Paul Young - Everything Must Change (CBS)

A slow and stately self-penned ballad that's more like "Wherever I Lay My Hat" than anything else Paul has done. Takes its time to sink in, as good ballads often do. Should do the business. (Dave Rimmer, Smash Hits, November 22, 1984)

After the post-Frankie heavy metal soul of "Playhouse", Paul veers towards country on his first self-written release since the hits started coming. The country-style guitar freshens up his familiar bass 'n' synth sound, and the song's pretty creditable too. It gives away his '70s rock origins, but then he's never been at great pains to disguise those. I look forward to seeing him clutching his mikestand on TOTP as soon as poss - that much won't change. (Sunie, No1, November 24, 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)

Paul Young - Wonderland (CBS)

Paul Young seems to have carved his own unorthodox niche in pop where quality for once equals commerciality - a simple, striving, soulful vocal set against a huge, echoing, empty production with lots of interesting odd corners. This is in the "Everything Must Change" mould, a rather spiritual song about closing your eyes and your troubles being healed. Sounds curiously like Big Country in places and at five minutes it does go on a bit, though it's good enough not to seem like it. (Ian Cranna, Smash Hits, September 10, 1986)

Back after a long break, part of which was spent recording his new album in Italy, Paul Young follows a Tomb of Memories with a Wonderful full of Eastern promise... a tune complete with sleepy bass, eastern twangy guitar and a dreamy, chanting chorus of 'let me take you back to wonderland.' It doesn't have the instant appeal of some of his earlier hits but its mystical charm has a certain, er, hypnotic effect. 3/5 (Andrew Panos, No 1, September 27, 1986)

Paul Young - Tomb Of Memories (CBS)

Well, you won't catch me saying a bad word about Paul Young, though I do think it's a bit of a swizz taking a fourth single off The Secret Of Association LP. Paul sings predictably well on this song co-written by him and featuring Squeeze members Chris Difford and Glenn Tilbrook on backing vocals, but Laurie Latham's over-wrought production is really beginning to grate. (Maureen Rice, Smash Hits, June 5, 1985)

Think of something smooth. Something round, featureless and very, very bland. Something instantly forgettable. Something entirely worthless. Yes? Well, you're getting near to appreciating what the (wow) New Paul Young Single is really like. Paul Young's assimilation so quickly into the belly of the beast of boredom is tragic considering the class of interpretations like "Wherever I Lay My Hat" and, more recently Daryl Hall's "Every Time You Go Away". Young's voice can assume magical properties (occasionally) but the boy can not write songs. (Graham K Smith, Record Mirror, June 15, 1985)

From his latest LP The Secret Of Association this song is one of the weakest and a waste of his wonderful voice. Everything he's done so far has been great, but methinks everything must change if Paul is going to stay at the top. Loyal fans will probably make it a hit, but he doesn't deserve it with this funeral dirge. (Anne Lambert, No 1, June 15, 1985)

Paul Young - Wherever I Lay My Hat (CBS)

If fame and fortune smile on the deserving, Paul Young is headed for dizzy heights. Here's
a voice to shame even good singers like [Boy] George and Alf, while those [Spandau] Ballet boys aren't even in the same league. Truly gorgeous white-boy soul, and a cover version Marvin Gaye would be proud of. Move over, Tracie, you're behind me in the queue . . . (Maureen Rice, No 1, June 4, 1983)

The best British white soul singer I've ever heard. The power and emotion in his voice makes me feel so sure! The song is a traditional blues/soul melody in '60s style but the instrumentation sounds a lot like Japan. A duet with Alf should come soon. (Gary Kemp [Spandau Ballet], Smash Hits,May 26, 1983)

The story so far ... In the process of avoiding the lecherous advances of Tracie, Paul (27) dashes into the studio to polish off a single. Unfortunately dodgy production and arrangement smother his ooh so soulful voice. Will Paul find the tune he so desperately needs? Will Tracie find the boy she longs for? Folks, keep those eyes posted for 'Young Love' magazine. (Jim Reid, Record Mirror, May 26, 1983)