Depeche Mode - Blasphemous Rumours/Somebody (Mute)

Depeche Mode are becoming a Very Important band indeed. Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality. "Somebody" gently unfurls the map of a modern relationship and explores every fold. The double A-side, "Blasphemous Rumours" weighs religion and reality with precision and feeling. Thought provoking stuff. (Martin Townsend, No1, November 3, 1984)

A double-A-sided single of two tracks from their Some Great Reward LP. "Somebody" gets my vote because it's so different from all their other singles. Martin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves. "Blasphemous Rumours", on the other hand, is a routine slab of gloom in which God is given a severe ticking off. (Neil Tennant, Smash Hits, November 8, 1984)

PH: I really like it, I like it a lot; it's got a great chorus line. It's a bit fractured, but then that's their style. It's a bit too fractured at times, you keep wanting to hear the chorus. AM: The strong thing is their melodies and that chorus as Paul said is a belter. I've got this feeling that Depeche Mode are going to do something really amazing and they're getting pretty close. PH: They're the only band this week that sound like they know what they're doing, the only band that've got two ideas to rub together. AM: Well, two pieces of metal to rub together, anyway! (Andy & Paul from OMD, Record Mirror, November 3, 1984)

Lloyd Cole - Rattlesnakes (Polydor)

Although Lloyd has his most obvious influences written proudly across his chest - Lou Reed, Bob Dylan, Lou Reed - he's still creating a rock mythology all of his own. On "Rattlesnakes" the influences of his Derbyshire birthplace and Glasgow - where he was educated - are stirred up in equal measures of hometown grit and academic wit. He juggles European and American references in the lyric - novelist Simon De Beauvoir, On The Waterfront - and still ends up with a peculiarly English blend. A rich and fascinating single of the week. (Martin Townsend, No1, November 3, 1984)

AM: Having just listened to Depeche Mode this sounds positively dated, but that's what people want these days. Why is it that old Marlon Brando movies are so bloody trendy these days? The guy's fat, bald and an American millionaire. Any musician who was like that would be out of the window straight away. What I want to know is, will Lloyd Cole be getting two million dollars in the year 203 for appearing in 'Superman 37'? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Sparks - Change (London)

Giant studio panarama from one of the precursors of electro-pop. Simply trashes the other rockish releases this week with a rare impudence and a desire to go for those massive, massive instrumental statements. Thundered synths, thunder clapped drums, jagged guitars, moments of quiet menace and yes, those thoroughly distinctive vocals. (Jim Reid, Record Mirror, July 20, 1985)

Everything But The Girl - Mine (Blanco Y Negro)

The subtle use of percussion and smoky tones of Tracey Thorn's voice turn this into another late-night affair. A haunting tale of a girl left holding the baby, this, like all their records, turns me all moody. (Linda Duff, Smash Hits, July 5, 1984)

It's brilliant, isn't it? I like all this jazz based stuff that's happening now because its good for people to get into that level of musicianship and also make it commercial at the same time. It's getting away from quick, cheap and nasty. It's a great song and she's got a really good voice and phrases the words really well. This is one of the best singles I've heard for a long time and it should be a big hit if they've finished their exams and want to do a bit of promotion. Single Of The Week. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

Paul Young - Every Time You Go Away (CBS)

The introduction sounds like the theme to Eastenders. Very meaningful lyrics and a nice melody. Paul's obvious ability is in singing ballads (this was originally by Hall & Oates) and this is another classic example. (Marshall O'Leary, Smash Hits, March 14, 1985)

This has got to go down as my favourite. Paul Young has got to be the best British white male singer. This has got everything; a great song, powerful production and he's a talented performer. I'm so glad to hear Paul's having singing lessons for his breath control after his vocal problems last year because he has a marvellous voice and I, for one, would be sad not to hear it again. This record got me on the first listening. Single Of The Week. (Hazell Dean, Record Mirror, March 2, 1985)

Martin Ansell - The Eighth Wonder (Island)

Martin Ansell's "I'll Be In The Jungle" was one of my top ten singles for '83. Now the ex-Tom Robinson and Captain Sensible guitarist proves himself still, unerringly, on target. "Eighth Wonder" is fresher than a sandwich in a pyramid and catchy enough to get the sphinx up and bopping. Joint single of the week. (Martin Townsend, No 1, February 23, 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)

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)

Virginia Astley - Melt The Snow (Rough Trade)

For the past few years, Virginia Astley has been quietly producing enchanting music. Using piano, flute, and her wistful, choirboy voice, she creates an atmosphere of stillness in her songs, which are often moving and always tender. "Melt The Snow" is the latest of these, and one of her best yet. A gentle and optimistic song, it kisses away those winter blues. Single of the week. (Stuart Husband, No 1, March 2, 1985)

Virginia Astley is like Kate Bush reincarnated as Sebastian Flyte: at times the tinny choral tones are stretched as thinly as a sliver of smoked salmon at a vicar's tea party, but they're more than compensated for by those quaint old stringed instruments. Julian Cope, eat your heart out. (Dylan Jones, Record Mirror, February 23, 1985)

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)

Two People - Rescue Me (Polydor)

Wet, dreamy pop didn't exactly catch on last year, as The Lotus Eaters will testify. Perhaps it brings out that spiteful streak in all of us that despises anything so blatantly soft. That said, this is a gem. It sets out to be nothing more than an admirably crafted, lovingly performed pop song. And succeeds. There's hope for the dreamers yet. Single of the week. (Paul Bursche, No 1, February 16, 1985)

Pet Shop Boys - Opportunities (Parlophone)

Pet Shop Boys' excellent debut single "West End Girls" deserved to be a big hit for them, but never mind, this one's got to be HUGE! Singer Neil Tennant used to write articles for a certain rival pop mag that we never mention, but it's obvious that he should've been devoting his time and talents to his own music a long time ago, as this is such a superbly crafted disco hit. Single of the week! (Debbi Voller, No 1, July 6, 1985)

I really don't understand what all the fuss is about with this track, with its clank and bustle up front instead of a tune and its dubious invitations to commit some unspecified crime. Nor why, with the altogether wonderful "Why Don't We Live Together?" a natural pop hit, the record company should choose to release this battle-scarred warhorse again. Average stuff but still an awful lot better than some things I could mention. (Ian Cranna, Smash Hits, May 7, 1986)

Simple Minds - Waterfront (Virgin)

'Come in, come out of the rain. . .' and shelter in the company of the best record of the week. The Minds have always been masters at producing fragile yet muscular music and here the formula is repeated but with even more power. "Waterfront" is haunting, breathtaking, stunning, evocative and beautiful. And all at the same time. A glittering prize. (Paul Bursche, No 1, November 19, 1983)

Built round a shuddering backbeat shot through with guitar chords that will take your head off and overlaid with those haunting keyboard lines. "Waterfront" is remarkable even by Simple Minds' own high standards.Jim Kerr's vocal is one of rare beauty and measured passion. An iron fist in a velvet glove. Single Of The Fortnight. (Mark Steels, Smash Hits, November 10, 1983)

Simple Minds in personality crisis - Shock-horror probe! Scottish songsters suffering from acute Heavy-Metal-Syndrome! Millions mourn as Jim Kerr and his merry men try recreating the brilliant wall-of-sound of "Celebrate", but lose it somewhere in the mix. It's a definite grower though - just don't stand too close to the speaker. (Eleanor Levy, Record Mirror, November 19, 1983)

Julian Cope - World Shut Your Mouth (Island)

Chop my right leg off and feed it to Ozzy Osbourne, I never thought the day would come when I'd like anything by the eccentric Copey. But what a splendid piece of listenable trash this is. Cope belting his way through a song that knocks down even the strongest walls of apathy. One hell of a rousing theme, I just hope it gets the airplay it so justly deserves. Single Of The Week. (Robin Smith, Record Mirror, September 20, 1986)

One of the great lovable English Eccentrics of pop returns with an uncharacteristically crude crash-bang-wallop affair complete with kerranging guitar and a totally out of place '60s solo. It is, however, the proud possessor of a real tune wot you can hum, and the words - about flying in the face of fashion and telling the world what it can do - might have been written for the reclusive one himself. A splendidly individual effort. (Ian Cranna, Smash Hits, September 10, 1986)

A fair stomper. Julian Cope used to front Teardrop Explodes before he went off on some artistic quest or other. Now, suitably enlightened, he returns after a few false starts with a typically loud declaration to a groovy rock and roll beat. Perhaps this time the world will kindly open his ears. 3/5 (Paul Simper, No 1, September 20, 1986)

Note: Another Top Of The Pops performance I remember from thirty years ago - especially that microphone...

Pet Shop Boys - Love Comes Quickly (Parlophone)

This has a good chorus and it's very catchy - a good follow-up to "West End Girls". I hope they have a crappy looking video again because I liked that - Jonathan King slagged it off as cheap and horrible, the most appalling video ever made, but I thought it was simple, straight to the point, and I really liked the moody guy in it. It's funny reviewing a single sung by someone who used to interview us - I should be getting my own back. The runner-up single of the fortnight, I suppose. (Dave Gahan [Depeche Mode], Smash Hits, February 26, 1986)

If this is the best they can do fame is going to go as quickly as love comes. A weak follow-up to a Number One single, this is high on Giorgio Moroder atmosphere, but has weedy vocals so soft you have to strain to hear the words. Suffice to say that if this had been their first single nobody would have made such an almighty effort to find out what the real meaning of the name Pet Shop Boys is. (Pat Thomas, No 1, March 1, 1986)

Eyes bright and tails wagging, the Pet Shop Boys trot away from the haunting mystery of "West End Girls" and produce a tender swirling epic topped with a delicate vocal refrain. Not as instant as "West End Girls", but very smooth and powerful. It's starting to occupy a bigger place in my heart than even Chaka Khan's "Ain't Nobody". Single Of The Week. (Robin Smith, Record Mirror, March 1, 1986)

Eurythmics - Here Comes The Rain Again (RCA)

Dave 'n' Annie just can't put a foot wrong. They release a happy calypso track in bleak mid-winter and watch it go Top Ten. Now they're back to the more familiar moody style that they do so brilliantly. The gorgeous slow melody is the ideal vehicle for Ms Lennox's effortlessly pure voice. It's mournful, but never depressing - add to their combined talents the string section of the British Philharmonic Orchestra and you've got the week's classiest single. (Karen Swayne, No 1, January 14, 1984)

If Eurythmics think they're making a run-of-the-mill record, they don't panic. They simply add 'the squint factor'. It turns an everyday event into a Royal Variety Performance. The secret of 'squint' lies in dodging your expectations. When you're waiting for a smart sheen, you get a tinny glitter. Just like that African guitar twang on "Right By Your Side". On this one it's the strings that add the seasoning. They scrape and scamper behind the melody, nudging Annie's wonderful vocal along. Like all Eurythmics' songs, it takes several plays to sink in but when it takes hold, you'll love the feeling. Single Of The Fortnight. (Ian Birch, Smash Hits, January 5, 1984)

As usual, very classy. I liked 'em when they were the Tourists and I like 'em now. Went to see 'em at the Odeon. I used to prefer the mini-skirt to the Oxford bags mind you, but that just shows you what a hidebound philistine old reactionary I am. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Propaganda - Duel (ZTT)

Last time I reviewed the singles I had to write about "The Nine Lives Of Dr Mabuse" by this new German group Propaganda: it made Single Of The Fortnight and proved to one of the best records of last year. Now they're back, this time with the greatest song ever made. Well, maybe not ever; but it's the best today even though tomorrow I might change my mind. A 'concept', "Duel" has a dark and light, happy and sad, good and evil side: side two. "Jewel", is the same song given a well mad techno-punk treatment. ZTT describe them as 'Abba in Hell' - therefore "Duel" must be Abba in Heaven. Single Of The Fortnight. (Peter Martin, Smash Hits, April 11, 1985)

Since their brilliant debut single "Dr Mabuse" nearly a year ago, Propaganda have had to wait in the shadows while ZTT pushed Frankie's success to the limits. But it sounds like the wait has done them good. "Duel" is a superbly-crafted song with a melody line that Abba would have been proud of, but containing references to `screaming' and 'bleeding' that give the song an atmosphere of unease. On the flipside there's "Jewel", a punky-thrash version of "Duel", which highlights the understated intensity of the A-side. Single of the week. (Stuart Husband, No 1, April 20, 1985)

They look complete and utter wankers in their photos. I think the whole thing is pointless and horrible. It's not exciting, challenging or beautiful. (Green Gartside [Scritti Politti], Record Mirror, April 27, 1985)

Godley And Creme - Cry (Polydor)

There are some things in life too precious for mere words. A beautiful sunrise; the Smiths; the sound of stud on bone as Graham Roberts rushes in for another tackle. Such is "Cry". Kevin Godley's pure, choirboy voice soars away, layer upon layer of sound floats around and you sit back and drink in the sparkling Trevor Horn production. Gloss with class and beauty. (Eleanor Levy, Record Mirror, April 6, 1985)

Jill: A weak ballad in amongst some nice synth sounds. Like most of the singles this week, it's produced by Trevor Horn. It's got a horrible ending that made my backbone go all squeegy. Rose: I like the sleeve - it reminds me of a dress I had when I was eight. (Jill Bryson & Rose McDowell [Strawberry Switchblade], Smash Hits, March 28, 1985)

Feels Like The First Time: The award winning video was the first to use computer morphing techniques - to great effect.

Killing Joke - Adorations (EG)

Moving from strength to strength, Killing Joke have surpassed the twisted power of "Love Like Blood" and come up with their most immediate single to date. "Adorations" has a smiliar feel to their previous hit but with greater depth of sound - there's still the threatening, distorted guitar, but this time it's blended with a synthesizer and the vocal is sung not shouted. When you look into Jaz Coleman's eyes you know he means business. And this is the business. Single Of The Week. 5/5 (Frank Hopkinson, No 1, August 9, 1986)

I think Killing Joke would like baggy jumpers, too; plenty of room to ruminate. This is the usual pitch black mood, thumped out with straight faced no-nonsense seriousness. But is it really that serious, boys? (Jim Reid, Record Mirror, August 9, 1986)

'Courage and cowards move heroes to ecstasy, welcomes of war and wounds, vigil and victory.' Cor! Real swashbuckling Boy's Own stuff this. The same sort of enormous, swirling sound as "Love Like Blood" but without the power and strength which made "Blood" such a sturdy compelling noise. "Adorations" is very nearly a pop record. (Simon Mills, Smash Hits, August 13, 1986) 

The Smiths - The Boy With The Thorn In His Side (Rough Trade)

Morrissey desperately tries to divert our attention from this weedy, half-cocked song (which is apparently the original 'demo' recording) by doing a horrible impersonation of Frank Ilfield (useless '60s yodelling pop star)! Their weakest single, and definitely time for a change of tack. (Steve Bush, Smash Hits, September 11, 1985)

Call me predictable, call me boring, call me sentimental - I don't care. The worries of the world float away as the new single from the ever lovable Smiths arrives on my desk. Still on Rough Trade, still adorning the covers with Morrissey's heroes (Truman Capote looking like Ernie Wise this time), and still making the most perfect pop music ever created. A light 'Williamesque' backing has Morrissey trilling and warbling his exquisite way around Johnny Marr's simple melodies. After the slip that "Shakespear's Sister" proved to be and the questionable decision to release "That Joke Isn't Funny Anymore" - probably the only track on Meat Is Murder that shouldn't have been a single - the group brush off the dust from a thousand gleeful cries of 'has-beens' and resume normal service. Single Of The Week, obviously. (Eleanor Levy, Record Mirror, September 21, 1985)