"Human" is a song by British singer and songwriter Rag'n'Bone Man, co-written by Jamie Hartman, and produced by Two Inch Punch.[2] It was released as a digital download on 21 July 2016, through Sony Music[3] and Columbia Records.[4] The song is included on his debut studio album of the same name, released in February 2017.
Rag'n'Bone Man performed "Human" on Later... with Jools Holland on 20 September 2016.[10] He also performed the song on Australian talk show The Morning Show on 28 October 2016.[11] Another live performance of "Human" took place on The Graham Norton Show on 10 February 2017.[12] He appeared on The Tonight Show Starring Jimmy Fallon on 16 February 2017.[13]
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On 23 December 2016, the song reached number two on the UK Singles Chart, scoring the Christmas number two of 2016. The song was certified Platinum on 17 February 2017 and 2 Platinum 21 July 2017 by the BPI.[14] It has sold 1,269,000 combined units in the UK as of September 2017, which comprises 522,000 copies in actual sales and 75 million in streams.[15]
In the United States, the song reached at number one on the Billboard Alternative Songs Chart and number two on Rock Airplay.[16] It was certified Gold by the RIAA on 7 July 2017,[17] and has sold 324,000 copies in the US as of September 2017.[18] It is also Rag'n'Bone Man's only entry in the Billboard Hot 100 chart, as of 2022, and reached number 74 on a chart dated 27 May 2017.
The song had widespread chart success internationally, with it reaching the #1 spot on charts in more than 15 countries. As of January 2024, the music video has received 1.8 billion YouTube views.[19]
In December 2017, Australians hip hop beat boxer Tom Thum[130] and vocalist Ruel released a cover version with the backing track constructed exclusively from layers of Tom's vocal technique and Ruel singing over top.[131]
The intro was almost a minute of gradual instrumental buildup before Phil Oakey sang two verses without the benefit of a chorus. The song climaxed midway with a horrific explosion of white noise mirroring a gunshot that never fails to send chills when I hear it for the first time in a while. Then, the last half of the song was nothing but the repeated chorus for another 2:30.
What a direct and to the piont was the song, from human league, seconds was, i only had played it a couple days ago for the first time in over 40 years ago when I was just 15 years old, and it still sounds fresh now as it did back then in the early 80s, funny thing about the song, very few songs still are humming away in the back of my head a couple of days later ,and that just shows how good the song was then and still today, XXX
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Humans use music for a variety of social functions: we sing to accompany dance, to soothe babies, to heal illness, to communicate love, and so on. Across animal taxa, vocalization forms are shaped by their functions, including in humans. Here, we show that vocal music exhibits recurrent, distinct, and cross-culturally robust form-function relations that are detectable by listeners across the globe. In Experiment 1, internet users (n = 750) in 60 countries listened to brief excerpts of songs, rating each song's function on six dimensions (e.g., "used to soothe a baby"). Excerpts were drawn from a geographically stratified pseudorandom sample of dance songs, lullabies, healing songs, and love songs recorded in 86 mostly small-scale societies, including hunter-gatherers, pastoralists, and subsistence farmers. Experiment 1 and its analysis plan were pre-registered. Despite participants' unfamiliarity with the societies represented, the random sampling of each excerpt, their very short duration (14 s), and the enormous diversity of this music, the ratings demonstrated accurate and cross-culturally reliable inferences about song functions on the basis of song forms alone. In Experiment 2, internet users (n = 1,000) in the United States and India rated three contextual features (e.g., gender of singer) and seven musical features (e.g., melodic complexity) of each excerpt. The songs' contextual features were predictive of Experiment 1 function ratings, but musical features and the songs' actual functions explained unique variance in function ratings. These findings are consistent with the existence of universal links between form and function in vocal music.
The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.
"Human" by Of Monsters and Men is probably the oddest song that I've explained so far. At times, the lyrics seem like nonsense, but they do mean something. The song is the second track from Beneath the Skin which released on June 9th. The album is Of Monsters and Men's second album and sounds similar to the music written for My Head Is an Animal. Interestingly enough, this one song may have the most to do with the title of that first album.
"Human" is a good song and also very different in its approach to the overdone "monster inside vs. outer human facade" tension that others write about. The song is slow and methodical and heavily repetitive of its lyrics: there are only four unique stanzas. "Human" is not meant to be revolutionary, but it may be a good song to listen to with "I of the Storm" and other songs from Beneath the Skin as they all have similar focuses on the singers' tormented inner lives.
The song is focused on "human" identity and what being human means, especially when you feel a monster inside of you. To be clear, the monster part is that which doesn't fit into society-a raging, angry, and unpredictably emotional person. The human part is sensible and calm and does predictable, normal things. The monster will tear itself apart; the human is safer and happier.
The song ends with the line "If I could only let go." He wants to be able to relax his wildness and to "[l]et the human in," so he can be normal and calm, but he doesn't feel strong enough to get rid of the beast inside.
Overall, "Human" is about something waking up inside of the singer. He feels a wildness growing inside of him and knows that he needs to change. Others don't understand him, and he wants to be normal and human, so he tries to quiet "the beast within" and to "[l]et the human in."
Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!
Every successive release by Parquet Courts contains material that deals with some sort of entrenchment of the self against outside forces. Witness the dystopian realities of "Careers in Combat," the pressures of indecision and freedom described in "Stoned and Starving," the anxiety of productivity in "The More It Works," relationship strain in "Always Back in Town," the pile-up of urban living and class struggle in "Content Nausea." The title track of the band's newest album, Human Performance, continues along that trajectory to deliver Parquet Courts' most singular offering to date: a fragile and verbose tale of a relationship dissolved, its narrator in repose, pinned by inaction and some manner of the same opposing forces.
"Human Performance" falls in step with the more somber side of the Courts' catalog, but with a verse-chorus-verse structure that breaks ranks. Singer and guitarist Andrew Savage chronicles the breakup with measured verbosity, the tale of how it ended spelled out in clear, almost remorseful terms, taking its time before a throttling refrain repeats more abstract sentiments ("Shield like a house closing its doors, curved in the dark / Rinses of yours"). The song even finds time for a wistful Mellotron solo that matches the simple innocence of Jonathan Richman with the racing early rock horizons of Joe Meek's "Telstar."
I think in Parquet Courts there is a reoccurring theme of confinement and isolation. I've always been interested in incarceration: physical, spiritual and mental. Where Sunbathing Animal addresses the sensation of being trapped within a cycle, and Content Nausea speaks more about being hostage to rapid urban homogenization and modern violence, Human Performance focuses on a more on a more internal type of captivity. Maybe for that reason it's been called a more personal record, but I gotta say I might counter that it is probably more vulnerable, as each Parquet Courts record is personal to us.
The catalyst of the song "Human Performance" [reflects] my own flawed performance of humanity, and how it affects those around me. It directly mourns the loss of someone in my life, a party that knows the story and likely doesn't care for it to be retold, any more than the song has already done.
I hadn't thought of the Poe connection. Ultimately, the song is about living in the company of one's own shame. Perhaps it was the years spent as an altar boy that gave me an inclination toward repentance and atonement. I've never been a believer, but I can understand the appeal of faith, especially when it includes the promise of unconditional love and forgiveness. "Human Performance" is about the absence of that faith, and how haunting it is. The song has three choruses, so it felt natural to give it the sort of beginning-middle-end structure. 152ee80cbc
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