China Crisis - You Did Cut Me (Virgin)

China Crisis have proved the most durable of the 'wimp rock' crew, mainly because of their talent for writing memorable melodies. They're still as wet as the weather though, but Garry Daly's breathy vocals lend a touch of distinction to whatever they do. Pleasant enough, but still nothing more than aural wallpaper. (Karen Swayne, No 1, August 31, 1985)

Another well-crafted technically exact pop tune, with definite chart potential. Some blousey sax for late night listening, with an undulating feel. You can't dislike it, but I find it all a bit insipid. As they say me ol' china - "just not my cup of tea". (Diane Cross, Record Mirror, August 31, 1985)

Yet another young British group make a boring, grown-up, American-style AOR ("Adult Oriented Rock") type record. China Crisis can be interesting when they try but here we find them plumbing the depths of cliché with the usual (for this sort of thing) slow sax solo and useless words like "A love incision/My inner vision". A sad business. (Dave Rimmer, Smash Hits, August 28, 1985)

China Crisis - Black Man Ray (Virgin)

I quite like this one. It's got a nice little melody to it. However, I don't like their image, which is as dismal as Julian Lennon. And unfortunately, it seems to rub off on their otherwise very pretty songs. (Marshall O'Leary, Smash Hits, March 14, 1985)

China Crisis are one of those semi-famous groups whose faces and songs you vaguely recognise but can never totally identify. The anonymity they unwillingly court is a drag, especially if their records aren't immediately catchy. However, 'Black Man Ray' produced by noted American musician Walter Becker, might help matters. It's sad, wistful air will appeal to audiences across the board, and China Crisis will remain in the shadows no longer. (Adrian Jones, No1, March 9, 1985)

Donald Fagen's old Steely Dan partner, Walter Becker, produces this soft rock effort - and it shows. Those soft harmonies and instrumental motifs show strong Steely Dan influences. Fortunately, like all Dan material, this easy-going opus grows with every play. (Mike Gardner, Record Mirror, March 9, 1985)

Orchestral Manoeuvers In The Dark - Shame (Virgin)

Most of OMD's songs, unfortunately, sound like Andy McCluskey and Paul Humphreys have fallen asleep behind their synthesisers during the recording. This bounds along quite chirpily at the beginning but then it trails off into the usual oblivion half way through. Maybe it's something to do with Andy's dreadful dancing. (Ro Newton, Smash Hits, March 25, 1987)

Balaam and The Angel - The Things You Do To Me (Virgin)

It looks like this lot are on the slippery slope to becoming a one man band; the Lance Percival lookalike is completely obscured on the cover by an overpowering logo leaving the 'sexy' one to take the stardom. No such star quality on vinyl however with this sub-Mission style dirge. (Ian Dickson, Record Mirror, October 10, 1987)

Scott Walker - Track Three (Virgin)

A lot of people have been waiting for this record. Scott Walker – one-time half of the legendary Walker Brothers – hasn't released a record for six years, but interest in him as a cult figure, musical maverick and all-round enigma has never died. As a fan myself, I found 'Track Three' disappointing. It's a capable modern pop song, and the old Walker voice is as wonderful as ever. But there are dozens of songs in his back-catalogue that knock spots off this one. And dozens of new pop records that do that particular job a lot better. The B-side, "Blanket Roll Blues", is a better indication of his real nature – dark and honestly strange. (Maureen Rice, No 1, March 3, 1984)

XTC - No Thugs In Our House (Virgin)

In which two parents try to convince a young constable that their son is not a nasty, vicious hooligan. A little heavy for my tastes, and it does go on a bit. Winner of the Silly Packaging of the Week Award, though, for a sleeve which converts into a toy theatre! How will they try and sell them to us next? I shudder to think. (Dave Rimmer, Smash Hits, May 13, 1982)

Japan - Cantonese Boy (Virgin)

A good song, but the fourth track off Tin Drum to become a single, and this can't really be counted as much more than a stop-gap measure until the boys in rouge re-unite and pen something new. The B-side includes the humdrum instrumental entitled "The Experience of Swimming". (Dave Rimmer, Smash Hits, May 13, 1982)

Culture Club - White Boy (Virgin)

The kind of image-heavy build-up that Boy George and Culture Club have had, lead me to expect just another all-trousers-and-no-action combo (well, all dresses actually, given George's taste in clothes). I'm surprised, therefore to find this an enjoyable helping of well-produced white soul even though it can't keep it up past the halfway mark on the 12". A question is prompted however: how much white funk would sell without all the make-up, gold suits etc? (Dave Rimmer, Smash Hits, May 13, 1982)

Note: Dave Rimmer would continue to delve into the themes of the sound and style of "new romantic" pop in his books Like Punk Never Happened and The Look.

 

Boy George - Keep Me In Mind (Virgin)

He may be Nick Kamen's badge salesman, but he's also Boy George, my granny's favourite popstar (yes, and your budgie Joey's favourite too, gran), erm, sorry. She'll love it when she hears it. 'That trippy flute will make it a big hit all over the continent' she'll be telling me soon. And I'd have to agree. It's The Boy back to his best that wasn't "Everything I Own" nor "Ferry Aid"! Keep Boy George in mind? For as long as we can remember Marilyn (Monroe) to be sure. (Frank Gillespie, No 1, June 6, 1987)

Heaven 17 - Come Live With Me (Virgin)

George [Michael]: Some people said that Carol Kenyon's singing was only reason that "Temptation" got to Number Two. I would agree with them. This is not as original and it's really a return to the "clever" Heaven 17. Andrew [Ridgley]: Even more of a dirge than "Temptation". They've definitely gone way downhill since Penthouse And Pavement. That was energetic and lively; this is dross. (Wham!, Smash Hits, June 23, 1983)

What an extraordinary choice of single, After the sublime "Temptation" this begging letter from an older man to a younger girl seems far too reflective and lyrically top-heavy to strike a common chord. The B-side, a re-recorded "Let's All Make A Bomb", still sounds good. (Max Bell, No 1, June 18, 1983)

Despite the last hit, despite all the talk, here at last is the single that proves that Glenn and the boys aren't really in the big League at all. It's a fine idea (as usual) but one that gets lost entirely with some incredibly clumsy phrasing and unnecessary frippery. A miss is as good as a smile and Heaven 17 make me laugh. (John Shearlaw, Record Mirror, June 18, 1983)

Simple Minds - Promised You A Miracle (Virgin)

The one that might just break the Minds. It's a brassy performance with Jim Kerr in formidable form, a hip-swivelling dance beat and a jumbo helping of 'atmosphere'. (Ian Birch, Smash Hits, April 15, 1982)

Orchestral Manoeuvres In The Dark - So In Love (Virgin)

Only a year ago drippy pop was all the rage. Tears For Fears, China Crisis, The Lotus Eaters, OMD... But times have changed. The Tears have strapped on those guitars and punched their way into '85 while the rest of the country's listening to Springsteen and Don Henley. And as for OMD . . Despite a fancy XL design you still get the feeling they're both wearing little woollen jumpers. This is confetti pop of the second year. Wet and wimpy, as the weather forecasters say. (Paul Simper, No 1, May 18, 1985)

Orchestral Manouvres In The Dark - Genetic Engineering (Virgin)

Well worth the wait. OMD's knack of coming up with exhilarating singles has not been affected by their year off. Nobody can resist a plea on behalf of all those created, innocent bambinos and when you marry such sentiments to a great tune, even your goosebumps get goosebumps. (Ian Birch, Smash Hits, February 17, 1983)

Culture Club - The Medal Song (Virgin)

Go to Hollywood too, in a manner of speaking. The medal refers to one that Frances Farmer won whilst still at acting school in the Forties, and led her to that fabulous Babylon in the hills. She found the star system conflicting cruelly with little needs like Work, Art, Real Life. She couldn't take it and ended up in an asylum. Perhaps George is trying to tell us something? He shouldn't explain, but ... I remember when this group weren't so Mega and made records such as "I'm Afraid of Me" and "Time", and so does George. (Mark Cordery, Record Mirror, November 24, 1984)

Frances Farmer, the subject of "The Medal Song", was a Hollywood starlet who was committed to an asylum because she refused to conform to the star system. The song's conclusion would seem to be that pop star or movie queen, life's not so different to that of us ornery folk. And perhaps it's time we were reminded that George is only human. No one has a god-given right to No. 1 records, and the fact is, it's over a year since the Club's last chart-topper with "Karma Chameleon". There's not much of a tune on "The Medal Song" either, but that's no indication that this O' Dowd has had his day. (Paul Simper, No 1, November 17, 1984)

Japan - Ghosts (Virgin)

Japan are a mystery to me. After being a standing joke for years they came right into fashion in 1981, built up a large following (witness the polls) but still didn't sell very many records. And all the while they sounded awfully like Roxy Music. That cannot be said of "Ghosts" and it's arguably the best thing they've done - slow, spare and mesmerising. (Tim De Lisle, Smash Hits, March 18, 1982)

Howard Devoto - Rainy Season (Virgin)

An atmospheric trip to the jungle with Howard obviously having fun. It's a sophisticated and classy offering with lovely guitars, piano and understated percussion. The catchy chorus assures that you'll get peculiar looks as you burst forth with "It's the rainy season and I'm on fire" - but it's worth it. A hit, no doubt about it. (Anne Lambert, No 1, June 25, 1983)

Despite all the pretension and intellectuality, the ex Buzzcocks and Magazine editor still finds it difficult to make records that provoke any reaction apart from apathy. (Mike Gardner, Record Mirror, June 25, 1983)

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)

XTC - Senses Working Overtime (Virgin)

When will the world put a comforting arm around XTC? They've certainly kept their part of the bargain by dealing out cartloads of invigorating music. This is no exception: a great, metallic sound full of lean energy and Andy Partridge's barking vocals. (Ian Birch, Smash Hits, January 7, 1982)

China Crisis - King In A Catholic Style (Wake Up) (Virgin)

These boys just keep turning out good tracks. This is a good lively tune with a real nice beat. You may think I'm biased towards Liverpool bands and you'd be right. However, all bias apart, this one really is worth 'getting into' (and I told our Rich, "African And White" was a one-off!) (Simon O'Brien, Smash Hits, May 22, 1985)

China Crisis are now the state of art in easy listening. The harder roots of early singles like "African And White" have withered away and left the band to develop pure, weightless melodies around Gary Daly's soft vocals. Crisis – what crisis? Unfortunately for a band that now stands or falls on its tunes, there are few good ones on the new LP and "King In A Catholic Style" is not one of them. It bounces along merrily enough on Walter Becker's airy production. But there are none of those essential shivers up the spine. (Martin Townsend, No 1, May 25, 1985)

An incessant and badgering ram-a-lam-a-ding-dong refrain keeps this going for longer than it deserves.  China Crisis are still too wordy for their own good but some considerable points scored in scooping Walter Becker as producer. (Dylan Jones, Record Mirror, May 25, 1985)

XTC - Ball And Chain (Virgin)

Now here's a good band . . . but a disappointing follow-up to "Senses Working Overtime". It starts well but doesn't go anywhere much and ends up as the kind of song you admire but don't greatly enjoy. (Tim De Lisle, Smash Hits, March 18, 1982)