{"id":6766,"date":"2025-11-15T16:00:00","date_gmt":"2025-11-15T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/dare-human-league\/"},"modified":"2026-11-09T07:14:48","modified_gmt":"2026-11-09T06:14:48","slug":"dare-human-league","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/dare-human-league\/","title":{"rendered":"Dare – Human League"},"content":{"rendered":"

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Synth-pop de Sheffield 1981: Oakey, Sulley, Catherall, Don\u2019t You Want Me<\/h3>\n

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The Human League public\u00f3 Dare<\/em> en el Reino Unido el 16 de octubre de 1981 en Virgin, tras una ruptura que pudo acabar con la banda. Martyn Ware e Ian Craig Marsh se fueron a formar Heaven 17; Phil Oakey reconstruy\u00f3. Reclut\u00f3 a las adolescentes Susan Ann Sulley y Joanne Catherall, vistas en una pista de Sheffield, mantuvo a Philip Adrian Wright en diapositivas y sintetizadores ocasionales, sum\u00f3 a Ian Burden a los teclados y luego a Jo Callis (ex-Rezillos) en abril de 1981. El productor Martin Rushent traslad\u00f3 las sesiones de los Monumental Studios compartidos en Sheffield a sus Genetic Studios en Reading. Entre marzo y septiembre de 1981 convirtieron demos en un \u00e1lbum pop claro y secuenciado, construido con equipo Roland, LinnDrum y ganchos que la radio diurna pod\u00eda poner. Sulley y Catherall aplazaron la universidad para terminar el disco.<\/p>\n

La apertura The Things That Dreams Are Made Of<\/em> enumera placeres de consumo sobre un ritmo sint\u00e9tico luminoso. Open Your Heart<\/em> y The Sound of the Crowd<\/em> muestran un pulso dance con reserva brit\u00e1nica; el segundo ya hab\u00eda sido Top 20 UK esa primavera tras los primeros resultados Genetic. Love Action (I Believe in Love)<\/em> subi\u00f3 al n\u00ba 3 en agosto y confirm\u00f3 que la nueva formaci\u00f3n pod\u00eda vender sin la pareja fundadora. La producci\u00f3n de Rushent dej\u00f3 cada parte audible: bater\u00edas firmes, l\u00edneas de synth entrelazadas, el bar\u00edtono de Oakey y las dos voces delante. Los temas est\u00e1n hechos con m\u00e1quinas, y aun as\u00ed se vend\u00edan por el drama entre las voces. El cierre Don\u2019t You Want Me<\/em>, d\u00fao sobre fama y resentimiento que Oakey llam\u00f3 el corte m\u00e1s d\u00e9bil, lo empuj\u00f3 el ejecutivo de Virgin Simon Draper como cuarto single en contra de la opini\u00f3n de Oakey.<\/p>\n

Esa decisi\u00f3n rehizo el a\u00f1o. Publicado a finales de noviembre con un v\u00eddeo de Steve Barron, Don\u2019t You Want Me<\/em> fue el n\u00ba 1 de Navidad 1981 en el Reino Unido, aguant\u00f3 cinco semanas arriba y luego cima del Billboard Hot 100 en EE. UU. Dare<\/em> alcanz\u00f3 el n\u00ba 1 del UK Albums Chart (entrada el 24 de octubre, pico la semana siguiente, vuelta al n\u00ba 1 a inicios de 1982) y acab\u00f3 triple platino en Gran Breta\u00f1a. Las fotos de Brian Aris fijaron el peinado asim\u00e9trico de Oakey y a las dos cantantes como marca visual tanto como vocal. Heaven 17 se qued\u00f3 con la otra mitad del experimento electr\u00f3nico original. Dare<\/em> fue al mainstream.<\/p>\n

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\n

The Human League han hecho un disco que suena al futuro, brillante, fr\u00edo y totalmente original.<\/p>\n<\/blockquote>\n

(Mark Ellen, Smash Hits, 1981)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb8627″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790419855{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

Dare<\/em> se convirti\u00f3 en plantilla para la toma de charts del synth-pop brit\u00e1nico y para el League guiado por la imagen de Oakey. M\u00e1s tarde, cr\u00edticos ligaron Don\u2019t You Want Me<\/em> a la Second British Invasion en MTV. Tras la ruptura, el rescate se convirti\u00f3 en prueba multiplatino de que los sintetizadores pod\u00edan sostener el n\u00ba 1 de Navidad, y en un modelo de producci\u00f3n que los grupos de la era Rushent siguieron citando. Temas como Seconds<\/em> y Darkness<\/em> guardan un borde m\u00e1s fr\u00edo bajo los hits, as\u00ed que el \u00e1lbum nunca suena solo a paquete de singles.<\/p>\n

The Sound of the Crowd<\/em> tiene la claridad Genetic. El d\u00fao final es el que Oakey intent\u00f3 enterrar. Rushent us\u00f3 poca calidez, y el pop electr\u00f3nico de Sheffield igual llen\u00f3 salones en toda Gran Breta\u00f1a. En 1981 la secuencia es simple: reconstruir la formaci\u00f3n, quedarse con las m\u00e1quinas y dejar el drama en las voces.<\/p>\n

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Dare de The Human League en 1981, reconstruido por Phil Oakey con Sulley, Catherall y Martin Rushent, convirti\u00f3 el synth-pop de Sheffield en plantilla de charts v\u00eda Don\u2019t You Want Me.<\/p>\n","protected":false},"author":1,"featured_media":6760,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[300,299],"tags":[599,458],"class_list":["post-6766","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-human-league-es","tag-newwave-electro-triphop-es","post_format-post-format-video"],"yoast_head":"\nDare - Human League - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Dare de The Human League en 1981, reconstruido por Phil Oakey con Sulley, Catherall y Martin Rushent, convirti\u00f3 el synth-pop de Sheffield en plantilla de charts v\u00eda Don\u2019t You Want Me.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/dare-human-league\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dare - 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