of the Crowd (HOLY SHIT THAT SYNTH!) 4. Darkness (Incredible, seriously) 8. Seconds 9. Love Action

Absolute classic 70s synth pop This shit hard as fuck

Love it, seminal new wave, can hear the influence on so many later electro-pop bands. Sparse, melodic hooks, great beats. So many hits here, favourite is probably Love Action.

This is kinda like Devo meets Bowie imo (but with a more pop vibe), I dig it!

stinky 80s cheese 🧀

Brilliant. Soooo 1980s but who cares? Catchy tunes, all excellent - not a bad track on the album.

This is review 945 for my project. I did nearly 200 reviews before I started a group, which re-set the counter, and albums from those first 200 still turn up. The Human League's 'Dare' was the very first record I reviewed on day one. Now that I have refined my approach to reviewing, let's see how my initial thoughts and rating stack up: "minimal, clean synth sounds, cool production but still warm to hear. Surprisingly good tunes beyond just the singles, especially 'The things that dreams are made of' and 'The Sound of the Crowd' and 'Get Carter/I am the Law'." Well, I stand by all of that. The best moments of 'Dare' have a kind of regional nightclub glamour. Don't look too closely or you'll see the grimy reality, but when the music is loud and the lights are flashing, there is a fun, sexy vibe that you can dance to. My first instinct was to put my rating down to three stars, but I have listened to this album twice through on the trot, and I really dig it. There really are some cracking tunes here, and it wrote the book on synth pop. Great to listen to, lots of fun, and highly influential.

If you took the entire recorded output of Yes, King Crimson and ELP, added it together and multiplied it by 3, that level of pretentiousness would still be less than that of the morose, navel-gazing catalog of synth-pop bullshit contained in the 1001 Albums list. In closing, let me sing you a portion of the “Don’t You Want Me?” x 1001 Albums Generator parody song I’ve written: [synth sounds] I was bored of working at my nine to five When I met you I got online, I signed right up You told me that you Would turn me on to something new Now one year later on you've got me losing my mind Assigning albums has been so easy for you But don't forget it's me who put you where you are now And I can put you back down too? Don't Don't you want me? You know I can't believe it when I get another synth pop record Don't Don't you want me? You know I don't believe you when you say that it’s the last one You think that this is fine? You think that I don’t mind? One more OMD album and I’ll be leaving here for good this time… Don't you want me, baby? Don't you want me? Noooooo! Don't you want me, baby? Don't you want me? Noooooo!

### **In-Depth Review of The Human League's "Dare!"** **Introduction** Released in 1981, "Dare!" by The Human League stands as a seminal work in the synth-pop genre. The album marked a significant transformation for the band, transitioning from their early experimental electronic sound to a more polished, commercially viable approach. This review delves into the intricacies of the album, examining its lyrics, music, production, themes, and overall influence, while also weighing its strengths and weaknesses. **Lyrics** The lyrics on "Dare!" explore a range of themes, from personal relationships to broader societal observations. The album’s lead single, "Don't You Want Me," is a quintessential narrative of love and heartbreak, depicting the complexities of a deteriorating romantic relationship. The interplay between Philip Oakey’s detached vocals and Susanne Sulley’s retorts adds a dramatic tension that resonates with listeners. "Open Your Heart" and "Love Action (I Believe in Love)" further delve into the nuances of love, albeit with a more optimistic outlook. The former encourages vulnerability and emotional openness, while the latter celebrates love as a guiding principle. "The Things That Dreams Are Made Of" shifts focus, offering a list-like reflection on the desires and aspirations that drive human ambition. The lyrical simplicity in many tracks is both a strength and a limitation. While it ensures accessibility and immediate connection, it occasionally borders on superficiality, lacking the depth found in more introspective works of the time. **Music** Musically, "Dare!" is a masterclass in synth-pop. The use of synthesizers, drum machines, and sequencers creates a futuristic yet melodically rich soundscape. The opening track, "The Things That Dreams Are Made Of," sets the tone with its infectious synth riff and driving rhythm. The minimalistic yet catchy arrangement is a hallmark of the album. "Seconds," with its dark, pulsating bassline and eerie melodies, contrasts starkly with the upbeat "Don't You Want Me," showcasing the band's versatility. The instrumental track "Get Carter," inspired by the 1971 film of the same name, provides a brief, atmospheric interlude that highlights the band's ability to evoke mood purely through instrumental composition. One of the album's musical triumphs is "The Sound of the Crowd," which blends a propulsive beat with layered synth textures and call-and-response vocals. The innovative use of technology, such as the Roland System-100 and LinnDrum, played a crucial role in crafting the album’s distinctive sound. However, the heavy reliance on electronic instruments sometimes results in a dated feel, particularly in the context of modern production standards. **Production** Produced by Martin Rushent, "Dare!" is notable for its clean, precise production. Rushent’s expertise in electronic music production is evident in the album’s meticulous arrangement and sound design. The production strikes a balance between the raw energy of early electronic music and the polish required for mainstream appeal. Rushent employed advanced studio techniques, such as extensive multitracking and the use of the then-novel Fairlight CMI, to achieve a lush, layered sound. This meticulous approach ensured that every element, from the synth lines to the percussion, was finely tuned and perfectly placed within the mix. However, the pristine production occasionally sacrifices warmth and organic feel. The album’s clinical precision, while impressive, can sometimes come across as emotionally detached. This is a common critique of electronic music from this era, where the emphasis on technical prowess occasionally overshadowed the human element. **Themes** "Dare!" encapsulates themes of love, ambition, and the human experience through a modern, urban lens. The juxtaposition of hopeful and melancholic tones reflects the complexities of navigating contemporary life. Tracks like "Love Action (I Believe in Love)" and "Open Your Heart" emphasize the importance of emotional connections, while "Seconds" and "Do or Die" hint at darker, more existential concerns. The album also touches on the theme of identity and self-realization. "The Things That Dreams Are Made Of" speaks to the universal quest for fulfillment, listing everyday desires and goals that resonate on a personal level. This blend of introspection and universality is a key factor in the album's enduring appeal. Furthermore, "Dare!" captures the zeitgeist of the early 1980s, a period marked by rapid technological advancement and cultural shifts. The use of cutting-edge electronic instruments not only defines the album’s sound but also mirrors the era’s fascination with the future and the possibilities it holds. **Influence** The influence of "Dare!" on the music industry is profound and far-reaching. As one of the defining albums of the synth-pop movement, it paved the way for numerous artists who sought to blend electronic music with pop sensibilities. Bands like Depeche Mode, Eurythmics, and Pet Shop Boys drew inspiration from The Human League's approach to songwriting and production. "Dare!" also played a pivotal role in bringing electronic music to a mainstream audience. The success of "Don't You Want Me" as a chart-topping single demonstrated the commercial viability of synth-pop, encouraging record labels to invest in similar acts. The album’s impact is evident in the continued popularity of electronic music and its integration into various genres. Moreover, the album's production techniques, particularly the use of synthesizers and drum machines, have become standard practice in modern music production. The precision and innovation demonstrated by Rushent set a benchmark for future producers, influencing the way electronic music is created and perceived. **Pros and Cons** *Pros:* 1. **Innovative Production**: Martin Rushent’s production techniques set new standards for electronic music, utilizing advanced technology to create a polished, layered sound. 2. **Catchy Melodies**: The album is filled with memorable hooks and infectious melodies that have stood the test of time, particularly in tracks like "Don't You Want Me" and "The Sound of the Crowd." 3. **Thematic Cohesion**: "Dare!" successfully captures the essence of the early 1980s, reflecting the era’s cultural and technological shifts through its lyrics and sound. 4. **Commercial Appeal**: The album’s accessible pop sensibility helped bring electronic music into the mainstream, influencing countless artists and shaping the future of the genre. 5. **Versatility**: The album showcases a range of musical styles within the synth-pop framework, from the dark, brooding tones of "Seconds" to the upbeat, danceable rhythms of "Love Action." *Cons:* 1. **Lyrical Simplicity**: While accessible, some of the lyrics lack depth and complexity, occasionally bordering on superficiality. 2. **Emotional Detachment**: The clinical precision of the production can sometimes feel emotionally detached, missing the warmth and organic feel of more traditional instrumentation. 3. **Dated Sound**: While innovative at the time, some production elements now sound dated, which may affect the album's appeal to modern listeners unfamiliar with its historical context. **Conclusion** "Dare!" by The Human League is a landmark album that played a crucial role in the evolution of synth-pop and electronic music. Its innovative production, catchy melodies, and thematic resonance capture the spirit of the early 1980s, making it a timeless piece of musical history. While it has its flaws, such as lyrical simplicity and a sometimes emotionally detached sound, its strengths far outweigh these minor drawbacks. The album's influence on the music industry is undeniable, and its legacy continues to inspire artists and producers to this day. In essence, "Dare!" is not just an album but a cultural artifact that encapsulates the hopes, dreams, and technological advancements of its era.

It took quite a long time for this album to click for me, but boy, when it did, it was a minor revelation for sure. Before listening to that record I thought that none of those synth pop acts form the early eighties had been able to create full-length masterpieces, contrary to the skills and flair they often displayed for singles (still hate that ABC LP from this list, for instance...). So when I first listened to *Dare* I was highly skeptical--I thought I was in for another instance of Duran-Duran-like overrated drivel. Turned out I was wrong. If you have the right amount of mellifluous earworms, it doesn't matter if your style is dated or not. This what happens in *Dare*. You won't find a single dud in this record, because there is the sort of combination that usually makes an album great, and this in any style. And the equation is this: instant catchiness + imagination + layering + dynamics. The slow songs always have something intense to them, and the livelier numbers remain classy and enticing--avoiding the sort of vulgar flourishes that often turned synth-pop hits into a cheesefest. Not that this class-act nature prevented The Human League to find memorable melodies, as I said earlier--the sort of melodies a recent act like The 1975, painfully trying to harness similar eighties aesthetics, is notoriously unable to write, for instance. Choruses and hooks are stellar in *Dare*: "The Things That Dreams Are Made Of", "The Sound Of The Crowd", and--of course--"Don't You Want Me", first come to mind here. But each and every song has its own share of wonderful moments. And the instrumental parts between those choruses are also great, with catchy arrangements that are often surprisingly subtle (see that minor chord-major chord modulation in "Darkness", for example). With this LP, The Human League also used interesting textures that still sound fresh today, against all odds. Take those "flute" sounds in "Open You Hear" or "Get Carter". As for the drums sound, it is actually quite restrained, mostly avoiding that gated reverb that pestered most pop acts during that decade. Synth basslines owe a lot to Kraftwerk of course, but The Human League also bring their own pop drive to the whole thing, making this music unmistakably theirs. Add the evocative lyrics to this recipe--drawing from eighties concerns about jobs and fame and love and money and travelling, with some empathic angles about the whole thing, yet still keeping the gently sardonic touches of The Human League's previous LPs--and what you have here is an essetial album, no doubt about that. In a way, the productive compromise that gave birth to those lyrics is the same sort of compriomise that gave birth to the music itself. Digging further into The Human League's discography, now I know that their first two full-length records, before the line-up change, had been slightly more experimental--and that records after *Dare* would be far more "commercial". But with this particular LP, you just have a perfect middle ground between those two extremities. So it's no wonder you can find it in many music anthologies and lists similar to this one. 5/5. Number of albums left to review: 443 Number of albums from the list I find relevant enough to be mandatory listens: 260 (including this one) Albums from the list I *might* include in mine later on: 132 Albums from the list I will certainly *not* include in mine (many others are more essential to me): 168

I am very familiar with THE HUMAN LEAGUE and the DARE album. I have it and I’m a casual fan of the band. The early material is interesting but not up to their more poppier efforts. The band has some hits and misses on their other albums, but DARE is one of those perfect albums. After re-listening to DARE, my opinion has not changed this is a really great album. Every single song is catchy and extremely enjoyable to listen it. It is the most popular HUMAN LEAGUE album and in this case the best one, deservedly so. Pop wins out on this one. In 1001 Albums You Must Hear Before You Die, DARE is the only album included. Rate Artist: THE HUMAN LEAGUE (4.0) Rate Album (Year): DARE (1981 Original) (5.0) Ranking of THE HUMAN LEAGUE - DARE songs 01) The Things That Dreams Are Made Of 4:15 10.0/10 02) Open Your Heart 3:56 10.0/10 03) The Sound Of The Crowd 4:05 10.0/10 04) Darkness 3:59 09.0/10 05) Do Or Die 5:25 10.0/10 06) Get Carter 1:02 08.0/10 07) I Am The Law 4:08 10.0/10 08) Seconds 4:59 10.0/10 09) Love Action (I Believe In Love) 5:00 10.0/10 10) Don't You Want Me 3:57 10.0/10 Original 1981 Release 97.0/100 = 97.0 / 2 = 4.85

I never owned this album in the 80s, but I wished I had. Given the large number of albums where the non-hit tracks weren’t great, I think I would have liked most of this album then. Still, better late than never. My favorite Human League song (“Don’t You Want Me”)appears on this album. How surprising that the lead singer thought it the weakest track on the album and buried it at the end of side B. It is still my favorite song on the album, but I’m glad to have some new candidates for the position after listening to this album. “The Things That Dreams Are Made Of” is a great song! I’m not sure how I missed it all these years (I think it was released as a single?) but glad to know it now. “Open Your Heart” was a single in the UK (not sure about the US) that I also missed. I quite like this song as well. “The Sound of the Crowd” is really fun and catchy and makes me want to go to all the 80s clubs. So much 80s fun! By the third listen I liked all the songs on this. Amazed to hear a Casio VL-1 as the sole instrument on “Get Carter”. Too cool! Great album!

No, I don’t want you. Never did

Absolute Jams

In a nutshell: essential for synthpop historians, occasionally rewarding for casual listeners — but no longer futuristic. Certain singles become so iconic that they practically devour the album they came from. With Dare, that’s exactly what happened. “Don’t You Want Me” didn’t just become The Human League’s biggest hit — it overshadowed their entire career. One glance at their streaming numbers confirms it: that epic slice of ‘80s pop nostalgia outpaces everything else they’ve done combined. And honestly? Fair enough. It’s a stone-cold classic, a breakup song masquerading as a pop anthem — possessive, desperate, yet strangely euphoric — and a masterclass in synthpop minimalism, with every part doing just enough, never too much. But what about the rest of the album? That’s where things get trickier. Dare is a fully synthesized album — no guitars, no live drums, just drum machines, sequencers, and icy synth textures. In 1981, that was still a bold, futuristic move for a mainstream pop record. This is the sound of a band embracing technology as both a tool and a statement. Phil Oakey’s baritone lead vocal is the album’s gravitational center. It’s not a conventionally beautiful voice, but it’s authoritative, dramatic, even slightly aloof, giving these synthetic landscapes an unexpected human weight. Meanwhile, Joanne Catherall and Susan Ann Sulley’s detached backing vocals — almost robotic in their flatness — provide a perfect foil, adding both sweetness and distance. That dynamic works beautifully on the opener, “The Things That Dreams Are Made Of.” The track rides a propulsive, almost industrial synth-bass pulse while Oakey reels off a laundry list of desires — from adventure holidays to meeting John Foxx — a quirky, relatable expression of modern longing. “Open Your Heart” takes a more emotional turn, with shimmering synth pads washing over a bittersweet melody. It’s pure electro-pop yearning, a reminder that under all the futurism, The Human League could write a proper tune when they wanted to. “Love Action (I Believe In Love)” stands out for its funky, bouncing synth bassline and Oakey’s oddly conversational delivery — part singing, part playful monologue. It’s the kind of track that feels deceptively simple until you realize how much clever layering is happening under the surface. However, the album’s middle stretch stumbles. Too many tracks sit in the same mid-tempo zone, leaning on similar drum machine loops and chilly synth textures, while Oakey delivers variations on the same detached croon. As a result, some songs bleed into each other, less because of intentional sequencing and more because they’re working from the same narrow sonic palette. It’s a reminder that minimalism and monotony are always separated by a thin line. That’s also where the dated production comes into play. Some early ‘80s records — Rio, Speak & Spell — have a warmth or organic touch that keeps them feeling alive decades later. Dare, by contrast, leans into thin, brittle synth presets and stiff, mechanical drum programming, which locks it firmly into 1981’s sonic moment. To be clear, that’s not a flaw so much as a trade-off. This is an album that embraces its time-stamped aesthetic with no apologies — and that commitment is part of its charm, even if it limits its timelessness. And yet, its influence is undeniable. Without Dare, there’s no Pet Shop Boys perfecting deadpan pop duets, no Erasure dialing up campy emotionalism, no LCD Soundsystem finding cool in awkwardness, and arguably no Robyn turning icy beats into emotional confessionals. It’s a cornerstone of synthpop, a blueprint that countless others have followed — whether or not they matched its cultural impact. That impact extended beyond the music. Dare’s iconic cover — Oakey’s face split into stark quadrants, half fashion shoot, half avant-garde art — helped define synthpop’s visual identity, all blank futurism and sharp angles. It’s as much a design artifact as it is a record sleeve. So, where does that leave Dare in 2025? For me, it’s an album I respect more than I love. Its peaks are undeniable, and its influence still ripples through pop music today. But as a full listen, it can feel like a historical artifact, a bold glimpse into the future as imagined by 1981. Sometimes, that future still feels thrilling. Other times, it just feels like the past.

It has that one song “Don’t You Want Me,” but not much else. The first few songs have some fun instrumental choices, but this really is a one hit wonder on a very long list.

Bold move putting the two best songs last on the album. Mostly arcade noises and simple lyrics. This album is an oversimplification of what the early 80s were. A 3 is generous.

Great Value Depeche Mode

I think Purgatory was just the 80's.

So 80s 😂😂 the frontman can't sing for shit, so there's that 😂. Love Action is a good track and Don't You Want Me is a banger, but still, can't base the whole album off that. Prob worth a 2 as an album.

With this album, The Human League took a clear step toward a more accessible, radio friendly, and commercial sound compared to their earlier releases. I’ve always appreciated their first two albums, but I have to say, this one takes the cake for me. It’s got everything that makes synthpop so catchy and fun. Every element of this album is electronic, from the drum machine driven beats to the synth driven melodies and basslines. What I really love about 80s synthpop is its natural quirkiness, and this album has its share. When it comes to easygoing electronic synthpop from the 80s, this album is always going to be at the top of my list.

Electronic pop. an immensely fun album that had me grooving the whole way through.

I have the vinyl, some 12" singles, and the cassette... This is one of those things where honestly the absolutely worst thing on the record is the big hit! Rare, but something which does occur in the wild, just not often. There are a ton of great tracks on this record, it's interesting, lyrical, dark in places, great vocals, good songwriting, fantastic drum programming... amazing that it came out in 1981. Outstanding. Easy to dismiss it as synth pop but it's so much, much, much more. I probably listened to this record hardcore for several months, and it was on regular rotation for three or four years. Many new wave records never achieved that for me... I thought this was a great record then, I think it's a great record now... and "Don't You Want Me" is a very catchy single, just not something I'm terribly interested in revisiting, it was way overplayed and there are much better tracks on this record. Even "Love Action" is a better track, and I don't think it's a particularly strong one... great bass line, incredible hooks, fun to sing along with. My favorite tracks are probably the opener "The Things Dreams Are Made Of" and "The Sound of the Crowd" though "Darkness" and "Seconds" show some real range for this band.

Super fun synths.

First time I’ve ever listened to this all the way through.

Jo, det är en bra platta.

It’s the album that killed Lester Bangs! I’m all seriousness, it’s a genre-defining album, and it’s my favourite musical genre. A full five star-rating was never so easily given.

Loved the 80s vibe of this. Want to listen again for sure.

🤘🏼

Fun album. Very 80s

'Don't You Want Me' makes this a 5 for me!

Highly groundbreaking and influential synth pop release that helped change mainstream pop music at the time and it's easy to see why with synth sounds as warm as this.

It didn't invent electronic music but for a lot of people it might as well have. And when you have Open Your Heart, Love Action and Don't You Want Me it's not surprising. What a run of singles. Pure pop in the best of all possible ways.

One of my favorites! Standouts: Don't You Want Me, The Things That Dreams are Made of, The Sound of the Crowd, Love Action, Seconds, Open Your Heart, Get Carter/I Am the Law, Do or Die, Darkness and Hard Times (Bonus). Yes. It is an amazing album. Start to finish, it is absolutely perfect. This was one the first albums I ever bought. It will always be special to me. 5/5

10/10 one of the best New-Wave albums I’ve ever heard — endlessly creative

Was going to say very 80's but instead it's defining 80's. some may hate it but it's such a strong statement of what music was and could be at this time. 5

Right up my street. Catchy melodies, luscious synths, smart lyrics. The 80s in a single album.

Great album

Beautiful

It took me a bit, but I'm really getting into this record. The first songs to really catch my attention were "I Am The Law" and "Seconds." Those slower tracks seem stranger to me. More weird soundscapes and bizarre little accents crafted with the synths. (There's a fantastic LCD Soundsystem cover of "Seconds" that is worth checking out!) Those strange, early-synth/electronic Kraftwerk-inspired elements are evident elsewhere in the record. But, coming to this record from 2022, it was hard for me to get into the sound which (A.) has been parodied and mimicked to death, (B.) reeks distinctly of chart-topping pop music from a decade I don't particularly care for, and (C.) sounds cheesy and dated in the same way proto-CGI work in a film always feels cheesy and dated. But, as with those film effects, such knee-jerk aversions to early technology in art are best looked past as they really have very little to do with the music. It's just the unfortunate effect of perspective. So, now that I'm into it, I'm digging it. I think the second half of the album, from the instrumental "Get Carter" through the immortal "Don't You Want Me," is seriously fantastic stuff. The front half still feels a little single-focused to me, and a bit less cohesive. But it doesn't take at all away from the album's flow. I think that kind of pro/faux-commercial wink is a very important part of the band's identity, as it was many other bands of the era from Devo to Frankie Goes to Hollywood and even some 80s Bowie. The band name as well as the album title and art—such weird stuff going on with typeface and that cropping haha—certainly supports that. Overall, it's an amazing, essential album buoyed by what is quite possibly an even more amazing backstory behind it's creation. (Seriously, has no one made a movie about this yet?) I've had a great time jamming to this today and an incredible turn around with it. I went in thinking it would be a 3. But honestly, think I'm going to give it a 5! I can't think of any good reason why I shouldn’t.

Used to listen to this on my Walkman at college during lunch time playing the 1942 arcade machine in the leisure centre across the road. Good times. A cracking album btw. One that’s often mimicked, but rarely bettered.

The 3rd HL album, for some strange reason the first two albums are not universally liked but Dare is one of the best albums from the 80s, must be the perfect pop album ever.

80's nostalgia. brilliant.

Well, that was really enjoyable… My wife and I are big fans of the 80’s, and are well-versed in the music of the Human League… That said, if you asked me what year these songs came out, I would have said 1983, or 1984 – or WELL after the 80’s alternative movement had begin… Was absolutely shocked to find that this album was released in 1981 – and probably WAS one of the bands that influenced that movement… I was in high-school between 1977-1981, so was very aware of the music tides and shifting landscapes during that period (i.e. sans the disco crap…). Besides U2 (“Boy” 1980 & “October” 1981), the other “early” band whose sound I think many in the 80’s are a derivative of was Joy Division – as their album “Unknown Pleasures” which came out in 1979, and the single “Love Will Tear Us Apart” in 1980 – can be heard in the DNA of ALOT of 80’s alternative music… I will now add Human League to that narrative… Their sound is very unique – for coming as early as it did (i.e. pretty sure the band ABC was a complete knock off of Human League…), and the quality of the recording is excellent… I enjoyed every track, and appreciated the diversity of the tracks on the album… The best songs IMO were - “The Things That Dreams Are Made Of” – 4-stars of 7-stars “Seconds” – 5-stars of 7-stars “Love Action” – 5-stars of 7-stars “Don’t you Want Me” – 6-stars of 7-stars Have a much greater appreciation for the band and these songs knowing how early they arrived on the scene – as they were one of the true trailblazers – as opposed to the myriad of copy-cat pop bands that tried to imitate their sound… Solid 4-stars from me for their originality, and their influence on the genre…

I didn't think I was going to enjoy this all that much but this synthy, new wave shit is pretty fun. "Don't You Want Me" is the big hit for a reason. What a jam. The first couple songs I kept thinking, if it weren't for Kraftwerk...

Having learned recently about the evolution of electronic music and the early prominence of this album in the synthpop movement helped me appreciate this album. It definitely has that 80s synthpop sound, but I didn't realize previously how influential this album was in creating that sound. There are some aspects of this album that sound dated now, but given the technology that they were working with and the uncharted territory that they were moving into, this is a really cool album 4/5

minimal, clean synth sounds, cool production but still warm to hear. Surprisingly good tunes beyond just the singles, especially 'The things that dreams are made of' and 'The Sound of the crowd' and 'Get Carter/I am the law'.

Seminal synth-pop record with a dark flair which recalls their previous albums or even Ultravox's. A few of them are best songs of the genre

Great flash back.

This album taught me something. There are two ways to look at 80's music. Either as "oh, THAT is very 80's" or "damn, they made some pretty good music in that era" In plainer English, music of any era is either FROM that era or more timeless, some even seems "fresh" for first time contemporary listeners no matter what the era. I felt like The Human League is very representative of that veering towards "dated by proxy" line. Most of their music would be great for an 80's themed party but kind of dated by today's standards. On the other hand they have a couple of classics that stand the test of time and overall are worth a listen to, even without the party!

Started listening and immediately thought of the fake hit "PoP! Goes My Heart (see Hugh Grant shake his ass at https://www.youtube.com/watch?v=xVkU8dDSC9w) from the movie "Music and Lyrics." Watched that video and realized it's about as good as Dare!

2.3

Meh very 80s

It's crazy how much they rip off Kraftwerk's general sound while making it sound stupid.

really quite shite. all sounds the same. like he got a casio keyboard for christmas.

One of the best pop albums of the 80s. Bought it when it came out in 1981 and have loved it ever since. So many great tracks it's hard to pick favourites, but I will....Love Action and Do or Die are both absolutely perfect. Not a dud on this album. And of course it contains Don't You Want Me as well....an 80s anthem. Nigh on perfect. The companion remix album Love and Dancing is worth a listen also....that basically invented the remix album genre. Sadly they never really scaled the same heights again, but it was wonderful while it lasted. 5 all day.

Ended up really liking this

And music was made with electronic instruments!!!! real nice tunes coming from guys who were not precisely musicians.

Jag älskar det här albumet! Vill bara göra klart det direkt så det inte råder några som helst tvivel. Det hade kanske kommit några syntpopalbum tidigare där betoningen låg på pop, men dom är inte många i så fall. "Dare" är det första kommersiellt gångbara syntpopalbumet, det sätter tonen för 80talet fem sex år framåt. Depeche Modes debut "Speak and spell" med "Just can't get enough" som hitsingel släpps samma höst, men det är ingen tvekan om vilka skiva som vinner det kommersiella racet i sin samtid. Syntslingorna sitter som ett spett och soundet är sparsmakat utan att bli minimalistiskt och är skitsnyggt. Inte alls lika leksakssyntaktigt som på DM's skiva. Just denna epok (säg 79-82) i Storbrittanien i gränslandet mellan punkideal, experiment, tekniska begränsningar å ena sidan och pop, den kommersiella syntvågen å andra sidan fascinerar mig väldigt mycket och här finns väldigt mycket jag tycker om. Det finns en lekfullhet och upptäckarglädje där innan genren blir cementerad, som är framtvingad av begränsningar och avsaknad av facit och mallar. "Dare" är ett perfekt album för att definera denna tid, det är klockren pop som fortfarande lyckas vara edgy och egen med det melodiösa i centrum. Det är singelkvalitet på i stort sett varje låt. Grälsjuka "Don't you want me" är en odödlig pophit med en av historiens mest karaktäristiska synthookar. "Sound of a crowd" var en låt jag nästan alltid spelade när jag DJade, jag älskar den. Funkar utmärkt som brygga mellan techno och dansant pop (tänk Pulp eller New Order). Att just New Order lyssnat sönder och lånat från "Dare" är ingen vild gissning. Vad som också gör "Dare" stilbildande är fokuset på och själva estetiken i sig. Det är verkligen bye bye 70tal och ett rejält kliv in i 80talet. Omslaget är en ren stöld från temanummer som tyska Vogue (magasinet) hade nåt år tidigare, typsnittet, albumtiteln och de hårt beskurna porträtten rakt av, hörde jag postmodernism (?), väldigt 80tal. Rent objektivt är det kanske en fyra men för mig blir det fullpott, den kryssar i för många boxar hos mig för att inte bli det

Loved this one! Very 80s… very Sega Genesis. Don’t You Want Me is a banger but I really enjoyed Do or Die. Listened to the album back to back today

Fantastic

really loved this a lot of bangers and great instrumentals

Loved this album back in the day, was great to listen to it again

I am robot

I tried to be more critical of this. I really did. But I can't pretend like I just didn't write an overly effusive Pixies review that talked about Doolittle as the origins of most of the indie rock that I listen to without writing an overly effusive review about this album about the origins of most of the synthpop that I listen to. A lot of it was being in the right place in the right time - you couldn't write the Human League story without the letters 'MTV' being in there at any point - but unless you've got the goods, you won't get to the right place anyway. "Don't You Want Me" is one of the greatest songs any of us all will hear at any time on this list, a unique duet of success, resentment, and failed romance set to one of pop music's most propulsive beats. But beyond that one moment of white heat, every other song reads like Kraftwerk if they were 25% more human. Like I think millennials might know "Seconds" better from the LCD Soundsystem cover, but listening to the original today I'm kind of floored but its proto-trance sound. Speaking of, I used to wonder about why James Murphy bragged about having this in his record collection and now I don't wonder much anymore.

This was so funky fresh. Vogueing in the office

The Human League (fun fact - named after a faction in a 70s sci-fi war game) were stalwarts of the early Sheffield avant garde electro scene. However, when half the original line up left to form Heaven 17 the future looked uncertain until front man Phil Oakey recruited two young women that he met in a club one night to act as backing singers and to bring a new dynamic to the band. The fact that they were still at school caused a few problems, when they had to be transported from recording sessions back to Sheffield to sit their exams! The 80s were a different time, but fortunately everything was above board in this case with no funny business. The album showed a development from their earlier sound to a more pop sensibility, but they still retained a unique style in their songs. Apparently Oakey didn’t think that Don’t You Want Me was all that good, but he was overruled and it went on to be one of the defining hits of the 80s that still holds up today. There’s plenty of other good stuff here too with dance floor filler Sound of the Crowd, a cover of Roy Budd’s classic theme to Get Carter and a song about Judge Dredd. Asymmetric-haircut-tastic!

My favourite revelation on this path so far - not that I didn't know the album, but I have felt the need to play it on repeat and the non-singles have really hit home. I must now find a decent vinyl copy. Are there any other classics where the main hit / best songs are at the end?

Oh the 80s

Everybody needs love and adventure Everybody needs cash to spend Everybody needs love and affection Everybody needs 2 or 3 friends" - Oakley/Wright The second British invasion started here back in 1982 (Dare! Was released in 1981 in the UK and 1982 in the US) and it's easy to hear why so many yanks surrendered to the icy beats & smart lyrics made by cute boys with rebel without a cause haircuts. Dare! must have sounded insane in 1982 as it sounds ahead of it time in 2025 while other records from the same year by the likes of John Cogar and Foreigner sound extraordinarily limp and dated. Dare! is actually an album you must hear before your Dutch date with that cheap bastard known as the grim reaper. Go on then! Speaking of death, it's long been rumored that THE curmudgeon taste maker Lester Bangs died of an accidental drug overdose while listening to Dare! It's too bad as I think he would have had a real hard on for Hüsker Dü.

Classic

The soundtrack to my (late) uni football days. Me and my future best man rewrote 'Don't You Want Me' as 'Can't You Net It' and the rest is history...

Really good version of the genre. Enjoyed it!

This was so good. Well-written, well-recorded, well-polished, just perfect all arounnd. Don't You Want Me is of course their big radio hit off this album, but every track was as striking and completely different from the next in many ways. Obviously their general style and sound carried through the whole album, but I was constantly surprised by each track that came along and I loved it. I listened to it twice and considered a third time. Five stars.

I only knew two of their songs going into it, but this album passed the ultimate test with flying colors: I did dishes and cleaned the kitchen and made dinner while jamming to this bad boy, and then I started it over again!

I was a long haired hard rocker when this came out and I could not believe how good music could sound without guitars or real drums!! I loved this then and I still love it now. It’s a lot poppier than their previous 2 albums but all the better for it to be honest! Get your shoulder pads in, your make up on and have a dance!

The things that dreams are made of

Great album by one of the best 80s synth pop bands.

How to be not great yet create something, if not great, then special. That Phil Oakey understood the synthesiser was going to be important so hit it hard. That he wasn’t very good wasn’t the point. Or was he absolute genius? Brilliant album.

Dare! is a masterpiece that would be impossible to replicate today. Even if you were to get the same keyboards in the same studio with the same personnel, the writing and production would be significantly altered due to modernity. Part of its appeal is the bluntness and boldness of the synths and creativity with which the various sounds are matched to the bright, oscillating melodies. The sheer dynamic range and variety achieved with such a ridged set up is what pushes the band into such inspiring and surprising places. I don’t want this to sound like a patronising “didn't they do well”. What I’m saying is thank God they made this when they did because it’s just perfect. There is an incredible tension between the severity of the angular rhythms and the big, bold, bright purposes that they are employed for. The vocals match the keys, each syllable is shot out in a singular punch, arranging themselves into words. The lyrics and their delivery have an odd detachment to them, while covering a range of the most dramatic human emotions and experiences. Particular favourites are Darkness and Seconds but I don’t think there’s anything even remotely representing a dud across the tracklist.

This is the sort of album that should be on the 1001 list. A real game-changer in synth-pop thanks to the introduction of the Linn Drum at the last minute. Eight of the ten of the tracks could be hit singles (in fact four of them were), and the wit, melodicism and songwriting still shine through four decades later.

I’m a sucker for synth-pop so this was up my alley for me. Perfect example of an oldie but a goodie album, giving me the vibe of driving in Vice City again with 80s music blaring. Weakest song being I Am The Law and my favorite being The Sound of The Crowd(very nice upbeat tempo). Will be listening again when I need something for a late night drive. 5/5

Fucking amazing!

A perfect synth pop record. Every song is a small hit and the well known hit is the last song. Pretty bold move.

What a fantastic album. Every song is a banger.

This is #day224 of my #1001albumsyoumusthearbeforeyoudie challenge, and... hell yeah, here’s to the album that kickstarted the Second British Invasion, right? Seriously, folks giving this record low scores, what’s going on? It’s 1981, and the machines are taking over. With synthesizers becoming widely available, they quickly became the "toys" musicians were playing with, shaping the sound of the future… or at least the future from a past perspective. Dare! is a classic new wave, synthpop, and electropop record that would go on to define the genre for years. What else is there to say? If you haven't heard "The Things That Dreams Are Made Of", "Don’t You Want Me", and others, what have you even been listening to? This is a 5 out of 5. Looking forward to #day225.

A classic. Loved it back when it was released in the 80s and still love it now.

There was much I hadn’t realised until I finally put this record on. For one, the origin story. Initially asked to sing because he dressed interestingly on nights out, Phil Oakey was barely even in the band when they rebranded from The Future to The Human League. And by the time Dare was released, the founding lineup had entirely changed out (“The Ship of Theseus” might have been a more apt band name, on reflection). Then there’s the sort of embarrassing penny drop that Phil Oakey is also the one singing about electric dreams. Under different conditions, I might have gone my whole life never knowing that. The thing that most surprised me, though, was the appearance of “Don’t you want me” right at the back of the album. Now, had this been an AOR record, it being track 10 would have made sense to me. But this isn’t AOR, it’s big pop bangers (might this record, and that song, even be the birth of the modern concept of the “pop banger”?) – you don’t put your strongest material at the least accessible part of the vinyl. And you certainly don’t fight your management and record label when they suggest releasing it as a third single from the album. Phil, what were you thinking? Track one might help get us to half an answer. “The things that dreams of” – a Kraftwerkian verse into an anthemic, singalong chorus; a formula that repeats on “The sound of the crowd” and others also – puts me in mind of not The Nolans, Brotherhood of Man or ABBA … but Gang of Four (who, it transpires, also released music through Fast Records). Sharp angles, sparse melodic arrangements, sprechgesang lead, call and response dynamics in the backing vocals – everything I love about Entertainment is here, it’s just been blown out, lacquered and given a smokey eye mesmerising enough to hold a whole generation of TOTP viewers hostage. “Darkness” is a particularly arresting tune; essentially three well crafted sections welded together with heavy atmospherics, it has – and, arguably, to an extent, sort of throws away – the album’s only big crescendo. (That I’ve felt compelled to listen to the song at least 20 times this week may indicate that it isn’t at all a “thrown away” opportunity … it’s a guarantee you’ll be back.) Not that it’s all moody dramatics, though: “Do or die” is a full colour bit of buoyant dance floor bait; and has me wondering how much The League were listening to Talking Heads’ Remain in Light from the previous year. At any rate: so far, so post punk. And then we come to that final track. I’ve been hearing this song my whole life – but then haven’t we all? It’s a song so good and so ubiquitous that I’d be surprised if there’s anyone out there who doesn’t have a story they attach to it, a memory or an anecdote. (Full disclosure, hearing “Don’t you want me” for the first time through a proper pair of headphones recently was completely exhilarating.) So what is it about the song that works so hard for so many? Is it the completely unapologetic run up and down the scale; is it how that same dynamic – up, down, building up, breaking down – bares out in the story arc presented in the lyrics, right down to the prevaricating ‘change of mind’ reflected in that pre-resolution note noodle; is it how it taps into a whole spectrum of feelings – in the process nailing the relationship between bratty arrogance and aching vulnerability; is it simply the fucking “woah oh ah woah” of it all? Yes, probably, definitely, certainly and a million other things. What “Don’t you want me” definitely isn’t is a post punk song. It’s a big behemoth of a pop banger; an archetype; an apex type, even, whose place at the top of the synth pop food chain will probably never be seriously challenged (that the group were jealous of Gary Numan feels, years later, especially cute on that score). The thought occurs that – since it sits on an album full of songs that had me drawing connections with some of the more serious reference points listed above – maybe “Don’t you want me” is the most contrarian, punkest thing about Dare. Anyway, let it retain some of its mystery. For as long as there are hearts in our chests to yearn with, “Don’t you want me” will resonate. And if you know what’s good for you, you’ll listen to the nine songs before it on Dare too.

FIVE STARS. LOVE THIS!!!

I can't objectively rate this album as it's part of my youth. I bought it on cassette. Loved it. My sister then borrowed it and left it on a school trip coach. I've never let her forget. Great to listen to it again from end to end.

This is the forty fifth album I’m rating. I’ve heard some great things about the band but I’ve never listened to a song so this’ll be my first time listening. Adding to my Playlist - The Things that Dreams are Made of, Open Your Heart, The Sound of the Crowd, Darkness, Do or Die, Get Carter, I am the Law, Seconds, Love Action (I Believe in Love), and Don’t You Want Me. Not Adding to my Playlist - Nothing. All in all I liked 10/10 songs. This was simply fantastic. It sound a lot like Duran Duran in a good way. This was just a fun catchy album.

"Dare" is the third studio album by English synth-pop band the Human League. Founding members Martyn Ware and Ian Craig Marsh left to form Heaven 17 and the band shifted direction from their previous avant-garde electronic style towards a more pop-friendly, commercial sound led by front man Phil Oakley (lead vocals, synths). Other band members included Philip Adrian Wright (slides, synths), Joe Callis (guitarist), Ian Burden (synths) and newly recruited backing vocalists Joanne Catherall and Susan Ann Sulley. The album was a huge commercial success hitting #1 in the UK and #3 in the US and saving their label Virgin Records. It was also critically acclaimed with some citing it as synth-pop genre defining. An electronic beat and bass and a synth melody open "The Things That Dreams Are Made Of." They layer the synths as Oakley sings about the simple times in life juxtaposed against a greater ambition. The third single "Open Your Heart" opens with a high-pitched organ-sounding synth and Oakley with higher-pitched vocals. Oh, there's a flute-sounding synth. "The Sound of the Crowd" is very 80's sounding with the synth, drumbeat and synth bass. There's people yelling and handclapping. Fitz and the Tantrums should be severely indebted to them for this song. The absolute gem on this album is "Seconds." An echoing drumbeat, haunting synth bass and layered melancholic-sounding synth-keys. Oakley in an emotionless voice. An absolutely fantastic synth melody. A song that was inspired by the JKF assassination. "It took seconds of your time to take his life." Laser sounds, spiraling synths and an electronic beat highlight their second biggest song on the album ""Love Action (I Believe in Love)" another catchy melody and a semi-autobiographical account of Oakley's relationship. Phil Oakley had to be convinced to release the closing song "Don't You Want Me" as a single. Susan Ann Sulley was co-lead singer by default. I bet they're both glad that happened. Not much to say here...I do like the ominous synth keys and might have sung the chorus once or twice; I might have been drinking. It's rare that you find an album so heavily back-loaded with their hits and best songs. But actually, this album is pretty much solid throughout. Very catchy melodies. You do hear the influence of their music (Fitz and the Tantrums, the Strokes). I can't think of a better poster child for 80's synth-pop than this album. And, it's a great album on top of that.

understand why it was so influential for eurosynth

You were working as a waitress in a cocktail bar When I met you I picked you out I shook up and turned you around Turned you into someone new Now five years later on you've got the world at your feet Success has been so easy for you But don't forget it's me who put you where you are now And I can put you back down too Don't don't you want me? You know I can't believe it when I hear that you won't see me Don't don't you want me? You know I don't believe you when you say that you don't need me It's much too late to find You think you've changed your mind You'd better change it back or we will both be sorry If you dont like 80s synth pop then you absolutely arent going to be able to get past that, because thats what this album is chock full of. BUT if you can deal with that, there are some fantastic songs on here and with more depth than you may think. 5/5