Virgin Dance - Are You Ready (For That Feeling) (Spartan)

Songs don't come easy to Virgin Dance. Like its predecessor "The Dream Is Over", "Are You Ready" is sketched painstakingly over a shimmering backdrop of guitars and heavenly choirs. Sheer single-minded excellence. One day they'll be as big as The Bunnymen. (Martin Townsend, No1, November 3, 1984)

A-ha - Take On Me (WEA)

Gold star too for A-ha, a Norwegian trio. "Take On Me" and "And You Tell Me" are fresher that a freezing gust up the fjord and highlight the singer's incredible vocal range. Essential purchases both. (Martin Townsend, No1, November 3, 1984)

Alphaville - Forever Young (WEA)

"Big In Japan" was a real horror. Sickeningly twee but a big enough hit to be played into infinity at tacky Continental discos or dragged out annually as a Radio 1 golden oldie: "Back in time with Alphaville . . . All of which makes "Forever Young" a real surprise. A stately and well-sung melody floating along on echoey church organ, it does everything but scream `follow up'. Big in the credibility stakes if not in the charts. (Martin Townsend, No1, November 3, 1984)

PH: It started off for me quite interesting, but then it went into something which was quite MOR. AM: They're from Munster, I met them three weeks ago in Cologne, I was doing an interview. They made me feel like Grandad, because they came up to me and said "Oh OMD, big heroes of ours, your first album was really important, made us want to make music." They're all our age, and one of them's 30, actually. That song started off sounding like Toto on synths, then got strange... it's a mega Euro-ballad. (Andy & Paul of OMD, Record Mirror, November 3, 1984)

ABC - How To Be A Millionaire (Phonogram)

ABC's Beauty Stab was, for me, one of the albums of '83. Precise, socially-aware lyrics beefed up into a heady rock mixture, - Here Martin Fry and Mark White - with two new members aboard - take the fashionable and logical next step. They throw their weight behind pounding electro rhythms in an ironic, scathing attack on money politics. Radical dance music of the first order. File next to "Fascist Groove Thang". (Martin Townsend, No1, November 3, 1984)

PH: There's a melody line in there which is very similar to Shannon's "Let The Music Play". It's the kind of fractured rhythm that you wish would settle down. AM: Sounded like a production in search of a song. I wanted to like that one, what have you done? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Why ABC should want to make a weak New York dance record is beyond me. Nevertheless, here we have Martin Fry crooning over a reasonable imitation of one of Shannon's backing tracks. There's no originality or feeling - ABC are just desperately apeing an already over-imitated sound. Obvious proof of a lack of material and a crisis of confidence and direction within their ranks. (Neil Tennant, Smash Hits, November 8, 1984)

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)

Lloyd Cole - Rattlesnakes (Polydor)

Although Lloyd has his most obvious influences written proudly across his chest - Lou Reed, Bob Dylan, Lou Reed - he's still creating a rock mythology all of his own. On "Rattlesnakes" the influences of his Derbyshire birthplace and Glasgow - where he was educated - are stirred up in equal measures of hometown grit and academic wit. He juggles European and American references in the lyric - novelist Simon De Beauvoir, On The Waterfront - and still ends up with a peculiarly English blend. A rich and fascinating single of the week. (Martin Townsend, No1, November 3, 1984)

AM: Having just listened to Depeche Mode this sounds positively dated, but that's what people want these days. Why is it that old Marlon Brando movies are so bloody trendy these days? The guy's fat, bald and an American millionaire. Any musician who was like that would be out of the window straight away. What I want to know is, will Lloyd Cole be getting two million dollars in the year 203 for appearing in 'Superman 37'? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Howard Jones - Hide And Seek (WEA)

So many artists seem to do two fast ones and then a slowy. This is a big, soft, slow, slushy ballad that sounds incredibly like Barry Manilow at times. I don't like this as much as his uptempo stuff but it's still up to his usual standard. I would think a chart cert. (Limahl, Smash Hits, February 16, 1984)

The strength of the new solo stars like Paul Young and Howard Jones is that they're not over-keen to impress. "Hide And Seek" builds ever so slowly from a few gentle drumbeats and synth doodlings into a stately and controlled masterpiece which harks back to Japan's "Ghosts". No.1 in a month. (Martin Townsend, No 1, February 18, 1984)

New Order - The Perfect Kiss (Factory)

New Order emerged as the reincarnation of Joy Division after the suicide of singer Ian Curtis. Bald, boring history on a page, and most people already know it. But it's still important because it allows New Order to exercise a simple talent for understatement – the slight but beautiful 'chorus' to "The Perfect Kiss" – and allow that aura, the aura of tragedy, to vest it with significance. In the end what is basically a quite competently played and produced dance single becomes, like "Blue Monday", almost anthemic. (Martin Townsend, No 1, May 25, 1985)

Though New Order have created one of the largest walls of sound in current popular music, they still tend to grab hold of the most twee melody and milk it dry. This new ambidextrous love song looks at everything through a rose-tinted monocle and still fails to focus itself properly. Nevertheless, a good record that will get better with each listen. One hopes. (Dylan Jones, Record Mirror, May 25, 1985)

 

Prince - Paisley Park (WEA)

The man in the violet loon-pants returns to us via an acid-drenched ballad called "Paisley Park". But doesn't Prince know that the paisley revival was strictly last year? In all honesty this sounds like one of the songs that didn't quite make the Beatles' White Album. If "When Doves Cry" conjured up images of tight spandex trousers ... then this is definitely flare city. Mutton dressed as lamb. (Dylan Jones, Record Mirror, May 25, 1985)

When all the flower power and Sergeant Pepper jokes have died away, Prince's Around The World In A Day LP will stand as a momentous achievement. Despite the pressure of mega-success it's patently not 'Purple Rain Vol. 2', but it marks yet another deft re-definition of the Prince sound. Across funk rhythms as dry and brittle as parchment he's scrawled guitar lines which are little more than feedback, with pained vocals that swoop, dip and finally crack completely. "Paisley Park" exorcises all these elements while it evokes a place where casualties of city life buy a "lifetime lease" to hippy happiness. A nursery rhyme tune pitched above Prince's range, it teeters on a tightrope between the ridiculous and the brilliant. And Prince – alone, currently, among all the major stars – will walk that rope till it's as thin as thread. (Martin Townsend, No 1, May 25, 1985)

Everything But The Girl - Native Land (WEA)

Although the lyrics are quite challenging, this jazzy, late-night music is perfect to `mellow out' and 'get laid back' to. The only jarring note is the suspiciously out-of-tune harmonica in the middle. What's wrong with a nice bit of flute? (Vici MacDonald, Smash Hits, September 27, 1984)

I'm starting to think "Each And Every One" was a fluke. Nothing Ben Watt and Tracy Thorn have done before or since has matched their own solo work. Lyrically, "Native Land" is a brilliant plea for tolerance and understanding – in a town, in the world. But what little excitement there is in the tune is trodden flat by Tracy's lumpen, hung-over vocal and - on my copy at least - Smithman Johnny Marr's harmonica solo, which sounds painfully off-key. A major re-think required. (Martin Townsend, No 1, September 29, 1984)

Martin Ansell - The Eighth Wonder (Island)

Martin Ansell's "I'll Be In The Jungle" was one of my top ten singles for '83. Now the ex-Tom Robinson and Captain Sensible guitarist proves himself still, unerringly, on target. "Eighth Wonder" is fresher than a sandwich in a pyramid and catchy enough to get the sphinx up and bopping. Joint single of the week. (Martin Townsend, No 1, February 23, 1985)

China Crisis - King In A Catholic Style (Wake Up) (Virgin)

These boys just keep turning out good tracks. This is a good lively tune with a real nice beat. You may think I'm biased towards Liverpool bands and you'd be right. However, all bias apart, this one really is worth 'getting into' (and I told our Rich, "African And White" was a one-off!) (Simon O'Brien, Smash Hits, May 22, 1985)

China Crisis are now the state of art in easy listening. The harder roots of early singles like "African And White" have withered away and left the band to develop pure, weightless melodies around Gary Daly's soft vocals. Crisis – what crisis? Unfortunately for a band that now stands or falls on its tunes, there are few good ones on the new LP and "King In A Catholic Style" is not one of them. It bounces along merrily enough on Walter Becker's airy production. But there are none of those essential shivers up the spine. (Martin Townsend, No 1, May 25, 1985)

An incessant and badgering ram-a-lam-a-ding-dong refrain keeps this going for longer than it deserves.  China Crisis are still too wordy for their own good but some considerable points scored in scooping Walter Becker as producer. (Dylan Jones, Record Mirror, May 25, 1985)

Culture Club - The War Song (Virgin)

George has come to the profound conclusion that both war and people are stupid, and since he delivers the message in just about every language except Lithuanian and Swahili, he obviously feels it's important. Still, trite lyrics aside, the song's so infernally catchy that I've been whistling it all weekend (although I can't quite manage the "Aaieewuuurigh!!!' in the middle yet), and it's got to be Single Of The Fortnight. Whether I'll feel quite the same when everyone from the neighbour's budgie to the weird bloke downstairs is whistling it too's another matter, of course. Oh well, I can't wait to see the video. (Vici MacDonald, Smash Hits, September 27, 1984)

There's been so much intellectualising about war – obscure allegories, murky metaphor – plenty of space left for clever clogs to say "War is alright if .. " So George lays it on the line, from his position a mass medium, mass appeal group: "War is stupid and people are stupid and love means nothing in some strange quarters." Embraced by a tune that sweetens the message without weakening it, this is the ultimate Culture Club song. We need all cultures in that club learning to say 'No'. Single of the week. (Martin Townsend, No 1, September 29, 1984)

"War is stupid", George reveals. Lyrics of true insight there. And a tune that succinctly combines all their previous singles, and a poster with the 12-inch, and an even happier bank manager. (Paul Sexton, Record Mirror, September 29, 1984)

Kim Wilde - The Second Time (MCA)

The good news to emerge from Kim's long absence is that she's now writing her own songs. The bad news is that 'The Second Time' is not one of them. Penned once again by Dad Marty and brother Rick it's a fusion of fashionably 'hard' sounds. But it lacks the fluency of good dance music and the killer punch of Frankie-pop. Check out her own 'Fit In' on the new LP to find – at last – the real Kim Wilde. (Martin Townsend, No 1, September 29, 1984)

Ricky and Marty Wilde (her brother and Dad) always manage to build a classic little pop song around Kim's vulnerable falsetto, yet for some reason she doesn't do as well in the charts as she used to. I've got most of her singles, but it's a sad fact that they were all found in bargain bins. (Vici MacDonald, Smash Hits, September 27, 1984)

The title fits as Kim tries again with MCA and starts by nicking the chorus from "Let's Dance". Still, long as she does something risque in the video it'll be a hit - that's the way it works, I believe. (Paul Sexton, Record Mirror, September 29, 1984)

The Style Council - Shout To The Top (Polydor)

The self-conscious searching for a sound that used to characterise the Style Council, has all but disappeared. "Shout To The Top" has Mick Talbot trading piano riffs with an orchestral backing that forms the song instead of just decorating it. And Paul Weller sounds comfortable copying no vocal style but his own. I think they just earned themselves a new fan. How does 'Cupofteano Kid' sound: (Dreadful – Ed.). (Martin Townsend, No 1, September 29, 1984)

Once more Mr Weller plunders the past to give us yet another passable imitation of those baggy-trousered soul stompers of yore. Personally, I've never been able to understand why he spends so much time and energy attempting to emulate something that's already been done - and far better - before. Must be all that capuccino. (Vici MacDonald, Smash Hits, September 27, 1984)

Playing spot-the-influence one more time - adaptations of the hard-hitting chords from "Backstabbers" and "War", a glance back to "My Ever Changing Moods", and still it sounds the freshest pop record of the week. (Paul Sexton, Record Mirror, September 29, 1984)

XTC - Love On A Farmboy's Wages (Virgin)

Ringing acoustic guitar heralds another XTC classic. Unashamedly rural in feel with a folksy chorus and a melody that is strong but totally unpredictable, "Farmboy" is the soundtrack to a golden autumn. The B-side of the twelve-inch version features three live tracks including "Burning with Optimism's Flame", one of their finest songs. (Martin Townsend, No 1, September 24, 1983)

I'm quite a fan of this band actually. I loved "Making Plans For Nigel", "Generals And Majors" and "Wonderland". I think this is great but it doesn't seem to fit the current pop climate. Maybe that's in its favour...  (Lenny Henry, Smash Hits, September 29, 1983)

Billy Idol - Flesh For Fantasy (Chrysalis)

Billy's passionate devotion to 'rawkanroll' normally leaves me cold, but here the buzz-saw guitars, meaty drumming and snarled vocals all combine to produce a powerfully driving record with about 19 times more energy than anything else released this week. The tune's pretty good too, which isn't surprising seeing as it's lifted almost wholesale from Simple Minds' brilliant "Up On The Catwalk". (Vici MacDonald, Smash Hits, September 27, 1984)

Billy is the Idol of America's young nouveau punx. They pogo in droves to his full-throated rebel yell. But we Brits lost interest in that years ago. We preferred "Eyes Without A Face". The sighs without the pace. Wised-up, our Gen X-ile repeats the formula - prowling a steamy hotel room as the bass throbs through the floor and the guitar throws odd shapes against the wall. William, this is really something... (Martin Townsend, No 1, September 29, 1984)

Billy Idol's the sort of bad boy who runs home crying if you say boo, but I can't deny he's making some great records these days. "Flesh For Fantasy" is one of these despite the most outrageous Simple Minds rip off on the chorus. Big fat production and a big fat hit. Grrrr. (Andy Strickland, Record Mirror, September 22, 1984)

The Questions - Tuesday Sunshine (Respond)

Although improved by new recruit Maureen Barry's vocals and equipped with a warm, bright, soul-ly sort of song, this group still display more potential than punch. The question is: what's wrong with the sun on Thursdays? (Dave Rimmer, Smash Hits, March 1, 1984)

'Respond' - a calculated respect for the soul sound that makes me despond, frankly. Still, at least the forced passion squeezes a decent, very Boy George-like vocal out of Paul Barry and there's an overall infectiousness which suggests that away from Weller's fetishes they'd be as potent as the early Undertones. I've sent the sleeve note straight to Pseud's Corner. (Martin Townsend, No 1, February 18, 1984)

With their fingers out and the lovely Maureen in their line up, The Questions may finally have a hit on their hands. In fact, this record seems to be everything Paul Weller had in mind when he started his own record label - it's young, bright, clear, light, sweet and unpretentious. I love the record, but I'm not so sure about the relentless Respond advertising on the sleeve.. (Maureen Rice, No 1, March 3, 1984)

ZZ Top - Legs (WEA)

It's called "Legs", it has a pair of female legs on the sleeve, it has a video featuring 'a host of buxom Texas wenches', the B-side of the 7-in is called "Bad Girl", the flip of the 12-in is "Fool For Your Stockings" .. . ZZ Top are not cartoon characters. They're three ugly old men playing mid-70s style boogie that has absolutely nothing to do with their success. (Martin Townsend, No 1, February 23, 1985)

Like a life-size cartoon, ZZ Top's three caricatures look as ridiculous as a pop band can get. But somehow they get away with it. 'Legs' ain't as good as 'Sharp Dressed Man' or 'Gimme All Your Lovin", but it's good enough: a short, sharp, branded tune metered out by a group that never finds the necessity to gross-out on excess. (Dylan Jones, Record Mirror, February 23, 1985)

More irresistible raunch from the enlightened Texan stompers. However, it's a pity ZZ Top's almighty sound is so often a medium for dodgy sexist sentiments. Hang on. I'm sure there have now been more singles from Eliminator than there are tracks on the LP. No? (Andy Kershaw, Smash Hits, February 28, 1985)

It doesn't sound like ZZ Top because there's a synthesiser on it which isn't quite right somehow. I really like some of the stuff they've done, but it's actually more powerful than this. They're supposed to be a big group, big guys with big beards but they're definitely going for commercial success with this one. They're a rock and roll band, and that's the way I like them. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

Roaring Boys - Every Second Of The Day (Epic)

Epic Records set their stylists loose on a group of former Cambridge crowd-pleasers called The Models, hire a haulage firm to deliver the advance and call the conspiracy Roaring Boys. Ignore the propaganda promise that these lads are going to be massive ("They'd better be. We've spent enough on them"). Resist the alluring fringes, dreamy eyes, soft pouts and sucked-in cheeks on the sleeve photo. Be honest with yourself. Hear it and admit it . . this is an unremarkable record. (Andy Kershaw, Smash Hits, February 28, 1985)

Let's keep cynicism at bay here. Any band that's inspired so much music biz hype as Cambridge's six Roaring Boys must have something going for them. But although the band - who include Kirsty MacColl's brother Neill - are reasonable looking this debut single is simply duff. Lots of huffing and puffing and being desperately young and energetic but not a spark of wit, wisdom or plain old excitement to be found. A very roar deal. (Martin Townsend, No 1, February 23, 1985)

Reputedly signed for a six figure sum with lots of nines in it, a lot is expected from the Roaring Boys. But frankly, on this debut they tread water to the extent of almost drowning. What is so special about the Roaring Boys? We wait and see ...  (Dylan Jones, Record Mirror, February 23, 1985)