King - Won't You Hold My Hand Now (CBS)

An obvious follow-up this. I reviewed 'Hold My Hand' first time round and although it's been fiddled with a bit it still sounds the best King single yet let out of The Tower. More raunchy than "Love And Pride", the boys use both their boots and guitars to kick ass. Of course I knew they were going to make it all along... (Paul Simper, No 1, March 16, 1985)

Though they've yet to produce a classic 45, the boys from Coventry have certainly tried their hand at just about every musical style in the book. "Love & Pride" was a ska-based Gary Glitter/Jobriath gallop, "Soul On My Boots" was Culture Club on amphetamine ... and this here disc is like a mutant Shadows gone haywire. However thin and lifeless King may appear, you can't get the damn tunes out of your head. (Dylan Jones, Record Mirror, October 20, 1984)

Ah ha - a hot property! King have finally got the success they believed themselves worthy of and Paul's become a sex symbol. Swoon! As for this, it's more forceful than "Love And Pride" - stronger where that seemed to have great gaps in the mix, more controlled, less boppy and very very professional. Re-mixed to squeaky clean perfection. I'm going to stick my neck out here... I think it might be a hit. (Eleanor Levy, Record Mirror, March 16, 1985)

It's catchy but I think the instruments drown his voice too much. Probably a hit but not as big as "Love And Pride". I do like this group and the song is good but the chorus is very boring. (Marshall O'Leary, Smash Hits, March 14, 1985)

Pet Shop Boys - West End Girls (Parlophone)

The Pet Shop Boys (alias Mutt and Tibbs, no doubt) released "West End Girls" some time ago, but claim that second time around it's re-recorded. Which could be another way of saying that they've only got one good song and this is it and please will you buy it. Well if it worked for King with "Love and Pride", it should work for "West End Girls" which, with its sad, reflective air set to subdued sub-disco, is miles better. (Adrian Tierney-Jones, No 1, November 16, 1985)

For some reason, this sprightly amble through the studied lowlife of a city triggers off the fragrance of William DeVaughn's "Be Thankful For What You Got" and something else that'll come to me when I least need it. (Mike Gardner, Record Mirror, November 9, 1985)

A tumble through Soho in the seedy wee, wee hours accompanied by the kind of jaundiced horns that are more often found on soundtracks of films about Hollywood actresses hitting the bottle and cracking up with mascara running down their faces (Valley Of The Dolls springs to mind). Set against this, the electronic bleats and the demi-rap (Grandmaster Flash And The Furious Five's "The Message" without the baseball bat) create an atmosphere of danceteria sleaze that's almost sinister. Brrr. (Tom Hibbert, Smash Hits, November 6, 1985)

King - Love & Pride (CBS)

This lot were once briefly touted by the inkier side of the pop press as the next new something or other. They don't look or sound like it on the strength of this single. Judging by the cover, their image is based on Wayne from Auf Wiedersehen Pet, and the music's more or less like Fashion's - modern and anonymous. (Sunie, No 1, April 21, 1984)

I don't know much about this band but I find the tune very instant. After a few plays I flip over to find that the B-side has a rough edge the A-side doesn't. I'm afraid "Don't Stop" turns me on and "Love & Pride" doesn't. (Dave Gahan, Smash Hits, April 26, 1984)

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)

Win - Shampoo Tears (London)

Engaging themselves in producing a frothy little follow-up to their 100th re-release of "You've Got The Power" (which should have been a hit, but wasn't), these bubbly Scotsmen continue to sparkle with yet another addictive vinyl performance. Here, la la las swirl mesmerizingly between a chugging bass-line and pleasing vocals, and lathers up into a snappy pop song. Their recent support on the Fine Young Cannibals tour could only have done them good, and assuming that the timing is right, Win could yet come up grasping the trump card. (Anna Martin, No 1, May 10, 1986)

Win have been lurking about for a while now without actually achieving anything, but this should change all that - a massive, thunderous beat coupled with an outrageously catchy singalong "hook". The only drawback is the muttered (but unmistakeably anti-American) oblique lyrics about star-striped fears causing shampoo tears, but this Scottish lot will get there sooner rather than later. (Ian Cranna, Smash Hits, May 7, 1986) 

Try, Try Again: Championed right across the music press, Win released and re-released several singles and an album over a couple of years, and yet never caught a chart break. A nominee for the unluckiest band in pop.

Prefab Sprout - When Love Breaks Down (Kitchenware)

The Sprout's Paddy McAloon has a knack of writing really intriguing lyrics and then setting them to strange, almost awkward melodies This one's got puns aplenty, an echoey, haunting tune crafted with the help of Phil Thornalley and well deserves to be a hit. (Dave Rimmer, Smash Hits, November 22, 1984)

Previous to this, I'd always envisaged Paddy McAloon and company to be one of those depressing vegetarian long mac brigade bands that I despise so much. It came as a great relief to discover that they produce the kind of melodic pop music that most bands can only aspire to - a kind of 10 c.c. meets Spandau Ballet. Must get the office veggies to lend me their old Sprouts. (Dave Ling, No 1, October 27, 1984)

Being someone with a liking for sensitive artists with meaningful lyrics and guitars, I think I'm supposed to like Prefab Sprout. Hmmm. Pleasant tale of woe, but with all these people rolling about in ecstacy over them I expected the Earth to move. Not a wobble. (Eleanor Levy, Record Mirror, April 6, 1985)

 "When Love Breaks Down" is a moody and haunting masterpiece which meanders along on gentle ripples of acoustic guitar and melodic keyboards. (Dave Ling, No 1, April 6, 1985)

The Sprouts are very odd indeed. They look really plain and wear things like string vests, come from Newcastle, call their LP Steve McQueen - and write brilliant songs about Mexico and love. This is acutely observed, intelligently written, quite sad but kind of, you know, uplifting, and sounds a bit like Joe Jackson on a good day. A cracker.  (Peter Martin, Smash Hits, April 11, 1985)

Seductive as a sweet, soft focus kiss - quality sounds, arrangement and production. A gorgeous record. Make this one big. A friend. (Paul King, Smash Hits, October 23, 1985)

The Big Dish - Prospect Street (Virgin)

Executed in their usual wonderfully melodic style, The Big Dish have once again juggled with the right ingredients - catchy tune, tantalising riffs and highly competent playing - and created yet another tasty sampler. Their fourth single to date (although this has actually been released before) verges on almost perfect pop - powerful, opulent and polished. A worthy release that should hopefully see the Scottish fivepiece receiving their just desserts! (Anna Martin, No 1, November 1, 1986)

The Big Dish are one of those staple meals which are so tedious you need to go heavy on the spices to make it palatable or interesting. However, here you have the blandness in all it's jangly guitar glory. (Mike Gardner, Record Mirror, November 9, 1985)

Private Lives - Living In A World (Turned Upside Down) (EMI)

The best record of the week comes from two London boys called John Adams and Morris Michael. "Living In A World (Turned Upside Down)" is a lush soul ballad that could have stepped straight out of the Hall And Oates back catalogue - though it's some time since John and Daryl came up with a record that gripped like this. Considering the standard of the current chart, Private Lives ought to walk right into TOTP and take up residency. And if it doesn't happen here, it's certain to happen somewhere: Top Ten in at least ten countries is my rash prediction. Estimated chart placing: 10. (Phil McNeill, No 1, January 28, 1984)

My wise old editor, Mr McNeill assures me that this new version of the Private Lives single is not a patch on the original, released earlier this year. And who am I to argue? That said, there's not much more wrong with it this time round. Seven inches of pop/soul that's up there with the very best of Hall And Oates. Now you can't say fairer than that. (Paul Simper, No 1, October 13, 1984)


I like Private Lives' older material, but you can't please everyone all the time. I think John's vocal arrangements are good and should get played on Radio 2's peak time! Right on Robin Gibb! (Steve Strange, Record Mirror, January 21, 1984) 

"Living In A World (Turned Upside Down)" is trying to be a classic of someone else's kind. Hall & Oates' kind, to be precise. It fails. Instead, the duo provide what is commonly termed 'a ballad' with the truly inspired message 'We're living in a world turned upside down'. Profundity is obviously not their strong point. (Eleanor Levy, Record Mirror, October 13, 1984)