Thompson Twins - Hold Me Now (Arista)

Lacking the quirky ingenuity which the Quick Step album made their hallmark, this is, nevertheless, a real grower with Tom removing his goggles and coming on all dewy-eyed and sloppy. (Mark Steels, Smash Hits, November 10, 1983)

The Twins bounce back with something that is far more thoughtful than any of their recent disco fodder. "Hold Me Now" is a well-paced ballad with the accent on melody and hypnotic percussive effects rather than those automaton riffs. If Tom Bailey could sing with the same kind of convincing emotion that they conjure up in the tune the Twins might make a record that outlasts its chart life. (Max Bell, No 1, November 12, 1983)

It's certainly been an interesting exercise watching the ol' TTs, observing the transition from New Wave Hippies to colourful pop wonder-kids. Like many combos before them the accusation of selling out has been flung at them numerous times and it always makes me laugh when I hear that about anybody, as if the world really cares! Bailey's Gang are well and truly in the ring now, boxing clever and delivering some short sharp singles. For me however, they're covered in pretty emulsion and at the end of the 12 rounds, lose the match. (Gary Crowley, Record Mirror, November 12, 1983)

Conspiracy Theory: It's interesting that Smash Hits reviewed this one, the first single from the immense Into The Gap album. You would think that the Twins' bright, tuneful, garishly colourful image and sound would be tailor made for Smash Hits readers. Yet they suspiciously neglected to review "Lies", "Love On Your Side", "We Are Detective", and "Watching" - all four singles from the previous album Quick Step & Side Kick. They also 'forgot' to review "Sister of Mercy" in 1984, during the weeks when NO1 magazine was unpublished due to industrial action. In contrast Record Mirror reviewed all of them, and NO1 was equally supportive.

The Tempest - Didn't We Have A Nice Time? (And All My Friends Are Here) (Magnet)

First up, and what do we have here (apart from probably the longest title on record!?). 'Tis a chirpy third release from Glenn Tilbrook proteges The Tempest no less. A swift no nonsense knock-kneed, foot-stomping, toe-tapping little filler, complete with hum-worthy melody and catchy chorus (reminiscent of Dexy's circa "Come On Eileen" - dare I say). Weaving in and out with a searing momentum, singer Mike Sherrin unleashes a mystifying tale of death and doom - here cleverly shrouded in a country-fied combination of charm and humour - and comes up with a beauty. A hit? Perhaps. 5/5 (Anna Martin, No 1, May 10, 1986)

Blancmange - The Day Before You Came (London)

The beginning is great but then .... It sounds almost comical and I like Neil Arthur's sense of humour, but it sounds a bit stupid in the music. It's an Abba song but it doesn't sound like one. I don't like the vocal but obviously it'll be a hit. Strange! (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

A dismal re-working of the old Abba hit, this also sound uncannily like the Thompson Twins. Bongos and banjos work at a furious pace in the background, but it's Neil Arthur's voice which spoils the whole package. For some reason he sounds as if he's singing with a hot potato in his mouth. Strange. (Linda Duff, Smash Hits, July 5, 1984)

Thompson Twins - Doctor! Doctor! (Arista)

"Doctor! Doctor!" was made in Nassau, Bahamas, and the record has a transatlantic sheen. Whereas a year ago the Twins were gawky pop novices still shedding their hippie roots, now they speak the international language of Michael Jackson, Duran Duran and Hall & Oates as if it was their nature. Which I'm sure it is. Some people might say they've sold out, or that their slick pop lacks soul, but I'd rather hear trivial Thompsons than any of the worthies who inhabit the independent charts. After the addictive "Hold Me Now", "Doctor! Doctor!" returns to the electro-pop territory of "Love On Your Side", but with much more style and confidence. (Phil McNeill, No 1, January 28, 1984)

Their last single was my favourite record of December '83. They seem to have hit on a formula which will ensure their growing success for some time to come. In my opinion, not as good as "Hold Me Now". I wish they wouldn't feel obliged to dance about so much. (Martyn Ware, Smash Hits, January 19, 1984)

Again there's this amazing uniformity of keyboard sounds, they're all using the same gadgets. I can see the video now, a strange house, a woman disappearing into some doors that close mysteriously behind her, and there's got to be a rose somewhere. It gets better as you listen to it, though, but I don't think it's up to their two biggies. I have a lot of time for these guys, and the single's got a good chance with their name behind it, but the beginning is a bit standard. (Stewart Copeland, Record Mirror, January 28, 1984)

Thompson Twins - Watching (Arista)

Nausea. It's the only word I can use to describe my feelings towards the Twins. Going to art school having a 'weird' haircut and (slightly) 'weird' clothes, a young mediocre finds the accountancy profession closed to him and promptly goes off to join a pop group. Pop! Get a producer get a video, get a stylist - get ahead. Unfortunately, such terribly smart business considerations don't allow for a spark of wit or soul in your music. But that's no problem; when your mediocrity and imagination match those of the music biz you're in clover. Processed. (Jim Reid, Record Mirror, July 9, 1983)

Echo and the Bunnymen - Never Stop (Korova)

From the joyous, jagged intro to the juddering close, a hit and no mistake. With a bit of cello, heartfelt vocals, some disco percussion, a name-check for Russian writer Maxim Gorky and what sounds like someone tapping out a tune on the ribs of a skeleton, this is probably the best Bunnymen single ever. Easier to dance to than philosophize about, which is all well and good. Is this what Mac meant about them finding their "lighter side"? Whatever, sheer bliss. (Dave Rimmer, Smash Hits, July 7, 1983)

A more direct and, dare I say it, safer Bunnymen. They have established a bridgehead in the top 20, so one can forgive them for marking time. This record is distinguished by Mr McCulloch's strong vocal; some lovely keyboard work and absolutely no references to obscure novelists. (Jim Reid, Record Mirror, July 9, 1983)

No don't, Mac. The truest of all rock groups continue their tradition of great singles. 'Never Stop' grabs you by the throat and doesn't put you down until you're pulsing with the feverish energy that's in all their recordings. This is going to make Top Of The Pops well worth watching. What will Mac do this time-strip off totally or just smash up the studio altogether? Don't stop watching! (Paul Bursche, No 1, July 9, 1983)

Echo And The Bunnymen - Lips Like Sugar (WEA)

Let's see now, we've had some sugar mice from Marillion and now the Bunnies are blowing some 'sugar kisses' our way. My, aren't we all in a soppy mood this week! This is a pleasantly soppy, girly love song, full of sugar'n'spice and all things nice, and for once there's less of the ol' whining from Mac. (Debbi Voller, No 1, July 25, 1987)

George Michael - Father Figure (Epic)

'I will be your father figure, I have had enough of crying, I will be the one who loves you till the end of time. . .' Once again, George unveils a blinding talent for wonderful sentiment and swoony lovesome lyrics, all elegantly swathed in pristine "epic" production and the usual echoey voice-oice which trails-ails off almost every note-ote...It's in a similar "vein" (though not nearly as good) as "A Different Corner", it's perfect Radio Two fodder, and it will doubtless be a top ten hit. It is also hugely unexciting. (Sue Dando, Smash Hits, December 30, 1987)

Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

Arcadia - The Promise (EMI)

Despite exceedingly danceworthy rhythm guitar and extra vocal bits by Sting, this isn't as exciting as "Election Day" and can at first sound a little drab. But it grows on you, believe me. And grows and grows. P.S. There may be a 12", although we didn't get one. This 12" may contain the version with an utterly corking keyboard solo by Herbie Hancock. I hope it does. (Dave Rimmer, Smash Hits, January 15, 1986)

Come on, admit it. . . by the time you'd seen/heard "Election Day" for the tenth time on the video jukebox, you'd, begrudgingly at first, grown quite accustomed to the first and long-awaited sampler from the Taylor/Rhodes/Le Bon collective. Well, in that case, you'll be pleased to discover that "The Promise" goes one better. Maintaining a more pleasurably seductive mood throughout, Simon indulges in aesthetic extravagance and somehow manages to stifle the urge to wail with impromptu vigour. As expected, the goods are immaculately packaged - for maximum enjoyment on consumption. A promising endeavour! Duran Duran take heed. (Anna Martin, No 1, January 18, 1986)

Hot from the desert that is So Red The Nose, it starts with what sounds alarmingly like a Thin Lizzy riff. Simon groans manfully, the bass boings sleepily into action before our Si launches himself into vocals that are truly painful to hearken unto. A predictable review for a predictable record. This is obviously what Duran Duran do in their sleep, so I pity their good lady wives. (Nancy Culp, Record Mirror, January 18, 1986)

Talk Talk - Life's What You Make It (EMI)

And here it is. . . the surprise bundle in this week's box of tricks. Talk Talk are one of those mystifying bands that revel in glorious success throughout Europe but fail to make any mark in the UK charts. Dismissed by many and ridiculed by others, TT sustain an unfathomed quality all of their own - one that requires further investigation. After an 18-month absence, "Life's What You Make It" offers a rare glimpse at the possibilities. Hopeful. (Anna Martin, No 1, January 18, 1986)

Reluctantly placed in the latter category simply because these young men don't seem to get off the starting blocks in this part of the world. A slow and smouldering song that grew on me after a while. I've a feeling I could take to it a bit more, minus the angst ridden vocals. A bit too laid back for Radio One, I trow. And what they say, still goes unfortunately. (Nancy Culp, Record Mirror, January 18, 1986)

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)

Talk Talk - My Foolish Friend (EMI)

Oh, the pain of being a member of Talk Talk! The starched shirts, the meaningful expressions, the dry ice, the anguish, the adenoids, not to mention the snide reviews! (David Hepworth, Smash Hits, March 17, 1983)

Missing Persons - Words (Capitol)

This year's flash American import and, of course, they're the hottest band on the LA club scene. They're going to play a showcase date in London, of course, and appear on The Tube. Fronted by an ex Playboy bunny who sounds more sickly than a lemon popsicle, I reckon they'll go down like their predecessors the Motels, but, with the charts in a strange mood at the moment, I could be kind and say that you never know. (Robin Smith, Record Mirror, March 5, 1983)

The Style Council - Speak Like A Child (Polydor)

The world waits with bated breath. The pubs are emptied and the streets are deserted as people scurry home to see if Paul Weller's quarter of a million deal with Polydor has paid off. And yes, the voice of a nation is set to cut it again. What I like is the fact that the bitterness has gone - there was nothing worse than Weller launching his tirades against art and society. Weller relaxes and coughs up a rich little number with his big toe in the past and his eye well and truly on the future. Weller's new baby is bawling lustily. May it grow to be strong. (Robin Smith, Record Mirror, March 5, 1983)

Or "speak like a child", as Paul Weller's curious vocal dialect has it. His first post-Jam effort makes a refreshing change from the choppiness of songs like "Town Called Malice", coasting along on the back of Mick Talbot's soul organ and sounding like the work of a man getting back to his own element. (David Hepworth, Smash Hits, March 17, 1983)

Ultravox - Visions In Blue (Chrysalis)

I blew the dust off the stylus, changed the turntable speed and got the bloke in from next door to check my wiring. But no use. This still sounded awfully dirge-like. Mind you, that's what I said about "Ghosts" by Japan. (David Hepworth, Smash Hits, March 17, 1983)

Ah yes, I can see it all now. The train pulls into the station through billowing fog and a young girl looks over her shoulder as Midge Ure twitches his moustache. I've been unmercifully unkind to Ultravox in the past, but I always liked "Vienna" and this has the same ring of confidence and enterprising style. All is forgiven, this should be huge. (Robin Smith, Record Mirror, March 5, 1983)

The Comsat Angels - Island Heart (Jive)

The last time I did the singles I thought the Comsats had a hit on their hands with "Will You Stay Tonight". I was wrong and I'm keeping my mouth shut about this one. Enough to say that they always produce great melodies and intriguing tinkly bits in their music. This one has a lovely feeling of escape and freedom. Buy this tomorrow. (Eleanor Levy, Record Mirror, November 19, 1983)

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)

ABC - Be Near Me (Phonogram)

This sounds like a B side. They've never been the same without Trevor Horn and they're no good at producing themselves. The song is weak and I don't like this four-piece line-up. Pleasant enough, I suppose, but I don't think it'll be a hit. It doesn't sound glamorous enough. Thumbs down! (Curt Smith, Record Mirror, March 30, 1985)

Rose: Lots of nice sounds. The main melody is dead good but I can't get very excited by the song. Jill: This is much more like the ABC of old. I thought it was weak at first but I really like it now. There's a good toy piano on it. I feel a bit cheeky saying this but I wish they didn't look so daft. (Strawberry Switchblade, Smash Hits, March 28, 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)

Thompson Twins - Lay Your Hands On Me (Arista)

WOW! A new single from THE TWINS! HEY! CRITICAL! FABEROONI! etc. The Thompson Twins find themselves in the almost enviable position of having invented their own clichés - and very marketable ones they are too. This perfectly constructed, sort of spiritual, swingalong cliché of a future hit is as pleasant (i.e. rather boring) and unassuming (i.e. rather bland) as its precursors. Pass the lentil bake, I feel a song coming on . . .  (Lesley White, Smash Hits, December 6, 1984)

This group get better all the time. They made the top five unexpectedly last Christmas with "Hold Me Now". This year, it'll be no surprise if they come out right on top. "Lay Your Hands On Me" is deceptively good. Is it Tom Bailey's ever-maturing singing, so deft and full of nuances. . Or the clever melody that tugs at so many pop memories. . . Or the lush production and the way the instruments seem to swell in and out of the mix.. Whatever it is that makes great pop, The Thompson Twins have got it. (Phil McNeill, No1, December 1, 1984)

Rod Stewart - Trouble (WEA)

Lovable old hack or LA creep? He annoys me a lot less since he's started wearing a suit instead of those cellulite-sausage lycra leggings, actually. "Some Guys", whilst unable to hold a candle to Robert Palmer's version, showed that of big nose still knew how to pick 'em. But this self-written slowie is undistinguished, to put it kindly. (Sunie, No1, November 24, 1984)

In which everyone-over-40's favourite Jack-the-lad takes a breather from the endless round of ditching old blondes, finding young ones and wearing scoop-neck t-shirts to reflect on the sorry fate of the ageing Romeo. A palatable miss-you-babyee effort, this, which merits some success. Trouble is, I remember Rod before he got a full time post at the Ministry Of Music - well 'ard, 'e was. (Lesley White, Smash Hits, December 6, 1984)

Five Star - Crazy (Tent)

Say hi to the New Edition! Five Star are a family of five black Brits, including three Crolla-clad girls with lightened hair and a pretty good Michael Jackson clone. Someone in the Five Star camp knows a hook when he hears one. They should give him a raise and sack their stylist. (Sunie, No1, November 24, 1984)

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)

Virgin Dance - Are You Ready (For That Feeling) (Spartan)

Songs don't come easy to Virgin Dance. Like its predecessor "The Dream Is Over", "Are You Ready" is sketched painstakingly over a shimmering backdrop of guitars and heavenly choirs. Sheer single-minded excellence. One day they'll be as big as The Bunnymen. (Martin Townsend, No1, November 3, 1984)

A-ha - Take On Me (WEA)

Gold star too for A-ha, a Norwegian trio. "Take On Me" and "And You Tell Me" are fresher that a freezing gust up the fjord and highlight the singer's incredible vocal range. Essential purchases both. (Martin Townsend, No1, November 3, 1984)

Alphaville - Forever Young (WEA)

"Big In Japan" was a real horror. Sickeningly twee but a big enough hit to be played into infinity at tacky Continental discos or dragged out annually as a Radio 1 golden oldie: "Back in time with Alphaville . . . All of which makes "Forever Young" a real surprise. A stately and well-sung melody floating along on echoey church organ, it does everything but scream `follow up'. Big in the credibility stakes if not in the charts. (Martin Townsend, No1, November 3, 1984)

PH: It started off for me quite interesting, but then it went into something which was quite MOR. AM: They're from Munster, I met them three weeks ago in Cologne, I was doing an interview. They made me feel like Grandad, because they came up to me and said "Oh OMD, big heroes of ours, your first album was really important, made us want to make music." They're all our age, and one of them's 30, actually. That song started off sounding like Toto on synths, then got strange... it's a mega Euro-ballad. (Andy & Paul of OMD, Record Mirror, November 3, 1984)

ABC - How To Be A Millionaire (Phonogram)

ABC's Beauty Stab was, for me, one of the albums of '83. Precise, socially-aware lyrics beefed up into a heady rock mixture, - Here Martin Fry and Mark White - with two new members aboard - take the fashionable and logical next step. They throw their weight behind pounding electro rhythms in an ironic, scathing attack on money politics. Radical dance music of the first order. File next to "Fascist Groove Thang". (Martin Townsend, No1, November 3, 1984)

PH: There's a melody line in there which is very similar to Shannon's "Let The Music Play". It's the kind of fractured rhythm that you wish would settle down. AM: Sounded like a production in search of a song. I wanted to like that one, what have you done? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Why ABC should want to make a weak New York dance record is beyond me. Nevertheless, here we have Martin Fry crooning over a reasonable imitation of one of Shannon's backing tracks. There's no originality or feeling - ABC are just desperately apeing an already over-imitated sound. Obvious proof of a lack of material and a crisis of confidence and direction within their ranks. (Neil Tennant, Smash Hits, November 8, 1984)

Depeche Mode - Blasphemous Rumours/Somebody (Mute)

Depeche Mode are becoming a Very Important band indeed. Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality. "Somebody" gently unfurls the map of a modern relationship and explores every fold. The double A-side, "Blasphemous Rumours" weighs religion and reality with precision and feeling. Thought provoking stuff. (Martin Townsend, No1, November 3, 1984)

A double-A-sided single of two tracks from their Some Great Reward LP. "Somebody" gets my vote because it's so different from all their other singles. Martin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves. "Blasphemous Rumours", on the other hand, is a routine slab of gloom in which God is given a severe ticking off. (Neil Tennant, Smash Hits, November 8, 1984)

PH: I really like it, I like it a lot; it's got a great chorus line. It's a bit fractured, but then that's their style. It's a bit too fractured at times, you keep wanting to hear the chorus. AM: The strong thing is their melodies and that chorus as Paul said is a belter. I've got this feeling that Depeche Mode are going to do something really amazing and they're getting pretty close. PH: They're the only band this week that sound like they know what they're doing, the only band that've got two ideas to rub together. AM: Well, two pieces of metal to rub together, anyway! (Andy & Paul from OMD, Record Mirror, November 3, 1984)

Lloyd Cole - Rattlesnakes (Polydor)

Although Lloyd has his most obvious influences written proudly across his chest - Lou Reed, Bob Dylan, Lou Reed - he's still creating a rock mythology all of his own. On "Rattlesnakes" the influences of his Derbyshire birthplace and Glasgow - where he was educated - are stirred up in equal measures of hometown grit and academic wit. He juggles European and American references in the lyric - novelist Simon De Beauvoir, On The Waterfront - and still ends up with a peculiarly English blend. A rich and fascinating single of the week. (Martin Townsend, No1, November 3, 1984)

AM: Having just listened to Depeche Mode this sounds positively dated, but that's what people want these days. Why is it that old Marlon Brando movies are so bloody trendy these days? The guy's fat, bald and an American millionaire. Any musician who was like that would be out of the window straight away. What I want to know is, will Lloyd Cole be getting two million dollars in the year 203 for appearing in 'Superman 37'? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Black - Sweetest Smile (A&M)

Isn't that Prince's favourite colour? Or was that last week? Either way, this is delicious. Really moody and dramatic, from the latest band to emerge from Liverpool. File under classics. (David Martin, No1, July 4, 1987)

Mel & Kim - FLM (Supreme)

A Shalamar beat that bears straight down on the floorboards, a crisply cynical lyric and Mel & Kim give a cheery British retort to Madonna's "Material Girl". Mel & Kim maybe aren't serious money, but they are most certainly smart money. And despite the fun and love and sensuous crooning, the accent is firmly on dosh! This is the sound of a thousand Access and American Express cards showin' out in a thousand Thatcherite suburbs. It hurts to have to tell you that this and the haircut (Swing Out Sister) below really are the best of the week. (Pete Paisley, Record Mirror, July 4, 1987)

Phil Wilson - 10 Miles (Creation)

A real Spanish Lolita of a song that beats its eyelashes cruelly and then gallops over you. Boils over a bit, but when the ingredients settle down there's a decent Morrissey song waiting for its flavour to be drawn out. It's the usual Creation syndrome: a young man blabbing into his leather strides. But the tears certainly bring the sheen up something lovely. (Pete Paisley, Record Mirror, July 4, 1987)

Level 42 - It's Over (Polydor)

Once we've got past the positively asthmatic opening keyboard line, the Levellers deliver a powerfully sensitive song that makes up for some fairly corny lyrics with its atmosphere and, for once, restraint. Who cares if it's not the hippest single this week? It's an accomplished record that I'd play in my Cortina (if I had one) on the way to a cosy Epping Forest nook, late on Saturday night. (Andy Strickland, Record Mirror, September 5, 1987)

Kinda mellow and middle-America ie. benign ol' grandad out on the front porch serenading coyotes with trusty old harmonica and geetar. Don't quite know how Mark King and his varmints fit into this pleasing scenario but no doubt some black-and-white film and a well placed cactus will do the trick, (Paul Simper, No 1, September 5, 1987)

Fleetwood Mac - Little Lies (Warner)

I can never hear the words 'Fleetwood Mac' without thinking of Stevie Nicks flinging her skirts around her ankles in their horrible little videos, as well as a particularly gruesome tale someone once told me about Nicks which is far too disgusting to repeat here. This is more of their. cunningly addictive, sugar-sweet MOR that, in comparison to today's pretty, sophisticated, sterile, CD pop bands, sounds positively rebellious. Lindsey Buckingham to join Danny Wilson, anyone? (Eleanor Levy, Record Mirror, September 12, 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)

Five Star - Strong As Steel (RCA)

Having fought off the gum diseases induced by the Crunchie frenzy on the last tour, those bad ass muthers Five Star are back with a Wacko Jacko style ballad. And just like Wacko singing (and lying) about how 'Bad' he is, squeaky clean Five Star's smouldering lurve song is just as laughable; a bit like the Pope rapping along to 'She's On It'. (Ian Dickson, Record Mirror, October 10, 1987)

The Write Stuff: While the A side was written by famous songwriter for hire Diane Warren, the B side "The Man" featured the vocals of one Buster Pearson, Five Star's manager (and father, of course).

Samantha Fox - I Promise You (Get Ready) (Jive)

Saucy little number from bubbly blonde Sammy (aged 12), who by now must be pin up for both father and daughter alike. All those pleas of 'I want to be recognised as a serious musician' are beginning to fall on some very deaf ears, and quite right too; how many changes has the effervescent Sam wasted on trying to prove a point? Fact is, better artistes than Sammy go down the bog every day because they don't get a second chance. Life's not fair. (Ian Dickson, Record Mirror, October 10, 1987)

1000 Mexicans - The Last Pop Song (Abstract)

With a title like this, I was expecting something apocalyptic but if this is the last pop song then God help us. A dreadfully monotonous bass line as well. (Marc Almond, Record Mirror, February 25, 1984)

Kimberly Leston - Obituary

The sudden and shocking death of the writer Kimberley Leston at the age of 35 has deeply saddened those of us who knew and loved her, while also depriving many others of her resonant and contemporary voice.

A talented editor before she gave full rein to her innate ability as a writer, Leston found her way into journalism after working for several years as a magazine designer and art director, both in Britain and in New York, on titles as diverse as Men Only and Smash Hits.

Her editorial break came when Nick Logan, founder and then editor of the Face, gave her a key role on his magazine in the mid-Eighties. Like many of us who worked there, Leston was actively encouraged to learn on the job and find her journalistic feet. By the time she left to join the launch of Marie Claire her skill and dedication had been rewarded and she had been promoted to assistant editor.

The transition from the close-knit family environment of the Face to the structure of a big corporate title didn't appeal, however, and she quit within months to concentrate on freelance work. It was a decision she did not regret - she found her niche very fast, exploiting a gift for witty and provocative writing in the pages of numerous publications including Arena, Elle, Cosmopolitan, Options, the Guardian and the Independent.

Kimberley Leston's trademark was a wry and knowing take on sex and gender issues. Her work resonated - and her style was widely imitated - because of her ability to allow her readers to believe she was confessing directly, and intimately, to them alone. She never pretended to the rest of us that the writing process came easily, but the end-result always read that way: enviably deft, clever and fearlessly frank. Writing memorably a typical insight about her time as a designer on porn magazines, she had this to say: "Pornography is as desperate and unchanging as poverty. It sustains itself in its bleak, self-sufficient prison too accustomed to its own limited expectations to adjust to real life outside. I do not believe that soft porn, despite its being a useful prop, incites men to rape who would not have been rapists otherwise. But these words and pictures have a life of their own . . . a life you can imagine but wouldn't want to be around."

After marriage to the writer and musician David Toop, and the birth of her daughter Juliette, Leston devoted more of her time to motherhood while also diversifying her writing. Lately she had studied astrology and within weeks was writing on the subject; she became "Dear Kimberley", agony aunt for the teen magazine Sugar; and occasionally penned erotic fiction for women's titles and regular columns for the broadsheets. Unlike many of her peers, she loathed the idea of being typecast.

Kimberley Leston's qualities as a writer were synonymous with those that made her a wonderful friend. We treasured her vivacity, candour, humour, generosity and optimism. She was someone who gave - and kept on giving - all of herself, both professionally and personally. Her parting leaves a great void in the lives of those she touched. (Kathryn Flett, writing in The Independent, 1995)

Sparks - Change (London)

Giant studio panarama from one of the precursors of electro-pop. Simply trashes the other rockish releases this week with a rare impudence and a desire to go for those massive, massive instrumental statements. Thundered synths, thunder clapped drums, jagged guitars, moments of quiet menace and yes, those thoroughly distinctive vocals. (Jim Reid, Record Mirror, July 20, 1985)

Madonna - Into The Groove (Sire)

Of course in pop, in showbiz, the star personality becomes far more important than the artifact ... the pop personality is the pop machine's ultimate product. Its very raison d'etre. Nobody knows this better than Madonna. Initially touted as NYC's disco queen, she's since unstintingly contrived at a direct hit on Kids From Fame All American Celebrity. As such her songs are now only fit to showcase her presumptious assumption of stardom - success with all the lipstick and midriff and none of the right moves. Her current single "Into The Groove" is formulaic in the extreme and, like her public persona, is hollow. (Jim Reid, Record Mirror, July 20, 1985)

Depeche Mode - It's Called A Heart (Mute)

Depeche Mode have reached an interesting stage in their life. In the long term, the (relative) lack of success of "Shake The Disease" will probably be a good thing - helping the band to get away from the teeny/girly/ chart image they've been saddled with. Anyone who's heard their album will know them as a band with more depth than that, but there are some still need convincing. If anything, "It's Called A Heart" is a step back - bringing them once more into the realms of the three minute pop song they'd broken out of with the last three singles. It features godawful electronic sounds, mixed into a beautifully simple tuneful concoction. That takes skill and commitment and Depeche Mode are increasingly well furnished with both. (Eleanor Levy, Record Mirror, September 21, 1985)

Virginia Astley - Tender (Elektra)

As the phenomenon that is the solo female singer-songwriter makes something of a comeback, Virginia makes her bid for stardom. After a spell supporting the Fun Boy Three and a solo deal on Rough Trade, Virginia now delivers her sweet lilting tunes accompanied by an equally sweet lilting vocal. A little sugary at first, but - like Cadbury's Cream Eggs - genuinely addictive. (Eleanor Levy, Record Mirror, September 21, 1985)

Quite possibly the only truly original-sounding song in the whole of this fortnight's bunch. With a wistful, dreamy vocal over a whole lot of oboes, violins and other orchestral stuff, multi-instrumentalist Ms. Astley conjures a mood that feels old-fashioned and rural and awfully English. Hardly the future of rock `n' roll, but very enjoyable and perfect music for the summer we never had. (Dave Rimmer, Smash Hits, August 28, 1985)

Jimmy The Hoover - Bandana Street (Use It) (MCA)

If you blinked two years ago you'll have missed the rise of Jimmy The Hoover - the strange collection of individuals who meteorically shot to fame with the instantly forgettable "Tantalise" and immediately returned to the obscurity from whence they came. Their new offering can best be described as an active assault on the aural cavities, with production overriding content to deliver a wall of sound comprising some 50 voices and a hundred trumpets blowing rather violently into your ear drums. (Eleanor Levy, Record Mirror, September 21, 1985)

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)

The Blow Monkeys - Out With Her (RCA)

What an old cynic Dr Robert is. Everyone else is falling over themselves with the joys of being in love, and here he is analysing the consequences. Should his heart rule his head or vice versa? Judging by all the sighing and gasping he's up to on this slowie, it sounds like love doesn't really come into it at all. Not when you can survive on lust. Classy all the same. (Jane Wilkes, Record Mirror, March 21, 1987)

Hark! What a cheeky monkey Dr Robert is. Hear him wake up, yawn, stretch and then launch into the heaviest breathing I've heard this side of Donna Summer. Highly provocative, and if that alone doesn't make this song appealing, the sultry, smoothy blend of piano and glistening percussion just might. Most relaxing, I must say. (Ro Newton, Smash Hits, March 25, 1987)

Big Country - Chance (Mercury)

Stuart Adamson owes more than a little to New Joisey's own Bruce Springsteen, but this time he borrows voice, harmonies and tune. But where Springsteen would muck it all up with a surfeit of sax frenzy and over-enthusiastic vocals, Stuart and friends, with their clanking guitars, remain persuasively restrained, saving a power chord-driven chorus for a final treat. Single Of The Fortnight. (Tom Hibbert, Smash Hits, September 1, 1983)

See You In Vegas - Work (Red Rhino)

Deceptively pleasant little pop ditty, this. See You In Vegas are a band with a 'radical' message delivered with humour and a lot of style. The music's not bad either. (Eleanor Levy, Record Mirror, August 20, 1983)

Howard Jones - New Song (WEA)

Candifloss synthi-pop. Producer Colin Thurston, man at the controls of Duran Duran and Kajagoogoo, spins out lots of sweetness and light. About as substantial as the fluffy pink stuff on a stick. (Lynn Hanna, No 1, August 20, 1983)

Another in the long line of pretty-boy popsters, Howard is apparently rather big in High Wycombe. This first offering is produced by the same man as Duran Duran and Kajagoogoo and will probably be MASSIVE. It's squeaky clean disco pop with lots of whoops and woos in the background. You can't fault it. (Eleanor Levy, Record Mirror, August 20, 1983)

Missed A Sitter: Smash Hits failed to review 'New Song' which reached number 3 in the pop charts.