Ultravox - Visions In Blue (Chrysalis)

I blew the dust off the stylus, changed the turntable speed and got the bloke in from next door to check my wiring. But no use. This still sounded awfully dirge-like. Mind you, that's what I said about "Ghosts" by Japan. (David Hepworth, Smash Hits, March 17, 1983)

Ah yes, I can see it all now. The train pulls into the station through billowing fog and a young girl looks over her shoulder as Midge Ure twitches his moustache. I've been unmercifully unkind to Ultravox in the past, but I always liked "Vienna" and this has the same ring of confidence and enterprising style. All is forgiven, this should be huge. (Robin Smith, Record Mirror, March 5, 1983)

Ultravox - We Came To Dance (Chrysalis)

Ultravox write some OK tunes, but invariably team them up with the most pompous words in the world. Here, Midge intones the usual meaningless blather in his mournful tones. Doesn't he ever feel like singing something normal, about getting up, feeding the cat, hanging out with Mick Karn and so on? (Sunie, No 1, May 21, 1983)

Ultravox - All Fall Down (Chrysalis)

Ultravox's music has always verged on the pompous, and when they move into Celtic territory (previous explorers including Dexy's, Big Country and The Pogues) the result is as overblown as you might expect. Midge croons impassionedly over a slow, military-style snare beat, but the resulting product [also featuring The Chieftains] has remarkably little spirit. Suitable background music for a Selina Scott special on the Scottish highlands, but little else. (Karen Swayne, No 1, November 15, 1986)

Whatever happened to the "Ultra" bit? Probably got lost around the same time as Midge Ure decided he was fed up with being a pop star and wanted to be a serious human being instead, just like David Dimbleby or Sir Bob Geldof. This is always a big mistake and poor wee Midge has to sing lines like "Look in the mirror and what do you see, an American, Russian, a soldier or me", and make them sound important, but naturally it doesn't work and just sounds ridiculous instead. It's obviously meant to be a major comment on the stupidity of war, which is all very well and good, and can best be compared with, er, Rolf Harris' "Two Little Boys". (Barry McIlheney, Smash Hits, November 5, 1986)

Ultravox - Dancing With Tears In My Eyes (Chrysalis)

Once upon a time Ultravox had some bright ideas. Now they just seem to be re-running them rather badly. 'Weeping for a memory/Of a life gone by,' goes part of the chorus, appropriately enough. It's also, tears in your eyes or not, damned difficult to dance to. (Dave Rimmer, Smash Hits, May 10, 1984)

Typical Ultravox - a synthesis of synths and screeching from Midge. Interesting cover though. (Jennet Dainty, Record Mirror, May 12, 1984)

Ultravox - The Same Old Story (Chrysalis)

Ultravox sound as if they're just becoming a backing band for Midge Ure. It's a Phil Collins and Genesis situation really, where one member is under a much bigger spotlight than the others. With its imported brass section and female chorus this could easily have been a track off a Midge solo album. But Ultravox fans will buy it in their droves, and I'm probably in for a lot of hate mail. Aargh, it's so tough at the top. (Robin Smith, Record Mirror, September 20, 1986)

Well, they said it. To hear the ever-anxious Midge complaining about someone else being "so predictable" seems not unlike the pot calling the kettle black. Take away the trendy, loud girl singers and punctuating brass "riffs" and , this sounds particularly dull and ponderous, even by Ultravox's lead-booted standards. (Ian Cranna, Smash Hits, September 10, 1986)

Artificial bustle and brass. If life was kind Ultravox would now be Phil Collins or Simple Minds, but nay, they're still Ultravox - struggling in the potbelly between rock and pop. The "Same Old Story" is obviously just that - an ordinary rock song accompanied, no doubt, by a preposterous video. Welcome. 2/5 (Paul Simper, No 1, September 20, 1986)

Ultravox - Reap The Wild Wind (Chrysalis)

Perhaps it's because Midge Ure was brought up in a Glasgow tenement that he feels compelled to write such pompous music. Cue dry ice and huge banks of lights for this mass of swirling synthesizers wrapping pure commercial pop. Beatles men George Martin and Geoff Emerick produced this to make it sound like the pop equivalent of heavy metal's Rush. (Simon Hills, Record Mirror, September 18, 1982)

I feel I should like Ultravox but, like so much of their material, this is medium-paced with mediocre meaningless lyrics set to inconsequential standardised electronics. It starts, it goes on a bit, it fades out. Nothing happens. Maybe it will have a great video, though. (Johnny Black, Smash Hits, September 30, 1982)

Ultravox - Love's Great Adventure (Chrysalis)

Yes, but where's the revolution? Certainly, they play and sing masterfully, but Ultravox have become total industry, and their big band glossiness seems like a shameful concession to all the wrong values. Will they ever revolt? (Morrissey, Smash Hits, October 25, 1984)

"Love's Great Adventure" sees Ultravox finally justifying all the (largely unfair) criticism that's been thrown at them in the past. You know - how ALL their songs sound the same. Well they didn't, but they do now. I'm disappointed in you lads. (Eleanor Levy, Record Mirror, October 13, 1984)

It's not another "Vienna", but nevertheless good - haunting Ultravox keyboards soaring above what sounds like the insidious throbbing of a high-pitched outboard motor and fronted by the powerful voice of Midge Ure. Serious prophecy. In many years' time, Midge will be the British Sinatra - only more hip! The Mills & Boon title "Love's Great Adventure" will help sell a few to Barbara Cartland fans. (Mike Read, Smash Hits, October 11, 1984)