Echo and the Bunnymen - Never Stop (Korova)

From the joyous, jagged intro to the juddering close, a hit and no mistake. With a bit of cello, heartfelt vocals, some disco percussion, a name-check for Russian writer Maxim Gorky and what sounds like someone tapping out a tune on the ribs of a skeleton, this is probably the best Bunnymen single ever. Easier to dance to than philosophize about, which is all well and good. Is this what Mac meant about them finding their "lighter side"? Whatever, sheer bliss. (Dave Rimmer, Smash Hits, July 7, 1983)

A more direct and, dare I say it, safer Bunnymen. They have established a bridgehead in the top 20, so one can forgive them for marking time. This record is distinguished by Mr McCulloch's strong vocal; some lovely keyboard work and absolutely no references to obscure novelists. (Jim Reid, Record Mirror, July 9, 1983)

No don't, Mac. The truest of all rock groups continue their tradition of great singles. 'Never Stop' grabs you by the throat and doesn't put you down until you're pulsing with the feverish energy that's in all their recordings. This is going to make Top Of The Pops well worth watching. What will Mac do this time-strip off totally or just smash up the studio altogether? Don't stop watching! (Paul Bursche, No 1, July 9, 1983)

Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

Arcadia - The Promise (EMI)

Despite exceedingly danceworthy rhythm guitar and extra vocal bits by Sting, this isn't as exciting as "Election Day" and can at first sound a little drab. But it grows on you, believe me. And grows and grows. P.S. There may be a 12", although we didn't get one. This 12" may contain the version with an utterly corking keyboard solo by Herbie Hancock. I hope it does. (Dave Rimmer, Smash Hits, January 15, 1986)

Come on, admit it. . . by the time you'd seen/heard "Election Day" for the tenth time on the video jukebox, you'd, begrudgingly at first, grown quite accustomed to the first and long-awaited sampler from the Taylor/Rhodes/Le Bon collective. Well, in that case, you'll be pleased to discover that "The Promise" goes one better. Maintaining a more pleasurably seductive mood throughout, Simon indulges in aesthetic extravagance and somehow manages to stifle the urge to wail with impromptu vigour. As expected, the goods are immaculately packaged - for maximum enjoyment on consumption. A promising endeavour! Duran Duran take heed. (Anna Martin, No 1, January 18, 1986)

Hot from the desert that is So Red The Nose, it starts with what sounds alarmingly like a Thin Lizzy riff. Simon groans manfully, the bass boings sleepily into action before our Si launches himself into vocals that are truly painful to hearken unto. A predictable review for a predictable record. This is obviously what Duran Duran do in their sleep, so I pity their good lady wives. (Nancy Culp, Record Mirror, January 18, 1986)

China Crisis - You Did Cut Me (Virgin)

China Crisis have proved the most durable of the 'wimp rock' crew, mainly because of their talent for writing memorable melodies. They're still as wet as the weather though, but Garry Daly's breathy vocals lend a touch of distinction to whatever they do. Pleasant enough, but still nothing more than aural wallpaper. (Karen Swayne, No 1, August 31, 1985)

Another well-crafted technically exact pop tune, with definite chart potential. Some blousey sax for late night listening, with an undulating feel. You can't dislike it, but I find it all a bit insipid. As they say me ol' china - "just not my cup of tea". (Diane Cross, Record Mirror, August 31, 1985)

Yet another young British group make a boring, grown-up, American-style AOR ("Adult Oriented Rock") type record. China Crisis can be interesting when they try but here we find them plumbing the depths of cliché with the usual (for this sort of thing) slow sax solo and useless words like "A love incision/My inner vision". A sad business. (Dave Rimmer, Smash Hits, August 28, 1985)

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)

Virginia Astley - Tender (Elektra)

As the phenomenon that is the solo female singer-songwriter makes something of a comeback, Virginia makes her bid for stardom. After a spell supporting the Fun Boy Three and a solo deal on Rough Trade, Virginia now delivers her sweet lilting tunes accompanied by an equally sweet lilting vocal. A little sugary at first, but - like Cadbury's Cream Eggs - genuinely addictive. (Eleanor Levy, Record Mirror, September 21, 1985)

Quite possibly the only truly original-sounding song in the whole of this fortnight's bunch. With a wistful, dreamy vocal over a whole lot of oboes, violins and other orchestral stuff, multi-instrumentalist Ms. Astley conjures a mood that feels old-fashioned and rural and awfully English. Hardly the future of rock `n' roll, but very enjoyable and perfect music for the summer we never had. (Dave Rimmer, Smash Hits, August 28, 1985)

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)