The Blue Nile are a band I know absolutely nothing about but I'll be listening out for them in the future. I think this is probably their debut single and it sounds as if it's been influenced by Talking Heads. An hypnotic bassline drives the verse into a catchy chorus. Good single. (Dave Gahan, Smash Hits, April 26, 1984)
A very pretty first release by some young Scottish chaps who, if their plain white record cover is anything to go by, aren't giving away too much about themselves. This is refreshing and perfectly sensible, since the music speaks for itself, It's gentle, not too busy and topped off with a vocal borrowed from an American singer-songwriter - the sensitive '70s kind. No, I like it, honest! Discovery of the week. (Sunie, No 1, April 21, 1984)
This lot were once briefly touted by the inkier side of the pop press as the next new something or other. They don't look or sound like it on the strength of this single. Judging by the cover, their image is based on Wayne from Auf Wiedersehen Pet, and the music's more or less like Fashion's - modern and anonymous. (Sunie, No 1, April 21, 1984)
I don't know much about this band but I find the tune very instant. After a few plays I flip over to find that the B-side has a rough edge the A-side doesn't. I'm afraid "Don't Stop" turns me on and "Love & Pride" doesn't. (Dave Gahan, Smash Hits, April 26, 1984)
Long time no hear, and it's a pretty heavy subject. A rousing chorus and a snappy guitar riff (that reminds me somewhat of the Banshees) go together to make a big hit. (Dave Gahan, Smash Hits, April 26, 1984)
Heavier than the League's last couple of singles. Jo Callis rediscovers his guitar and adds a U2/Public Image riff to the normal synth and deep throat backing. It's a grower, but politics and pop don't mix, so I'm told. (Andy Strickland, Record Mirror, April 28, 1984)
It's hardly fair that The Human League should be criticised for making their records so slowly, since no one gave them a time limit in the first place. On the other hand. . . AND ABOUT TIME TOO!! 1984's Human League has a harder (as in rock) sound and it's mirrored by their lyrics. "I must be dreaming/It can't be true," says Phil Oakey of the Lebanese war, and he could just as easily be talking about the Libyan siege in London. This isn't too jolly, and some might say The Human League should keep their noses out of politics. I bet Phil's got an answer for that one too. (Paul Simper, No 1, April 28, 1984)
This has a good chorus and it's very catchy - a good follow-up to "West End Girls". I hope they have a crappy looking video again because I liked that - Jonathan King slagged it off as cheap and horrible, the most appalling video ever made, but I thought it was simple, straight to the point, and I really liked the moody guy in it. It's funny reviewing a single sung by someone who used to interview us - I should be getting my own back. The runner-up single of the fortnight, I suppose. (Dave Gahan [Depeche Mode], Smash Hits, February 26, 1986)
If this is the best they can do fame is going to go as quickly as love comes. A weak follow-up to a Number One single, this is high on Giorgio Moroder atmosphere, but has weedy vocals so soft you have to strain to hear the words. Suffice to say that if this had been their first single nobody would have made such an almighty effort to find out what the real meaning of the name Pet Shop Boys is. (Pat Thomas, No 1, March 1, 1986)
Eyes bright and tails wagging, the Pet Shop Boys trot away from the haunting mystery of "West End Girls" and produce a tender swirling epic topped with a delicate vocal refrain. Not as instant as "West End Girls", but very smooth and powerful. It's starting to occupy a bigger place in my heart than even Chaka Khan's "Ain't Nobody". Single Of The Week. (Robin Smith, Record Mirror, March 1, 1986)
The Cocteau Twins are a band I've never really listened to and I feel that maybe I've missed out on something. Elizabeth Fraser's voice appeals to me in a way that I like very much. This is a great record and is definitely Single Of The Fortnight. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)
This record harks back even further [than singer-songwriters in the '70s] - to the late '60s or early '70s forsooth. It's a hurdygurdy of positively hippyish sounds. Very attractive for all that, this has layers of old-fashioned guitars and Elizabeth Fraser's yearning voice is well-deployed. File next to "Dear Prudence" and your patchouli joss-sticks. (Sunie, No 1, April 21, 1984)
The darlings of the spikey mohican brigade, aren't they? I quite like it and it's a very nice sleeve. It's quite middle of the road in a way, I'm sure my mum would like it but it won't be a hit. Not as good as "Song To The Siren". (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)
Pretty rubbishy really, but a great sleeve, almost surrealist in a way. The girl on the sleeve is obviously dreaming about a fish. It's a bit like the song, unfathomable, but worth buying for a sleeve. (Bobby Bluebell, Record Mirror, April 21, 1984)
I'd like to see what Mulligan could come up with, with Nick Beggs. (Kenneth McCluskey, Record Mirror, April 21, 1984)
I find this song struggling to get off the ground and not quite making it. Very clever production in its own way but slightly dated mixing rock guitars with general-sounding electronics. I quite like the singer but I'm not sure about the whole thing. (Dave Gahan, Smash Hits, April 26, 1984)
Poor old Fashion have been slogging away for years without ever grabbing themselves a real hit. This is one of their stronger efforts, combining all the right ingredients, a name producer (Zeus B. Held) and the right parts of disco soul to power rock.
But it still lacks a real personality of its own. And that's the problem. (Sunie, No 1, April 21, 1984)
Predictably oafish version of a sleaze classic, previously sung by Frank Sinatra and everyone who ever wanted to be him.
You know, it embarrasses me sometimes, having to play this sort of stuff at home. The neighbours must think I've got the worst taste in music since Mike Read. (Sunie, No 1, April 21, 1984)
A rather jazzed up version of an old song but it isn't very exciting. They should have tried it at twice the speed. By the way, you get a free flexi disc. (Dave Gahan, Smash Hits, April 26, 1984)
This one's a grower for sure! I've played it a few times and it gets better every spin. Produced by New Order but co-written with Arthur Baker, I personally prefer the band's production. Great melody which sticks in your brain. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)
The phenomenal success of "Blue Monday" is a hard act to follow, New
Order have yet to beat the challenge they set themselves. "Confusion"
was saved by the brilliant Arthur Baker production but on "Thieves Like
Us" New Order get behind the controls and the result is rather lifeless.
The song is a grower in a meandering kind of way, but the tuneless
vocals of Bernard Albrecht reduce the affair to a flat disco dirge. (Karen Swayne, No 1, April 14, 1984)
I like this a lot. It reminds me a bit of Lou Reed and it's a lot different from their last few singles. I prefer it to their disco stuff which they don't do very well, it's very good and it's still got that indie feel about it. (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)
More melodic than normal New Order. It floats along nicely. (Kenneth McCluskey [The Bluebells], Record Mirror, April 21, 1984)
Taken from the next album Tinderbox, this finds Siouxsie and Co back in classic form. It has all the eerieness and menace you could want and for once Siouxsie is actually singing (as opposed to intoning in key). All those hours with the vocal coach have finally paid off. Chalk up another Banshees hit. (Pat Thomas, No 1, March 1, 1986)
Grab a look at that cover. Did they get Paul King to model for it? Will Woolworths allow it into their chain stores? Actually there are very few things in my life more painful than having to listen to the vocal contortions of Souse. Very fast, very unpleasant. Enough said. (Robin Smith, Record Mirror, March 1, 1986)
Siouxsie's not a 'singer' like Aretha Franklin but she makes great use of what she's got and she always sounds exciting. She sings with a lot of sex - that's what I like. This is a great Banshees record. Obviously, they've got a bit of a 'formula' but I like their sound. I used to go and see them quite a lot when I was younger, when I was a punk rocker. Single Of The Fortnight. (Dave Gahan, Smash Hits, February 26, 1986)
