New Order - Blue Monday (Factory)

It had to happen. New Order have dumped moody, repetitive guitars in favour of moody, repetitive synths and a drum kit with a pronounced stutter. After the first twenty minutes or so, it starts to cause tense, nervous headache... (David Hepworth, Smash Hits, March 17, 1983)

New Order - True Faith Remix (Factory)

I wouldn't normally bother with reviewing a remix but this one, by my favourite miscreants, deserves a mention as it's radically different from the version currently on offer. Remixed by Shep 'Pet Shop Boys' Pettibone, it rivals his "Love Comes Quickly" remix as one of the all time greats. An interesting variation on the theme and a sure fire dance classic. Buy and be damned. (Nancy Culp, Record Mirror, August 8, 1987)

New Order - Temptation (Factory)

I can spot a New Order single a mile off. Just keep an eye out for an expensive-looking sleeve that doesn't say New Order anywhere on it and you're halfway there. (We were thinking of doing a New Order poster magazine at one time - it was going to be baked inside a cake and only available to residents of The Channel Islands, but it never came together . . .) Anyway, this is a change for the better; animated, perky even. Spring would seem to be in the Mancunian air because this is that rarest of items, a New Orders love song, featuring the lines 'up, down, turn around, please don't let me hit the ground' and other phrases which could be said to express happiness. With my own ears I heard it. (David Hepworth, Smash Hits, May 27, 1982)

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)

 

James - Hymn From A Village (Factory)

James, currently A Group To Watch, come from Manchester and are guests of The Smiths on their nationwide tour. Morrissey has taste. "Hymn From A Village" has a simple and magical charm which comes from the fragile but determined guitar-playing, lively drumming and singer Tommy Booth's strained but human voice. Like The Smiths' early singles it's the very essence of pop, free from technological excess and cosmetic overkill. Devour it. (Adrian Tierney-Jones, No 1, March 9, 1985)

All the bands coming through at the moment seem to be of a certain mould. BEAUTY is the thing to be possessed of and if you haven't got it, fake it, and bugger the sound you're making - that can be faked too. That's why James are so refreshing. So non-visual it hurts and makes it excessively difficult to find one of those easy nouns we journalists like attaching to the front of groups' names. You know, 'funksters', 'popsters', 'long macsters'. The comparisons with Joy Division are glaringly obvious but they have a less doomy, more open hearted feel and (ouch) energy. (Eleanor Levy, Record Mirror, March 16, 1985)

The Railway Children - Brighter (Factory)

The classiest record of the week by far. From the pulsing bass to the staccato sub-'Blue Monday' drum break, from the gliding guitars to the smooth, sensual vocals, the Railway Children are almost too good to bear. They - or their producer - know the worth of space, pace and timing within a song. You've room to breathe as every bar flows warmly over you. Smoother and more refined than the previous "A Gentle Sound", the potential of this band takes my breath away. Single of the year so far. (Eleanor Levy, Record Mirror, February 21, 1987)

New Order - State Of The Nation (Factory)

A double A-side, presumably to appease those who'd given up on New Order releasing another record. 'State' and 'Shame' are actually different versions of the same song with 'Shame' by far the more dramatic of the two. Guitars growl, pianos shriek and all the while a muted synthesised dance beat rumbles on. Not the most dynamic thing they've ever done but at least it doesn't sound like Jam & Lewis. (Paul Simper, No 1, September 20, 1986)

Happy Mondays - Forty Five EP (Factory)

Infused with the tired old independent spirit, a group of postmen and ex-postmen from Manchester make the ridiculous claim that they are real people, and trundle through a raucous guitar scramble of a song. A worthy skitter, but nothing to write to Tony Wilson about. (Roger Morton, Record Mirror, October 19, 1985)

Happy Mondays - Tart Tart (Factory)

Severely put in traction by producer John Cale, the Happies have performed the supreme feat of making a listenable record, and it's almost a toe tapper - oh goodness gracious me! (Nancy Culp, Record Mirror, April 11, 1987)

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)

Marcel King - Reach For Love (New York Remix) (Factory)

A surprising release from Factory Records, and by 'eck it's a belter. A definite contender to New Order's "Blue Monday" for best dance record ever. Pulsating and irresistible. Play at maximum volume. (Ro Newton, No 1, May 11, 1985)