Eurythmics - Here Comes The Rain Again (RCA)

Dave 'n' Annie just can't put a foot wrong. They release a happy calypso track in bleak mid-winter and watch it go Top Ten. Now they're back to the more familiar moody style that they do so brilliantly. The gorgeous slow melody is the ideal vehicle for Ms Lennox's effortlessly pure voice. It's mournful, but never depressing - add to their combined talents the string section of the British Philharmonic Orchestra and you've got the week's classiest single. (Karen Swayne, No 1, January 14, 1984)

If Eurythmics think they're making a run-of-the-mill record, they don't panic. They simply add 'the squint factor'. It turns an everyday event into a Royal Variety Performance. The secret of 'squint' lies in dodging your expectations. When you're waiting for a smart sheen, you get a tinny glitter. Just like that African guitar twang on "Right By Your Side". On this one it's the strings that add the seasoning. They scrape and scamper behind the melody, nudging Annie's wonderful vocal along. Like all Eurythmics' songs, it takes several plays to sink in but when it takes hold, you'll love the feeling. Single Of The Fortnight. (Ian Birch, Smash Hits, January 5, 1984)

As usual, very classy. I liked 'em when they were the Tourists and I like 'em now. Went to see 'em at the Odeon. I used to prefer the mini-skirt to the Oxford bags mind you, but that just shows you what a hidebound philistine old reactionary I am. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Big Country - Wonderland (Phonogram)

'Take my hand and we will be in wonderland' sings Stuart Adamson in booming, butch tones. This is Big Country's answer to the film Gone With The Wind - bags of romance, riding off into deep red sunsets and never letting on how upset you really are. It needs to be played at great volume to capture the sound and the sweep. (Ian Birch, Smash Hits, January 5, 1984)

The band who put OK into rock, or just another guitar group? Vital questions for some people, meaningless to others. But however you feel about them, Stuart Adamson and co. aren't about to abandon their axes now they've made them respectable. 'Wonderland' is archetypal Big Country - broad, sweeping and majestic - and proves once again that they can make rock sound fresh. There's less of a Celtic feel too, so I promise not to mention bagpipes (oops). (Karen Swayne, No 1, January 14, 1984)

Very good. I like them. Nice time signature. Jolly clever use of fuzz tone oboe. They seem to be a good, consistent, useful band. Brian (Robbo) likes them. Chorus of "see you, see me," etc. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Australian Crawl - The Boys Light Up (Geffen)

I can't bear Australian groups. They all sound like bloody Men At Work and they've all heard about three reggae records and they've put the same reggae rhythm on every track, no matter how unsuitable. They all sing like Sting (or would like to) and the only one that's been worth anything is Split Enz and they come from New Zealand. (There is an exception to this rule - Icehouse. They want to be Roxy Music.) (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

The band with the unenviable task of 'warming up' Duran Duran audiences on their recent tour sound more like they'd cool the proceedings down. A ponderous single which takes forever to get going and really isn't worth the wait. (Karen Swayne, No 1, January 14, 1984)

Crawled 'round to the record store and bought a few Men At Work albums, obviously. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Note: Despite all the Men At Work references, "The Boys Light Up" was in fact a three year old single, belatedly released in the UK as a result of the burgeoning interest in Australian bands.