Ray Parker Jr - Ghostbusters (Arista)

Ever heard of a funky ghost? Well you will have done by Christmas. Ghostbusters, the movie, is currently the biggest thing to sweep America since the last big thing. It's a spooky comedy with Bill Murray and Dan Aykroyd. So now you know what Ray Parker Jr's grooving about and what that stupid 'no entry' sign with a ghost in the middle of it is doing at your bus stop. (Paul Simper, No 1, August 25, 1984)

America's Number One single from the film of the same title - proving once again the all-prevailing power of the visual image; film soundtracks seem to be surefire providers of hits these days. This is a good, fun record; a bit of humour is what discos badly need and this will provide it. I'm not afraid of ghosts either, Ray, but I'm afraid of me. (Bobby Bluebell, Smash Hits, August 30, 1984)

The Cocteau Twins - Pearly-Dewdrops' Drops (4AD)

The Cocteau Twins are a band I've never really listened to and I feel that maybe I've missed out on something. Elizabeth Fraser's voice appeals to me in a way that I like very much. This is a great record and is definitely Single Of The Fortnight. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)

This record harks back even further [than singer-songwriters in the '70s] - to the late '60s or early '70s forsooth. It's a hurdygurdy of positively hippyish sounds. Very attractive for all that, this has layers of old-fashioned guitars and Elizabeth Fraser's yearning voice is well-deployed. File next to "Dear Prudence" and your patchouli joss-sticks. (Sunie, No 1, April 21, 1984)

The darlings of the spikey mohican brigade, aren't they? I quite like it and it's a very nice sleeve. It's quite middle of the road in a way, I'm sure my mum would like it but it won't be a hit. Not as good as "Song To The Siren". (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)

Nik Kershaw - Human Racing (MCA)

You shouldn't be embarrassed by your fans - ever. Surely it's better to be David Cassidy than Billy Joel. This is pure cocktail party music, uncannily like Mr Joel (who, it must be said, wrote "Say Goodbye To Hollywood", which I love). Still I suppose it is a good career move. (Bobby Bluebell, Smash Hits, August 30, 1984)

This is really bizarre. I understand that Kershaw is inordinately popular these days in spite of the dull, workmanlike nature of his 'art'. I understand that this is the title track from his LP. I understand that it was obviously time for a ballad after his three boppety-bop hits, to show that he's a mature, sensitive guy and not just a scream object.
What I don't understand is why the heck he sings the whole number in a fake Stevie Wonder voice! Excellent impersonation though - [Mike] Yarwood look out. This boy is a real all-rounder. (Sunie, No 1, September 1, 1984)

Fashion - Dreaming (Epic)

Pretty rubbishy really, but a great sleeve, almost surrealist in a way. The girl on the sleeve is obviously dreaming about a fish. It's a bit like the song, unfathomable, but worth buying for a sleeve. (Bobby Bluebell, Record Mirror, April 21, 1984)

I'd like to see what Mulligan could come up with, with Nick Beggs. (Kenneth McCluskey, Record Mirror, April 21, 1984)

I find this song struggling to get off the ground and not quite making it. Very clever production in its own way but slightly dated mixing rock guitars with general-sounding electronics. I quite like the singer but I'm not sure about the whole thing. (Dave Gahan, Smash Hits, April 26, 1984)

Poor old Fashion have been slogging away for years without ever grabbing themselves a real hit. This is one of their stronger efforts, combining all the right ingredients, a name producer (Zeus B. Held) and the right parts of disco soul to power rock.
But it still lacks a real personality of its own. And that's the problem. (Sunie, No 1, April 21, 1984)

New Order - Thieves Like Us (Factory)

This one's a grower for sure! I've played it a few times and it gets better every spin. Produced by New Order but co-written with Arthur Baker, I personally prefer the band's production. Great melody which sticks in your brain. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)

The phenomenal success of "Blue Monday" is a hard act to follow, New Order have yet to beat the challenge they set themselves. "Confusion" was saved by the brilliant Arthur Baker production but on "Thieves Like Us" New Order get behind the controls and the result is rather lifeless. The song is a grower in a meandering kind of way, but the tuneless vocals of Bernard Albrecht reduce the affair to a flat disco dirge. (Karen Swayne, No 1, April 14, 1984)

I like this a lot. It reminds me a bit of Lou Reed and it's a lot different from their last few singles. I prefer it to their disco stuff which they don't do very well, it's very good and it's still got that indie feel about it. (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)

More melodic than normal New Order. It floats along nicely. (Kenneth McCluskey [The Bluebells], Record Mirror, April 21, 1984)