The Mighty Wah! - Weekends (Beggars Banquet)

In which Mr Wylie, to a U2 style rock heroic backing, lists all the interesting places one could go for a weekend - New York, Rio, Russia, Paris, "Or swan on a beach in Sri Lanka - just like Duran Duran!!!" - and bemoans the fact that he always ends up "here" (Liverpool, presumably). He probably means that a dull life is made to seem even more so in comparison with glossy jet-set images in videos and magazines. A million Duran fans will doubtless disagree. (Dave Rimmer, Smash Hits, September 13, 1984)

And so the romantic myth of Pete Wylie, (the maverick poet street fighter armed with guitar in one hand, determination in his guts and acid scouse wit on his tongue) continues. For some that all adds up to one noisy wretch, whereas for others it's inspirational. The raunchy attack of "Weekends" will do little to alter that position; lacking the wider anthem-like appeal of "Come Back" but still delivering venom and intent as only he knows how. (Pedro, Record Mirror, September 15, 1984)

Giorgio Moroder With Philip Oakey - Together In Electric Dreams (Virgin)

Philip Oakey is perhaps better known as the voice of the Human League whilst Giorgio Moroder is the maestro behind film scores such as Midnight Express and producer of the likes of Donna Summer. The resulting combination is not the titanic musical equivalent of King Kong vs Godzilla but rather, methinks, the chance to get in on the Electric Dreams Hollywood film bonanza. Sadly, what could have been a thriller in Manilla sounds rather like a low down in show town. (Pedro, Record Mirror, September 15, 1984)

The title track from one of the best films I've seen all year, Electric Dreams. Giorgio supplies the dazzling synthwork and Human Leaguer Phil(ip) Oakey lends his voice to a surprisingly catchy song. There's even a guitar solo in the middle, which adds a touch of variation and originality. You can dance or headbang - take your pick. (Dave Ling, No 1, September 15, 1984)

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)

Madonna - Like A Virgin (Sire)

The title of this squeaky clean semi-electro pop produced by Nile Rodgers recalls Mark O'Toole quoted in 'Pleasuredome': "So really I'm never honest." And when one places the record next to the far superior "Borderline", one realises that Madonna is only hip (hop) New York's answer to Cyndi Lauper. (Adrian Tierney-Jones, No 1, November 10, 1984)

Visually, let it be said, Madonna is a pure vision. She walks the deadly tightrope between sophistication and outright sexuality. Her records, on the other hand, are simply tame and lame modern pop disco, and her ability to perform centres more on pouting than on pirouetting. Putting it bluntly, she is a marketing man's dream: a carrot to dangle in front of lechers such as myself, a slightly classier musical version of Page 3, and her record here shares all the throwaway qualities of the said publication. (Pedro, Record Mirror, November 10, 1984)

Apart from being the only girl Peter Martin actually sends fan mail to, Madonna managed to come up with a cracking good first LP that I'm still not sick of even though my brother plays it to death every time he stays at my house. This however sounds like Cyndi Lauper making a feeble foray into disco with the help of Nile Rodgers and a bass line that sounds suspiciously like " Billie Jean". Boring. (Dave Rimmer, Smash Hits, November 22, 1984)

Wham - Wake Me Up Before You Go Go (Epic)

At last Wham have come up with a song to match the freshness and appeal that first sent them hurtling chartwards with "Young Guns". This is unstoppable, hip-swinging, finger-clicking stuff from George and Andrew, sung with a justifiable swagger and bags of horns. Light the blue touch paper and watch it rocket to No.1. (Frank Hopkinson, No 1, May 19, 1984)

An absolutely dreadful comeback in which George and Andrew ditch everything they do well in favour of a feeble foray into Shakin' Stevens country. Sounds like Darts or some similarly weak '50s impersonators. Awful. My copy took one look at me, hung its head in shame and slunk off to hide under the bed, as well it might. (Dave Rimmer, Smash Hits, May 10, 1984)

I sympathise with the dynamic duo for having at last solved their contractual wrangles and weathered a considerable media backlash - they deserve to silence their critics by coming back with a bang! As a fan, I have to say this is more like a bubblegum pop ping! Nauseatingly catchy, to my mind, it's an overdose of hooks and catches. As a commercial product it will doubtless succeed, but have style, depth and panache been replaced by the lowest common denominator? (Pedro, Record Mirror, May 19, 1984)

Bruce Springsteen - Dancing In The Dark (CBS)

King Rocker Bruce is perhaps the only mega white American rock star who succeeds in not sounding like some genetically engineered multi-corporation rock puppet to my ears. Blessed with a voice that would send the likes of Rick Springfield scampering for cover, he elevates this sometimes mediocre song with his inimitable punchy style. Fans will regard this as almost great, critics as almost average. (Pedro, Record Mirror, May 19, 1984)

When Bruce Springsteen's career was burdened with the prediction "I have seen the future of rock 'n' roll and it is Bruce Springsteen", whoever said it couldn't have imagined him recording "Dancing In The Dark". Maybe the influence of British synthesiser groups in the US charts has made him change his style from all-out guitar attack to flabby synth-rock, Whatever's made him do it, somebody should tell him to stop, and quick. (Frank Hopkinson, No 1, May 19, 1984)

Swans Way - Illuminations (Phonogram)

I think most people would agree that "Soul Train" was the type of record you either loved or hated. Personally, the pomp and pretence of those screeching strings and strangled vocals made me scream for the cotton wool. This record now sees me make an about turn. The ears are unplugged and the more natural and melodic sound of "Illuminations" can often be heard serenading from my Dansette. (Pedro, Record Mirror, May 19, 1984)

After the masterful "Soul Train", this breathy featherweight item about being magnetised, hypnotised and feeling total pleasure carries disappointingly little clout. But, pathetically grateful as we are for anything without a crash beat, we give it the benefit of the doubt. (Ian Cranna, Smash Hits, May 24, 1984)

As the smoke clears in a downtown, downbeat, down-on-the-cellar bar, Swans Way deliver an intimate celebration of love. A quite different tune to their last single "Soul Train", this has a bluesy feel to it. The fact that it's extremely listenable is due to the assured production of John L. Walters of Landscape fame, a much underrated producer and a man to watch. That is, if you like watching producers. (Frank Hopkinson, No 1, May 19, 1984)

Sade - When Am I Going To Make A Living (Epic)

I used to think Sade was one big hype - even before she got a recording contract people were crooning how stupendous she was and her face was being splashed across the glossy mags. But then she made a record...
"Your Love Is King" and now "When Am I Going To Make A Living" have proved her promise. The current single is smooth, soulful and exceptionally honest. Truly this lady has class. (Frank Hopkinson, No 1, May 19, 1984)

A classic, and Sade makes singing (and writing) one sound positively effortless. A cheering song of optimism in the face of hardship with a chorus - 'We're hungry but we won't give in' - that should be sung from the rooftops. Only beaten to Single Of The Fortnight after a photo finish, I can tell you. As to the question of the title, I don't think you'll have any problems now, girl. (Dave Rimmer, Smash Hits, May 10, 1984)

'From now on!' should be the answer to the question posed in the title. This powerful follow-up to their equally strong debut merits their establishment as a natural treasure. It basically carries the same immediately identifiable sound of Sade, though its feel is determined where "Your Love Is King" was romantic. It carries a stamp of quality all over it. (Pedro, Record Mirror, May 19, 1984)

Bananarama - Rough Justice (London)

"Rough Justice" succeeds in establishing a longer-lasting appeal than the bright poppy disposability of "Robert De Niro". What they lose in immediacy, they gain in endurance. Should be interesting to see how you pop-pickers respond to change. (Pedro, Record Mirror, May 19, 1984)