album's first single and became the Human League's second number-one on the US Billboard Hot 100 and their first UK top-10 single in over three years, peaking at number eight. Follow-up singles "I Need Your Loving" and the 1988 UK-only release "Love Is All That Matters" were less successful, failing to reach the UK top 40. The album itself peaked at number seven in the UK (where it has been certified Gold for shipments in excess of 100,000 copies) and number 24 on the US Billboard 200. Oakey stated his discomfort with the record in 1995, saying: "The Jam and Lewis album [Crash] was just like being a puppet for four months. It was interesting to pick yourself out of the industrial north of England and dump yourself in Minneapolis. Great experience, but it just wasn't our album." However, in 2015, producer Jimmy Jam mentioned that the primary source of tension between the Human League and Jam and Lewis was largely due to the issue of background vocals. Jam thought Sulley and Catherall were good singers, but wanted to use them for the spoken parts on the single "Human". Jam and Lewis brought in their session vocalist Lisa Keith, who along with Lewis performed the background vocals. This caused a rift between the producers and the group, which was started by Catherall who was discussing the issue with Oakey at the time of recording Crash. Catherall did not like the idea of another female voice on the album, while Jam and Lewis thought Keith's vocals added to the songs. Jam explained: In 2005, Crash was re-issued with extended versions of the three singles. Artwork The out-of-focus cover photo was used to disguise the fact that it was taken at very short notice to meet a print deadline, after the disaster of the planned original photo shoot. Oakey originally wanted to return to the Vogue cover style of Dare artwork for Crash. He had persuaded Virgin Records to finance a studio photo shoot of the band with Vogue Paris-based photographer Guy Bourdin. The band were flown out to Paris for the two-day photo sessions. However, on arriving at Bourdin's studio, it became apparent that he was only interested in photographing the two female vocalists Susan Ann Sulley and Joanne Catherall. Matters came to a head when Bourdin ordered Sulley to do a handstand wearing a mini-skirt, a pose she considered inappropriate.