New Order - Blue Monday (Factory)

It had to happen. New Order have dumped moody, repetitive guitars in favour of moody, repetitive synths and a drum kit with a pronounced stutter. After the first twenty minutes or so, it starts to cause tense, nervous headache... (David Hepworth, Smash Hits, March 17, 1983)

New Order - True Faith Remix (Factory)

I wouldn't normally bother with reviewing a remix but this one, by my favourite miscreants, deserves a mention as it's radically different from the version currently on offer. Remixed by Shep 'Pet Shop Boys' Pettibone, it rivals his "Love Comes Quickly" remix as one of the all time greats. An interesting variation on the theme and a sure fire dance classic. Buy and be damned. (Nancy Culp, Record Mirror, August 8, 1987)

New Order - Temptation (Factory)

I can spot a New Order single a mile off. Just keep an eye out for an expensive-looking sleeve that doesn't say New Order anywhere on it and you're halfway there. (We were thinking of doing a New Order poster magazine at one time - it was going to be baked inside a cake and only available to residents of The Channel Islands, but it never came together . . .) Anyway, this is a change for the better; animated, perky even. Spring would seem to be in the Mancunian air because this is that rarest of items, a New Orders love song, featuring the lines 'up, down, turn around, please don't let me hit the ground' and other phrases which could be said to express happiness. With my own ears I heard it. (David Hepworth, Smash Hits, May 27, 1982)

New Order - The Perfect Kiss (Factory)

New Order emerged as the reincarnation of Joy Division after the suicide of singer Ian Curtis. Bald, boring history on a page, and most people already know it. But it's still important because it allows New Order to exercise a simple talent for understatement – the slight but beautiful 'chorus' to "The Perfect Kiss" – and allow that aura, the aura of tragedy, to vest it with significance. In the end what is basically a quite competently played and produced dance single becomes, like "Blue Monday", almost anthemic. (Martin Townsend, No 1, May 25, 1985)

Though New Order have created one of the largest walls of sound in current popular music, they still tend to grab hold of the most twee melody and milk it dry. This new ambidextrous love song looks at everything through a rose-tinted monocle and still fails to focus itself properly. Nevertheless, a good record that will get better with each listen. One hopes. (Dylan Jones, Record Mirror, May 25, 1985)

 

New Order - State Of The Nation (Factory)

A double A-side, presumably to appease those who'd given up on New Order releasing another record. 'State' and 'Shame' are actually different versions of the same song with 'Shame' by far the more dramatic of the two. Guitars growl, pianos shriek and all the while a muted synthesised dance beat rumbles on. Not the most dynamic thing they've ever done but at least it doesn't sound like Jam & Lewis. (Paul Simper, No 1, September 20, 1986)

New Order - Thieves Like Us (Factory)

This one's a grower for sure! I've played it a few times and it gets better every spin. Produced by New Order but co-written with Arthur Baker, I personally prefer the band's production. Great melody which sticks in your brain. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)

The phenomenal success of "Blue Monday" is a hard act to follow, New Order have yet to beat the challenge they set themselves. "Confusion" was saved by the brilliant Arthur Baker production but on "Thieves Like Us" New Order get behind the controls and the result is rather lifeless. The song is a grower in a meandering kind of way, but the tuneless vocals of Bernard Albrecht reduce the affair to a flat disco dirge. (Karen Swayne, No 1, April 14, 1984)

I like this a lot. It reminds me a bit of Lou Reed and it's a lot different from their last few singles. I prefer it to their disco stuff which they don't do very well, it's very good and it's still got that indie feel about it. (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)

More melodic than normal New Order. It floats along nicely. (Kenneth McCluskey [The Bluebells], Record Mirror, April 21, 1984)