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)

Private Lives - Because You're Young (Chrysalis).

No, it's not the blissful Bowie song from Scary Monsters though, now you come to mention it, the saxophone introduction is a bit like "Young Americans". Hitmaker-producer Martin Rushent struggles bravely to make a good pop record out of a weak song, but that Genetic Sound can't be found. (Neil Tennant, Smash Hits, March 4, 1982)

Bananarama - Shy Boy (London)

A brand new song crisply written and produced by Imagination's production team. Sunny and singalong - when you hear it blaring from hordes of transistor radios on a hot day at your favourite seaside resort you'll forget about the sand in your sandwiches. (Neil Tennant, Smash Hits, June 24, 1982)

Nik Kershaw - The Riddle (MCA)

'The Riddle' in question concerns an old man of Arran going round and round a hole in the ground. Not the most stimulating of exercises but it seems to mean a great deal to mystic Nik. When Sting comes out with this metaphysical hogwash, so sweet are his songs that he gets away with it. Nik Kershaw probably couldn't get away with pinching a pack of liquorice from Woolies. The only riddle is why folk keep buying the boy's records. (Paul Simper, No 1, November 17, 1984)

Somewhere in its dim and distant lineage, this song is related to "Mull Of Kintyre". With its Celtic folksy tune, pushed along by military drums and penny whistles, and references to 'wise men', I suspect it's the first genuine Christmas Single of the season - albeit a little early - and the song most likely to be whistled by your milkmen in the winter months ahead. (Neil Tennant, Smash Hits, November 8, 1984)

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)

Spandau Ballet - Only When You Leave (Chrysalis)

Just as well I've already heard this a couple of times, since the review copy fell out of its sleeve in two pieces. They don't make 'em like they used to - or rather they do, since this long overdue offering sounds exactly like something from True. Nowt wrong With that, of course, and it's great to have the lads back. But we'll have to wait a little longer to see what Spandau's '84 model is made of. (Sunie, No 1, June 9, 1984)

Tony Hadley's singing has improved to such an extent that the time when his surname was always preceded by the nickname "Foghorn" is becoming a dim memory. He gives a warm, restrained performance on this funky and rockin' number which also displays Gary Kemp's talents as a scratchy rhythm guitarist. (Neil Tennant, Smash Hits, June 7, 1984)

The Adventures - Send My Heart (Chrysalis)

A big "uplifting" song with hymn-like "aaahs" in the chorus and jangling guitars while the group work hard to live up to the beautiful hand-tinted photo of them on the cover. Record sleeve of the fortnight and possibly a hit. (Neil Tennant, Smash Hits, November 8, 1984)

The Adventures try ever so hard to construct classic and mature pop songs to make up for their anonymous image. However, "Send My Heart" sounds like A Flock Of Silly Haircuts' last single and is about as classic as their bri-nylon shirts. Hummable yes, adventurous no. (Adrian Tierney-Jones, No 1, November 10, 1984)

Strawberry Switchblade - Since Yesterday (Korova)

Having missed the summer of love by a few years, the polka-dot girls try and take us into a winter of whimsy with their own sweet and sour brand of '80s psychedelia. How nice. (Adrian Jones, No 1, November 10, 1984)

This begins, if I'm not mistaken, with a snatch of something famous by the composer Sibelius, and then ventures into a wistful melody, sung in brittle harmonies which touches the heart. One of the few records this week which isn't trying to sound like something else. (Neil Tennant, Smash Hits, November 5, 1984)

After their impressive first outing "Trees And Flowers", this Scottish duo waltz back into the psychedelic drive-in with a jaunty little tale of love and loneliness that tastes of saccharine flavoured popcorn and steaming Kia-Ora. More sexy than Everything But The Girl, more cosmic than the 13th Floor Elevators and showing that they haven't put all their strawberries in one basket. (Dylan Jones, Record Mirror, October 20, 1984)

Alexei Sayle - Ullo John! Gotta New Motor? (Springtime)

A B-serk assault on the horrors of modern life - like music centres, package tours to Miami, people who say 'Cheers!' and 'Nice One!', micro-wave ovens and records by Billy Joel, all linked by frantic repetitions of the title. If you wanna dance 'n' chuckle at the same time, this is the disc for you. Nice one, Alexei! (Neil Tennant, Smash Hits, March 4, 1982)

Wham! - Wham Rap! (Innervision)

A hard, hot and witty rap on the subject of unemployment. Brilliant words, real excitement, hundreds of ideas, built-in participation and maximum humour. I'd be lost in admiration if I could find time to stand still. Single Of The Fortnight. (Neil Tennant, Smash Hits, June 24, 1982)

The Flirts - Passion (Import Only)

An ultimate electronic dance record which takes nearly nine minutes to build up from a throbbing bass line and a throwaway synthesizer phrase via a deliciously dippy vocal to such hot disco ignition that I needed a cold shower afterwards. Only available on expensive import from Canada, it demands to be released here. (Neil Tennant, Smash Hits, August 19, 1982)

That's My Impression: The record was produced by Bobby 'O' Orlando, who would famously go on to produce Neil Tennant's early efforts with the Pet Shop Boys.

[Update - April 2017] The influence of this particular track on the Pet Shop Boys' own sound is well documented. I recommend Wayne Struder's comprehensive analysis, found here.

Weekend - The View From Her Room (Rough Trade)

Hey, jazz! Shoo-be-doo, do-be-do. I'm clicking my fingers to cool vocalising, mellow trumpet playing and a sophisticated acoustic guitar. If you think jazz means pretentious noise, this young, fresh music should change your mind. (Neil Tennant, Smash Hits, March 4, 1982)

Language - We're Celebrating (Stiff)

Smart-arse white funk with a pompous vocal and a lot of corny wacka wacka guitar playing. No reason for cracking open a bottle of fizz. (Neil Tennant, Smash Hits, May 12, 1983)

Stiff go disco shock! Unfortunately, this is aimed at crippled penguins. (Robin Smith, Record Mirror, May 7, 1983)

Billy Idol - Eyes Without A Face (Chrysalis)

I used to think Mr. Idol was a complete twit until his Rebel Yell LP came out last year and I fell for its blend of disco, rock 'n' roll and daft horror-movie imagery. This song is my favourite on the LP and it's warmer, more atmospheric, and more melodic than any of the blond bombshell's previous singles. Although he doesn't have a great voice and the words are utter drivel, somehow he sounds affectingly sincere. Single Of The Fortnight. (Neil Tennant, Smash Hits, June 7, 1984)

Note: I can totally hear Pet Shop Boys covering this song, actually.