Limahl - Only For Love (EMI)

Bearing Kajagoogoo's past efforts in mind, I honestly expected to loathe Limahl's debut solo single. And now that I've heard it I'm compelled to issue this warning - it's good! Simple, perfectly produced pop, you can really dance to this one and it's streets ahead of anything the Kajjers have brought out. Music and words by Limahl - he's not just a pretty face either. And with Carol Kenyon of Heaven 17 fame on backing vocals, need I say more? (Debbi Voller, No 1, October 29, 1983)

This makes "Big Apple" sound like an H2O reject. For all of Beggsie's talk of 'sophistication', Limahl has just kept his mouth shut and got on with the job in hand, producing a strong stylish debut. Just one thing, why's it called "Only For Love" when he persists in singing 'own letter fora leuuv'? (Peter Martin, Smash Hits, October 27, 1983)

Voice Of The Beehive - Just A City (Food/London)

This crew - two Californian girls and three British blokes - actually manage to capture the true adventurous spirit of the '60s and blend it with the spangling guitars and dense choruses of prime period Cocteau Twins. The song itself sways and swirls attractively enough BUT! flip over the 12 inch and they get stuck right into - corky o'rorky! - a biting pop version of rock dinosaurs Led Zeppelin's elderly reggae spoof "D'Yer Maker" (Jamaica - geddit?)!! The result, played (relatively) straight, turns into a completely bur-rrrilliant teenage "don't go" love song and would be a HUGE hit, so utterly utterly catchy is it. 'B'-side of the century (at least) and almost Single Of The Fortnight... (Ian Cranna, Smash Hits, May 8, 1987)

Tracie Young - Invitation (Respond)

Although the excellent "I Can't Leave You Alone" was the hit that undoubtedly should have been, but never was, Tracie Young eagerly continues in her quest to prove that her pleasing voice and pretty face are a determined match for even Paul Weller's shadow. "Invitation" is a tender and touching (Anna Martin, No 1, October 26, 1985)

Tracie continues in much the same vein, with a song that's pleasant but ultimately ineffectual. Good to see the young woman putting her own pen to paper, and Camelle Hinds' vocal additions give a classy feel to a record destined for the wrong end of the top 60. (Andy Strickland, Record Mirror, October 12, 1985)

Men At Work - Down Under (Epic)

Superbly crafted reworking of The Boomtown Rats' "House On Fire" rhythm topped off with hippy flutes and sung by an Australian so indebted to Sting he even nicks his fake Jamaican accent. Comes complete with a neat little storyline, custom-made for a video, that affectionately lampoons the homeland and indulges in all manner of tortuous rhymes ("language" and "sandwich" being one of the better ones). It's great. (Ian Birch, Smash Hits, January 6, 1983)

Dire Straits - Money For Nothing (Phonogram)

The first half minute of this sounds nothing like Dire Straits, being full of bubbling synthesisers and falsetto vocals. Then Mark Knopfler gets going and it's back to the normal soporific stuff as he sings a truly tragic tale of rock stars who get "money for nothing and chicks for free". Is there anything more boring than pop stars writing about the endless trials and tribulations of being a pop star? (Yes actually. The whole country going bananas about Bruce Springsteen - Ed) (Chris Heath, Smash Hits, June 19, 1985)

The Armoury Show - Castles In Spain (Parlophone)

Having already extolled the virtues of the band's new LP, any further words of praise are icing on the cake. Possibly the strongest track on the album and I can't see any reason why this racy little stomper shouldn't be top 20 by, oh, next week? (Nancy Culp, Record Mirror, October 26, 1985)

Originally released back in July '84, it's been bunged out again in the hope that it'll be a hit this time round. In an unfortunate piece of timing, however, it's up against new singles by Simple Minds and Echo And The Bunnymen, and as it's so wildly derivative of both, "Castles In Spain" may not fare much better now. Still, if you like sweeping guitars and emotive vocals (courtesy of ex-Skidsman Richard Jobson) you'll like this. (Karen Swayne, No 1, October 19, 1985)

Bucks Fizz - Keep Each Other Warm (Polydor)

Bucks Fizz have never been the same since the dual tragedy of the coach crash and the Great Jay Aston Affair. "Keep Each Other Warm" is their best effort yet with the new line-up, but set beside the sheer genius of, say. "Land Of Make Believe'', it doesn't really cut the cake. Watch out for its inevitable appearance on TV in a few weeks time as an ad for how you should always come home to a real fire. (Barry McIlheney, Smash Hits, November 5, 1986)

The first of the Crimble cuddle-ups.. .Oxen will moo, babes will gurgle and as the Star Of David settles over yonder TOTP studio Bucks Fizz will find themselves back amongst the yule with a very welcome hit. Just one Xmas caution.. it might be better for Shelley for cover up her legs just a little more as nasty Mr Frost comes a-biting round the ankle chains. One ballad alone is not really enough to keep you warm, you know. 3/5 (Paul Simper, No 1, November 8, 1986)

Pet Shop Boys - Opportunities (Parlophone)

Pet Shop Boys' excellent debut single "West End Girls" deserved to be a big hit for them, but never mind, this one's got to be HUGE! Singer Neil Tennant used to write articles for a certain rival pop mag that we never mention, but it's obvious that he should've been devoting his time and talents to his own music a long time ago, as this is such a superbly crafted disco hit. Single of the week! (Debbi Voller, No 1, July 6, 1985)

I really don't understand what all the fuss is about with this track, with its clank and bustle up front instead of a tune and its dubious invitations to commit some unspecified crime. Nor why, with the altogether wonderful "Why Don't We Live Together?" a natural pop hit, the record company should choose to release this battle-scarred warhorse again. Average stuff but still an awful lot better than some things I could mention. (Ian Cranna, Smash Hits, May 7, 1986)

XTC - Love On A Farmboy's Wages (Virgin)

Ringing acoustic guitar heralds another XTC classic. Unashamedly rural in feel with a folksy chorus and a melody that is strong but totally unpredictable, "Farmboy" is the soundtrack to a golden autumn. The B-side of the twelve-inch version features three live tracks including "Burning with Optimism's Flame", one of their finest songs. (Martin Townsend, No 1, September 24, 1983)

I'm quite a fan of this band actually. I loved "Making Plans For Nigel", "Generals And Majors" and "Wonderland". I think this is great but it doesn't seem to fit the current pop climate. Maybe that's in its favour...  (Lenny Henry, Smash Hits, September 29, 1983)

Yazoo - Nobody's Diary (Mute)

One of the true great voices since Neanderthal man discovered that crooning was more effective than a bash over the head, though not as much fun. Alf packs a punch that sends you reeling for the respirator and the bottle of Dr Collis-Brownes. More restrained than some of the stuff that's gone before, this song is a sneaker and grabber that goes for the jugular. (Simon Tebbutt, Record Mirror, May 14, 1983)

You don't need me to tell you what the new Yazoo single sounds like. It sounds like all the rest, and yet, it doesn't! Somehow they keep coming up with enough hit variations on their theme. Can't fail. (Debbi Voller, No 1, May 14, 1983)

A sad love-gone-sour song written by Alf. Strong on emotion and weak on melody but the combination of ringing synths and bluesy singing is still a winner. (Neil Tennant, Smash Hits, May 12, 1983)

Billy Idol - Flesh For Fantasy (Chrysalis)

Billy's passionate devotion to 'rawkanroll' normally leaves me cold, but here the buzz-saw guitars, meaty drumming and snarled vocals all combine to produce a powerfully driving record with about 19 times more energy than anything else released this week. The tune's pretty good too, which isn't surprising seeing as it's lifted almost wholesale from Simple Minds' brilliant "Up On The Catwalk". (Vici MacDonald, Smash Hits, September 27, 1984)

Billy is the Idol of America's young nouveau punx. They pogo in droves to his full-throated rebel yell. But we Brits lost interest in that years ago. We preferred "Eyes Without A Face". The sighs without the pace. Wised-up, our Gen X-ile repeats the formula - prowling a steamy hotel room as the bass throbs through the floor and the guitar throws odd shapes against the wall. William, this is really something... (Martin Townsend, No 1, September 29, 1984)

Billy Idol's the sort of bad boy who runs home crying if you say boo, but I can't deny he's making some great records these days. "Flesh For Fantasy" is one of these despite the most outrageous Simple Minds rip off on the chorus. Big fat production and a big fat hit. Grrrr. (Andy Strickland, Record Mirror, September 22, 1984)

Ultravox - We Came To Dance (Chrysalis)

Ultravox write some OK tunes, but invariably team them up with the most pompous words in the world. Here, Midge intones the usual meaningless blather in his mournful tones. Doesn't he ever feel like singing something normal, about getting up, feeding the cat, hanging out with Mick Karn and so on? (Sunie, No 1, May 21, 1983)

Danny Wilson - Davy (Virgin)

Danny Wilson is in fact three men, and here they are proclaiming their love for a fourth man. Well, that's Dundee for you. Actually this is really very good indeed, a fine thoughtful pop song in which "Danny" wishes his beloved pal all the best for his adventure down to London and promises not to laugh at him in the street if it all goes horribly wrong (as these things tend to do). Quite poignant in fact, with a nice understated backing. (Ian Cranna, Smash Hits, May 8, 1987)

UB40 - Watchdogs (DEP International)

Whatever the magic formula is for turning out good records which all sound remarkably similar without ever becoming boring or unduly repetitive, UB40 have definitely found it. This is another slab of big, bold, brassy reggae whose cheerful, chattering style belie some sharply sneering lyrics about the moral guardians of the nation. And, er, that's about it! (Ian Cranna, Smash Hits, May 8, 1987)

The Rainmakers - Downstream (Mercury)

More weird tales from rural mid-America - this time taking a raft down the Mississippi River with dead author Mark Twain (Huckleberry Finn etc), meeting characters like v. ancient rock 'n' roller Chuck Berry and deceased president Harry Truman, and exchanging words of "wisdom" with them. Pleasingly no-nonsense modern rock 'n' roll that gets it just about right and splendid guitar-playing that makes you wonder why people ever bother with a synthesiser. (Ian Cranna, Smash Hits, May 8, 1987)

Playing in all good Mexican restaurants now - come The Rainmakers with their quirky brand of countrified rock; a witty ditty with some heavy guitar action, and doubtless another hit for them. (Debbi Voller, No 1, May 16, 1987)

Strasse - A Stairway To You (RCA)

Produced by the mighty Midge Ure, this is very rock 'n' roll despite the synth snaps and pretty boy veneer. It's also very modern despite being a rock song - which is just saying the same the thing backwards, but it fills a gap when you can't think of anything else. (Simon Tebbutt, Record Mirror, May 14, 1983)

Anne Clark - Hope Road (10)

It pays to be conscientious, pop tarts. Hidden away amidst all the good, bad and just plain average records which crowd the Singles Box every fortnight, there is always one unexpected gem which stands high above the crowd. And this is it! Over a simple but effective backing track of vaguely melodic electronic "oohs" and "aahs" (sort of Laurie Anderson meets OMD), Anne Clark recites her sorry tale of how she met this nice, interesting guy at a party, was invited to dinner in a faraway town and turned up only to find, despite following instructions, that the address he gave her - Hope Road - just doesn't exist. Wail! A metaphor too, methinks, for politicians and, erm, the world around us. A few neatly cutting observations get slipped in too before Anne ends sadly with a warning to beware of unaccountably nice people because "there's no place called Hope Road". Sniff. A hit? Almost certainly not, but for making a record that dares to be different, that works on its own terms and doesn't try to sound like anybody else or as if it would sell its granny to be a hit - just this once, Anne Clark - come on down! - yours is Single Of The Fortnight. (Ian Cranna, Smash Hits, May 8, 1987)

Almost a very good little record this, as poor little Annie gets the run-around from a party acquaintance and decides to have nothing more to do with men. The sparse musical setting has a wonderfully hypnotic effect, but there are one or two outrageous bits of scanning and the odd struggle to match rhymes. In the end one has to conclude that Anne Clark gets a bit het up about not very much or all, if being given a bogus address at a party is the worst thing that happens to her, she obviously doesn't go to the parties that I do. (Andy Strickland, Record Mirror, May 9, 1987)

Karen O'Connor - Girl In The Uniform' (Legacy)

Karen's voice has a touch of Debbie Harry about it, and that can't be a bad thing. It's one heavy record; drums pounding, sirens roaring and all! One to listen out for. (Debbi Voller, No 1, May 14, 1983)

Passe, cheri, passe. Here's Karen tarting up last year's fantasy fetish when everyone in the know is dressing up in souwesters and storm hats and filling their wellies with jellied eels. Karen will be doing a song about it next year. (Simon Tebbutt, Record Mirror, May 14, 1983)

Phil Collins - Why Can't It Wait 'Till Morning (Virgin)

Tut tut, Phil - not another track from the album? Hardly worth buying, was it? Anyway, this is soft and sloppy like a badly set blancmange and should smack of tasteful elegance and cocktails on the patio, but is really just music to brighten up those dreary coffee mornings with 'er from Number 14. (Simon Tebbutt, Record Mirror, May 14, 1983)

I actually like his voice but this track doesn't come close to anything on Face Value. By the way, the art director who created the 'amazing' cliched photo on the cover needs shooting. (Gary Kemp, Smash Hits, May 26, 1983)

Alison Moyet - Is This Love? (CBS)

Alison Moyet's been biding her time lately in L.A. (man), recording new material but really this is nothing to bring you or her out in a sweat. "Is This Love?" is tunesome alright but hardly enough for her to wrap her tonsils around. This woman is worthy of far greater things than this. (Ro Newton, Smash Hits, November 19, 1986)

Geoff Deane And The Valley Girls - Navy Lark (WEA)

Six months after leaving Modern Romance, GD teams up with two lasses for a frolicsome skip along the deck complete with trilling pipes, cymbals and seagulls. Guaranteed to melt the ice at parties, so beware gatecrashers hornpiping up your garden path. (Kimberley Leston, Smash Hits, March 31, 1983)

Paul Simon - The Boy In The Bubble (WEA)

A strange one this. Paul Simon sings about lasers in the jungle, babies with baboons' hearts, and magical medicine over a fuzzy accordion melody. One can only presume that either he's flipped his lid or he's trying to convey some deep and meaningful message about technology or something. Anyway, this is nowhere near as endearingly quirky as "You Can Call Me Al" and it'll need a pretty snappy video to liven it up, that's for sure. (Ro Newton, Smash Hits, November 19, 1986)

Ultravox - All Fall Down (Chrysalis)

Ultravox's music has always verged on the pompous, and when they move into Celtic territory (previous explorers including Dexy's, Big Country and The Pogues) the result is as overblown as you might expect. Midge croons impassionedly over a slow, military-style snare beat, but the resulting product [also featuring The Chieftains] has remarkably little spirit. Suitable background music for a Selina Scott special on the Scottish highlands, but little else. (Karen Swayne, No 1, November 15, 1986)

Whatever happened to the "Ultra" bit? Probably got lost around the same time as Midge Ure decided he was fed up with being a pop star and wanted to be a serious human being instead, just like David Dimbleby or Sir Bob Geldof. This is always a big mistake and poor wee Midge has to sing lines like "Look in the mirror and what do you see, an American, Russian, a soldier or me", and make them sound important, but naturally it doesn't work and just sounds ridiculous instead. It's obviously meant to be a major comment on the stupidity of war, which is all very well and good, and can best be compared with, er, Rolf Harris' "Two Little Boys". (Barry McIlheney, Smash Hits, November 5, 1986)

Red Box - Saskatchewan (WEA)

If I said this was absolutely saturated in wimpy sentimentality and sounded like a cross between Simon & Garfunkel and Julian Lennon, you'd know "Saskatchewan" was 'deeply sensitive' and rather boring, right? Wrong. Though I've no idea why they're singing about a Canadian town (something to do with North American Indians, I suspect), this has a lovely tune and may well be a hit. (Chris Heath, Smash Hits, January 31, 1985)

Bryan Ferry - Don't Stop The Dance (EG)

Legend has it that the word "languid" was put in dictionaries all over the world purely in anticipation of the coming of Roxy Music and Bryan Ferry. Disappointing though the Boys And Girls LP was, the previous single "Slave To Love" and this one stand out. Welcome rocky islands in a quicksand swamp. (Paul Bursche, No 1, August 24, 1985)

Hey! Elastica - Suck A Little Honey (Virgin)

Terrible focus-on-girl's-mouth sleeve. Starts exactly like something I can't place and which is undoubtedly less gauche than this racy, clever-clever pop that leaves me cold. (Kimberley Leston, Smash Hits, March 31, 1983)

Erasure - It Doesn't Have To Be (Mute)

"Sometimes" finally put Vince Clarke back on the map he fell off when Yazoo split, mainly because it sounded like Yazoo! So long as Andy Bell sings, and sounds uncannily like Alison Moyet, as in "It Doesn't Have To Be", the problem will remain. On the other hand, this song is a grand Erasure offering, and as long at it's this good, Erasure aren't going to be rubbed out in a hurry! (John Aizlewood, No 1, February 28, 1987)

The Ward Brothers - Why Do You Run (Siren)

A fifth rate bastard son of Bruce Springsteen's "Downbound Train", this song tries to give a passionate impression and fails miserably. (James Grant [Love And Money], Record Mirror, April 25, 1987)

Secession - The Magician (Siren)

The lyrics on this are a bit silly and the chorus has a Kate Bush section, but other than that, it's OK. (James Grant [Love And Money], Record Mirror, April 25, 1987)

Julian Lennon - Midnight Smoke (Virgin)

I don't think Julian Lennon is all that bad. Mind you, I don't think he's all that good, either. This time, he and his friends are round a campfire getting into a real serious vibe and scaring the sheep shitless. (James Grant [Love And Money], Record Mirror, April 25, 1987)

Julian Lennon - Time Will Teach Us All (EMI)

This is really boring. The best bit is when Stevie Wonder comes in on backing vocals right near the end but then it finishes. I haven't seen the musical Time, but if this is the sort of stuff what's in it, I don't think I'll be going. (Samantha Fox, Smash Hits, July 16, 1986)

Freeze Frame - Today, Tomorrow (RCA)

Hmmm. Just been doing a bit of totting up here only to arrive at the frightening discovery that if you count all the people who have been in Liverpool bands you arrive at a figure not far off the population of China. Freeze Frame continue on from China Crisis, Lotus Eaters, etc. But though this is a sweet little song, past experience shows the public reluctant to latch on to nice, melodic rock like this. Ask the Lotus Eaters or Pale Fountains. Full marks, though, for use of a comma in the title. (Paul Bursche, No 1, August 24, 1985)