Melody Maker November 1981

Colin Iriwn

He found her as a waitress in a cocktail bar, turned her round and made her into a star. She didn’t want to know him anymore. He couldn’t believe she didn’t want him anymore. She explained that is was simply time she stood on her own two feet. Like a synthesized Sonny & Cher it underlines the Human League’s arrival as purveyors of perfect pop singles. Number One at Christmas?


NME November 1981
...Samson Oakey - who resembles Phil McNeill at the height of punk - needs to have a haircut and the stuffing knocked out of him. But it takes two to do it (duet) wrong. This could be a swinging little song if given to two black singers with GREAT VOICES. Phil and moll sound sallow and callow. So many people should be silent songwriters. You could be in folklore instead of on Top Of The Pops. Look at Phil Spector. No, don't look at him like that!...


Unknown Magazine November 1981 new

The boys and girls from Sheffield with the synths and the silly haircuts seems hell-bent on nothing short than world domination. This, the story of '"A Star is Born" is four minutes flat and the most obvious single on the album, is a suitable step in that direction... assuming there's anyone outthere who hasn't already got the LP.


Melody Maker October 1995

WHERE, though? Where do I start?

These things I have seen: Dali’s tigers pouncing, high over flat Paris, in the frosty Montmartre morning! The tembling lips of mad women, their faces pointed at the ploughed earth, tears and leaves falling about them! Myself and a nameless bride, making love in the honey air of autumn Montreal. Angry bite-marks, burning like red parentheses in the cool of a brown thigh; and then – again and again – the massive wounded city night!

“You were working as a waitress in a cocktail bar.”

Spite. Desire. Obsession (these are some of the things that “Don’t You Want Me” is about). Terror!. Refusual to resign yourself to the outcome of decisions made without your consultation.

“The five years that we’ve had have been such good times”.

The remixes (by Red Jerry abd Snap!) that make up five sixths of the CD can die, concern yourselves solely with the final track – that original, original, never-topped Formica faultlessness…radiant, lupine, dauntless imagination turned loose among the shops and houses and lonely playgrounds of the whole, cold country! Timely also (but if Romo ever ever ever becomes simple, smirking revivalism – which IT IS NOT right now – then I spit in its face that morning and never go back).

Almost comically ravishing.


NME October 1995

HERESY! FAR be it for me to start jumping on some glided and lily-strewn New Romantic revival bandwagon, but this Eurodisco re-upholstering of what is, let’s face it, a pretty goog song, is not strictly necessary… Well, completely unnecessary, save to furnish the record company with ill-gotten was. Yes, it makes New Order’s recent remix farrago look like a creative triumph. Yes it is, actually, complete cock. And yes, it’s just been ceremonially smashed into tiny spangly and strangely beautiful fragments across the office floor. Hell, rock’n’roll, we just don’t care.


The Sunday Times Ireland November 2005 new

Don't You Want Me. Their finest four minutes, their biggest hit (1.43m copies sold) and the greatest female riposte in the history of pop. Seconds. Lee Harvey Oswald awaits his date with destiny. Synth pads have rarely sounded so ominous.