[3][4] In January 2009 the German label, Little Teddy Recordings,[6] re-issued the single for the 30th anniversary of its original release.

[9][5] The single's sleeve depicts Forster and McLennan alongside portraits of Bob Dylan, Che Guevara and Lee Remick.

The Go-Betweens used "Lee Remick" as a promotional tool, sending copies to magazines and record labels around the world.

[9] According to Australian musicologist, Ian McFarlane, both singles were "sparsely produced, poorly played yet passionately performed folksy, post-punk pop songs.

Everything is little more than a mash note to an unapproachable star in the end, but as a sweet little singalong that at least helped get the band out there somewhere in Australia, rough and simple as it was (check Grant McLennan's bass line, which is about as basic as one can get).

'"[17] Stanton Swihart, also from Allmusic describes, the B-side, "Karen", as having a "beatnik nonchalance", "with its literary roll call – Hemingway, Genet, Brecht, Joyce – is very much in the mold of Dylan, even showing a similarly effortless, tongue-in-cheek artsiness.

"[18] Andrew Street in the Australian music website, Mess+Noise, describes the song as "Robert Forster’s ode to the titular screen goddess, is a piece of awesome three-chord indie-thrash.

"[19] London in Stereo's Gareth Ware stated that it was "An infectious slice of Monkees-esque pop, ‘Lee Remick’ would at once show their way with a tune and what happens when film buffs are given free reign [sic] to write lyrics.

On its b-side, ‘Karen‘, Forster would again demonstrate his way with words by channelling The Modern Lovers to describe his own loneliness and a yearning for excitement.

"[10] Joseph Neff describes "Lee Remick” as being "a truly swank mixture of bubblegum wittiness and an incessant melody, while the plainly Modern Lovers-derived “Karen” succeeds by not skimping on the VU and then conjuring up a narrative of sizeable depth.

"[20] Jon Dolan in the Chicago Reader however states "Forster's ode to Remick isn't a love song, and it's only vestigially related to the kind of pop-culture fetishizing made hip by Redd Kross.

The B side, "Karen," is the real love song, a skeletal, moody, mid-tempo-then-speeding-up-as-the-blood-boils ode to a librarian who helped Forster find Hemingway, Chandler, Genet, Brecht, and Joyce: "She always makes the right choice!