Paul Young - Everything Must Change (CBS)

A slow and stately self-penned ballad that's more like "Wherever I Lay My Hat" than anything else Paul has done. Takes its time to sink in, as good ballads often do. Should do the business. (Dave Rimmer, Smash Hits, November 22, 1984)

After the post-Frankie heavy metal soul of "Playhouse", Paul veers towards country on his first self-written release since the hits started coming. The country-style guitar freshens up his familiar bass 'n' synth sound, and the song's pretty creditable too. It gives away his '70s rock origins, but then he's never been at great pains to disguise those. I look forward to seeing him clutching his mikestand on TOTP as soon as poss - that much won't change. (Sunie, No1, November 24, 1984)

Adam And The Ants - Goody Two Shoes (CBS)

Mr Ant goes rockabilly, suggests we wear a little make-up, exhorts us not to smoke and drink, namechecks soul maestro Al Green for some reason, and - frankly - bores the highwayman's breeches off me. Dull. (Dave Rimmer, Smash Hits, May 13, 1982)

XTC - No Thugs In Our House (Virgin)

In which two parents try to convince a young constable that their son is not a nasty, vicious hooligan. A little heavy for my tastes, and it does go on a bit. Winner of the Silly Packaging of the Week Award, though, for a sleeve which converts into a toy theatre! How will they try and sell them to us next? I shudder to think. (Dave Rimmer, Smash Hits, May 13, 1982)

Japan - Cantonese Boy (Virgin)

A good song, but the fourth track off Tin Drum to become a single, and this can't really be counted as much more than a stop-gap measure until the boys in rouge re-unite and pen something new. The B-side includes the humdrum instrumental entitled "The Experience of Swimming". (Dave Rimmer, Smash Hits, May 13, 1982)

Culture Club - White Boy (Virgin)

The kind of image-heavy build-up that Boy George and Culture Club have had, lead me to expect just another all-trousers-and-no-action combo (well, all dresses actually, given George's taste in clothes). I'm surprised, therefore to find this an enjoyable helping of well-produced white soul even though it can't keep it up past the halfway mark on the 12". A question is prompted however: how much white funk would sell without all the make-up, gold suits etc? (Dave Rimmer, Smash Hits, May 13, 1982)

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.

 

Echo And The Bunnymen - The Cutter (Korova)

Dark vocals, dramatic chords and the kind of "Eastern" riff that sent Blancmange scurrying off to Egypt to film a video make this an intriguing but inscrutable single. "Spare us the cutter," implores the chorus. Certainly boys, but, er, what is it? (Dave Rimmer, Smash Hits, January 20, 1983)

The Mighty Wah! - Weekends (Beggars Banquet)

In which Mr Wylie, to a U2 style rock heroic backing, lists all the interesting places one could go for a weekend - New York, Rio, Russia, Paris, "Or swan on a beach in Sri Lanka - just like Duran Duran!!!" - and bemoans the fact that he always ends up "here" (Liverpool, presumably). He probably means that a dull life is made to seem even more so in comparison with glossy jet-set images in videos and magazines. A million Duran fans will doubtless disagree. (Dave Rimmer, Smash Hits, September 13, 1984)

And so the romantic myth of Pete Wylie, (the maverick poet street fighter armed with guitar in one hand, determination in his guts and acid scouse wit on his tongue) continues. For some that all adds up to one noisy wretch, whereas for others it's inspirational. The raunchy attack of "Weekends" will do little to alter that position; lacking the wider anthem-like appeal of "Come Back" but still delivering venom and intent as only he knows how. (Pedro, Record Mirror, September 15, 1984)

Aztec Camera - Still On Fire (WEA)

Roddy digs out his tried and tested chord progression, fiddles with a gruffer voice on the opening line before scampering back to more familiar territory. This and the rest of the Knife LP is an indisputable testimony on the deep, deep dangers of describing a fledgling such as Frame as a 'genius'. (Marvin B Macclefish, Record Mirror, November 17, 1984)

Still on fire or just an old flame? Roddy Frame's latest offering sees the Aztecs twiddling their fingers. The song's a dull harkback to Don McLean's 'American Pie' days and producer Mark Knopfler makes a dire mess of the group's usually chirpy sound. Matters are not helped when comparisons are drawn with the flip side – the late, great "Walk Out To Winter". It may be live and a bit leaden but it still cuts like a knife through the present material. Come on, let's get the home fires burning again. (Paul Simper, No 1, November 17, 1984)

On the back cover Mr Frame is sporting a v. expensive pair of flowery Scot Crone trousers (achingly trendy London shop) and can therefore be assumed to be doing rather well these days. This enjoyable, jerky and singalongable item should justifiably ensure he does even better. Thumbs aloft. (Dave Rimmer, Smash Hits, November 22, 1984)

Shriekback - Mercy Dash (Arista)

Shriekback are one of those alternative dance bands you hear about. The alternative in this case being anything rather than wasting your time trying to hop about to this record. Perhaps Shriekback are challenging our ideas, restructuring our notion of the dance, drawing us up to a new aesthetic plain. Perhaps they just make dance records you can't dance to. (Paul Simper, No 1, November 17, 1984)

A murky but quite appealing muddle of sound that, with a more interesting voice intoning the rather wiggy lyrics, could have been a really good record. As it is, I can't see it doing much. (Dave Rimmer, Smash Hits, November 22, 1984)

Dollar - Give Me Back My Heart (WEA)

Slush. Well sung slush and, with the much-in-demand Trevor Horn at the controls, beautifully-produced slush. But slush nonetheless. Nothing wrong with that necessarily, but nowhere near as interesting as "Mirror Mirror". (Dave Rimmer, Smash Hits, April 1, 1982)

Bucks Fizz - My Camera Never Lies (RCA)

Don't this lot ever have any new ideas? Same old oompah-oompah rhythm, clean wholesome vocals and utterly pathetic lyrics: 'My camera never lies any more/Because there's nothing worth lying for'. Too right, so here's the truth: sorry Fizz fans, this is horrible. (Dave Rimmer, Smash Hits, April 1, 1982)

The Associates - Club Country (Beggars Banquet)

Like thousands of others, I remained oblivious to the charms of the Associates until "Party Fears Two". This will no doubt float into the charts in the wake of that song, but it's a less appealing number: dry and a trifle dreary with Mr MacKenzie in relatively restrained form. (Dave Rimmer, Smash Hits, May 13, 1982)

Dead Or Alive - It's Been Hours Now (Black Eyes)

With his long, straggly multi-coloured hair, thick eye make-up and flowing clothes, Pete Burns, the lead singer of this Liverpool five-piece, has always looked a bit silly to me - like a would-be Steve Strange type who didn't quite make it. It came as some surprise, then, to find this tale of a gloomy sexual encounter eerily effective and genuinely disturbing. Two of the other songs on this four-track EP don't do much, but the fourth, another version of "Hours", is even more spine-chilling than the main one. Recommended. (Dave Rimmer, Smash Hits, April 1, 1982)

Eurythmics - Who's That Girl? (RCA)

If you'd fed the last two Eurythmics hits into a computer and asked for a follow-up, this is what you'd get. It doesn't stray an inch from the blueprint. It's cold and calculated. In a way, though, that is what we love about so much British pop. When you buy a record by ABC, Wham, Yazoo, Eurythmics, you know that every detail, every nuance has been weighed to perfection. It's the best. "Who's That Girl?" expands Annie Lennox's twin images: the hard, icy lover and, in the video, the challenger of sexual roles. But that's all it is: image. And in the great game of pop manipulation The Eurythmics currently lead the field. (Phil McNeill, No 1, July 2, 1983)

Who's that bloke, is what most folk'll wonder when they clock Annie's latest look. Not that immediate but a strong if gloomy song and a flawless (though slightly dated) production. Already my favourite Eurythmics single. (Dave Rimmer, Smash Hits, July 7, 1983)

David Bowie - Blue Jean (EMI America)

Used to be that one thing you could never accuse Bowie of being was ordinary. Until "Let's Dance", that is. Suddenly, in a successful bid for mainstream appeal, he chucked away the weird quality that had in the past inspired so many people. The result was a slick but fairly ordinary pop LP. "Dull, dull, dull," our reviewer commented at the time, and for Bowie that was an unpardonable sin. On this, the first track of the batch that'll make up the next LP, he's stuck to the basic "Let's Dance" rock band format, added (but way in the distance) some wiggy percussion and made a single that can only be described, once again, as dull. At least, by his standards. (Dave Rimmer, Smash Hits, September 13, 1984)

With a legend like Bowie it's all too easy to let the past cloud the present. The prowess and magic of his old gems can often lead to an all too critical eye being placed on his every move whereas conversely, it may allow him to get away with murder. Any hopes of an Ali style comeback could be daunted though. Standards are standards and this is as standard - i.e. mediocre - as they come. (Pedro, Record Mirror, September 15, 1984)

When this record was first slapped onto the No.1 stereo a reverential silence descended on the office. "It's a bit plain," somebody ventured when it was finished, and at the time I agreed. However, as with most of Bowie's recent work 'Blue Jean' is more of a grower than an instant favourite. Not one of his all-time greats. But listen twice before you make up your mind. (Dave Ling, No 1, September 15, 1984)

Wham! - Freedom (Epic)

Ever since I gave "Wake Me Up Before You Go Go" a less than rave review, Wham! have apparently been saying that I was "out to get them". Not true. As their past releases (and, indeed, "Careless Whisper") show, Wham! have a tremendous spark of talent. I just don't think they're using it very well. With records like this weedy, uninspiring Motown-derived effort, I reckon they're aiming far too low. Take some risks, boys. You can afford to. Still, although this sounds like The Truth on a wet afternoon, it will undoubtedly be a hit. Such is life. (Dave Rimmer, Smash Hits, September 13, 1984)

"I don't want your freedom/I don't want to play round/I don't want nobody babe/Part-time love just brings me down." The bad boys have changed their tune in more ways than one. Now it's the girl who wants the freedom to fool around, and George isn't too keen on the idea. Like 'Wake Me Up', 'Freedom' is unashamedly lightweight and catchy. It bounces and swings along in masterly fashion and after two hearings you'll be singing it in the street. OK, so it may not be the toughest, most essential dance record of the week, but it's a cleverly crafted pop song which blends Motown with The Four Seasons and a touch of Bay City Rollers (ask your mum) .. . (Karen Swayne, No 1, September 22, 1984)

Tears For Fears - Change (Phonogram)

I'm not much of a Tears fan myself - all this staring out of windows and ruminating on the state of the world seems pretty futile to me - but this is an undeniably strong follow-up to "Mad World": up-tempo, almost disco directed, and complete with fashionably Eastern-sounding percussion. Not bad. (Dave Rimmer, Smash Hits, January 20, 1983)

The Questions - Tuesday Sunshine (Respond)

Although improved by new recruit Maureen Barry's vocals and equipped with a warm, bright, soul-ly sort of song, this group still display more potential than punch. The question is: what's wrong with the sun on Thursdays? (Dave Rimmer, Smash Hits, March 1, 1984)

'Respond' - a calculated respect for the soul sound that makes me despond, frankly. Still, at least the forced passion squeezes a decent, very Boy George-like vocal out of Paul Barry and there's an overall infectiousness which suggests that away from Weller's fetishes they'd be as potent as the early Undertones. I've sent the sleeve note straight to Pseud's Corner. (Martin Townsend, No 1, February 18, 1984)

With their fingers out and the lovely Maureen in their line up, The Questions may finally have a hit on their hands. In fact, this record seems to be everything Paul Weller had in mind when he started his own record label - it's young, bright, clear, light, sweet and unpretentious. I love the record, but I'm not so sure about the relentless Respond advertising on the sleeve.. (Maureen Rice, No 1, March 3, 1984)

Marillion - Assassing (EMI)

And what does "assassing" mean? Beats me. A clever-cloggy pun, perhaps. Or maybe just something your average assassin does from time to time. All I can tell you is that at one point Fish does indeed appear to be screaming "I assassing the collector" along with a lot of other stuff that sounds suspiciously like the harmless ravings of a hopeless maniac. This, by the way, is an "edited version". The full-length one probably takes up about six 12" singles. (Dave Rimmer, Smash Hits, May 10, 1984)

Madonna - Like A Virgin (Sire)

The title of this squeaky clean semi-electro pop produced by Nile Rodgers recalls Mark O'Toole quoted in 'Pleasuredome': "So really I'm never honest." And when one places the record next to the far superior "Borderline", one realises that Madonna is only hip (hop) New York's answer to Cyndi Lauper. (Adrian Tierney-Jones, No 1, November 10, 1984)

Visually, let it be said, Madonna is a pure vision. She walks the deadly tightrope between sophistication and outright sexuality. Her records, on the other hand, are simply tame and lame modern pop disco, and her ability to perform centres more on pouting than on pirouetting. Putting it bluntly, she is a marketing man's dream: a carrot to dangle in front of lechers such as myself, a slightly classier musical version of Page 3, and her record here shares all the throwaway qualities of the said publication. (Pedro, Record Mirror, November 10, 1984)

Apart from being the only girl Peter Martin actually sends fan mail to, Madonna managed to come up with a cracking good first LP that I'm still not sick of even though my brother plays it to death every time he stays at my house. This however sounds like Cyndi Lauper making a feeble foray into disco with the help of Nile Rodgers and a bass line that sounds suspiciously like " Billie Jean". Boring. (Dave Rimmer, Smash Hits, November 22, 1984)