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)

The Twelfth Man - It's Just Not Cricket (EMI)

Are they sure Richie Benaud won't sue? Quite a chucklesome pastiche, Aussie style, of a test match commentary. But you won't hear too much of it on the radio. I mean, uncle Richie doesn't know the meaning of some of these words. (Paul Sexton, Record Mirror, August 24, 1985)

Pulp - My Lighthouse (Red Rhino)

Acoustic, hopeful and really rather jolly. One of these disarming indie singles in which less equals more. Its dated innocence leaves you beaming. (Paul Sexton, Record Mirror, July 2, 1983)

The Colours - The Dance (Loco)

Nice to hear a pop single that can do without synthetics. These young jackanapes borrow from The Jam and all that went before, but at least they sing and play with a bit of commitment and I'm down for that. (Paul Sexton, Record mirror, July 2, 1983)

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Bananarama - Cruel Summer (London)

It must be said, the quality of Bananarama records seems to depend a lot on who's working with them. Here they're back with Swain and Jolley, the chaps who made "Shy Boy" the great single it was, and this is certainly their best single since then. Includes a great dub version and, for some inscrutable reason, lots of jokes about trucking and CB radio with the girls all dressed up in scruffy overalls and toting monkey wrenches. Can't see it catching on, somehow. (Dave Rimmer, Smash Hits, July 7, 1983)

It won't bother them a jot but I've always found them to have the flattest, dullest, least committed voices of anyone currently parading pop. "Cruel Summer" thuds unconvincingly away with a variety of some five notes to choose from and if they were singing for their lives, they'd never have been around to make the pesky record. (Paul Sexton, Record Mirror, July 2, 1983)

Intaferon - Baby Pain (Chrysalis)

The third single from this duo - who are two blokes both called Simon - and to their credit they're not plugging away at one distinctive style.
From their frantic debut "Get Out Of London" things have slowed right down. "Baby Pain" is a moody love song which chugs away with more than a nod to Bowie. After a few plays it begins to sound like something rather good. (Karen Swayne, No 1, September 22, 1984)

"Get Out Of London" and "Steamhammer Sam" were such chalk and cheese it was impossible to know what to expect. Unfortunately this is like eating chalk and cheese at the same time. A disappointingly tuneless throbber. (Paul Sexton, Record Mirror, September 29, 1984)

The Commodores - Janet (Motown)

Releasing "Animal Instinct" as the follow up to "Nightshift" was an utter aberration. "Janet" always was the likely lass from the album, a fine mid-pacer co-written by the stupendous Bobby Caldwell. (Paul Sexton, Record Mirror, August 24, 1985)

Thompson Twins - Don't Mess With Doctor Dream (Arista)

From the forthcoming Here's To Future Days LP and not exactly inspiring. Apart from the Frankie-like "U-u-u-u-ow-ing' at the start this is much like many other Thompson Twins records. Their great problem now is going to be how to outgrow that familiar, distinctive Thompson Twins sound that they pioneered with Into The Gap.
Having said that, the familiar, clean sound is the one that's most often associated with them and perhaps they would be wiser not messing with their dream. (Paul Bursche, No 1, August 24, 1985)

This is a conspiracy...under the guidance of Nile Rodgers, the three headed monster takes a step back towards Quickstep territory with an anti-drugs song set to a heavily rhythmic slab of electronic funk with some obligatory Chic guitar, jungle vocals and some brill screaming. A good hook but a weak tune so not Single Of The Fortnight. Oh pull yourself together, Alannah - stop that weeping! (Ian Cranna, Smash Hits, August 14, 1985)

Commendable anti-heroin sentiments, but as a song rather a plodder compared to the pop craft of all the singles from Into The Gap. (Paul Sexton, Record Mirror, August 24, 1985)