Dolly Parton - Here You Come Again (RCA)

There's a line in this that goes 'better than a body has a right to be', and folding out the full colour poster sleeve you get a good demonstration. It really is a wonderful song, you can't really like it but you do. There's a couple of Barry Manilow songs that are such good songs in terms of structure and melody, and this is one of them. I'd buy it for the poster meself, it's got class. We were trying to get her to cover one of our songs, we wanted her to do a country version of "Karma", but whether she'll get round to it I don't know. It'd be great. (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

A timely re-release of this hit from '77, as Dolly popped up on TV only last Saturday in the excellent 9 To 5. There's something remarkably attractive about Dolly's confident Tennessee voice and this is as good a time to get to know it as any. (Paul Simper, No 1, March 17, 1984)

Simple Minds - Up On The Catwalk (Virgin)

More rattling, battering drums from Simple Minds, but this time Jim Kerr's cries to the four winds lack the melody and rhythm that made "Waterfront" so persuasive. You get the feeling old Jim's not too keen to be up on the catwalk with all these wicked capitalists but lyrically the high points are a name-check for Nastassia Kinski and (yet another!) for Mr de Niro. Don't say they want to meet him too! (Paul Simper, No 1, March 17, 1984)

I had a bet with a Virgin employee that their album wouldn't come straight in at number one, and I lost. The thing I find about Simple Minds is you can almost sing any of their songs over the backing these days, the last three singles have all been in that same solid production, everything upfront, so there's no gaps. I find that a bit annoying in a way, I'm not a big fan of theirs, they're just OK to me. Jim Kerr's phrasing of lyrics, although it's very unique, is always very similar. There's no real melody, even in the music. (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Depeche Mode - People Are People (Mute)

This time they've gone all radical with a distinctly metallic sound. But instead of jarring the nerves it tends to induce movement in bodies that normally wouldn't be seen dead on a dance floor. The lyrics are good, too - about "getting along awfully" and not understanding hate. Makes a change from all this unrequited love business. Easily their best yet and this harder direction is bound to spawn bags of imitators. (Peter Martin, Smash Hits, March 15, 1984)

Another one from the pessimists of pop! The lyrical content's always a bit outrageous - 'we got along so awfully' - I really laughed the first time that came on. They always seem to have one of these lines that make me laugh and I can't take the record seriously from then on. The production's pretty groovy, there's plenty of things flying around. But ever since Vince left, they've been doing these serious lyrics and they always use very obvious words to say intelligent things, and this is a good example. I think I saw their first ever gig, 'cos I used to go down to Croc's in Rayleigh, where we did our first gig, and I've followed them ever since. They made it before we did and I was in the area and well aware of their success, and there was one stage when I'd just joined Culture Club and Vince left Depeche and I was tempted to join! But I had faith in Culture Club! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Depeche Mode singles are often their own worst enemies. On first hearing, their simple synthesised tunes and Dave Gahan's stiff-necked vocals can seem plain and familiar. It's only after a few plays that the subtle melodies and rhythms begin to come through. "People Are People" is not as cynical as "Everthing Counts", but it's just as worldly-wise - the killer being the sub-chorus: "I can't understand. . ." A good one for the next time we take to the terraces in Paris. (Paul Simper, No 1, March 17, 1984)

Matthew Wilder - The Kid's American' (Epic)

I hate to be rude about him 'cos he was so sweet about us in one of his interviews, but this is awful. "Break My Stride" was a really good pop song, this is a really bad pop song, and the title is so bad. Horrid horrid horrid. Very sorry Matthew, nothing personal, you understand! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

No kidding. Looking like that, I'd never have guessed. Matthew seems to have gained in confidence since "Break My Stride". Nowadays he enters your living room with all the subtlety of a Sherman Tank. Lots of synth fanfares, handclapping and even the obligatory sax solo can't disguise the fact that our Matthew is a bit of a bully. (Mark Cooper, No 1, March 10, 1984)

Siouxsie And The Banshees - Swimming Horses (Polydor)

Here is the opportunity for Mike Read to prove he's quite a liberal sort of guy after all. "He gives birth to swimming horses," sings Siouxsie, and you don't have to be too imaginative to realise we're talking about Frankie's little come hither. Musically this is a much lighter touch for the Banshees. None of those psychedelic guitars - just a simple, lilting refrain. So go on, Mike, give it a go! (Paul Simper, No 1, March 17, 1984)

I hope this grows on me because I don't think much of it up to now. It's got a sort of staccato piano rhythm backing Siouxsie's powerfully gliding voice and it's all punctuated by a scratchy echoey guitar, much like the one on "Israel". I suppose it fits in well on the new album, but by itself I think it's one of their weakest singles yet. And for Heaven's sake don't ask me what "he gives birth to swimming horses" means. (Peter Martin, Smash Hits, March 15, 1984)

When it first came on I thought - Siouxsie and the Banshees, piano? Nah, it can't be. But it was. Haven't got much to say about this one. They're probably the sort of band that beat you up if you slag them off! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Toni Basil - Do You Wanna Dance (Virgin)

Brilliant song - Barry Blue, of course. I quite like it, even if the production is a bit obvious to say the least. But I'm sure it'll be a hit. Love to see Barry Blue in action again - the man who ran away from the music business with lots of notes in his pocket. (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Reckon someone's taking the mickey...Toni Basil may be able to stretch a leg as good as the next dancer, but her 15 minutes are surely up.
Dee C. Lee's making better, brighter cartoons, some nine-year-old's ripping her off on Superstore (quite horrific!) and the song belongs to Barry Blue.
Do you wanna get lost, please! (Paul Simper, No 1, March 17, 1984)

Shall I stick my neck out? Shucks, why not? This, I reckon, will hurtle into the Top Five. Now I know Ms Basil has been responsible for some grisly video activity and that several of her previous records have not been what you might term 'significant' but this revamp of an early '70s Barry Blue stomper is ridiculously catchy. Undo that top button and dance. (Ian Birch, Smash Hits, March 29, 1984)