Depeche Mode - Blasphemous Rumours/Somebody (Mute)

Depeche Mode are becoming a Very Important band indeed. Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality. "Somebody" gently unfurls the map of a modern relationship and explores every fold. The double A-side, "Blasphemous Rumours" weighs religion and reality with precision and feeling. Thought provoking stuff. (Martin Townsend, No1, November 3, 1984)

A double-A-sided single of two tracks from their Some Great Reward LP. "Somebody" gets my vote because it's so different from all their other singles. Martin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves. "Blasphemous Rumours", on the other hand, is a routine slab of gloom in which God is given a severe ticking off. (Neil Tennant, Smash Hits, November 8, 1984)

PH: I really like it, I like it a lot; it's got a great chorus line. It's a bit fractured, but then that's their style. It's a bit too fractured at times, you keep wanting to hear the chorus. AM: The strong thing is their melodies and that chorus as Paul said is a belter. I've got this feeling that Depeche Mode are going to do something really amazing and they're getting pretty close. PH: They're the only band this week that sound like they know what they're doing, the only band that've got two ideas to rub together. AM: Well, two pieces of metal to rub together, anyway! (Andy & Paul from OMD, Record Mirror, November 3, 1984)

Depeche Mode - It's Called A Heart (Mute)

Depeche Mode have reached an interesting stage in their life. In the long term, the (relative) lack of success of "Shake The Disease" will probably be a good thing - helping the band to get away from the teeny/girly/ chart image they've been saddled with. Anyone who's heard their album will know them as a band with more depth than that, but there are some still need convincing. If anything, "It's Called A Heart" is a step back - bringing them once more into the realms of the three minute pop song they'd broken out of with the last three singles. It features godawful electronic sounds, mixed into a beautifully simple tuneful concoction. That takes skill and commitment and Depeche Mode are increasingly well furnished with both. (Eleanor Levy, Record Mirror, September 21, 1985)

Fad Gadget - Saturday Night Special (Mute)

Behind the painted face and the long nose lurks a man with a message or two to get across, and it would spoil the drama of hearing the record to tell you what it's about; put it on the shopping list and try it out. (Charlie Gillett, Smash Hits, February 4, 1982)

Depeche Mode - A Question Of Time (Mute)

The follow up to 'A Question Of Lust' - they don't half ask a lot of questions these boys! Anyway I have it on good authority that the lads were a bit upset that the last single didn't do too well. This is a much livelier outing which should get them the much coveted airplay they didn't get with the last one. It's not as good as 'Lust' but then you can dance to it and that's the most important thing - isn't it? 3/5 (Pat Thomas, No 1, August 16, 1986)

Spruced up, meatier mix of old track. Not quite as alluring as 'A Question Of Lust' but the rabid, sequenced throb is better programmed for radio land. Good sorts that they are, Depeche Mode will run and run while Martin Gore grows weirder and weirder by the milli-second. (Lesley O'Toole, Record Mirror, August 16, 1986)

Fad Gadget - I Discover Love (Mute)

This group have been consistently fantastic, but nobody seems exactly over aware of them. Wake up you lot and listen to something decent. Frank Tovey is a mild-mannered man in real life, but transforms into an evil voice on record, and a performer well-known for doing obscene acts on stage. There, now you're interested! (Debbi Voller, No 1, September 10, 1983)

Yazoo - Nobody's Diary (Mute)

One of the true great voices since Neanderthal man discovered that crooning was more effective than a bash over the head, though not as much fun. Alf packs a punch that sends you reeling for the respirator and the bottle of Dr Collis-Brownes. More restrained than some of the stuff that's gone before, this song is a sneaker and grabber that goes for the jugular. (Simon Tebbutt, Record Mirror, May 14, 1983)

You don't need me to tell you what the new Yazoo single sounds like. It sounds like all the rest, and yet, it doesn't! Somehow they keep coming up with enough hit variations on their theme. Can't fail. (Debbi Voller, No 1, May 14, 1983)

A sad love-gone-sour song written by Alf. Strong on emotion and weak on melody but the combination of ringing synths and bluesy singing is still a winner. (Neil Tennant, Smash Hits, May 12, 1983)

Erasure - It Doesn't Have To Be (Mute)

"Sometimes" finally put Vince Clarke back on the map he fell off when Yazoo split, mainly because it sounded like Yazoo! So long as Andy Bell sings, and sounds uncannily like Alison Moyet, as in "It Doesn't Have To Be", the problem will remain. On the other hand, this song is a grand Erasure offering, and as long at it's this good, Erasure aren't going to be rubbed out in a hurry! (John Aizlewood, No 1, February 28, 1987)

Andy Bell may look like one of those cuddly teddy bears that go 'eek' when you press them in the stomach, but this is a little too complex - and dreary - to be the perfect vehicle for him. Very similar to "Sometimes", but maybe more immediate, let's just hope he doesn't dance in this video too. (Eleanor Levy, Record Mirror, February 21, 1987)

Nick Cave & The Bad Seeds - The Singer (Mute)

Nick Cave used to be in the Birthday Party and Barry Adamson was in Magazine, the others involved are new names to me. But who cares? The fact is, this is a damned fine effort from all concerned. Cave's lazy-lowdown-Lou Reed growl of a vocal covers a twangy acoustic guitar that keeps on coming back and everything is pretty laid back. You're at a party, it's 4am, the room is thick with cigarette smoke and. . . sorry, getting a bit carried away here. Anyway, 10 out of 10 for atmospherics. Howard Keel go hang yourself! 4/5 (Ursula Kenny, No 1, June 21, 1986)

Dominated by a deep three note guitar motif, this growling version of the old Johnny Cash song further indulges Nick's wish to leave the rock for the Rawhide. But it doesn't quite work; sure, the softly rising string background is a neat touch, but in the final analysis this is just flat. (Jim Reid, Record Mirror, June 28, 1986)

Erasure - Oh L'Amour (Mute)

Borrowing a selection of Dead Or Alive and OMD backing tapes, Vince Clarke's little baby attempts a third stab in the direction of the charts. This blow however, is only a breeze. And although the hypnotizing angelic vocals trigger something in your brain on first sampling, the effect soon wears thin after a third of fourth listen. Pity really, as I rather liked the Thomas The Tank Engine sleeve. 2/5 (Anna Martin, No 1, May 10, 1986)

Vince Clarke is a lot like Mr Kipling. His pop comes nicely packaged, with lots of sweet bits to whet your appetite and just enough feeling and home-made simplicity to make it just that bit tastier than other similar convenience music. But there again, Mr Clarke does make exceedingly good records. This is no different. (Mike Gardner, Record Mirror, May 17, 1986)

Cease And Desist: The jolly sleeve was in fact quickly withdrawn due to legal issues.

Fad Gadget - Life On The Line (Mute)

A very dull song with synthesizers that sounds like it's being sung from inside a bag. Some people think these Yazoo stablemates are interesting, but that's probably because they're Yazoo stablemates. (Simon Hills, Record Mirror, September 18, 1982)

Depeche Mode - People Are People (Mute)

This time they've gone all radical with a distinctly metallic sound. But instead of jarring the nerves it tends to induce movement in bodies that normally wouldn't be seen dead on a dance floor. The lyrics are good, too - about "getting along awfully" and not understanding hate. Makes a change from all this unrequited love business. Easily their best yet and this harder direction is bound to spawn bags of imitators. (Peter Martin, Smash Hits, March 15, 1984)

Another one from the pessimists of pop! The lyrical content's always a bit outrageous - 'we got along so awfully' - I really laughed the first time that came on. They always seem to have one of these lines that make me laugh and I can't take the record seriously from then on. The production's pretty groovy, there's plenty of things flying around. But ever since Vince left, they've been doing these serious lyrics and they always use very obvious words to say intelligent things, and this is a good example. I think I saw their first ever gig, 'cos I used to go down to Croc's in Rayleigh, where we did our first gig, and I've followed them ever since. They made it before we did and I was in the area and well aware of their success, and there was one stage when I'd just joined Culture Club and Vince left Depeche and I was tempted to join! But I had faith in Culture Club! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Depeche Mode singles are often their own worst enemies. On first hearing, their simple synthesised tunes and Dave Gahan's stiff-necked vocals can seem plain and familiar. It's only after a few plays that the subtle melodies and rhythms begin to come through. "People Are People" is not as cynical as "Everthing Counts", but it's just as worldly-wise - the killer being the sub-chorus: "I can't understand. . ." A good one for the next time we take to the terraces in Paris. (Paul Simper, No 1, March 17, 1984)

Erasure - Victim Of Love (Mute)

As ever, the play off between synthi textures and Andy Bell's unimpeachable voice is a wonder to behold, and Vince's sneakily simple melody is well up to standard. But the instant replay stomp can't go on forever and at some point V and A will have to e-raise their aims above the giddy and glib. (Roger Morton, Record Mirror, May 23, 1987

Depeche Mode - Stripped (Mute)

Depeche Mode must rate as one of the most consistent if not one of the best pop bands of the '80s. They have a distinctive sound, but not so much so that each release sounds like the last one. Their lyrics actually mean something without being pretentious and over the top. Yet they never seem to get the adulation that their competitors get. Strange that. Let's hope that the haunting stillness of "Stripped" puts them up where they belong, before Frankie and Spandau reappear. (Mark Booker, No 1, February 22, 1986)

Depeche Mode were becoming very predictable but this is the best thing they've done in ages. 'Let me see you stripped,' sings Dave Gahan and bang goes their appearance on Saturday Superstore. Actually, I think it's all about going back to nature and 'discovering yourself'. Slow and atmospheric, even when you can't work out what he's going on about. (Simon Braithwaite, Smash Hits, February 12, 1986)

Laudable B-Side: The flip is "But Not Tonight", surely one of the Mode's most elegant compositions.

Fad Gadget - King Of The Flies (Mute)

With luck this could slip into the charts by a side entrance. It has a sturdy melody, confident vocals and plenty of mystery and imagination in the words. Clever lad, our Fad. (Ian Birch, Smash Hits, April 15, 1982)