Alan Clayson And The Argonauts - Last Respects (Rackets)

Five tales of loony Anglo-Saxon melodrama crossed with cartoon sketches of World War II in a coating of early '70's 'rock'. There's never been anything like this before and, quite probably, never will be again. (Tim De Lisle, Smash Hits, December 9, 1982)

Fad Gadget - King Of The Flies (Mute)

With luck this could slip into the charts by a side entrance. It has a sturdy melody, confident vocals and plenty of mystery and imagination in the words. Clever lad, our Fad. (Ian Birch, Smash Hits, April 15, 1982)

Shambeko! Say Wah! - Remember (Eternal)

Everyone's doing it. The cult chaps of yesteryear are now leap-frogging over each other to get into the charts. The 'Beeks stand a good chance. The song is instantly likeable and producer Clive Langer has topped it up with an extra zing. (Ian Birch, Smash Hits, April 15, 1982)

The Toy Dolls - James Bond (Lives Down Our Street) (Volume)

This record is so ridiculous I couldn't help but smile. Although the singer sounds like Minnie Mouse and the jokes wear thin fairly fast (yes, a note of cynicism has crept in - but I'm just thinking of my reputation), at the end of the day, who cares? Lines like "My name is Bond, James Bond/My hair is blond/dyed blond" never did anyone any harm. For juvenile delinquents everywhere. (Ursula Kenny, No 1, September 28, 1985)

Q. Is it remotely possible that the Toy Dolls could release a record even more excruciatingly awful than "Nellie The Elephant"? A. Yes. (Lesley O'Toole, Record Mirror, October 5, 1985)

Jim Diamond - Young Love (A&M)

The most amazing thing about this record is Jim's bizarre alien dreadlocks on the poster bag. He looks like an insect in a ballet outfit, but don't let that put you off the record. The song is a very sincere love ballad. I'm sure it could have moved me even if I hadn't been so preoccupied with the record sleeve. 2/5 (Ralph Tee, No 1, July 12, 1986)

Kraftwerk - Telephone Call (EMI)

Who else but Kraftwerk (those Germans famed for making quirky electro-pop tunes about very boring things like driving along motorways) would make such a brilliant song about dialing a wrong number with virtually the only words being a haughty voice droning, "The number you have reached has been disconnected"? or fill it so charmingly with all those clanky parps, rings and squeaks that we probably won't be familiar with for much longer if British Telecom continue on strike? Wonderful. (Lola Borg, Smash Hits, February 11, 1987)

Hasn't been much chartwerk for this lot since the New Romantic days of 'Computer Love' and 'Neon Lights' but this understated story of love-on-the-line might just sneak Kraftwerk back into the directory. Unless you're otherwise engaged. (Paul Simper, No 1, March 7, 1987)

The mechanical men with the bioplasmic hearts haven't exactly changed the computer programme over the years. No BAGPIPES here, and no blues howling. It's still computer disc heads falling in love with sad, shimmering tunes. But with the metronome percussion more defined, its now possible to dance to Kraftwerk without pretending you're a goddamn ROBOT. It's almost hummable hip hop, and it's as engaging as ever. (Roger Morton, Record Mirror, March 7, 1987)

The Dukes of Stratosphear - The Mole From The Ministry (Virgin)

The best record without a doubt. You can sing The Beatles' "I Am The Walrus" along to it. It's really good. Obviously someone spends the majority of his time listening to their Sergeant Pepper LP. You say it's actually by XTC? Really? They've definitely been studying The Beatles! It's the only single of the lot with a sense of humour. Single Of The Fortnight. (Roland Orzabal, Smash Hits, April 24, 1985)

XTC poke their tongues into their cheeks before taking a magical mystery tour into "I Am The Walrus" - land. Not bad. (Mike Gardner, Record Mirror, April 20, 1985)

Language - We're Celebrating (Stiff)

Smart-arse white funk with a pompous vocal and a lot of corny wacka wacka guitar playing. No reason for cracking open a bottle of fizz. (Neil Tennant, Smash Hits, May 12, 1983)

Stiff go disco shock! Unfortunately, this is aimed at crippled penguins. (Robin Smith, Record Mirror, May 7, 1983)

Jeanette - In The Morning (Survival)

Virtually just drums and voice, this is different. Refreshing and uplifting, Jeanette's voice is strong enough to carry her through a song without the aid of music; and [also] does so on the B-Side.
If this gets more airplay it could be big. (Debbi Voller, No 1, May 14, 1983)

Siouxsie And The Banshees - Candyman (Wonderland)

Taken from the next album Tinderbox, this finds Siouxsie and Co back in classic form. It has all the eerieness and menace you could want and for once Siouxsie is actually singing (as opposed to intoning in key). All those hours with the vocal coach have finally paid off. Chalk up another Banshees hit. (Pat Thomas, No 1, March 1, 1986)

Grab a look at that cover. Did they get Paul King to model for it? Will Woolworths allow it into their chain stores? Actually there are very few things in my life more painful than having to listen to the vocal contortions of Souse. Very fast, very unpleasant. Enough said. (Robin Smith, Record Mirror, March 1, 1986)

Siouxsie's not a 'singer' like Aretha Franklin but she makes great use of what she's got and she always sounds exciting. She sings with a lot of sex - that's what I like. This is a great Banshees record. Obviously, they've got a bit of a 'formula' but I like their sound. I used to go and see them quite a lot when I was younger, when I was a punk rocker. Single Of The Fortnight. (Dave Gahan, Smash Hits, February 26, 1986)

Red Guitars - National Avenue (Virgin)

Another one of those jangly guitar songs which tells a rather obscure "angst" story. this one's about having people "inside me now". Mmn. Prefab Sproutish and very endearing at that. (Sylvia Patterson, Smash Hits, March 12, 1986)

Culture Club - Move Away (Virgin)

The comeback of the media darling turned media brat. It's not that expectations weren't exactly high - they just weren't there at all. Which is why George and Co will be grinning all over their faces. I can't say "Move Away" is classic Culture Club because their music always left me cold, so that would be an insult of the vilest kind. What it is, is a sparkling production (Arif Mardin lending a hand), a creditable performance, and a very clever, radio-orientated pop tune. The seven inch is predictable Culture Club, the 12 inch is a revelation. George's tremulous warbles are pepped up with the sharpest of sharp production. Two years ago it would have been a hit just because of who it was by. Today, it might just make it on its own merit. Life's full of surprises, isn't it? (Eleanor Levy, Record Mirror, March 8, 1986)

Note: it's interesting how far Boy George's stock had fallen - the single was ignored for review by both Smash Hits and No 1 - both previously featuring Culture Club to a significant level. It was a good single, though. Anyone else remember Boy George appearing in the "A-Team" TV show?

Pete Shelley - Waiting For Love (Mercury)

Those sweet sing-along harmonies, that happy skipping beat - this could have been by The Osmonds if it wasn't for Pete's lovable drone - although he actually seems to be singing in tune these days. The Buzzcocks were always the only band from the punk era you could safely take home to meet your Mum, and Shelley's little boy charm still shines through every plaintive cry for affection. Gone is the overt technology of "Homosapien" and back comes love and sorrow. How 'girly' - but how sweet. (Eleanor Levy, Record Mirror, March 8, 1986)

"Waiting For A Hit" should've been the title for this one. Poor ol' Pete, he writes some brilliant songs but they never make the impact they deserve. Pete Shelley used to sing with punk band The Buzzcocks who had a string of hits back in the 70's, but for the last four years or so he's been playing solo with his much loved computers. Sadly this new release isn't one of his shining moments. It's a little too repetitive and probably won't help the situation. 2/5 (Debbi Voller, No 1, March 8, 1986)

Julian Cope - Sunshine Playroom (Phonogram)

'Ultimately butch', 'a devil of sophistication', 'a man for all seasons', all this and more, is the enigma of Julian Cope. As everyone knows 'ol Copey's been away, getting his head/act together and no doubt trying to find where he's coming from, and more important, going to. This piece of platter is very strange to say the least. Disjointed beyond belief, but nonetheless weird and quite wonderful at the same time. Amazing, in a funny way. (Gary Crowley, Record Mirror, November 12, 1983)

Unless you have fond memories of The Moody Blues' "Question" or Queen's "Bohemian Rhapsody", Cope's three part epic shouldn't seem familiar. It fuses an urgent rock song, a pleading ballad and a harmony chorus, tosses in the theme tune from Hawaii Five-0 and then wraps itself up in the lush string arrangements of Paul Buckmaster (who applies the same magic touch to the new Nick Heyward album). The work of a genius and absolutely wonderful. (Mark Steels, Smash Hits, November 10, 1983)

Tom Robinson - Listen To The Radio (Atmospherics) (Panic)

As someone who finds great solace in the radio on that long and lonely drive back from clubland in the early hours, I feel that Tom's captured the mood perfectly in this poignant and not-a-little sad song. (Mark Steels, Smash Hits, November 10, 1983)

Uncle Tom has changed dramatically from a leader of men to a solitary soul. Here he takes a jazzy stroll through late night Berlin and has the chart sense to mention radios once he gets to the chorus. Funny that such a decadent city should succeed in reviving so many of our jaded stars. First Bowie, now Tom. Is Berlin a health spa? I think we should be told. (Mark Cooper, No 1, November 5, 1983)

Records that boast radio in the title are usually quite desperate affairs. Seeing as most DJs are stupid and totally clueless, the play a 'radio' record automatically and no doubt enliven us all with some inane comment. Tom Robinson knows this and cannot be trusted for pandering. I'll say no more. (Gary Crowley, Record Mirror, November 12, 1983)

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The Lotus Eaters - Out On Your Own (Arista)

Having seen Jerri Kelly on Pop Quiz the other week, he reminds me more and more of a little ashen faced Pinocchio, almost afraid to speak.Their singles have that kind of restraint about them - gentle tap tap tapping rhythms and twee lyrics - and tend to get lost in the rush of the singles issued every week. For instance, whatever happened to "Set Me Apart", released only last April? This, I fear, will follow it. By the way, the single comes in two different sleeves - the Jerri Kelly one (which I got) and the Peter Coyle one. (Linda Duff, Smash Hits, July 5, 1984)

The Armoury Show - Love In Anger (Parlophone)

[Richard] Jobson looks like Kermit the frog on the sleeve, which conceals a rather tender ballad. Shame the AS haven't done what they were capable of chart-wise, but then again, open-hearted angst isn't exactly commercial, is it? Very fine nevertheless, with its finger on my heartbeat definitely. Pardon me while I wallow.... (Nancy Culp, Record Mirror, January 31, 1987)

I've always had a soft spot for Richard Jobson - can't think why. Perhaps it's because he's a bit of a Renaissance man, writing books and poetry, acting and singing with a modicum of success. The Armoury Show have been on ice recently while their leader was off on some secret cultural mission to China (strange boy). Now they're back with quite a nice little debut for a new label. I don't know if it's strong enough to take them back into the charts, but you can expect to hear a lot from them this year. (Pat Thomas, No 1, January 31, 1987)

Glenn Frey - Sexy Girl (MCA)

The girl on the cover is sexy; the record is monotonous. That's all I can say. (Simon O'Brien, Smash Hits, May 22, 1985)

Personal note: one of the few singles reviews from back in the day that I remember word for word. Confusingly, the standard UK picture sleeve featured Glenn Frey on the front and not the model.

The Triffids - Trick Of The Light (Island)

A tease of a song taken from the Australian six-stringers' 'Calenture' LP. Smiling spiralling guitars and levitating keyboards build and build, and then refuse to give you the expected chorus splash. A fine, airy piece of guitar pop with a touch of Lloyd Cole in the vocals and a lyric which contains the line 'The rim of her mouth was golden.' Too many fags I expect. (Roger Morton, Record Mirror, January 16, 1988)

Big Pig - Hungry Town (A&M)

Splendid name. Lots of heavy skiffle disco tribal percussion. A Wailing harmonica, an oinking digeridoo, an Annie Lennox-ish singer, and a song about world hunger. yes, it's a mess, which they try to excuse by being Australian. But are they? Could be George Michael making a pig of himself? Nah, just some Aussies making a sow's ear of a dance record. Are there no abattoirs in the outback? (Roger Morton, Record Mirror, October 3, 1987)

Pet Shop Boys - It's A Sin (Parlophone)

An enormous clap of thunder, horns winking in the distance and then an absolutely huge slab of European disco drama in which Neil Tennant, sounding oddly like Princess Stephanie (and there's absolutely nothing wrong with that), sings 'When I look back upon my life/It's always with a sense of shame'. the tune is impossibly grand but, um, haven't we heard it somewhere before? We have. It's Cat Stevens antiquated chestnut "Wild World" almost to the note - and a very nice tune that was too. This is going to be such a massive hit - an undoubted Number One in at least 500 European countries - that it might well blow your hat off. (Tom Hibbert, Smash Hits, June 17, 1987)

Sounds a bit like that "It's Raining Men" song by the Weather Girls! I think the video will have a lot to do with whether or not this record makes it - they definitely seem strong on image (two picture sleeves for the price of one!). There's a strong beat there but it gets you going in places and then suddenly dies down a bit, like a Frankie Goes To Hollywood song.Just when it was getting exciting as well! They're not the sort of band whose records I'd buy, anyway, though I might dance to them in a club. (Neidet Salih, No 1, June 20, 1987)

Iggy Pop - Isolation (A&M)

Rumbling and dark, slow and brooding, a lot of evocative "things"... this is a chanson of quite epic and majestic proportions. It was produced, mixed and co-written by Iggy's ski-instructor i.e. Dame David Bowie which is jolly odd in itself. Why is this so wonderful when everything on Bowie's own LP [Never Let Me Down] is so useless? Probably because Iggy isn't a chameleon - he's just a bloke who can out boom and out croon anyone on the planet including Mick Hucknall even though he's approximately four million years old. This sloping and slippering heart-churner is all about how nobody loves Iggy. Fortunately, that is not true. Bravo wrinkly! (Tom Hibbert, Smash Hits, June 17, 1987)

Ross: David Bowie has a lot to answer for.
Sean: I'll just say, oh dear.
Ross: There you go, a wee short one.
(The Soup Dragons, Record Mirror, June 20, 1987)

The Mighty Lemon Drops - Out Of Hand (Chrysalis)

I love the 60s Phil Spectorish production on this. The song's not bad - but it doesn't move mountains or anything. This is the first thing I've heard from them and on the strength of the production I wouldn't mind listening to some more. (Kim Wilde, No 1, April 18, 1987)

A bit "Needles And Pins" and a bit "Back Of Love", but a damn fine record even among those odious comparisons. The MLD's have delivered what they promised, and that's a relief. (Nancy Culp, Record Mirror, April 11, 1987)

The Lover Speaks - I Close My Eyes And Count To Ten (A&M)

I suppose if you're going to murder someone else's song you should at least be brazen about it. That's something this cosmetic counter duo most definitely are. A singer straining on the wrong side of Phil Oakey, an OTT orchestration in the manner of The Damned's "Eloise" (and it didn't do them any harm, did it?), and a Sarah Brightman School Of Acting In Pop Videos award in the passion department. A hit - no doubt about it. (Eleanor Levy, Record Mirror, February 21, 1987)

A Girl Called Johnny - Hello It Isn't Me (10)

More perfect pop with a few more jangly guitars and an incredibly photogenic lead singer. (Edwin J Bernard, Record Mirror, November 15, 1986)

Owen Paul - Pleased To Meet You (CBS)

Owen is the kind of bloke it's impossible to dislike: he's inoffensive but not bland. In fact his records are quite a tonic. This one is a re-release from the times when Owen's claim to fame was being a mate of Charlie Nicholas ('Flamboyant' Arsenal footballer). It's almost as catchy as "Favourite Waste Of Time" and even if you don't like it you'll be humming along in no time. Can't help thinking though that his breezy take life as it comes kind of songs are only suited to the summertime. What's going to happen in winter? Perhaps Owen will have to hibernate... (Ro Newton, Smash Hits, August 27, 1986)

Martin Stephenson And The Daintees - Crocodile Cryer (Kitchenware)

This originally came out a while ago when the band were simply known as The Daintees. Singer Martin Stephenson has obviously been promoted since - maybe due to his songwriting talents which border on brilliance. the Newcastle band have a little gem in this song - acoustic guitars give it a folky feel and the effect is mournful without being depressing. Fab. 4/5 (Karen Swayne, No. 1, July 5, 1986)

Belouis Some - Jerusalem (Parlophone)

And did those feet in ancient time... dance to some better tunes than this one? Yes, probably. It's smooth 'n' moody, a tinge on the pretentious side and sounds as though he's recruited David Bowie on vocals and Sooty on xylophone. And as for the lyrics - what on earth is he going on about? "You paint your face like it's Jerusalem," indeed! (Lola Borg, Smash Hits, July 2, 1986)

Mr Some has tried for a big pop song here. One of those epic musclebound ballads, awash with splendid synthesised atmospherics, which rises to a swollen-hearted chorus and makes you think of...it all! He wants to be as dramatic as David Bowie, and as subtly supple as Japan, all at the same time. As an idea, it's wonderful. As a record, it plods. (Roger Morton, Record Mirror, July 26, 1986)

My gawd, a Belouis Some single that hasn't previously been put out! Yippee!
"Jerusalem" sees a drop in pace after his last couple of re-releases.
Unfortunately this strategy blows up in his face as this rather laboured song just forces home how average a vocalist our Nev really is.
I wouldn't bother putting it out a second time either, Parlophone. (Dave Ling, No 1, July 26, 1986)

The Escape Club - Where Angels Cry (EMI)

A driving drum and the strum of an acoustic guitar sets the mood for this well-rounded single. It bursts into action with hefty vocals and a catchy chorus with a dash of orchestral sounding strings to keep it flowing along. Although a basic rock formula has been followed there are unusual touches in the lyrics and arrangement that give "Where Angels Cry" a newish sound. (Paige Kilponen, No.1, June 28, 1986)

Tracie Young - We Should Be Together (Polydor)

Tracie Young used to be just "Tracie", a young thing nurtured into teenage semi-stardom by the benevolent "uncle" Paul Weller, but here she is with a much lower (and much improved) voice, singing a pretty reasonable, sprightly chartbound type "number". Not bad, not bad. (Duncan Wright, Smash Hits, June 18, 1986)

Mike And The Mechanics - All I Need Is A Miracle (WEA)

Like "Silent Running" this is equally addicting/nauseating depending on your point of view. It's slick radio pop that makes Cliff Richard seem positively dangerous. You'd think that, freed of his Genesis shackles, Mike Rutherford would prefer something more ambitious than reheated ELO. (Michael Gardner, Record Mirror, May 17, 1986)

Operating Theatre - Queen Of No Heart (Mother)

A real theatre company, no less, led by the atmospheric keyboard prowess of Roger Doyle and the powerful vocal presence of Canary Islander Elena Lopez. This is an urgent energetic slice of melody and rhythm powered by the muscular propulsion of drummer Sean Devitt, Who says actors can't make good records? Compelling. (Michael Gardner, Record Mirror, May 17, 1986)

Shakin' Stevens - Merry Christmas Everyone (Epic)

Shaky Seems to have been rocking around that old clock for quite a while now. But still he keeps 'em coming. Naturally enough, "Merry Christmas Everyone" is one of those characteristic Christmas songs that once heard is never remembered. Dreadful unto its dying chords, it's amazing the dross that Dave Edmunds (in the guise of producer) is prepared to associate himself with these days. Still, whatever I say won't prevent it from being a massive hit. Trying to ensure otherwise would be like trying to blow out a searchlight. Hopeless. (Mike Morris, No 1, December 14, 1985)

This one leaves me cold. Shaky's on thin ice here, as he skates through a precarious rocking rendition of Xmas tidings, complete with doo wops and sleigh bells. Someone definitely left the sixpence out of this one. (Diane Cross, Record Mirror, December 7, 1985)

A stunningly original concept! I can't help thinking that Shaky would sing "The Red Flag" if his record company thought it would make him a few more bob. The great Dave Edmunds produced this record - can't hear him though! (Captain Sensible, No 1, December 21, 1985)

Bryan Ferry - Windswept (Polydor)

Bryan Ferry's always reminded me of an After Eight Mint: cool, dark, elegantly wrapped, the ideal way to end an evening. And "Windswept", like most of his songs, is an almost delicate wafer thin delight: all crisp, staccato guitars sashaying to and fro on a bed of swirling synthesizers and saxophones. Irresistable. (Peter Martin, Smash Hits, December 4, 1985)

Anya - Moscow Nights (Rocket)

Picture the scene: we're sitting in the boardroom of Elton John's record company, Rocket, and some bright spark has a birrofa brainwave...
"Remember that amazing blonde lady in the 'Nikita' vid? Ya? Well how about if we made that character, the Russian soldier, into a pop star? Crikey chaps, we could clean up!"
And so it came to pass that some poor video extra was shoved into a studio to make a thoroughly useless song about the "cold nights in Moscow", balalaikas a-rockin'. Bleeding capitalists. (Peter Martin, Smash Hits, December 4, 1985)

If this particular young woman hadn't been seen rolling her Thunderbird eyes and chewing her not inconsiderable bottom lip on Elton's "Nikita" video, chances are this record would have gone straight into the bin. What we have here is a clumsy rewrite of "Those Were The Days" which won the Eurovision Song Contest about 30 years ago. This sort of stuff is done better by the Two Ronnies. (Andy Strickland, Record Mirror, December 14, 1985)

Mathilde Santing - Our Days (WEA)

Mathilde is from Holland. She is what you call a chanteuse, that is, she bothers to sing rather than just bellow out of her lungs like a bullfrog. Her voice is light but possesses enough punch to avoid being maddeningly delicate. "Our Days" is a neat song and trips along quite jaunty and charming. I like it. (Adrian Tierney-Jones, No 1, November 16, 1985)

Hoodoo Gurus - Bittersweet (Chrysalis)

A rousing song packed with genuine energy by this up and coming "Phew! rock 'n' roll" band. With a vocalist who can sound like Paul King (when he wants to), they can't really go wrong, except for the fact that the 'Hoodoo' part of their silly name means 'bad luck bearer'. Eeek! (Sorrel Downer, Smash Hits, November 20, 1985)

 

The Associates - Take Me To The Girl (WEA)

Pleasant enough release with catchy, tinsel-town melody. Just the sort of song that I imagine Midge Ure doing. 'Cept if old Midge were to record "Take Me To The Girl" it'd be top of the pops for a month. Tough at the top, innit? (Mike Mitchell's Cat, Record Mirror, November 2, 1985)

Simply Red - Holding Back The Years (Elektra)

Without doubt the best thing to hit the charts this year, Simply Red release a third single from the Picture Book album and I think it's the best. Admittedly a voice like Mick Hucknall's can do little wrong but this searing ballad even outpoints "Money's Too Tight" in the soul stakes. My Only Fear is that a band with this much talent will become disillusioned with their lot and go the way of Level 42. (Mark Booker, No 1, November 9, 1985)

This has an uncanny resemblance to one of those two-chord ‘songs’ you had to endure between the hits on a Barry White album or on the B-Side of an Ace single. It starts and then finishes, with nothing of consequence between. (Mike Gardner, Record Mirror, November 9, 1985)

The two most admirable things about Simply Red are (1) Mick Hucknall's two-fingered attitude and (2) the white soul passion they inject. This plaintive, atmospheric little lament is quite touching but, alas, you can't whistle an attitude nor hum a passion whilst going about your business, so if they wish to move on up, Simply Red will have to learn to write some real tunes that stand up on their own. (Ian Cranna, Smash Hits, May 7, 1986)

Glenn Frey - You Belong To The City (MCA)

Another track from the Starsky And Hutch (or was it Miami Vice?) soundtrack, and to be honest I've had enough. "The Heat Is On" was definitely off, "Smuggler's Blues" should have been quarantined, and as for "You Belong To The City", well I'm defecting! (Mark Booker, No 1, November 9, 1985)

Here's Johnny - Idlewind (RCA)

Brilliant big band swing. A new number done in a period style, "Idlewind" was the original name of New York's famed airport. After John F Kennedy's assassination the whole shebang was renamed in honour of the much maligned president. The Americans named an airport after a politician, so why shouldn't this cute foursome name a song after an airport? Order a copy now. (Mike Mitchell's Cat, Record Mirror, November 2, 1985)

Black Lace - I Speaka Da Lingo (Priority)

They're back! It really must be summer if The Lace (as we fan club members call them) have deigned once more to enrich our lives with a new masterpiece. This classic track ain't just fabby for parties, it's also full of handy hints on how to deal with foreigners - y'know, lots of shouting and waving of arms and they're bound to understand. An added bonus to get the office really rocking is to be found on the 12-inch which features a Black Lace 'Megamix'. Fab! (Karen Swayne, No 1, August 31, 1985)

Oh God, where do they get them from? Where can I find an adjective that's not on the 'this is not a Record Mirror word' list I'll tell you what I think of it. They've printed the fan club address on the record sleeve (ha, ha), they've got to be joking - haven't they? (Diane Cross, Record Mirror, August 31, 1985)

Fatal Charm - King Of Comedy (Carrere)

Inspired by the film of the same name, starring Robert De Niro, although I don't see the connection. But this is uplifting stuff. The Nottingham three piece hit you from the word go with some potent guitar orientated hysteria - American style. Well worth a listen. (Ro Newton, No 1, May 11, 1985)

www.fatalcharm.co.uk

Marcel King - Reach For Love (New York Remix) (Factory)

A surprising release from Factory Records, and by 'eck it's a belter. A definite contender to New Order's "Blue Monday" for best dance record ever. Pulsating and irresistible. Play at maximum volume. (Ro Newton, No 1, May 11, 1985)

Animotion - Obsession (Polygram)

A top ten hit in the States, but the Americans never did have any taste. A catchy but unoriginal brand of synth-funk churned out by six rather wet looking people trying their best to appear as non-conformist as possible. Frankly, it doesn't wash. (Ro Newton, No 1, May 11, 1985)

Strawberry Switchblade - Who Knows What Love Is? (Korova)

Strawberry Switchblade have taken over from Bananarama as cutie pie press puppets with waspish tongues. Temporarily ensconced in the public eye, these girls can do no wrong. This is a gooey adolescent love song which lacks the catchiness of "Since Yesterday", although the trumpet playing is like a blast of fresh air. Full marks to the session musician. (Ro Newton, No 1, May 11, 1985)

A very pleasant ballad, but I can't help feeling that Strawberry Switchblade are deliberately aiming at the more mainstream pop market. Not that that's a bad thing - I just feel they could be really really interesting and obscure. (Stephen 'Tin Tin' Duffy, Smash Hits, May 8, 1985)

More breathy goo from the Scots duo. It's pleasant but only for those who sigh when they see the Andrex puppy nuzzling that rabbit on the advert - not realising he's only licking him to see whether he prefers it roasted or braised. (Mike Gardner, Record Mirror, May 11, 1985)

This record is mellow. It is for lazing around in the sun doing as little as possible to. The lyrics are great! With such lines as "I get myself a glass of milk and a colour magazine" they won't move the people to revolt, but they are about day-to-day happenings. (Simon O'Brien, Smash Hits, May 22, 1985)

Note: Simon O'Brien played Damon Grant in Channel 4's Brookside. Apparently.

Duran Duran - A View To A Kill (EMI)

After a six month breather, Duran follow in the footsteps of Shirley Bassey and Sheena Easton with a James Bond theme. Co-written by themselves and John Barry, the collaboration is obvious. This contains all Duran's stock ingredients - frenzied guitar and bass, but Bond-ised with tell-tale, dramatic bursts of brass. The dull drumbeat smacks of The Power Station... I Say it's time Simon Le Bon's vocals were laid to rest. (Ro Newton, No 1, May 11, 1985)

The lyrics to this are connected to the Bond film this forms the theme to, I presume, as they are a little oblique. Musically, it's also full of Bond allusions - full of seas of strings and brass stabs. Quite stunning production. Producer Bernard Edwards seems to have superceded Nile Rodgers in every direction. Takes a long time to get to the hook, but very interesting. (Stephen 'Tin Tin' Duffy, Smash Hits, May 8, 1985)

Those expecting a load of old Thunderballs will be surprised at this grower. Simon Le Bond - licensed to thrill - does his Bryan Ferry/David Sylvian impression on the best Bond theme since Carly Simon's "Nobody Does It Better". (Mike Gardner, Record Mirror, May 11, 1985)

Julian Cope - Sunspots (Mercury)

Poor old Julian. The Teardrop Explodes were the first of those Liverpool bands (Bunnymen, Wah!, etc.) to make the charts. They were also the first to go down the dumper and the singer has not exactly made a frantic success of his solo career since - though this is as much his fault as anyone else's: people who parade around with turtle shells strapped to their backs are bound to be thought slightly eccentric. The man remains however capable of making breathtaking records - like "Sunspots". This is a stern, strident and invigorating march through some lunatic wasteland where tinny guitars slash, people whistle out of tune and someone pipes up on a jaunty recorder during the most compulsive sway-along chorus (featuring heavenly celestial choir) since long before Foreigner. In other words utterly, utterly brilliant and Single Of The Fortnight. (Tom Hibbert, Smash Hits, February 14, 1985)

The ex-Teardrop Explodes' leader, who squatted naked under a turtle shell for his Fried album cover leaps out twanging furiously at his . . . erm .. guitar. "Sunspots" is Jules in determinedly hippie mood, recreating - in mock serious tones - a psychedelic stroll through the sunshine. Amusing lyric but a rather ragged and directionless song. He still needs the discipline of a band to channel his wayward talent. (Martin Townsend, No 1, February 23, 1985)

Julian Cope has obviously taken the paisley revival too far, and is now wearing a coat of far too many colours. This EP has two records, four tracks - three of which are new, and a gatefold sleeve, but surely Sunspots have fried his marbles. (Dylan Jones, Record Mirror, February 23, 1985)

 

Jody - Where The Boys Are (Phonogram)

AM: Ever wondered what happened to Bruce Woolley? He co-wrote it. The best thing about it is the sleeve.

PH: When the chorus first came in you thought 'This is going to be great', then it went back to the verse and you thought 'oh, that's the chorus'.

(Andy McCluskey and Paul Humphries of OMD, Record Mirror, November 3, 1984)

Action Transfers - If I Lose It (Rewind)

A charming, rat-a-tat-tatting independent single from one of Liverpool's several thousand groups. The sound, though bright, is a little old fashioned but it had me singing along in about two minutes flat. Worth locating. (Dave Rimmer, Smash Hits, November 22, 1984)