Thursday, November 30, 2017
Wednesday, November 29, 2017
Tuesday, November 28, 2017
Monday, November 27, 2017
Sunday, November 26, 2017
Saturday, November 25, 2017
Almost a hit last year and deservedly re-released. Bas has dropped the awful Bonk moniker which must have affected his chances before. A rousing sixties soul stomp chorus and not too much else, but a hit. (Andy Strickland, Record Mirror, April 28, 1984)
Friday, November 24, 2017
Those silly sods from Splottland are back. once more the sub-Sylvian drone erodes my little brain cells. (Robin Smith, Record Mirror, June 18, 1983)
Thursday, November 23, 2017
Wednesday, November 22, 2017
Trivia: Hot House featured Heather Small, who would later go on to achieve great success with M People and as a solo singer.
Tuesday, November 21, 2017
Monday, November 20, 2017
D: They've certainly changed a lot since I saw them supporting Aztec Camera. This is certainly a lot more American.
S: Yawn! I wonted it to end after about 30 seconds 'cause I knew it wasn't going to do anything surprising. It was so predictable.
Dom: I liked it. At least it's got a chorus that will stick in my mind.
M: I'd like to see them do it live, 'cause I bet they can't. (The Chesterfields, Record Mirror, August 1, 1987)
Sunday, November 19, 2017
The production on this record is truly awful. The instruments blur into one muddy, thrashing mass, completely submerging any hapless tune which might be struggling to escape. (It sounds the same on the radio, so I know it's not my stylus.) The B-side, a brutally massacred version of Roxy Music's wonderful "Prairie Rose", is even worse. Yuk! (Vici MacDonald, Smash Hits, September 27, 1984)
Saturday, November 18, 2017
Tuesday, October 31, 2017
Monday, October 30, 2017
Friends have been raving about this band to me, and with good reason. The Blow Monkeys (don't be put off by the name) have come up with the week's best, and most unusual single. Opening with moody sax, "Atomic Lullaby" builds to a final crescendo with a style all of its own. The subdued but distinctive vocal fits somewhere between Lloyd Cole and Morrissey. The singer is called Dr Robert and he has a sinister charm that is hard to ignore. Try to hear it. (Karen Swayne, No 1, September 22, 1984)
Sunday, October 29, 2017
Saturday, October 28, 2017
Friday, October 27, 2017
Thursday, October 26, 2017
A Ravishing Beauty indulges in more than a modicum of the pretty-pretties. But tinkling bells and a twinkling belle do not a substantial pop record make! (Fred Dellar, Smash Hits, February 3, 1983)
Wednesday, October 25, 2017
Tuesday, October 24, 2017
Monday, October 23, 2017
Sunday, October 22, 2017
T: I can't believe she's released this, I mean it's such an odd choice.
A: Yeah, I agree, I like Suzanne Vega but this one doesn't do her a lot of favours.
J: What is she playing at? Halfway through I thought nothing was going to happen - and I was right!
(All About Eve, Record Mirror, July 18, 1987)
Note: Dave Rimmer would continue to delve into the themes of the sound and style of "new romantic" pop in his books Like Punk Never Happened and The Look.
Saturday, October 21, 2017
I hated his last one but I heard it so often it sort of grew on me. Here he's covered a classic song (originally done by legendary Motown soul act The Four Tops) and killed it. His voice is really dodgy. I don't think models should try and be singers. Let's face it, he's made it just 'cos he's got a pretty face. My dad's mate is a really brilliant singer and he's been trying for years to get a record contract and he can't get one. I think it's unfair. But the charts are all about novelty really ain't they? I mean, I think it's out of order that records by the EastEnders lot get to Number One. Mind you I can't talk! The Grange Hill records I sang on were bloody awful. I don't know how they got into the charts either. Makes you wonder dunnit? (Lee MacDonald, No 1, February 21, 1987)
Friday, October 20, 2017
Thursday, October 19, 2017
Wednesday, October 18, 2017
It's brilliant, isn't it? I like all this jazz based stuff that's happening now because its good for people to get into that level of musicianship and also make it commercial at the same time. It's getting away from quick, cheap and nasty. It's a great song and she's got a really good voice and phrases the words really well. This is one of the best singles I've heard for a long time and it should be a big hit if they've finished their exams and want to do a bit of promotion. Single Of The Week. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)
Tuesday, October 17, 2017
A very dated guitar riff announces the fact that we're not to expect anything new from Killing Joke in this latest release. They're apparently attempting to sound threatening and raw, but the band have always been a little guilty of being pantomime punks, and this just reinforces that pastiche. Killing Joke are about ten years too late, and the only people they threaten are the record company. (Muriel Gray, Smash Hits, July 19, 1984)
Monday, October 16, 2017
Sunday, October 15, 2017
Friday, October 13, 2017
Thursday, October 12, 2017
According to their press handout this incredibly silly Canadian group featured Margaret Trudeau on their last single and the defecting Chinese tennis star Hu Na on this one. I reckon they could hire Jesus Christ, Lassie and the Dagenham Girl Pipers and still not get a hit. (Max Bell, No 1, June 18, 1983)
Wednesday, October 11, 2017
Tuesday, October 10, 2017
A fairly pensive ditty from the band now elevated to a much deserved level of stardom, courtesy of "Pretty In Pink". Difficult to elaborate really. Not one of the Furs' finest moments, and Richard Butler still sounds like his throat is locked in combat with a spoonful of gravel. Oh for another "Love My Way". (Lesley O'Toole, Record Mirror, January 10, 1987)
Monday, October 9, 2017
Sunday, October 8, 2017
Saturday, October 7, 2017
Friday, October 6, 2017
Thursday, October 5, 2017
The strength of the new solo stars like Paul Young and Howard Jones is that they're not over-keen to impress. "Hide And Seek" builds ever so slowly from a few gentle drumbeats and synth doodlings into a stately and controlled masterpiece which harks back to Japan's "Ghosts". No.1 in a month. (Martin Townsend, No 1, February 18, 1984)