Haircut One Hundred - Love Plus One (Arista)

The band who'll have us all slipping into chunky knits and brogues before you can say Captain Mark Phillips. This is a fine follow-up to "Favourite Shirt" which, as soon as people become friends with the sound, will be an even bigger hit. It's a nifty mover with plenty of interesting details. And who could resist a lyric like "Where does it lead from here?/Is it down to the lake I fear?" They've been watching too many late-night thrillers. (Ian Birch, Smash Hits, January 7, 1982)

The Mock Turtles - Pomona EP (Imaginary)

Sounds a bit like Eighties hippies to me. All big violins and big production with effete little acoustic bits running underneath, giving way to a screamy guitar solo in the middle eight. Vocally it leans towards Bowie in his finer moments, but the Mock Turtles at least know a tune when it hits them so they're excused on those grounds. (Nancy Culp, Record Mirror, August 8, 1987)

Thomas Dolby - I Scare Myself (Parlophone)

Thomas Dolby, man or maniac? Nobody's been able to make up their minds about this oddball. Having Magnus Pyke in an early video did nothing to help his cause, but the superb 'Hyperactive' did much to lay the ghost. 'I Scare Myself' is a real gem. Snazzy and light, it swings along with Tom tinkling away on piano. This should give him a really big hit at last - and there's not a single synth in sight. (Paul Bursche, No 1, March 24, 1984)

Master Dolby leaves the lab, stops his quest for the perfect eighties synthesis of man and machine (so far a no-score draw), and delivers his most warming 45 to date. To do so he's made a nearly inch perfect copy of the Dan Hicks original, but nevertheless "I Scare Myself" is so hot with swooning acoustic guitars and delicately muted brass that I'll forgive him for that. (Jim Reid, Record Mirror, March 24, 1984)

Clipped off his fine album The Flat Earth, this is something RATHER special. Written by the extremely eccentric songwriter Dan Hicks (ideal for Tom really), it's a stunning song performed with delicate restraint and sung in a way that brings tears to the eyes of grown men (and women). Touches of The Wild West and today's technology have created a haunting atmosphere. Fab. Single of the fortnight. (Ian Birch, Smash Hits, March 29, 1984)

Holger Czukay - Cool In The Pool (EMI)

Starts off pretty, then gradually descends into out-and-out weirdness, but in utterly winning style. It's like watching the Eurovision Song Contest being stealthily taken over by little green men from outer space! Wonky and wonderful. (Sunie, No 1, August 6, 1983)

Eurythmics - This Is The House (RCA)

The sooner the Eurythmics realise that a sharp song is worth a million clever effects, the sooner they'll stop being an 'interesting' and start being a 'good' band. This crochets obscure words with slices from Bowie and Grace Jones. Interested? Didn't think so. (Ian Birch, Smash Hits, April 15, 1982)

John Lennon - I'm Stepping Out (Polydor)

For an extraordinary man, John Lennon managed to write a lot of very ordinary material before he died. This is so basic and dull that it barely merits criticism Who can take seriously A man who sings "gimme a break, gimme a break"? A lot of people over 30 will buy this and Yoko will become even richer but nobody knows better than poor Mrs Lennon that money isn't everything. (Muriel Gray, Smash Hits, July 19, 1984)

It'll be a hit, it's quite poppy. There's still a sparse amount of genius but it's not as good as his last one. It's not the best thing to talk about, dead people, but I think they should just let him be remembered for the great things he's done because he's not here now to make these records sound the way they should. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

Simple Minds - Promised You A Miracle (Virgin)

The one that might just break the Minds. It's a brassy performance with Jim Kerr in formidable form, a hip-swivelling dance beat and a jumbo helping of 'atmosphere'. (Ian Birch, Smash Hits, April 15, 1982)

The Fall - Call For Escape Route (Beggars Banquet)

I'd love to know just how many takes it needed to get Mark E. Smith's lead out of tune. Maybe the guy has a natural talent for it. Similarly, it must have taken hours of valuable studio time to get that tinny guitar sound just so; time that could have been spent writing a decent song. (Dave Ling, No 1, October 27, 1984)

The Chameleons - A Person Isn't Safe Anywhere These Days (Statik)

Not Lori and the Chameleons but a Manchester skinchange. This morbid ditty takes its own title at face value and proceeds to unleash the kind of down mood that could have the entire nation slashing its wrists were it to be played on daytime radio. (Max Bell, No 1, June 18, 1983)

The Weeds - China Doll (In Tape)

Yet more Stooge-aphiles here. Splendid country and northern tally ho with a fine line in raucous bounce and bawl. With some incredibly penetrating female vocals on the chorus, this is finger lickin' good. And if anyone recognises their graphics as being akin to a Sixties psychedelic combo of not dissimilar name, contact Age Concern immediately. (Jane Wilkes, Record Mirror, October 25, 1986)

Prince - Paisley Park (WEA)

The man in the violet loon-pants returns to us via an acid-drenched ballad called "Paisley Park". But doesn't Prince know that the paisley revival was strictly last year? In all honesty this sounds like one of the songs that didn't quite make the Beatles' White Album. If "When Doves Cry" conjured up images of tight spandex trousers ... then this is definitely flare city. Mutton dressed as lamb. (Dylan Jones, Record Mirror, May 25, 1985)

When all the flower power and Sergeant Pepper jokes have died away, Prince's Around The World In A Day LP will stand as a momentous achievement. Despite the pressure of mega-success it's patently not 'Purple Rain Vol. 2', but it marks yet another deft re-definition of the Prince sound. Across funk rhythms as dry and brittle as parchment he's scrawled guitar lines which are little more than feedback, with pained vocals that swoop, dip and finally crack completely. "Paisley Park" exorcises all these elements while it evokes a place where casualties of city life buy a "lifetime lease" to hippy happiness. A nursery rhyme tune pitched above Prince's range, it teeters on a tightrope between the ridiculous and the brilliant. And Prince – alone, currently, among all the major stars – will walk that rope till it's as thin as thread. (Martin Townsend, No 1, May 25, 1985)

Valerie And The Week Of Wonders - Real Surprise (Piggy Bank)

Lush acoustic guitars and an intriguing hint of the 'Tales of Edgar Wallace' theme drew me into this, only to find yet another mannered modern singer, by Lou Reed drawl out of Tony Hadley heroic. Quite a catchy little opus, though, and since the three Valeries (trying manfully to look mean behind their shades) look frighteningly young, they've time to get their singer into shape and then really astound us. Great name, too. (Sunie, No 1, November 24, 1984)

The Mighty Wah! - Weekends (Beggars Banquet)

In which Mr Wylie, to a U2 style rock heroic backing, lists all the interesting places one could go for a weekend - New York, Rio, Russia, Paris, "Or swan on a beach in Sri Lanka - just like Duran Duran!!!" - and bemoans the fact that he always ends up "here" (Liverpool, presumably). He probably means that a dull life is made to seem even more so in comparison with glossy jet-set images in videos and magazines. A million Duran fans will doubtless disagree. (Dave Rimmer, Smash Hits, September 13, 1984)

And so the romantic myth of Pete Wylie, (the maverick poet street fighter armed with guitar in one hand, determination in his guts and acid scouse wit on his tongue) continues. For some that all adds up to one noisy wretch, whereas for others it's inspirational. The raunchy attack of "Weekends" will do little to alter that position; lacking the wider anthem-like appeal of "Come Back" but still delivering venom and intent as only he knows how. (Pedro, Record Mirror, September 15, 1984)

Orchestral Manoeuvres In The Dark - So In Love (Virgin)

Only a year ago drippy pop was all the rage. Tears For Fears, China Crisis, The Lotus Eaters, OMD... But times have changed. The Tears have strapped on those guitars and punched their way into '85 while the rest of the country's listening to Springsteen and Don Henley. And as for OMD . . Despite a fancy XL design you still get the feeling they're both wearing little woollen jumpers. This is confetti pop of the second year. Wet and wimpy, as the weather forecasters say. (Paul Simper, No 1, May 18, 1985)

Dee C Lee - Selina Wow Wow (CBS)

Who's this? ... Oh, the girl from Wham! That's .. . alright. It stays on the same level, there's no light and shade .. it doesn't seem to quite take off. It's a very powerful chorus but it isn't very pretty, it doesn't swing. Could be a continental hit but I don't think it's what the UK wants to hear. Best of luck with it, though! (Phil Fearon, Record Mirror, March 3, 1984)

This lady was apparently booted out of Wham! but it obviously hasn't affected her talent and confidence. I love the chorus and verse, and I also love the middle. In fact, I love it all. May be a hit. (Limahl, Smash Hits, February 16, 1984)

Just like Carol Kenyon, Dee C. Lee is undoubtedly a great singer, but she stands a little lost
in the limelight. The self-penned "Selina Wow Wow" is an affectionate tribute to her sexy sister - a harmless, un-frantic exercise in funk. Dee C. Lee has a lovely voice and a vivacious personality. All she needs is some better material. (Maureen Rice, No 1, March 3, 1984)

The Waterboys - The Whole Of The Moon (Island)

Mike Scott is getting to sound more like a cross between Bob Dylan and Cat Stevens with every record. But nasal whines aside, the four tracks on the 12 inch single, two from the album This Is The Sea, draw out the drama in Scott's barnstorming pop poetry to raging effect. Should bring water to both your eyes and your mouth. (Roger Morton, Record Mirror, October 19, 1985)

Simply Red - Infidelity (Elektra)

The second single to be taken off the Men & Women LP, "Infidelity" finds Mick Hucknall in great voice, singing about how "a man can't be trusted" and how infidelity is "my middle name". Surely this can't be Mick singing about himself in real life, can it? Can it? (hem hem)... (Ian Cranna, Smash Hits, May 6, 1987)

Happy go lucky, summery sound from Simply Red; this written by Mick Hucknall and soul legend, Lamont Dozier. Hucknall's voice is as spectacular as ever and this funky, snappy song will have you tapping your toes before you can say 'top notch'! (Debbi Voller, No 1, May 16, 1987)

Everything But The Girl - Native Land (WEA)

Although the lyrics are quite challenging, this jazzy, late-night music is perfect to `mellow out' and 'get laid back' to. The only jarring note is the suspiciously out-of-tune harmonica in the middle. What's wrong with a nice bit of flute? (Vici MacDonald, Smash Hits, September 27, 1984)

I'm starting to think "Each And Every One" was a fluke. Nothing Ben Watt and Tracy Thorn have done before or since has matched their own solo work. Lyrically, "Native Land" is a brilliant plea for tolerance and understanding – in a town, in the world. But what little excitement there is in the tune is trodden flat by Tracy's lumpen, hung-over vocal and - on my copy at least - Smithman Johnny Marr's harmonica solo, which sounds painfully off-key. A major re-think required. (Martin Townsend, No 1, September 29, 1984)

Aztec Camera - Still On Fire (WEA)

Roddy digs out his tried and tested chord progression, fiddles with a gruffer voice on the opening line before scampering back to more familiar territory. This and the rest of the Knife LP is an indisputable testimony on the deep, deep dangers of describing a fledgling such as Frame as a 'genius'. (Marvin B Macclefish, Record Mirror, November 17, 1984)

Still on fire or just an old flame? Roddy Frame's latest offering sees the Aztecs twiddling their fingers. The song's a dull harkback to Don McLean's 'American Pie' days and producer Mark Knopfler makes a dire mess of the group's usually chirpy sound. Matters are not helped when comparisons are drawn with the flip side – the late, great "Walk Out To Winter". It may be live and a bit leaden but it still cuts like a knife through the present material. Come on, let's get the home fires burning again. (Paul Simper, No 1, November 17, 1984)

On the back cover Mr Frame is sporting a v. expensive pair of flowery Scot Crone trousers (achingly trendy London shop) and can therefore be assumed to be doing rather well these days. This enjoyable, jerky and singalongable item should justifiably ensure he does even better. Thumbs aloft. (Dave Rimmer, Smash Hits, November 22, 1984)

Yello - Vicious Games (Elektra)

Swiss oddballs Yello are back, with a widescreen Euro-disco drama. It features a mysterious girl singer [actually Rush Winters] and mainman Dieter Meier taking the lead roles in a tale of love gone sour, played out over Boris Blank's thrilling musical landscapes. Epic stuff. Deserves to be the hit they should have had years ago (Stuart Husband, No 1, March 2, 1985)

Shriekback - Mercy Dash (Arista)

Shriekback are one of those alternative dance bands you hear about. The alternative in this case being anything rather than wasting your time trying to hop about to this record. Perhaps Shriekback are challenging our ideas, restructuring our notion of the dance, drawing us up to a new aesthetic plain. Perhaps they just make dance records you can't dance to. (Paul Simper, No 1, November 17, 1984)

A murky but quite appealing muddle of sound that, with a more interesting voice intoning the rather wiggy lyrics, could have been a really good record. As it is, I can't see it doing much. (Dave Rimmer, Smash Hits, November 22, 1984)

Private Lives - Because You're Young (Chrysalis).

No, it's not the blissful Bowie song from Scary Monsters though, now you come to mention it, the saxophone introduction is a bit like "Young Americans". Hitmaker-producer Martin Rushent struggles bravely to make a good pop record out of a weak song, but that Genetic Sound can't be found. (Neil Tennant, Smash Hits, March 4, 1982)

David Essex - Sweethearts (Mercury)

A sweetheart from the early '70s, the early '80s find Mr. E. in a sorry state. This is a dull thump of a song which recycles every lyrical cliche in the canon. Pass quickly. (Ian Birch, Smash Hits, April 15, 1982)

Orchestral Manouvres In The Dark - Genetic Engineering (Virgin)

Well worth the wait. OMD's knack of coming up with exhilarating singles has not been affected by their year off. Nobody can resist a plea on behalf of all those created, innocent bambinos and when you marry such sentiments to a great tune, even your goosebumps get goosebumps. (Ian Birch, Smash Hits, February 17, 1983)

Lone Justice - I Found Love (Geffen)

I remember interviewing Lone Justice 18 months ago and being warned that Maria McKee didn't like to be singled out - they were a real band, you see. Then all the others disappeared, and what we are left with is one squawky, potential rock superstar and a bunch of session musicians. Imagine Carmel going West Coast; this is the result. Maria McKee is a good songwriter and a charismatic personality, but the sooner she stops packaging herself like Bryan Adams in a dress the better for all of us. (Eleanor Levy, Record Mirror, February 21, 1987)

Paul Young - Every Time You Go Away (CBS)

The introduction sounds like the theme to Eastenders. Very meaningful lyrics and a nice melody. Paul's obvious ability is in singing ballads (this was originally by Hall & Oates) and this is another classic example. (Marshall O'Leary, Smash Hits, March 14, 1985)

This has got to go down as my favourite. Paul Young has got to be the best British white male singer. This has got everything; a great song, powerful production and he's a talented performer. I'm so glad to hear Paul's having singing lessons for his breath control after his vocal problems last year because he has a marvellous voice and I, for one, would be sad not to hear it again. This record got me on the first listening. Single Of The Week. (Hazell Dean, Record Mirror, March 2, 1985)

Bananarama - Shy Boy (London)

A brand new song crisply written and produced by Imagination's production team. Sunny and singalong - when you hear it blaring from hordes of transistor radios on a hot day at your favourite seaside resort you'll forget about the sand in your sandwiches. (Neil Tennant, Smash Hits, June 24, 1982)

Nik Kershaw - The Riddle (MCA)

'The Riddle' in question concerns an old man of Arran going round and round a hole in the ground. Not the most stimulating of exercises but it seems to mean a great deal to mystic Nik. When Sting comes out with this metaphysical hogwash, so sweet are his songs that he gets away with it. Nik Kershaw probably couldn't get away with pinching a pack of liquorice from Woolies. The only riddle is why folk keep buying the boy's records. (Paul Simper, No 1, November 17, 1984)

Somewhere in its dim and distant lineage, this song is related to "Mull Of Kintyre". With its Celtic folksy tune, pushed along by military drums and penny whistles, and references to 'wise men', I suspect it's the first genuine Christmas Single of the season - albeit a little early - and the song most likely to be whistled by your milkmen in the winter months ahead. (Neil Tennant, Smash Hits, November 8, 1984)

Culture Club - The Medal Song (Virgin)

Go to Hollywood too, in a manner of speaking. The medal refers to one that Frances Farmer won whilst still at acting school in the Forties, and led her to that fabulous Babylon in the hills. She found the star system conflicting cruelly with little needs like Work, Art, Real Life. She couldn't take it and ended up in an asylum. Perhaps George is trying to tell us something? He shouldn't explain, but ... I remember when this group weren't so Mega and made records such as "I'm Afraid of Me" and "Time", and so does George. (Mark Cordery, Record Mirror, November 24, 1984)

Frances Farmer, the subject of "The Medal Song", was a Hollywood starlet who was committed to an asylum because she refused to conform to the star system. The song's conclusion would seem to be that pop star or movie queen, life's not so different to that of us ornery folk. And perhaps it's time we were reminded that George is only human. No one has a god-given right to No. 1 records, and the fact is, it's over a year since the Club's last chart-topper with "Karma Chameleon". There's not much of a tune on "The Medal Song" either, but that's no indication that this O' Dowd has had his day. (Paul Simper, No 1, November 17, 1984)

Japan - Ghosts (Virgin)

Japan are a mystery to me. After being a standing joke for years they came right into fashion in 1981, built up a large following (witness the polls) but still didn't sell very many records. And all the while they sounded awfully like Roxy Music. That cannot be said of "Ghosts" and it's arguably the best thing they've done - slow, spare and mesmerising. (Tim De Lisle, Smash Hits, March 18, 1982)

Talking Heads - Slippery People (EMI)

David Byrne's got bigger and better suits than Yohji Yamamoto, but never mind the width - what about the quality? Well, the Heam,' musical accomplishments continue ,) surpass even their sartorial achievements, and this two-headed blast of pure dance-floor intelligentzia is living proof of that. Since their first LP in 1977, they've been a constant source of mature moods and homely madness, never ever missing a single beat. Lifted from their forthcoming celluloid venture Stop Making Sense (filmed on their last tour), the sound quality is beyond excellence, whilst the puns are pure fun: get ahead - get a Talking Head. (Dylan Jones, Record Mirror, October 20, 1984)

More live meandering from David Byrne and a cast of thousands. Typically Headsy without expunging the memory of their late '70s peak, 'Slippery People' jerks along on Fenders, funk and Steve Scale's subtle percussion. The Squawking Teds pioneered this style so long ago it now fails to sound new. Very average. (Max Bell, No 1, October 20, 1984)

UB40 - I Won't Close My Eyes (DEP International)

UB40 singles are always deceptive, seeming to have no obvious melody or structure at first, yet turning out to be hypnotic and addictive. Even so, this one does sound lacklustre on the few plays I've been able to give it. (Charlie Gillett, Smash Hits, February 4, 1982)

The Nightingales - It's A Cracker (Vindaloo)

This has ribtickling, deep vocals of the sort Pete Burns has recently been toying with in that risquely provocative fashion of his. Add a jangly acoustic backing rather than a spruced and shiny electric one and you have a cracker. (Eleanor Levy, Record Mirror, March 16, 1985)

Deacon Blue - Loaded (CBS)

On first hearing, this sounds like another miserable Scottish group (of which there are many) singing a miserable song and sounding like they've just lost a week's wages. It even has a miserable cover. After a few spins, however, it reveals itself to be sensitive, delicate, very miserable and yet perversely charming. (Lola Borg, Smash Hits, July 1, 1987)

Bardo - Hang On To Your Heart (Epic)

Bardo do what comes naturally and warble a ditty that could easily come seventh in the next Eurovision Song Contest. (Fred Dellar, Smash Hits, February 3, 1983)

Sounds like Jack and Jill tumbling all over the place. This is merely a variation on that old "One Step Further" theme, all bright eyes and slyly patting each other's bums. But since David and Thereze aren't speaking to each other, this might capture their old share of the market. God knows it's time Bardo started to justify their investment. (Robin Smith, Record Mirror, February 5, 1983)

Andy Summers - Love Is The Strangest Way (MCA)

Summers' distinctive Police guitar style is bound to appeal to the influential daytime jocks and A-list planners. Whether his lethargic non-singing voice will draw in the punters is debatable, particularly as this song stays on one level throughout and that level is boring. True, musos have had hits before but if Andy Summers was destined to be a front man how come Sting got the job? Besides the title doesn't make sense. (Max Bell, No 1, July 18, 1987)

Wet Wet Wet - Sweet Little Mystery (Phonogram)

The Wet ones won't need to wish they're too lucky with this as it's so patently commercial their growing horde of fans are bound to give the Glaswegians a big lift to the top. Shades of the Blow Monkeys and even Culture Club tend to make it sound very familiar but as safe pop goes it isn't too awful. At least you can ignore it. (Max Bell, No 1, July 18, 1987)

This is a perfectly breezy pop tune that starts with some finger clicking and soulsome groans, then smooths into an unforgettably inane chorus about love taking a tumble or some such nonsense. What spoils Wet Wet Wet songs however, is that just to hear them conjures up the alarming image of singer Marty's rather strange "dancing" which involves him flapping his arms like a deranged budgie dressed in Shakin' Stevens denim cast-offs and with that daft grin that quite spoils his anguished wails over love's woes. Shame really. (Lola Borg, Smash Hits, July 1, 1987)

The Tom Tom Club - The Man With The 4 Way Hips (Island)

The Tom Tom's last single "Under The Boardwalk" saw them treading water after the very wonderful "Genius Of Love". Now they're sinking slowly without so much as a melody to cling on to. (Paul Simper, No 1, July 23, 1983)

Bright and bouncy this song is simply jam-packed with goodies. Oozing synthetic vocals wash over a bubbly concoction of - you guessed it - summery sounds that celebrate the joys of being a physical jerk. You can't have everything I suppose. (Peter Martin, Smash Hits, August 4, 1983)

Desperate as somebody trying to break out of locked cupboard. Tom Tom Club stagger through a track sounding like a Metal Mickey novelty song. (Robin Smith, Record Mirror, July 23, 1983)

H2O - Just Outside Of Heaven (RCA)

This makes Kajagoogoo sound classy. Watery synths and stunningly intelligent lyrics(?) build up for a real barnstorming crescendo, I was really moved, I must say. And my word, aren't they a good-looking bunch for sure. They remind me of New Musik and I'm sure the singer must want to be in OMD very badly. (Peter Martin, Smash Hits, August 4, 1983)

Anonymous poppyrock. I suggest you heed the news bulletins and use as little H2O as possible. (Paul Simper, No 1, July 23, 1983)

H2googoo look like keeping their feet under the table for a long time. Another deceptive song with the initial impact of a wet flannel, before those soft musical rumblings begin to take hold. Absolutely no escape. (Robin Smith, Record Mirror, July 23, 1983)

Queen - Hammer To Fall (EMI)

The fourth single to be taken from The Works. Just who are Queen trying to kid? I saw them play a stunning concert at Wembley recently but I remember writing "tuneless dirge" in my notebook alongside "Hammer To Fall". Why should I change my mind now? (Dave Ling, No 1, September 15, 1984)

There's something decidedly suspect about grown men poncing around in frocks and false boobs, and Queen are certainly old enough to know better. That they get away with these sort of antics says something for the loyalty of their fans, but this mess of a song will test the dedication of even those misguided souls. An overblown, melodramatic piece of nothing. (Karen Swayne, No 1, September 22, 1984)

When people start referring to their musical output as 'product' - as Freddie Mercury did on Radio l's Saturday Live the other day - it's a sure sign that the tinkle of cash registers has become more important than artistic integrity. This time it's Brian May's turn to put a bit of money in the bank and, although his song's about as modern as his stage outfits (i.e. prehistoric), it's bound to be a monster hit. How depressing. (Vici MacDonald, Smash Hits, September 27, 1984)