Philip Jap - Save Us (A&M)

In which Jap half-heartedly tries to be Bowie and Producer Trevor Horn (Any relation, Dave? - Ed.) proves that even he can make mistakes. (Dave Rimmer, Smash Hits, May 13, 1982)

Talk Talk - Talk Talk (EMI)

They're a mite too close to Duran Duran for comfort. They share the same label and the same producer (Colin Thurston) who has given them a similarly smooth and well-sprung sound. Try again, boys. Try again, boys. (Ian Birch, Smash Hits, April 15, 1982)

Will Powers - Kissing With Confidence (Island)

If this isn't a massive hit I'll eat my typewriter. It's certainly the most infectious and danceable single of the week. It's all sung by American photographer Lynn Goldsmith - even if she does sound deceptively like a man at times. It goes to show what a voice synthesizer can do for you. The song is a lecture for novices on how to be a clever kisser . . "Is your breath fresh? Do you have spinach on your teeth?" And " . . remember, you cannot get pregnant from kissing." (Debbi Voller, No 1, September 10, 1983)

The The - This Is The Day (Epic)

Imagine a Depeche Mode backing track with added accordion. Imagine one of those very English voices that sound as if they ought to be presenting Newsbeat. That's Matt Johnson. Ten years ago he would have made a tidy living serenading sentimental female persons in one of those clubs where they put candles in empty Rosé bottles. These days he has to shoot for the charts and he's yet to come up with a mustard-cutting hook line. I look forward to his album but meanwhile I'd suggest he did something about that name before it's too late. (David Hepworth, Smash Hits, September 15, 1983)

Why none of The The's singles have never been hits I'll never understand. This is another beauty. Matt Johnson's deep, clear vocals and the sweet synths add up to a mixture that completely overwhelms the senses. It's dreamy and psychedelic. Buy it, God dammit! (Debbi Voller, No 1, September 10, 1983)

Intaferon - Get Out Of London (Chrysalis)

Totally chaotic, finger popping record with interesting electronics and confusing acoustic guitar coming through the left speaker unexpectedly - but there again, this record is full of little tricks like that. There's always something going on in the background that doesn't quite fit so you're never bored. (Jessi McGuire, Record Mirror, September 10, 1983)

This has the burning spirit of punk in its frantic urgent rush to get somewhere quick. It also has the stamp of a craftsman at work, so it's no surprise to find good old Martin Rushent at the helm.  (Debbi Voller, No 1, September 10, 1983)

James Ross - Slow Down (A&M)

One man band Ross has a fair crack at Kajagoogoo land but he doesn't quite capture the correct level of banality. (Mike Gardner, Record Mirror, July 16, 1983)

ABC - All Of My Heart (Phonogram)

Ever since The Lexicon Of Love made its appearance, it's been obvious that this particular tune was its pride and joy and a natural monster hit. A stately arrangement full of elegant flourishes and studded with truly memorable detail encases Fry's courtly vocal and simply compels you to play it again and again. This record is going to number one. Not least because I have money on it. (David Hepworth, Smash Hits, September 2, 1982)

Aztec Camera - Pillar To Post (Rough Trade)

Great hook, great lyrics and great production do not make a hit single when the voice is weaker than a Tony Blackburn joke. When nice Scots boys can sing, they'll have hits. (Simon Hills, Record Mirror, September 18, 1982)

Appealing song, with more than a slight debt to 60s beat music, strong in the chorus but inclined to limp a little in the verse. (David Hepworth, Smash Hits, September 2, 1982)

Spandau Ballet - Instinction (Chrysalis)

Or how wizard producer Trevor Horn saved the Spans from the dumper. The band's last few singles were justifiable flops. They junked toe-tapping tunes in favour of self-conscious whimpers. But Horn has put them back on course. He's turned this track (originally on the Diamond LP) inside out and added all those magical ingredients like synthesised drum cracks and chattering percussion. The real follow-up to "Chant No. 1". (Ian Birch, Smash Hits, April 15, 1982)

Tracie - Souls On Fire (Respond)

She sounds much more confident now, as does the song. In fact, at times she reminds me of Madonna, while the song has tinges of Wham! and JoBoxers about it. A big hit if you ask me. (Peter Martin, Smash Hits, March 15, 1984)

Tracie's past offerings have all been adequate hits, and while she's never lacked confidence she has lacked dynamism - the kind that characterises Madonna and Cyndi Lauper. Here Tracie competes with a lot more gusto, depth and huskiness. The little girl image has finally caught fire!

ABC - S.O.S. (Phonogram)

ABC lost a fair number of admirers with the new 'heavy' style of their Beauty Stab LP. But if they did get a little bit too raunchy at times, this lush ballad is not an offender. As ever Martin Fry's preoccupied with love and all the problems it brings, but the lyrics aren't as clever clever as they have been in the past. The apple crumble saga, for instance, is not continued. I like it. So there. (Karen Swayne, No 1, January 14, 1984)

It's always a bit sad when the best part of a record is the fade. The song is slight and Martin Fry sounds as if he'd rather be anywhere but in front of a microphone. Then after a cosy sax solo from Steve Singleton the singalong fade begins. But even with Frankie Goes To Hollywood on backing vocals, it isn't quite epic enough. Shame. (Ian Birch, Smash Hits, January 5, 1984)

It really is a waste of time asking me to review this. If this type of music has any merit then it completely escapes me. They call heavy metal moronic. This makes it sound like Sibelius. (Lemmy, Record Mirror, January 14, 1984)

Peter Gabriel - Big Time (Virgin)

More fun and games from the nicest man of all at the BPI awards. He still sings a bit like Phil Collins (or is it the other way around?) and though this is not quite as immediately striking as "Sledgehammer", it's just as funky, and proves yet again that there is life after Jonathan King. (Barry McIlheney, Smash Hits, March 11, 1987)

Hasn't this been out for ages? I just don't think that serious music listeners are going to be fooled by this. "Red Rain" was much better. This goes on forever and sounds very smarty-pants - lots of musicians and things happening in the background, trying to make it sound interesting. It should never have been released as a single. (Owen Paul, No 1, March 28, 1987)

Ultravox - Dancing With Tears In My Eyes (Chrysalis)

Once upon a time Ultravox had some bright ideas. Now they just seem to be re-running them rather badly. 'Weeping for a memory/Of a life gone by,' goes part of the chorus, appropriately enough. It's also, tears in your eyes or not, damned difficult to dance to. (Dave Rimmer, Smash Hits, May 10, 1984)

Typical Ultravox - a synthesis of synths and screeching from Midge. Interesting cover though. (Jennet Dainty, Record Mirror, May 12, 1984)

Pat Benatar - Love Is Like A Battlefield (Chrysalis)

My mate Spizz really fancies Pat because she's thin. I can't get over the fact that every American you hear wants to be modern. They think that by putting a sequencer or a synthesizer or a Linn drum in the background, this qualifies. How wrong they are. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Another re-release. Heavy stuff from Pat. The first part of the record is very jumbled and it's hard to decipher what she's singing about. Nowhere near as good as the excellent "We Belong". (Marshall O'Leary, Smash Hits, March 14, 1985)

Madonna - Lucky Star (Sire)

Our Lady From New York takes up astronomy for the follow-up to "Holiday". I've always thought stargazing was a nice quiet hobby, somewhere between birdwatching and trainspotting. Madonna manages to make it sound mildy naughty with much talk of 'heavenly bodies'. Her synth specialists grind away in the background with all the enthusiasm of sinners reciting 100 'Hail Marys' and. by the end of the record, Madonna sounds distinctly earthbound. Strong image, shame about the song. (Mark Cooper, No 1, March 10, 1984)

Twangy bass, shiny guitars, a pumping beat and seriously sexy vocals all go to making this a pretty jolly disco outing that sounds a bit like Shalamar. And since when has that been a bad thing? (Peter Martin, Smash Hits, March 15, 1984)

The Quick - It's An International Thing (Epic)

A couple of years back The Quick packed dance floors with their Creole-style "Rhythm Of The Jungle" and the [George] McFarlane part of their songwriting partnership was recently responsible for Blue Rondo's excellent "Slipping Into Daylight". Although this is a lot less subtle than the Rondo song, it does grow with a few plays. (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)

Julian Cope - The Greatness And Perfection Of Love (Mercury)

If Shaky sounds as though he's from the '50s, we all know where Julian's head must be at - the groovy '60s. Jangly guitars, shaking tambourines and bouncy drums all back his "ba ba ba"chorus and knowing, yet wistful, public school voice. A bit of a gem, this one, but sadly probably not a hit. (Peter Martin, Smash Hits, March 15, 1984)

The wild man of Tamworth sounds oddly formal during this discussion of 'the greatest imperfection' that is love. Where the best Teardrop singles sounded a joyful battle charge, Cope's solo singles are distinctly muted. Let me refer you instead to his World Shut Your Mouth LP, where this melancholy melody has its place. (Mark Cooper, No 1, March 10, 1984)

Culture Club - It's A Miracle (Virgin)

I've already heard this about a million times on the LP and I'm still not sick of it. If anyone is, though, try substituting "It's American" for "It's a miracle" in the chorus. That's how George originally wrote it and the words make a lot more sense that way. The B-side is a live version of "Love Twist" (recorded during last year's UK tour) and there's a really funny pic of Roy in braids on the sleeve. Meanwhile, the 12" brings us: a great picture of George in some kind of glitter get-up; a slightly disappointing "multimix" of "It's Miracle" and "Miss Me Blind"; and "Love Twist" (again) plus a live version of Blue Mink's daft hymn to multiracialism, "Melting Pot", with a really rock 'n' roll ending. Good stuff. (Dave Rimmer, Smash Hits, March 1, 1984)

Of late, Culture Club's singles seem to have been somewhat less sharp than George's tongue. But where 'Victims' was laboured and 'Karma' just plain silly, 'It's A Miracle' is sprightly and charming. Helen Terry scats, the horns toot and everyone sounds full of the joys of spring. And George's recent revelation that the band are moving towards a harder, more raunchy sound is refreshing for all us ABC fans. (Paul Simper, No 1, March 17, 1984)

Latin Quarter - I Together (Arista)

Stroll on, Latin Quarter graduate with first class honours from the Starship School of Rock. For once
they've let their po-faces drop and churned out this fine little belter of a single that should chart honourably. The lyrics are still probably about big bad Ronnie Reagan and the state of the world, but it's a stonking fine tune nonetheless. (Robin Smith, Record Mirror, June 27, 1987)

Tom Watt - Subterranean Homesick Blues (Watt The Duck)

Who could possibly make a very fine song by one of the most talented old hippies in existence (i.e. Bob Dylan) sound like Chas & Dave's "Rabbit?" Lofty from EastEnders, that's who! This is an atrocious record and it's no wonder that Michele won't marry him. But after this, the EastEnders' Christmas knees-up and Pete's appalling "I Can't Get A Ticket (To The World Cup)" single, the question is, whatever next? Dirty Den's version of "My Way", perhaps? (Lola Borg, Smash Hits, July 2, 1986)

Billy Bragg - Levi Stubbs' Tears (Go! Discs)

For a long time, Billy Bragg has been about the only politically motivated English singer not to trip over a soapbox every time he opens his mouth. And all he's ever needed is his voice and a guitar. But here he has added some percussion, keyboards, a bit of harmony and some "production" - and (hey presto!) the coarse strength of his old approach is gone. It seems a shame, especially as his gruff old voice is a bit swallowed up, but the words and subject matter (about the lead singer of the Four Tops) are not as strong as usual anyway. Oh dear. (Duncan Wright, Smash Hits, June 18, 1986)

I've always believed that anyone who has to through life looking like me or Billy Bragg deserves fame and fortune as compensation. "Levi Stubbs' Tears" succeeds on the title alone for me: standard Bragg with a story to tell. (Gary Crowley, Record Mirror, June 21, 1986)

Pete Wylie - Diamond Girl (MDM)

My copy of this record had a hole in it - and I don't mean in the middle. I should have tossed it aside in an indignant huff and refused to review it but in between the pops, skips and clicks there is a jolly good pop record. You just can't help but like Wylie and this is a very worthy follow up to "Sinful". I'm told the copies in the shops don't come with the second hole - perhaps I should hold onto this in case it becomes a collectors' item. 4/5 (Pat Thomas, No 1, September 6, 1986)

"The fabulous Josie Jones" is actually Pete Wylie's ex-live-in-lover, and whether she's the one responsible for making this song a superbly jaunty piece of "rock" I don't really know, but anyway it's an excellent follow-up to "Sinful". Pete Wylie's wanted to be a pop star for years and now - presto! - he is one. (William Shaw, Smash Hits, September 24, 1986)

INXS - This Time (Phonogram)

INXS, Australia's most popular rock band, gave a very good account of themselves on a recent edition of the Tube. Singer Michael Hutchence looked and sounded like a star and the band played that Simple Minds and U2 variation of late 60s pop meets the modern studio and lives. Too bad this single is so plain. (Max Bell, No 1, February 1, 1986)

Two People - Mouth Of An Angel (Polydor)

Liverpool group Two People were hotly tipped a while back, released a not very good single, then disappeared off the face of the planet for a while. Until now. in fact. This is a surprisingly sprightly thing, guitars strumming away at a fine old pace while kettle drums boom away and the song fair jogs along. Very acceptable. (William Shaw, Smash Hits, September 24, 1986)

Smart young men with nice haircuts part 149. Two People could be any one of those vacuous duos record companies have been hell bent on signing up. A lot of expensive production has gone into a completely unmemorable song. Even after four plays, all I wanted to do was keep staring out of the window at the pigeons. (Robin Smith, Record Mirror, September 20, 1986)

Vinyl Gold: My own copy of this single cost 16 quid, and the 12 inch is worth a bit more. Although they recorded an album, nothing by Two People has been officially released digitally.

Freddie Mercury - I Was Born To Love You (CBS)

Jesus! I just think this is 'a happy sound' which is really depressing. Looking at the cover, I don't think much care was taken over this record; it was just taken off the album without much thought. You should try really hard to make sure that a single has its own identity - the cover, the video, generally how it's presented and promoted. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Freddie's second solo single (after the dismal 'Love Kills') finds him in jubilant mood. "I've got this wonderful feeling coming through!"he squeals. I can't say I shared his enthusiasm. But then, songs that sound like old ELO out-takes are hardly the stuff of which legends are made. Still, this'll no doubt be a hit. Rock on, Fred! (Stuart Husband, No 1, April 20, 1985)

By anybody else this over dramatic piece of Hi-NRG would die a natural death after two weeks on the local dancefloor. Unfortunately Freddie has tailored it for the Benidorm discos and it will be the soundtrack to throwing up your excesses of Sangria and Watney's on the Costa Packet this summer. (Mike Gardner, Record Mirror, April 20, 1985)

Tears For Fears - Head Over Heels (Mercury)

Tears For Fears have certainly come of age. Here they are again, living down their old 'wimp' tag, and singing their hearts out in a single that will certainly follow "Shout" and "Everybody Wants To Rule The World" to make this their third big hit in a row. The song is similar in style to "Shout", and probably deserves its success, but I can't help wondering where they'd be if they had any real competition in the charts. (Maureen Rice, Smash Hits, June 5, 1985)

Everything Tears For Fears do these days is tinged with gold-dust. Although the melody on their latest isn't as strong as "Shout", it'll undoubtedly grow on you as steadfastly as it climbs the charts. I'll be humming it until the next one's released. (Anne Lambert, No 1, June 15, 1985)

Fad Gadget - Life On The Line (Mute)

A very dull song with synthesizers that sounds like it's being sung from inside a bag. Some people think these Yazoo stablemates are interesting, but that's probably because they're Yazoo stablemates. (Simon Hills, Record Mirror, September 18, 1982)

ABC - Look Of Love (Phonogram)

A hit, beyond doubt. But even Martin Fry's best vocal performance yet over a Trevor Horn production so rich you could probably grow your tomatoes in it, can't disguise the fact that this is a pretty thin song. Meanwhile, can anyone, be they man, beast or Fry, explain to me the line: 'If you judge the book by the cover/Then you judge the look by the lover'? I throw down the gauntlet. (Dave Rimmer, Smash Hits, May 13, 1982)

Kim Wilde - View From A Bridge (RAK)

The Wilde family come up trumps again. Dad's written a spry story, Ricki (why this silly new spelling?) has peppered his production with some Trevor Horn tactics while Kim supplies those wonderfully subdued and smokey vocals. Have you ever noticed how clever the Wilde intros are? This is one of the best yet. Put that needle back to the start .. . (Ian Birch, Smash Hits, April 15, 1982)

Tracie - (I Love You) When You Sleep (Respond)

Tracie has a nice voice but still not much clue about using it. Here she skips untroubled through an Elvis Costello song (written for her) when some of that much talked about (and much devalued) Soul is called for. If the record company really are delaying the album for a hit then they're in for a long wait. (Ian Cranna, Smash Hits, May 24, 1984)

As Tracie's last single "Soul's On Fire" turned out to be a bit of a damp squib, this is quite an important release for the Chelmsford singer. There should be no problem getting this one into the charts though - it's a gentle, simple, almost lullaby-like song penned by Elvis Costello. Her voice has improved greatly over the past year, and the tremulous quality is used to great effect in a way that puts me in mind of Mary Hopkins. Ah, those were the days. (Karen Swayne, No 1, May 26, 1984)

Howard Jones - Pearl In the Shell (WEA)

The fourth and weakest single to be taken from the Human's Lib LP, "Pearl In The Shell" is an album track that had no idea it was going to be made into a single until the record company tapped it on the shoulder. Mine came enclosed in a fold-up poster instead of a sleeve. But what do you do with the record when you put the sleeve on the wall? Could it be a insidious plot by WEA to make you keep playing it? (Frank Hopkinson, No 1, May 19, 1984)

I tend to think of Howie as a puppy dog (mongrel, I think) - something so bright-eyed and trusting that you can't bring yourself to smack him when he messes the living room with poop like this. Poor little fella - only doing what nature tells him etc. This time it's a brassier, more aggressive sound with the usual irritatingly catchy chorus and twiddly synth bits. Mind you, next time it's definitely the rolled-up newspaper... (Ian Cranna, Smash Hits, May 24, 1984)

Wham - Wake Me Up Before You Go Go (Epic)

At last Wham have come up with a song to match the freshness and appeal that first sent them hurtling chartwards with "Young Guns". This is unstoppable, hip-swinging, finger-clicking stuff from George and Andrew, sung with a justifiable swagger and bags of horns. Light the blue touch paper and watch it rocket to No.1. (Frank Hopkinson, No 1, May 19, 1984)

An absolutely dreadful comeback in which George and Andrew ditch everything they do well in favour of a feeble foray into Shakin' Stevens country. Sounds like Darts or some similarly weak '50s impersonators. Awful. My copy took one look at me, hung its head in shame and slunk off to hide under the bed, as well it might. (Dave Rimmer, Smash Hits, May 10, 1984)

I sympathise with the dynamic duo for having at last solved their contractual wrangles and weathered a considerable media backlash - they deserve to silence their critics by coming back with a bang! As a fan, I have to say this is more like a bubblegum pop ping! Nauseatingly catchy, to my mind, it's an overdose of hooks and catches. As a commercial product it will doubtless succeed, but have style, depth and panache been replaced by the lowest common denominator? (Pedro, Record Mirror, May 19, 1984)

Bruce Springsteen - Dancing In The Dark (CBS)

King Rocker Bruce is perhaps the only mega white American rock star who succeeds in not sounding like some genetically engineered multi-corporation rock puppet to my ears. Blessed with a voice that would send the likes of Rick Springfield scampering for cover, he elevates this sometimes mediocre song with his inimitable punchy style. Fans will regard this as almost great, critics as almost average. (Pedro, Record Mirror, May 19, 1984)

When Bruce Springsteen's career was burdened with the prediction "I have seen the future of rock 'n' roll and it is Bruce Springsteen", whoever said it couldn't have imagined him recording "Dancing In The Dark". Maybe the influence of British synthesiser groups in the US charts has made him change his style from all-out guitar attack to flabby synth-rock, Whatever's made him do it, somebody should tell him to stop, and quick. (Frank Hopkinson, No 1, May 19, 1984)

Swans Way - Illuminations (Phonogram)

I think most people would agree that "Soul Train" was the type of record you either loved or hated. Personally, the pomp and pretence of those screeching strings and strangled vocals made me scream for the cotton wool. This record now sees me make an about turn. The ears are unplugged and the more natural and melodic sound of "Illuminations" can often be heard serenading from my Dansette. (Pedro, Record Mirror, May 19, 1984)

After the masterful "Soul Train", this breathy featherweight item about being magnetised, hypnotised and feeling total pleasure carries disappointingly little clout. But, pathetically grateful as we are for anything without a crash beat, we give it the benefit of the doubt. (Ian Cranna, Smash Hits, May 24, 1984)

As the smoke clears in a downtown, downbeat, down-on-the-cellar bar, Swans Way deliver an intimate celebration of love. A quite different tune to their last single "Soul Train", this has a bluesy feel to it. The fact that it's extremely listenable is due to the assured production of John L. Walters of Landscape fame, a much underrated producer and a man to watch. That is, if you like watching producers. (Frank Hopkinson, No 1, May 19, 1984)

Press The Flesh - Invisible (Offshore)

Tacky! The sleeve depicts three scantily-clad Portuguese lovelies in natural model-like poses. The single too, leaves much to be desired. . . A typical disco/dance beat chugs along at a steady pace, whilst the girls do their best Bananarama impersonations. Press the flesh? Should be more like press the eject. 1/5 (Anna Martin, No 1, August 23, 1986)

Then Jericho - The Motive (London)

The fact that most of the members of Then Jerico would look better wearing buckets over their heads is keeping the band out of the mass knicker-wetting market. Tough little blighters though they are, it seems TJ have been sniffing around for far too long to get a major slice of the action over here. "The Motive" starts off with some good intentions but runs out of puff. But they'll always be big in Japan! (Robin Smith, Record Mirror, June 27, 1987)

Latin Quarter - Nomzamo (One People One Cause) (Arista)

I don't give a damn about how worthy this lot are. The tune is putrid, and I baulk at political pontificating. Far too insipid to do anything for the cause, however admirable. (Nancy Culp, Record Mirror, April 11, 1987)

I've heard this a number of times and it's definitely difficult to get into. South Africa's obviously an in-thing to write about but Latin Quarter always manage to come up with interesting songs in their own right. It won't get played on every radio show, but when you hear it you'll definitely be turning up the volume button and will want to hear it again. Possibly a minor hit. (Simon Mayo, No 1, April 11, 1987)

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)

Band Of Holy Joy - Rosemary Smith (Flim Flam)

Fairground music which sits rather incongruously among the rest of this week's jingle bells, pop and slick, sick soul. Takes a while to get used to, but I'm assured by those who know at rm that this is well up to scratch. (Nancy Culp, Record Mirror, April 11, 1987)

Happy Mondays - Tart Tart (Factory)

Severely put in traction by producer John Cale, the Happies have performed the supreme feat of making a listenable record, and it's almost a toe tapper - oh goodness gracious me! (Nancy Culp, Record Mirror, April 11, 1987)

Howard Jones - All I Want (WEA)

Hooray! He's back. And with a "new sound" too. This is the first single off his forthcoming third LP which is often the point where pop stars go off the rails a bit, but not Howard. He's returned with a harder, slightly electro-ish "sound", and one of the best songs he's ever written; a big sweeping melody and a rhythm that thumps along happily. Really very good. (William Shaw, Smash Hits, September 24, 1986)

Another chap who's had a bit of time off recently but the rest doesn't seem to have done Howie much good. The programmed synths, brassy sounds and falsetto chorus vocals are still there but unlike uplifting ditties such as "Like To Get To Know You Well", the result this time round is rather limp and a bit depressing. 2/5 (Andrew Panos, No 1, September 27, 1986)

UB40 - All I Want To Do (DEP International)

Mein Gott! Never have UB40 sounded so forceful! Without losing sight of the fact that it's the tune that counts, they've cranked up the clattering drums and encased the reggae in a big, bold, brassy arrangement that nothing short of a Sherman tank will stop. You even get the lyrics on the sleeve so you can make out what Ali "I sang that without moving my lips" Campbell is slurring on about (i.e. escaping the drudgery of work for an island in the sun with the loved one). Perfectly splendid stuff and Runner Up Single Of The Fortnight. (Ian Cranna, Smash Hits, September 10, 1986)

If they wallowed, UB40's tales of life's sweet injustices would be unbearable. Instead they splash on the water-colours and you come out wondering what you were fussing about. "All I Want To Do" is as chirrupy as the robin at the end of Perkins' garden. 4/5 (Paul Simper, No 1, September 20, 1986)

This is real Max Bygraves' reggae, singalongadreadlock. Strange band UB40, they either move me close to tears with the emotion in their singles, or leave me untouched. This waxing, which seems to have been rushed out while the taste of "Sing Our Own Song" still lingers, falls into the latter category. Just another track I'm afraid. (Robin Smith, Record Mirror, September 20, 1986)

Ultravox - The Same Old Story (Chrysalis)

Ultravox sound as if they're just becoming a backing band for Midge Ure. It's a Phil Collins and Genesis situation really, where one member is under a much bigger spotlight than the others. With its imported brass section and female chorus this could easily have been a track off a Midge solo album. But Ultravox fans will buy it in their droves, and I'm probably in for a lot of hate mail. Aargh, it's so tough at the top. (Robin Smith, Record Mirror, September 20, 1986)

Well, they said it. To hear the ever-anxious Midge complaining about someone else being "so predictable" seems not unlike the pot calling the kettle black. Take away the trendy, loud girl singers and punctuating brass "riffs" and , this sounds particularly dull and ponderous, even by Ultravox's lead-booted standards. (Ian Cranna, Smash Hits, September 10, 1986)

Artificial bustle and brass. If life was kind Ultravox would now be Phil Collins or Simple Minds, but nay, they're still Ultravox - struggling in the potbelly between rock and pop. The "Same Old Story" is obviously just that - an ordinary rock song accompanied, no doubt, by a preposterous video. Welcome. 2/5 (Paul Simper, No 1, September 20, 1986)

Vikki - Love Is (PRT)

Hang out the flags and festoon the houses with bunting, for here is. . . our entry for this year's Eurovision Song Contest! The enigmatic Vikki beat off all competition with this energetic little number, which is well up to the standard of previous entries. So, Vikki joins the golden list of previous greats. . . Coco, Brotherhood Of Man, Lynsey De Paul and Mike Moran, Bardo. . . and who's to say she won't emulate, nay, improve on their hallowed achievements? (Stuart Husband, No 1, April 20, 1985)

The thing about people who write songs for the Eurovision Song Contest is that if they were any good, they wouldn't need to do it. It's a second-rate competition - if a song's any good it makes it in the charts in its own right. I don't think we stand any chance of winning with this anyway. She looks dodgy. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Yes, it's Eurovision Song Contest time and our spirited effort contains the usual Sixties motifs and the requisite Eurodisco beat. Aren't you glad you paid your £12 on the TV licence fee? (Mike Gardner, Record Mirror, April 20, 1985)