David Bowie - Blue Jean (EMI America)

Used to be that one thing you could never accuse Bowie of being was ordinary. Until "Let's Dance", that is. Suddenly, in a successful bid for mainstream appeal, he chucked away the weird quality that had in the past inspired so many people. The result was a slick but fairly ordinary pop LP. "Dull, dull, dull," our reviewer commented at the time, and for Bowie that was an unpardonable sin. On this, the first track of the batch that'll make up the next LP, he's stuck to the basic "Let's Dance" rock band format, added (but way in the distance) some wiggy percussion and made a single that can only be described, once again, as dull. At least, by his standards. (Dave Rimmer, Smash Hits, September 13, 1984)

With a legend like Bowie it's all too easy to let the past cloud the present. The prowess and magic of his old gems can often lead to an all too critical eye being placed on his every move whereas conversely, it may allow him to get away with murder. Any hopes of an Ali style comeback could be daunted though. Standards are standards and this is as standard - i.e. mediocre - as they come. (Pedro, Record Mirror, September 15, 1984)

When this record was first slapped onto the No.1 stereo a reverential silence descended on the office. "It's a bit plain," somebody ventured when it was finished, and at the time I agreed. However, as with most of Bowie's recent work 'Blue Jean' is more of a grower than an instant favourite. Not one of his all-time greats. But listen twice before you make up your mind. (Dave Ling, No 1, September 15, 1984)

David Bowie - Absolute Beginners (Virgin)

From the forthcoming film with Patsy Kensit, Sade and the man himself, the song "Absolute Beginners" sounds a bit like something David Bowie was singing 14 years ago. There's some gentle strumming guitar, a lot of "be ba bowoos" (presumably because the film is set in the late '50s) and a lavish string arrangement for good measure. It seems a bit bland and then you find yourself humming it for the next half hour. Mmmmm... (Simon Braithwaite, Smash Hits, February 12, 1986)

If you're surprised, how do you think I feel? Never would I have believed that after the last two travesties of albums from a one time mega-god, he'd come up with a song that again captures the sensuality and sleek perfection his name once stood for. Once more, Bowie discovers the allure of the flat note, the sneering attraction of his nasal passages as the purveyors of song, and - most of all - how downright loin-tingling out-of-tune sax can be. Of course, it sounds like "Heroes" - but when he croaks "I absolutely love you" he's teasing your emotions on a level no-one else can. An absolute divinity returns. Single Of The Week. (Eleanor Levy, Record Mirror, March 8, 1986)

Bowie goes all soft and smoochy for the long awaited theme song from the even longer awaited film. Considering the secrecy this little gem has been shrouded in (I personally had to sell my body and my soul to the devil to obtain a copy!) it's a bit of an anti-climax - at first. Three or four plays and you'll be hooked. Did I say it was soft? I meant soft like an iron fist in a velvet glove. (Pat Thomas, No 1, March 1, 1986)

David Bowie - When The Wind Blows (Virgin)

Taken from the forthcoming film soundtrack of When The Wind Blows (which also features Hugh Cornwell, Paul Hardcastle, Genesis and Squeeze) Bowie's vocal performance is at his usual high peak. Why he should suddenly get the urge to sing on every available soundtrack remains a bit of a mystery to me though. But then again, this is pleasant enough, although not exactly what you might call potential chart material. Be interesting to see how it fares. (Anna Martin, No 1, November 1, 1986)

"Bowie" has become very accessible over the past few years, hasn't he? It seems that nowadays he'll do a duo with any doddery old pop star or write a soundtrack for or "star" in more or less any old film that comes along. I wonder if people still see him as a "style guru" and search through his lyrics for hidden meanings? Probably not. But having said that, "When The Wind Blows", from the soundtrack of an excellent animated film about a nuclear war which is based on the book of the same name, is rather grand and has a nice "classical" feel to it. Well! (Simon Mills, Smash Hits, October 22, 1986)

David Bowie - Time Will Crawl (EMI America)

It certainly does on this offering. Bowie's singles used to be events, now they're just perfunctory. It seems that I've heard the ideas and themes on this one at least six times before. How anonymous he's sounding today. (Robin Smith, Record Mirror, June 27, 1987)

For every brilliant song David Bowie has ever written (quite a few, really) there have been plenty of useless ones and, over the last few years, the proportion of useless ones has been growing at a quite alarming rate. But this is a good old-fashioned Bowie song – sounding rather like something off his 1973 LP Aladdin Sane – with an eerie, yearning tune and lyrics all about the passing of time. It's a bit difficult to work out what he's singing, actually -- it sounds like "Tim will crawl to the 21st century loos", which can't be right – but then his songwords are always far more evocative if you only half-listen to them and make up lots of "deep" meanings for yourself anyway. This is a v. wonderful record and its just a pity the rest of his ropy old Never Let Me Down album isn't up to the same high standard. Single Of The Fortnight. (Vici MacDonald, Smash Hits, June 3, 1987)

David Bowie - Loving The Alien (EMI America)

Masterclass. "Tonight" was a bit flaccid by Bowie's standards, with occasional highlights. This is magnificent. Dynamite string arrangement, perceptive lyrics, gatefold sleeve, excellent artwork. On a scale of one to 10 - 11. (Martyn Fry [ABC],Record Mirror, June 1, 1985)

Outclasses everything else this week. I like the bit in the middle that sounds like "See My Baby Jive". Sadly I don't think it'll be a hit. (Mark White [ABC], Record Mirror, June 1, 1985)

If you like Bowie then you'll like this. If you don't like Bowie after 1978 (like myself) it'll sound like the usual boring Bowie (I don't think I'll bother him by writing that). (Simon O'Brien, Smash Hits, May 22, 1985)

Yes, we do love you, don't we David? After all the image changes he's growing up gracefully. And he still has the edge over most of his rivals. This is a surging, middle-aged drama telling how good causes can become obscured during the passage of time. Although it's jerky and disjointed there's something haunting and even spooky about it. Quite brilliant. (Paul Bursche, No 1, June 1, 1985)