"I Got You Babe" may end up being something they'll never be allowed to forget (perhaps they don't want to forget!) but this beautiful song goes some way to restoring my respect. An irresistible rhythm section supports the band's most textured and atmospheric ballad to date. Love it. (Paul King, Smash Hits, October 23, 1985)
British reggae's pride and joy, UB40 return to the throes of the national charts, this time without the vocal aid of Chrissie Hynde, but with a remixed track from their 'Baggariddim' dub album. This is satisfaction on a more mellow scale. Throbbing bass and richly wondrous entities are entwined around a simple plea from Ali Campbell. Ambitious? Not really; but ardently superior. A hit? Absolutely. (Anna Martin, No 1, October 26, 1985)
Yet another riff that makes you wonder how the Monkees ever did without it, and reinforces the Fall as just extraordinary (in the humblest sense). Brix lets loose a stinging guitar stutter that, backed with a split splat drum and Mark's sock-in-mouth vocals, remains one of the most exciting, raw sounds around. Great stuff to annoy the neighbours with. The AA side 'LA' should be listened to as well - it's not a B-side. (Andy Strickland, Record Mirror, October 12, 1985)
Perhaps Mark Smith is bored by now with his "Last Angry Young Man" label. Here he delivers his story in an economic pulsator with an excellent guitar twist that you don't want to stop. And it doesn't. Single Of The Fortnight. (Paul King, Smash Hits, October 23, 1985)
A spunky bass line drives a hint of a tune that you already know - it's an echo of Bunnymen! A blast of the past but a band to watch. (Paul King, Smash Hits, October 23, 1985)
Mr Dury teams up once more with his old pal, multi-instrumentalist Chaz Jankel, for a tune already familiar to those TV addicts amongst you (it's the theme from The Secret Diary Of Adrian Mole Aged 13 3/4, you see). Ian is at his very best here with lyrical gymnastics and a soft sweet chorus. A hit (I hope). (Paul King, Smash Hits, October 23, 1985)
The theme from the TV series from the book - The Secret Diaries Of Adrian Mole Aged 13 3/4. No doubt the TV exposure will ensure some sort of a chart position, but as a record it's a limp souvenir. As an Ian Dury song it's a liquefying embarrassment. To be theme and not heard. (Roger Morton, Record Mirror, October 19, 1985)
It was a bit inevitable, I suppose, that this theme to The Secret Life Of Adrian Mole Aged 13 3/4 would surface as a single - Dury's first in ages. It's a whimsical song that fits in well with the TV series about teenage traumas, but doesn't stand up that well in its own right. Cute though ... (Karen Swayne, No 1, October 19, 1985)
Note: Interesting that all the reviewers mentioned the TV show, but each titled it differently. Paul King was the one who got it right.
Kate reminds me of those "astral" acquaintances I used to meet as a teenager on camping holidays - unusual, unpredictable but with a charm that always attracted me. Listen out for the stirring string section, an electric groove of Navajo red indian drums and some British pomp rock. I'm a fan. (Paul King, Smash Hits, October 23, 1985)
After the magnificent "Running Up That Hill", Kate returns with another dramatic breeze of a song. There's chugging strings, that soaring voice and a wonderfully evocative melody. Add to that a fascinating storyline video and you've got another massive hit. Music to swoon to ... (Karen Swayne, No 1, October 19, 1985)
Despite my dislike of the blind allegiance of Kate's followers - evidenced by contributions to the rm postbag - there's no denying her ability to make thoroughly stylistic, English sexy pop, and do it very well indeed. "Cloudbusting" may not be as instantly accessible as "Running Up That Hill", but it's an infuriatingly catchy bit of stringy nonsense nonetheless. Could be a hit! (Andy Strickland, Record Mirror, October 12, 1985)
Songs From Books: The ever-literary Kate was inspired by a 1973 memoir by Peter Reich, called A Book Of Dreams. Donald Sutherland played Reich's father, Wilhelm, in the video.
Dee's career-by-association has been pretty well chronicled, from young gun in Wham! to Style Councillor, but the lady's always aimed for a solo career. The voice that's just helped "The Lodgers" up the charts is given full rein here on a lush ballad that could've been done 20 years back by the likes of Dusty Springfield or Pet Clark. It's a progression from the poppy soul of earlier releases, and a move that should establish her as a name in her own right. (Karen Swayne, No 1, October 19, 1985)
Paul Weller's sidekick, currently prominent on the Style Council's "The Lodgers", swims bravely through a swelling soundtrack ballad for a non-existent Sixties movie, but ends up drowning in the strings. The cover of Weller's "The Paris Match" on the B-side is a much more suitable frame for D C's voice. (Roger Morton, Record Mirror, October 19, 1985)
Dee's excellent voice is showcased warmly on a song that Dusty Springfield (veteran British pop singer) or Tony Hatch (veteran British pop composer - he did the Crossroads them, fact fans) would have sinned for. A brave production and arrangement for the lady better known for her Style Council-ing. (Paul King, Smash Hits, October 23, 1985)
Looks like Sioux has spent her absence from the music scene on her hols in Greece - judging by the rather tasteless picture of an ancient couple bonking on the record. Our travel correspondent says that this is the sort of thing you get on beer mats in dodgy tavernas out there along with lecherous waiters. The song itself has an unusually catchy, funky feel, but the usual lyrical concerns of the Banshees are present and correct - y' know, dirt, dust, decay, death, that kind of thing. Well, they couldn't write about beaches and suntans now could they? (Karen Swayne, No 1, October 19, 1985)
The Banshees have returned from a sojourn in Italy inspired, apparently, by Pompeii (ancient city preserved forever by a volcanic eruption thousands of years ago). The song moves in early Simple Minds territories and, surprisingly enough, the Jim Kerr-type vocal inflections work well. Anyway, I love Siouxsie Sue. (Paul King, Smash Hits, October 23, 1985)
Still possessed of the finest sorceress caterwaul in the business, Siouxsie briefly gloats and croaks over the demise of a civilisation as her fellow statues stir up a scattering of underground sound effects. Meanwhile, the rest of the world wonders where the dip and drive of "Dazzle" has been buried, and waits for the next earthquake. A private record, to be bought for old times' sake, for the lupine massacre of sound on the B-side, and for the sake of a little sanity amid the surrounding musical insipidness. (Roger Morton, Record Mirror, October 19, 1985)
The Sprout's Paddy McAloon has a knack of writing really intriguing lyrics and then setting them to strange, almost awkward melodies This one's got puns aplenty, an echoey, haunting tune crafted with the help of Phil Thornalley and well deserves to be a hit. (Dave Rimmer, Smash Hits, November 22, 1984)
Previous to this, I'd always envisaged Paddy McAloon and company to be
one of those depressing vegetarian long mac brigade bands that I despise
so much. It came as a great relief to discover that they produce the
kind of melodic pop music that most bands can only aspire to - a kind of 10 c.c. meets Spandau Ballet. Must get the office veggies to lend me
their old Sprouts. (Dave Ling, No 1, October 27, 1984)
Being someone with a liking for sensitive artists with meaningful lyrics and guitars, I think I'm supposed to like Prefab Sprout. Hmmm. Pleasant tale of woe, but with all these people rolling about in ecstacy over them I expected the Earth to move. Not a wobble. (Eleanor Levy, Record Mirror, April 6, 1985)
"When Love Breaks Down" is a moody and haunting masterpiece which meanders along on gentle ripples of acoustic guitar and melodic keyboards. (Dave Ling, No 1, April 6, 1985)
The Sprouts are very odd indeed. They look really plain and wear things like string vests, come from Newcastle, call their LP Steve McQueen - and write brilliant songs about Mexico and love. This is acutely observed, intelligently written, quite sad but kind of, you know, uplifting, and sounds a bit like Joe Jackson on a good day. A cracker. (Peter Martin, Smash Hits, April 11, 1985)
Seductive as a sweet, soft focus kiss - quality sounds, arrangement and production. A gorgeous record. Make this one big. A friend. (Paul King, Smash Hits, October 23, 1985)
