The Dream Academy - Life In A Northern Town (Blanco Y Negro)

Supposing it did exist, a dream academy would be a place to learn all there is to know about dreams. But there isn't one. Is there? Maybe the two boys and one girl in The Dream Academy know something, as the reason why this record is so damned good eludes me like a dream. It could be the haunting, almost-choral arrangement of this atmospheric song, or perhaps the lyrical content which triggers off a barrage of romantic images. Whatever makes it such a dream of a single, more please. (Adrian Tierney-Jones, No 1, March 9, 1985)

Rockwell - He's A Cobra (Motown)

Rockwell has the sort of moustache Prince would die for. But "He's A Cobra" is the sort of song Prince wouldn't even give to Chick Huntsberry. Once upon a time someone was watching Rockwell. Now he's the victim of a snake-like charmer who's after his girl. Sad old world, ain't it? (Adrian Tierney-Jones, No 1, March 9, 1985)

Everything But The Girl - When All's Well (Blanco Y Negro)

Disappointingly, this smacks of 'playing safe'. When Tracey and Ben can write such perfect feeling songs as "Bittersweet", why release an insubstantial and lifeless song like this? It smacks of panic by someone - a vague attempt to emulate "Each And Everyone"'s success by putting out a song as close to it as possible but with none of its free-flowing jazzy life. EBTG have new songs far better than this and hopefully we'll be seeing them soon. (Eleanor Levy, Record Mirror, March 16, 1985)

I think Tracey Thorn sounds very similar to Siouxsie Sioux on this. It's more powerful than their usual style but still a very thoughtful record and could be the song to give them their breakthrough. (Marshall O'Leary, Smash Hits, March 14, 1985)

Apparently Ben Watt is a big Glenda Jackson fan which explains why there's a picture of her on this single sleeve. In case you were wondering, film fans, the shot is taken from The Triple Echo. A film in which Glenda's bedmate is an AWOL soldier who hides in her cottage masquerading as her sister whenever anyone comes by - an idea which backfires when Oliver Reed takes a fancy to him. Good film taste aside, this record has little going for it. Unlike 'Each And Every One' and Tracey's work with Paul Weller and Working Week, it's simply unremarkable. When all's well hopefully they'll release something else . . . (Adrian Tierney-Jones, No 1, March 9, 1985)

The Power Station - Some Like It Hot (Parlophone)

A very strong first record from The Power Station, including Smash Hits readers' most fanciable man, John Taylor. It has a recognisable chorus and a rousing guitar solo from Andy Taylor– and I especially like the twangy acoustic guitar in the background. A hit. (Marshall O'Leary, Smash Hits, March 14, 1985)

If you live in a cave, hard luck. It must be cold. It must also mean you'll think The Power Station are just Another Group. You'll not know that some Duran chaps, a brace of Chics and super-cool crooner Robert Palmer have undertaken a musical project. With 'Some Like It Hot', they seem more intent on showing us that The Power Station will not be like Duran Duran, as opposed to producing anything memorable. Despite Palmer singing his socks off and a muscular rhythmic workout courtesy of John Taylor and Tony Thompson, it's little more than some of pop's sophisticates jamming. (Adrian Tierney-Jones, No 1, March 9, 1985)

James - Hymn From A Village (Factory)

James, currently A Group To Watch, come from Manchester and are guests of The Smiths on their nationwide tour. Morrissey has taste. "Hymn From A Village" has a simple and magical charm which comes from the fragile but determined guitar-playing, lively drumming and singer Tommy Booth's strained but human voice. Like The Smiths' early singles it's the very essence of pop, free from technological excess and cosmetic overkill. Devour it. (Adrian Tierney-Jones, No 1, March 9, 1985)

All the bands coming through at the moment seem to be of a certain mould. BEAUTY is the thing to be possessed of and if you haven't got it, fake it, and bugger the sound you're making - that can be faked too. That's why James are so refreshing. So non-visual it hurts and makes it excessively difficult to find one of those easy nouns we journalists like attaching to the front of groups' names. You know, 'funksters', 'popsters', 'long macsters'. The comparisons with Joy Division are glaringly obvious but they have a less doomy, more open hearted feel and (ouch) energy. (Eleanor Levy, Record Mirror, March 16, 1985)

Captain Sensible - Come On Down (A&M)

In which our hero risks life and limb and dares attack those great British National Heroes, the TV quizmasters. A nation swoons and shouts 'shame' at the Captain who with a punk-like thrash pours scorn on those TV show Hitlers who offer 'a year's supply of Spam ' or a 'fluffy kangaroo' for witless participants. For his next record, the Captain will expose the evil men who make cats tap-dance in concrete booties. (Adrian Tierney-Jones, No 1, November 16, 1985)

"Win a holiday for two/or a fluffy kangaroo/Genuine vinyl three piece suite/ It will make your life complete. . ." Yes, Sensible is having a sneer at The Price Is Right and similar gruesome game shows, but he's so jolly and chirpy and inoffensive about it all that Derek Batey, Leslie Crowther and all those other masters of audience humiliation are left without a stain on their characters. In a couple of years, the "very lovely" Maggie Moone will probably be singing this jaunty cockney trot-along to the contestants on Name That Tune. (Tom Hibbert, Smash Hits, November 6, 1985)

The Kane Gang - Gun Law (Kitchenware)

The boys from County Durham have always had a social conscience and "Gun Law" doesn't deviate from the path of righteousness. By comparing the rough and ready justice of the Wild West with today's equally harsh economic conditions, it points the finger at those who grow fat on profits made at the expense of others. And as if believing that the message must be rammed home, "Gun Law" is a dramatic electric slab of Kane funk. It's tightly constructed, sung with great gusto and the spaghetti western-style opening is a neat touch. It won't change much but at least they care. (Adrian Tierney-Jones, No 1, March 9, 1985)

An uptempo beat spoilt by tomcat vocals from whatever-his-name-is. You should take a leaf out of your own book and respect the people who have to listen to this piffle. Terrible. (Marshall O'Leary, Smash Hits, March 14, 1985)

Nik Kershaw - Wide Boy (MCA)

Perhaps "Wide Boy" is the result of Nik Kershaw realising how absurd it is that a year or so ago no one would even cash his cheques and now there are thousands who'd die for him. So being a responsible sort he takes to task those stars whose heads are turned by fame. "He's no big deal, he's just a wide boy," croons the Ipswich idol backed by the usual sugary melodic pop. I find "Wide Boy" quite forgettable, but I'm glad to see Mr Kershaw has got his feet firmly on the ground. (Adrian Tierney-Jones, No 1, March 9, 1985)

Very enjoyable. The lyrics tell a story about Nik Kershaw himself, I think. What he's trying to say is that his critics think he's stupid but, because he's got so much success, it doesn't bother him. One of those records that you may well find yourself humming at the bus stop. Nice one, Nik. Single of the fortnight. (Marshall O'Leary, Smash Hits, March 14, 1985)

Alison Moyet - That Ole Devil Called Love (CBS)

A smoochy number. One to play while you're with your loved one. I don't think it will be as big a success as its three predecessors but Alison does have a large following, enough to make it into the Top 30. Not one of my favourites, though. (Marshall O'Leary, Smash Hits, March 14, 1985)

The lights dim, an expectant hush descends upon a select audience, a piano tinkles, a trumpet softly blows and a voice that's blue and deep starts singing a Billie Holliday classic from the 30s. Alf has taken a break from the usual repertoire of pop-soul for young marrieds to sing something that's a bit more challenging. And she sounds a lot like Cleo Laine. Whether it's a calculated effort to broaden her appeal or a reflection of Alison's avowed love of the blues and jazz, I don't know. It'll be massive, whatever. (Adrian Tierney-Jones, No 1, March 9, 1985)

Billy Bragg - Between The Wars (Go! Discs)

A low price EP of four songs showing the man with the large nose at his most potent and lyrical. Billy 'pulls no punches', the thing beginning with "Between The Wars", an anti union-bashing song and ending on a new, slower version of "It Says Here" attacking the Tory press. You could argue that blatant political commentary alienates and ends up preaching only to the converted. Yet subtlety never works either. (Eleanor Levy, Record Mirror, March 16, 1985)

With just his trusty guitar and a swagbag of modern folk songs Spiced with the acid wit of punk, Billy Bragg has confounded all those who've said such antics had no place in 1985. Neil Kinnock's fave pop person (after Trace of course) has now released his first ever 7-inch single. It has four tracks that highlight Billy's mastery of investing simple songs with a sense of defiance and humanity. At £1.25, you can't go wrong. (Adrian Tierney-Jones, No 1, March 9, 1985)

Oh dear, I hate this man and his music. I've heard this on Whistle Test and hated it – my opinion hasn't changed. It's got the same monotonous tune all the way through and he can't sing to save his life. Why don't you just leave the music business, Billy? (Marshall O'Leary, Smash Hits, March 14, 1985)

Wham! - I'm Your Man (Epic)

I must say, I do like the cut of George Michael's jib. What usually happens once you've become the world's most famous rising pop star is you get complacent and start making useless records, or you go dotty and stop making records altogether. Not George. George cares about pop for too much to let himself become distracted just yet. He's passionate about pop and he's good at it too: not a great songwriter but a stylish "craftsman" and a marvellous singer. On "I'm Your Man" he comes on all breathy and slippery in a racy pumping romp that's a little bit Motown and quite a lot George McCrae. A dignified hit: G. Michael is a proper star. (Not entirely sure what Andrew does on this but, no doubt, he does it very well too). (Tom Hibbert, Smash Hits, November 6, 1986)

I don't own a crystal ball anymore but I suppose "I'm Your Man" will get to Number One. However, the first Wham! single this year doesn't have the snap, crackle and pop of "Go-Go" or the sheer cheek of "Freedom"'s Motown rip-off. To these ears it's a rather pale re-write of "Freedom" with a weedy sax. Perhaps George is working too hard. (Adrian Tierney-Jones, No 1, November 16, 1985)

Pet Shop Boys - West End Girls (Parlophone)

The Pet Shop Boys (alias Mutt and Tibbs, no doubt) released "West End Girls" some time ago, but claim that second time around it's re-recorded. Which could be another way of saying that they've only got one good song and this is it and please will you buy it. Well if it worked for King with "Love and Pride", it should work for "West End Girls" which, with its sad, reflective air set to subdued sub-disco, is miles better. (Adrian Tierney-Jones, No 1, November 16, 1985)

For some reason, this sprightly amble through the studied lowlife of a city triggers off the fragrance of William DeVaughn's "Be Thankful For What You Got" and something else that'll come to me when I least need it. (Mike Gardner, Record Mirror, November 9, 1985)

A tumble through Soho in the seedy wee, wee hours accompanied by the kind of jaundiced horns that are more often found on soundtracks of films about Hollywood actresses hitting the bottle and cracking up with mascara running down their faces (Valley Of The Dolls springs to mind). Set against this, the electronic bleats and the demi-rap (Grandmaster Flash And The Furious Five's "The Message" without the baseball bat) create an atmosphere of danceteria sleaze that's almost sinister. Brrr. (Tom Hibbert, Smash Hits, November 6, 1985)

XTC - This World Over (Virgin)

AM: The British public chose in their infinite ignorance not to make the last one a hit, which was a belter, and given the state of the world, I see no reason why this one should be a hit. And I can understand more why this one wouldn't. I adored 'All You Pretty Girls'. PH: I really like this one, actually. AM: I like that, but it sounds more like an album track. PH: As a song, which is basically what we're reviewing, it's very very good. (Paul & Andy of OMD, Record Mirror, November 3, 1984)

Mention XTC in mixed company and no doubt you'll be regaled with a chorus of "Making Plans For Nigel", their biggest hit. Five years later, they're still slogging away getting more misses than hits. "This World Over" is a sad, regret-filled postcard of a song from a post-nuclear holocaust world. It's haunting and chilling and might finally end those choruses of 'Nigel'. (Adrian Tierney-Jones, No 1, November 10, 1984)

Anti-war holler, wistful and winsome. XTC have stepped back from music industry machinations and are making better records. (Morrissey, Smash Hits, October 24, 1984)

Madonna - Like A Virgin (Sire)

The title of this squeaky clean semi-electro pop produced by Nile Rodgers recalls Mark O'Toole quoted in 'Pleasuredome': "So really I'm never honest." And when one places the record next to the far superior "Borderline", one realises that Madonna is only hip (hop) New York's answer to Cyndi Lauper. (Adrian Tierney-Jones, No 1, November 10, 1984)

Visually, let it be said, Madonna is a pure vision. She walks the deadly tightrope between sophistication and outright sexuality. Her records, on the other hand, are simply tame and lame modern pop disco, and her ability to perform centres more on pouting than on pirouetting. Putting it bluntly, she is a marketing man's dream: a carrot to dangle in front of lechers such as myself, a slightly classier musical version of Page 3, and her record here shares all the throwaway qualities of the said publication. (Pedro, Record Mirror, November 10, 1984)

Apart from being the only girl Peter Martin actually sends fan mail to, Madonna managed to come up with a cracking good first LP that I'm still not sick of even though my brother plays it to death every time he stays at my house. This however sounds like Cyndi Lauper making a feeble foray into disco with the help of Nile Rodgers and a bass line that sounds suspiciously like " Billie Jean". Boring. (Dave Rimmer, Smash Hits, November 22, 1984)

Strawberry Switchblade - Since Yesterday (Korova)

Having missed the summer of love by a few years, the polka-dot girls try and take us into a winter of whimsy with their own sweet and sour brand of '80s psychedelia. How nice. (Adrian Jones, No 1, November 10, 1984)

This begins, if I'm not mistaken, with a snatch of something famous by the composer Sibelius, and then ventures into a wistful melody, sung in brittle harmonies which touches the heart. One of the few records this week which isn't trying to sound like something else. (Neil Tennant, Smash Hits, November 5, 1984)

After their impressive first outing "Trees And Flowers", this Scottish duo waltz back into the psychedelic drive-in with a jaunty little tale of love and loneliness that tastes of saccharine flavoured popcorn and steaming Kia-Ora. More sexy than Everything But The Girl, more cosmic than the 13th Floor Elevators and showing that they haven't put all their strawberries in one basket. (Dylan Jones, Record Mirror, October 20, 1984)

Human League - Louise (Virgin)

When Hysteria first came out, this was the track everyone pointed to and exclaimed: "that should have been the single". Wishful thinking, I reckon, to see this somewhat drab ballad as this year's "Don't You Want Me", but it'll probably be a hit of some sort all the same. All I know is, that nagging bass line is going to drive me raving mad. (Dave Rimmer, Smash Hits, November 22, 1984)

'Hello Louise, remember me?' Hey, it's uncle Phil and t'boys and girls in t'League with
the third single pulled from the disappointing Hysteria LP. The last single "Life On Your Own" was a perfect League single - catchy, glamorous with just a hint of heartache. "Louise" is also another Mills & Boon electro romance, but Phil Oakey's deadpan delivery sounds as romantic as a wellington boot. (Adrian Tierney-Jones, No 1, November 10, 1984)

Beneath the lumpy synthesiser squeals and dull, thudding rhythms lies a simple, plaintive peach of a song. Its insidious melody and Oakey-Cokey's appropriately deadpan delivery would all but wrench out those heart strings if it wasn't for all those bleeding Bontempis sounding like a budgie chirping on a digital watch alarm. (Pedro, Record Mirror, November 10, 1984)

The Rolling Stones - Harlem Shuffle (CBS)

A stormer from The "Stones" that makes you (well, me anyway) want to strut around like a demented cockerel, "clap those hands", yell wooooh, try to spin on your neck, fail miserably, etc. Will doubtless be a massive hit, have an incredibly brilliant video and make everything all right with the world for three whole minutes. (Sylvia Patterson, Smash Hits, March 12, 1986)

Unlike his more astute "Dancing In The Street" partner, Mick Jagger is still trying to act like the rebellious youth of 20 years. A pointless remake - except as a piece of total self indulgence from a bunch of privileged, ageing 'rock 'n' rollers' (man) with nothing else to do. Noisy, messy and as much fun as having the hairs in your nose pulled out one by one. (Eleanor Levy, Record Mirror, March 8, 1986)

A cast of sharply-dressed cartoon characters adorns the picture sleeve of "Harlem Shuffle". The Rolling Stones have been going so long that they seem almost the same - look no further than Jagger's Spitting Image for confirmation. "Harlem Shuffle" is the first single from the Stones for ages and its confident rhythm & blues-cum-soul arrangement will doubtless send it soaring into the charts. To these ears though it sounds as polite and ordinary as Sunday lunch - and I eat in the evening. (Adrian Tierney-Jones, No 1, March 15, 1986)

Thereza Bazar - The Big Kiss (MCA)

In 1982 Thereza Bazar was the golden girl in Dollar, with her perfect pop lovingly crafted by Trevor Horn in preparation for his future ZTT extravaganzas. Now she's all alone, with her hair carefully cropped and miming in a ludicrous rubber skirt on Wogan. And her pop is now far from perfect. "The Big Kiss" is so bland it adds a brand new dimension to the words plinkety plonk. Bring back Sooty, I say. (Adrian Jones, No 1, June 8, 1985)

A happy medium somewhere between Madonna and Cyndi Lauper. I like this track for some unknown reason. Everything in it has been done before but it fits nicely somehow. Really 'catchy'. (Simon O'Brien, Smash Hits, May 22, 1985)

Sudden Sway - Sing Song (Blanco Y Negro)

A warning: Sudden Sway like to confuse. There is not one "Sing Song" but eight versions (not 'remixes') of a jaunty non-conformist pop air. Sudden Sway say that they want to give you - the record-buyer - the choice to buy as many "Sing Song"s as you like. Of course you might buy none but that would be your loss as "Sing Song" (whatever version you get) is mighty fine. Furthermore it's always a good sign when someone tries to buck the system. 4/5 (Adrian Tierney-Jones, No 1, March 15, 1986)

The High Bees - Some Indulgence (Supreme)

A song that's been out for some time, but the fact that it's so far been ignored is a sin akin to eating the nut first on a Walnut Whip. Smooth, throaty vocals from Syuzen Backley, helped out with some easy backing from Aztec Camera's Malcolm Ross and Dave Ruffy. Sade without the expense account. (Eleanor Levy, Record Mirror, July 29, 1985)

Malcolm Ross and David Ruffy are on temporary leave from Aztec Camera. Together with singer Syuzen Buckley they've released a simple, charming piece of Scottish pop, like Orange Juice used to make. "The mouse dreams dreams which would terrify a cat," it says on the back sleeve. A bit enigmatic, what? (Adrian Jones, No 1, June 8, 1985)