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Human Racing
Human Racing
Human Racing
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Human Racing
Studio album by
Nik Kershaw
Released27 February 1984 (1984-02-27)
RecordedSummer 1983
Studio
Genre
Length39:39
LabelMCA
ProducerPeter Collins
Nik Kershaw chronology
Human Racing
(1984) 		The Riddle
(1984)
Singles from Human Racing
  1. "I Won't Let the Sun Go Down on Me"
    Released: 9 September 1983
  2. "Wouldn't It Be Good"
    Released: 20 January 1984
  3. "Dancing Girls"
    Released: 2 April 1984
  4. "I Won't Let the Sun Go Down on Me (Re-release)"
    Released: 4 June 1984
  5. "Human Racing"
    Released: 3 September 1984

Human Racing is the debut studio album by the English singer-songwriter Nik Kershaw, released on 27 February 1984 by MCA Records. Several songs like "Drum Talk" were based around improvisation; other songs, like "I Won't Let the Sun Go Down on Me", had a political message.

Kershaw's most commercially successful solo album, it peaked at No. 5 on the UK Albums Chart and reached the top 10 in several other countries, including Germany, Finland, and Norway. The album spawned four charting singles in the United Kingdom. "Wouldn't It Be Good" peaked at No. 4 on the UK Singles Chart; "Dancing Girls" peaked at No. 13; "I Won't Let the Sun Go Down on Me" at No. 2; "Human Racing" at No. 19. Human Racing was the 22nd best-selling album of 1984 in the UK and received a nomination for Best British Album at the Brit Awards 1985.[2] The album has been certified platinum by the British Phonographic Industry (BPI).

The album was re-released on 27 February 2012,[3] on Universal's new Re-presents imprint featuring rare bonus content. The reissue is a 2-CD set with the original album digitally remastered from the original 1/2" mix tapes; the bonus content consists of associated 12" mixes and B-sides including a previously unreleased version of "Bogart", a special brass mix of "Shame on You" and a live version of "Cloak and Dagger" recorded at the Hammersmith Odeon.

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[4]
BillboardFavourable[5]
Record MirrorStarStar[6]
Smash HitsStar[7]

Smash Hits magazine gave the album a highly negative review, awarding it 1 out of 10, and calling it "Competent but relentlessly dull synthesised meanderings of no importance to anyone but Mr Kershaw himself (and even he doesn't sound that interested)."[7] Reviewing retrospectively for AllMusic, critic Scott Bultman wrote of the album: "His debut, although rough around the edges, showed talent and promise."[4]

Track listing

[edit]

All tracks are written by Nik Kershaw.

Side one
No.TitleLength
1."Dancing Girls"3:46
2."Wouldn't It Be Good"4:32
3."Drum Talk"3:10
4."Bogart"4:38
5."Gone to Pieces"3:11
Side two
No.TitleLength
6."Shame on You"3:33
7."Cloak and Dagger"4:55
8."Faces"4:05
9."I Won't Let the Sun Go Down on Me"3:23
10."Human Racing"4:26
Total length:39:39

Additional tracks

Personnel

[edit]

Credits are adapted from the album's liner notes.[10]

Musicians

Production and artwork

Charts

[edit]

Certifications

[edit]
Certifications for Human Racing
Region Certification Certified units/sales
Canada (Music Canada)[27] Gold 50,000^
United Kingdom (BPI)[28] Platinum 300,000^

^ Shipments figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Human Racing

View on Grokipedia
from Grokipedia
Human Racing is the debut studio album by English singer-songwriter Nik Kershaw, released on 24 February 1984 by MCA Records. The album, recorded at Sarm East Studios with producer Peter Collins and engineer Julian Mendelsohn, showcases Kershaw's synth-pop style and includes ten tracks such as "Dancing Girls," "Wouldn't It Be Good," and "Drum Talk." It launched four charting singles in the UK: "Wouldn't It Be Good" peaked at No. 4, "Dancing Girls" at No. 13, "I Won't Let the Sun Go Down on Me" (re-release) at No. 2, and "Human Racing" at No. 19. Commercially, Human Racing reached No. 5 on the UK Albums Chart, where it spent 61 weeks and became the 22nd biggest-selling album of 1984, earning platinum certification from the British Phonographic Industry (BPI). It also achieved top-ten positions in Germany, Finland, and Norway, and peaked at No. 35 on the Australian ARIA Charts. Critically, the album was nominated for Best British Album at the 1985 and has been praised for its inventive sound, marking Kershaw's breakthrough into international success.

Background

Nik Kershaw's early career

was born Nicholas David Kershaw on 1 March 1958 in , , spending his early childhood there before his family relocated to , . His father worked as an architect and flautist, while his mother had trained as an opera singer, creating a household immersed in musical pursuits. Kershaw's interest in music emerged during his teenage years, shaped by diverse influences including acts like Genesis, as well as T. Rex, , , , and a television documentary on that inspired him to begin playing guitar at age 15. In 1974, Kershaw joined his first band, Half Pint Hogg, a group that focused on covering Deep Purple songs and marked his entry into performing heavy metal. His evolving tastes drew him toward more experimental sounds, leading him to play guitar in jazz-fusion and function bands as an apprenticeship before joining the jazz-funk outfit Fusion in the late . Fusion provided Kershaw with experience in progressive and fusion styles, performing locally around until the band disbanded in 1982. Following the breakup of Fusion, Kershaw took a job as a civil servant at an unemployment benefit office in , where he supported himself while dedicating time to songwriting and creating demo recordings of his original compositions. These demos, showcasing his shift toward pop-oriented material, led him to place an advertisement in seeking a manager in 1983. The advertisement caught the attention of Mickey Modern, manager of the band , who was impressed by Kershaw's talent upon hearing the demos and promise. Modern shopped the recordings to various record labels, facilitating a deal with in mid-1983 and propelling Kershaw from a local to a signed professional artist, setting the stage for his emergence in the scene.

Album conception and signing

In early 1983, following the dissolution of his jazz-fusion band Fusion and a period of financial instability that included odd jobs, Nik Kershaw decided to pivot toward pop-oriented synth material for his solo demos. This shift came after receiving feedback from industry contacts who emphasized the need for greater accessibility and commercial appeal over the complexity of his earlier fusion influences. Using a home Portastudio, Kershaw recorded over 15 demos during 1982 and early 1983, many of which formed the basis for the album. These demo recordings, showcasing Kershaw's emerging synth-pop style and songwriting versatility, were shopped by his manager, Mickey Modern, after initial rejections from other companies. executives expressed strong interest, leading to a contract signing in mid-1983. The deal included clauses granting Kershaw significant creative control, allowing him input on production decisions and ensuring alignment with his artistic vision. The initial concept for the album positioned it as a commentary on modern life, exploring themes of societal pressures and the fast pace of contemporary existence. Kershaw selected the title Human Racing to evoke the relentless "rat race" of human endeavors, drawing from an earlier song idea he had developed during his Fusion days. This thematic foundation guided the selection of tracks from his demos, setting the stage for a cohesive debut that balanced personal introspection with broader social observation.

Production

Recording sessions

The recording sessions for Nik Kershaw's debut album Human Racing took place over the summer of 1983 at Sarm East Studios in , a facility renowned for its advanced recording capabilities and association with prominent 1980s productions. Basic tracks were laid down primarily in June and July, allowing time for experimentation with layered instrumentation, while mixing was completed by August to adhere to the tight schedule demanded by for an early 1984 release. Some overdubs and mixing occurred at Sarm West Studios, with horns recorded at Cherokee Studios in , contributing to the album's polished final sound. Central to achieving the album's energetic synth-pop texture were synthesizers such as the , which provided rich pads and melodic leads across multiple tracks, and drum machines for driving rhythms. Live drums, played by Charlie Morgan, were selectively added to enhance dynamics on several songs, blending acoustic elements with electronic percussion for a hybrid feel. These choices reflected the era's production trends, with engineer capturing the sessions using Sarm East's console for precise automation and effects. Kershaw, still acclimating to professional studio workflows after his time in local bands, faced logistical hurdles including extended takes for tracks reliant on , such as "Drum Talk," due to his developing familiarity with the environment. Co-producer Peter Collins played a key role in navigating these challenges, offering guidance on arrangements and ensuring the sessions stayed on track amid the pressure of Kershaw's emerging solo career.

Songwriting influences

Nik Kershaw's songwriting for Human Racing drew heavily from his personal experiences, particularly the frustrations of and the uncertainties of transitioning to a career, which infused tracks like "Wouldn't It Be Good" with themes of envy and longing for stability. Written in a rented cottage after losing his job, the song captured Kershaw's introspective mood, blending individual struggles with subtle on ambition and rejection in 1980s Britain. This personal touch was influenced by contemporaries in the new wave scene, including , whom Kershaw cited as a key hero for his innovative keyboard-driven sound that encouraged Kershaw's own synth experimentation. Several tracks on the album adopted an improvisational approach, with "Drum Talk" emerging from unstructured studio sessions rather than fully composed structures, allowing for organic rhythmic development. Kershaw often began compositions in his home environment using basic equipment like the Juno-6 and TEAC , where ideas would form spontaneously before refinement. This method reflected his fusion background and preference for immediate, hands-on creation, as seen in how keyboard patterns directly inspired basslines and sequences in songs like "Dancing Girls." Political undertones permeated the album, notably in "I Won't Let the Sun Go Down on Me," which addressed Cold War-era tensions and anti-nuclear sentiments through satirical lyrics critiquing global leaders and the nuclear threat. The track's references to "old men in striped suits" and fingers on buttons evoked the era's standoffs, blending Kershaw's broader social observations with an urgent call against escalation. Overall, collaborative input remained minimal, as Kershaw handled most writing solo at home prior to studio sessions, ensuring the songs retained his singular vision before producer Peter Collins' involvement.

Musical style and themes

Synth-pop characteristics

Human Racing exemplifies mid-1980s British synth-pop through its predominant use of electronic instrumentation, featuring synthesizers such as the Yamaha DX7, Roland Jupiter 6, and Oberheim OBXa for creating layered synth melodies and textures. The production incorporates MIDI sequencing via the Yamaha QX1 to orchestrate complex keyboard arrangements, including 18 distinct keyboard basslines that drive the rhythmic foundation. Gated reverb on drums adds a signature punchy, spacious quality to the percussion, emblematic of the era's polished sound achieved at Sarm East Studios under producer Peter Collins. The album maintains upbeat tempos averaging 120-140 BPM in its more energetic tracks, such as "Dancing Girls" at 129 BPM, which employs catchy hooks through a repeating seven-note synth motif to foster an infectious, danceable energy. In contrast, slower ballads like "Bogart" at 90 BPM provide dynamic variation, allowing for builds with multi-layered synth pads. This range supports radio-friendly structures, with most tracks lasting 3-5 minutes to emphasize concise, hook-driven compositions. The album's sound features sleek, emotive production that highlights Nik Kershaw's vocals soaring over rhythmic synth basslines, as heard in the emotive delivery of "." The overall polish, influenced by Horn's studio techniques, integrates quirky electronic elements with undertones for a vibrant yet sophisticated aesthetic. Spanning 10 tracks with a total runtime of 39:39, Human Racing balances these sonic traits to create a cohesive, era-defining listen.

Lyrical exploration

The of Human Racing revolve around the central theme of "human racing" as a for the relentless, frantic pace of modern life, portraying as trapped in a cycle of haste and superficial pursuits. In the title track, Kershaw critiques and the of progress through imagery of a "paper with paper faces" and individuals endlessly chasing empty goals, reflecting the human condition's inherent futility amid constant motion. Personal introspection features prominently in tracks like "," where Kershaw explores themes of , , and unfulfilled dreams from dual perspectives—one of longing for an easier life and the other of appreciating what one has. The song's chorus questions escaping hardship even temporarily, capturing a sense of quiet dissatisfaction with personal circumstances. In contrast, "" offers a lighter, humorous take on everyday absurdities, drawing on playful and whimsical scenarios to provide amid the album's deeper reflections. Political elements emerge in "I Won't Let the Sun Go Down on Me," which conveys anti-war sentiments rooted in anxieties over nuclear annihilation, written during the tense atmosphere of the 1983 general election. Kershaw references "old men in stripey trousers" symbolizing political leaders who "rule the world with plastic smiles," underscoring a refusal to surrender to impending doom. The synth arrangements briefly enhance this mood of urgent defiance. Despite these critiques, the album maintains an overall optimistic tone, emphasizing resilience in the face of societal pressures, as Kershaw portrays characters who persist through of contemporary . This balance reflects his perspective on , blending cautionary messages with an underlying for perseverance.

Release and promotion

Album launch

Human Racing was released on 24 February by in the . The album saw staggered international rollouts throughout , including a edition via . The "Wouldn't It Be Good," released in January , helped build anticipation for the full album launch. A deluxe 2-CD reissue was launched on 27 February 2012 by Universal Music Catalogue's Re-presents imprint. This expanded edition featured the original album digitally remastered from the half-inch mix tapes, alongside a bonus disc containing B-sides, 12-inch mixes, and previously unreleased tracks such as an alternate version of "Bogart" and a live rendition of "Cloak and Dagger." The reissue aimed to provide fans with a comprehensive overview of the album's extended material from its initial era. In July 2024, Human Racing was included in the box set The MCA Years, a comprehensive of Kershaw's MCA albums, featuring remastered audio and additional content.

Singles rollout

The rollout of singles from Human Racing began with "I Won't Let the Sun Go Down on Me", initially released on 9 September 1983 as a 7-inch vinyl single with "Monkey Business" as the B-side. This debut single entered the UK Singles Chart on 12 November 1983 and peaked at number 47. Following the album's momentum, a on 4 June 1984 in both 7-inch and 12-inch formats propelled it to a higher peak of number 2 on the UK Singles Chart, marking Kershaw's breakthrough hit. The second single, "Wouldn't It Be Good", followed on 20 January 1984, available in 7-inch and 12-inch vinyl editions with picture sleeves featuring surreal, thematic artwork aligned with the album's aesthetic. It debuted on the UK Singles Chart on 28 January 1984 and reached number 4, bolstered by a directed by that depicted Kershaw in an otherworldly, chromakey-suited persona. "Dancing Girls" was issued on 2 April 1984 as the third single, in standard 7-inch and extended 12-inch formats, with sleeves incorporating dynamic, racing-inspired visuals to tie into the album's motif. Charting from 14 April 1984, it peaked at number 13 in the UK and received promotion through live mimed performances on Top of the Pops. The title track "Human Racing" served as the fourth and final single, released on 3 September 1984 in 7-inch picture disc and 12-inch versions featuring special extended mixes for dance-oriented play. It entered the UK Singles Chart in September 1984 and achieved a peak of number 19. These singles collectively drove the album's chart entry and sustained visibility throughout 1984.

Critical reception

Contemporary reviews

Upon its release in 1984, Human Racing received mixed contemporary reviews in the UK music press. Smash Hits critic Dave Rimmer delivered a particularly harsh assessment, rating the album 1 out of 10 and describing it as "competent but relentlessly dull synthesised meanderings of no importance to anyone but Mr Kershaw himself," while highlighting its lack of originality amid the synth-pop landscape. The album's industry standing was bolstered by a nomination for Best British Album at the 1985 Brit Awards, signaling recognition from peers despite the divided press response. In the United States, the album peaked at No. 70 on the Billboard 200.

Later evaluations

In the years following its initial release, Human Racing has undergone significant reevaluation, with later critics highlighting its enduring qualities as a cornerstone of 1980s synth-pop. The 2012 deluxe edition reissue, compiled and overseen by Kershaw himself, reignited interest among fans and collectors by including remastered tracks, 12-inch mixes, and B-sides, allowing listeners to appreciate the album's intricate production and songcraft in greater detail. This expanded release was praised for its high-quality remastering from original tapes, which emphasized the balance of synthesizers and guitars, and tracks like "Bogart" and "Faces" were noted for their evocative storytelling and emotional depth. Retrospectives in the and have positioned Human Racing as a key artifact of the era's electronic music scene, crediting its innovative blend of influences and pop accessibility for paving the way for subsequent artists. In a 2020 Classic Pop magazine feature, the album was lauded for Kershaw's diverse songwriting, with "Drum Talk" singled out for its Brazilian percussion elements and rhythmic complexity, demonstrating "talent and promise" in pushing boundaries. The publication also acknowledged its influence on later musicians. More recent analyses continue to affirm Kershaw's vocal delivery as a standout feature, blending soulful expressiveness with wry lyricism that captures the album's themes of human folly and resilience. A review described it as a "strong debut" that holds up well, with Kershaw's voice providing an engaging contrast to the upbeat synth arrangements, fostering renewed appreciation among newer audiences exploring music. These post-2000 assessments contrast with earlier commercial focus by emphasizing the album's conceptual depth and lasting cultural resonance.

Commercial performance

Chart trajectories

Human Racing achieved significant commercial success on the , entering at number 10 in the week ending March 10, 1984, and steadily climbing due to the momentum from its preceding singles such as and "I Won't Let the Sun Go Down on Me." The album reached its peak position of number 5 in March 1984 and maintained a presence on the chart for a total of 61 weeks within the top 100, demonstrating sustained popularity throughout the year. Internationally, the album resonated particularly well in , peaking at number 8 on the German Albums Chart, number 8 in , and number 7 in , reflecting the era's enthusiasm for acts in those markets. In contrast, it experienced more modest traction in the , entering the at number 195 in May 1984 before peaking at number 70 after 20 weeks on the chart. This disparity highlights the album's stronger alignment with European audiences, where was at its zenith, compared to the US market, which lacked substantial promotional touring from Kershaw at the time. By the end of 1984, Human Racing ranked as the 22nd best-selling album in the UK, with year-end sales surpassing 300,000 units, underscoring its role in the year's pop landscape.

Sales certifications

Human Racing achieved notable sales certifications in , underscoring its commercial viability during the mid-1980s synth-pop era. In the , the (BPI) awarded the album for sales surpassing 300,000 units. This accolade, equivalent to 300,000 copies shipped, highlighted the album's strong domestic performance following its February 1984 release. In , certified Human Racing Gold in 1984 for shipments of at least 50,000 units, reflecting its appeal in North American markets. The album's peak positions, such as number 5 on the , provided momentum for sales figures without additional certifications in other regions. A deluxe of Human Racing was released in by Universal's Re-presents imprint, incorporating bonus tracks and remastered audio, which generated modest digital streams but did not yield new sales certifications.

Content and credits

Track listing

The standard edition of Human Racing, released in 1984 by , features ten tracks divided across two sides of the original vinyl format, with all songs written by . The album's total runtime is 39:24.
No.TitleLength
Side one
1."Dancing Girls"3:45
2.""4:30
3."Drum Talk"3:10
4."Bogart"4:37
5."Gone to Pieces"3:10
Side two
6."Shame on You"3:32
7.""4:53
8."Faces"4:01
9."I Won't Let the Sun Go Down on Me"3:18
10."Human Racing"4:28

Personnel details

served as the primary creative force behind Human Racing, contributing vocals, guitars, keyboards, and programming across all tracks, as noted in the album's . Additional musicians included Wix on keyboards, Charlie Morgan on drums, , , and on keyboards, Paul Westwood providing extra bass on "I Won’t Let The Sun Go Down," Martin Ditcham on percussion, and a featuring , , , Bill Reichenbach, and Kim Hutchcroft. Backing vocals on "Faces" were handled by , while Lynda Hayes provided voice-over for "Bogart." The production team was led by Peter Collins of Loose End Productions, with recording duties carried out by Julian D. Mendelsohn at Sarm East, Sarm West, and Marcus Music studios, and mixing completed at Sarm East. Engineering assistance came from Stuart Bruce, Keith Finney, Bob Kraushaar, Roger Howorth, and Nick Campey, while the horns were recorded by Bruce Robb at Cherokee Studios in and arranged primarily by , except for "Wouldn’t It Be Good," which was co-arranged by Hey and Kershaw. Mastering was performed by Greg Fulginitti at Artisan Sound. Other key credits encompassed visual and managerial elements, including photography by Iain McKell, sleeve design, artwork, and hand tinting by , and management by Mickey Modern of Arctic King Music, with international liaison handled by Dale Newton. All songs were written and arranged by Kershaw, with held by Rondor Music () Ltd., administered by Irving Music, Inc.

References

  1. https://www.nikkershaw.net/music/human-racing/
  2. https://www.discogs.com/master/86810-Nik-Kershaw-Human-Racing
  3. https://www.sessiondays.com/2019/10/1984-nik-kershaw-human-racing/
  4. https://www.officialcharts.com/artist/21164/nik-kershaw/
  5. https://poprescue.com/2022/05/19/review-human-racing-by-nik-kershaw-vinyl-1984/
  6. https://www.glp.at/web/index.php?p=artists/nik-kershaw
  7. https://www.oxmag.co.uk/articles/ox-sylva-meets-nik-kershaw/
  8. https://tidal.com/video/254575713
  9. https://www.on-magazine.co.uk/interview/celebrity/nik-kershaw-2019/
  10. https://www.tv80s.com/nik-kershaw/
  11. https://www.smoothradio.com/news/music/nik-kershaw-age-songs-wife-children/
  12. https://www.nostalgiacentral.com/music/artists-l-to-z/artists-n/nik-kershaw/
  13. https://www.glp.at/web/index.php?p=artists/nik-kershaw/
  14. https://www.classicpopmag.com/features/nik-kershaw-album-by-album/
  15. https://www.telegraph.co.uk/music/interviews/nik-kershaw-interview-smiths-hated-had-stare-offs-top-pops/
  16. https://www.songwriter.co.uk/page720.html
  17. https://www.muzines.co.uk/articles/nik-kershaw-recording-secrets/1291
  18. http://albumlinernotes.com/Human_Racing.html
  19. https://musicbrainz.org/release/42ef00b3-916a-4cdd-8a19-98d1aa75dad8
  20. https://articles.roland.com/a-few-minutes-with-nik-kershaw/
  21. https://www.discogs.com/release/1008424-Nik-Kershaw-Human-Racing
  22. https://www.theguardian.com/music/2022/aug/15/how-we-made-wouldnt-it-be-good-by-nik-kershaw
  23. https://www.classicpopmag.com/features/nik-kershaw-interview-the-riddle/
  24. https://www.sodajerker.com/episode-23-nik-kershaw/
  25. https://superdeluxeedition.com/interview/nik-kershaw-talks-80s-pop-and-human-racing-28-years-on/
  26. https://songbpm.com/%40nik-kershaw/dancing-girls-9HqOs3HG2C
  27. https://tunebat.com/Info/Bogart-Nik-Kershaw/1ZLMYdjODUWayLf0Gpf7L4
  28. https://genius.com/Nik-kershaw-human-racing-lyrics
  29. https://superdeluxeedition.com/reviews/nik-kershaw-human-racing-2cd/
  30. https://americansongwriter.com/the-envy-theme-of-nik-kershaws-wouldnt-it-be-good/
  31. https://www.weekendnotes.com/1980s-songs-about-nuclear-war/
  32. https://www.prescriptionmusicpruk.com/press-releases/2012/1/31/nik-kershaw-2cd-reissue-of-human-racing.html
  33. https://www.discogs.com/release/3440162-Nik-Kershaw-Human-Racing
  34. https://superdeluxeedition.com/news/nik-kershaw-the-mca-years/
  35. https://www.officialcharts.com/songs/nik-kershaw-i-wont-let-the-sun-go-down-on-me/
  36. https://www.officialcharts.com/songs/nik-kershaw-wouldnt-it-be-good/
  37. https://www.imdb.com/title/tt6928320/
  38. https://www.officialcharts.com/songs/nik-kershaw-dancing-girls/
  39. https://www.youtube.com/watch?v=q2E8ZJQK3tU
  40. https://www.discogs.com/release/442203-Nik-Kershaw-Human-Racing-Special-Dance-Remix
  41. https://mcmaenza.blogspot.com/2011/08/nik-kershaw-human-racing.html
  42. https://www.officialcharts.com/albums/nik-kershaw-human-racing/
  43. https://uk-charts-archive.fandom.com/wiki/UK_Singles_%26_Album_Chart_(10/03/1984)
  44. https://norwegiancharts.com/showitem.asp?interpret=Nik+Kershaw&titel=Human+Racing&cat=a
  45. https://elpee.jp/artist/Nik%2520Kershaw/
  46. https://bestsellingalbums.org/artist/9549
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