If my name was Gallup this one would shoot through the Top 40 like a laser gun through lard. Over a sublime racket of whistling guitars bobs a breezy melody curiously reminiscent of The Beach Boys. Its simplicity and individuality amid countless, cowardly records in the review pile striving to sound like each other is nothing short of exhilarating. Good vibrations. Single Of The Fortnight. (Andy Kershaw, Smash Hits, February 28, 1985)
The Jesus & Mary Chain re-invent the Ramones via the Beach Boys, a buzzsaw factory and several low-flying aircraft. It's a strangely compulsive record, but though it is hardly a classic - this is being championed by sections of the music press as the punk revival landmark of the century. Magic messiahs? Me thinks not. (Dylan Jones, Record Mirror, February 23, 1985)
A few seconds after lowering the stylus onto Sheena, I forgot I had put the record on and tried to play another. If a record isn't made to grab the listener's attention then it should never be made. Like most records today, "Sugar Walls" conforms to that mid-Atlantic metal formula for mass-sales of filing-cabinet-down-the-liftshaft drums and lots of sparkling synths (and it's produced by Prince too). The record industry has little imagination and it is easier to homogenise music than promote individuality. (Andy Kershaw, Smash Hits, February 28, 1985)
The name Alexander Nevermind may not mean a lot to you but it does to Master Prince Rogers Nelson. It's the name under which he's chosen to write, produce and arrange this record, which is already in the American Top Ten. Mind you, God knows why he couldn't put his own name on it and sing the thing. All Sheena does is a very good impersonation of the little fellow singing one of his own songs. She should get a job on Spitting Image.... (Paul Simper, No 1, March 16, 1985)
Be warned! Judging from all the hustle and bustle surrounding them, it's obvious that SLT are EMI's new great white hope, the latest Duran. Their campaign has already included sweatshirts, badges, bars of chocolate (I kid you not) and a single that has more wrapping than an eskimo in a snowstorm. But what lies at the heart of this snowstorm is very ordinary indeed. There are a host of bands already producing this vaguely soulful mush - and Fiction Factory, for one, do it far better. Unfortunately, EMI probably have the muscle to push them into the charts. (Paul Bursche, No 1, February 16, 1985)
Pretentious, fussy packaging - it took several minutes to extricate the disc from its three sleeves - makes records more expensive than they need be. Finally inside, you'll find nothing here but optimistic froth. I'd prefer a great record please, and I don't mind if it comes in a white paper bag. (Andy Kershaw, Smash Hits, February 28, 1985)
It's called "Legs", it has a pair of female legs on the sleeve, it has a video featuring 'a host of buxom Texas wenches', the B-side of the 7-in is called "Bad Girl", the flip of the 12-in is "Fool For Your Stockings" .. . ZZ Top are not cartoon characters. They're three ugly old men playing mid-70s style boogie that has absolutely nothing to do with their success. (Martin Townsend, No 1, February 23, 1985)
Like a life-size cartoon, ZZ Top's three caricatures look as ridiculous as a pop band can get. But somehow they get away with it. 'Legs' ain't as good as 'Sharp Dressed Man' or 'Gimme All Your Lovin", but it's good enough: a short, sharp, branded tune metered out by a group that never finds the necessity to gross-out on excess. (Dylan Jones, Record Mirror, February 23, 1985)
More irresistible raunch from the enlightened Texan stompers. However, it's a pity ZZ Top's almighty sound is so often a medium for dodgy sexist sentiments. Hang on. I'm sure there have now been more singles from Eliminator than there are tracks on the LP. No? (Andy Kershaw, Smash Hits, February 28, 1985)
It doesn't sound like ZZ Top because there's a synthesiser on it which
isn't quite right somehow. I really like some of the stuff they've done,
but it's actually more powerful than this. They're supposed to be a big
group, big guys with big beards but they're definitely going for
commercial success with this one. They're a rock and roll band, and
that's the way I like them. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)
Epic Records set their stylists loose on a group of former Cambridge crowd-pleasers called The Models, hire a haulage firm to deliver the advance and call the conspiracy Roaring Boys. Ignore the propaganda promise that these lads are going to be massive ("They'd better be. We've spent enough on them"). Resist the alluring fringes, dreamy eyes, soft pouts and sucked-in cheeks on the sleeve photo. Be honest with yourself. Hear it and admit it . . this is an unremarkable record. (Andy Kershaw, Smash Hits, February 28, 1985)
Let's keep cynicism at bay here. Any band that's inspired so much music biz hype as Cambridge's six Roaring Boys must have something going for them. But although the band - who include Kirsty MacColl's brother Neill - are reasonable looking this debut single is simply duff. Lots of huffing and puffing and being desperately young and energetic but not a spark of wit, wisdom or plain old excitement to be found. A very roar deal. (Martin Townsend, No 1, February 23, 1985)
Reputedly signed for a six figure sum with lots of nines in it, a lot is expected from the Roaring Boys. But frankly, on this debut they tread water to the extent of almost drowning. What is so special about the Roaring Boys? We wait and see ... (Dylan Jones, Record Mirror, February 23, 1985)
