Thompson Twins - Revolution (Arista)

Everyone’s got their favourite Beatles’ songs, and this original flip-side to the “Hey Jude” single has always been one of mine. Included on their recent Here’s To Future Days album, The Twins have since remixed “Revolution” for single release. In keeping with the sound of the original, Tom Bailey and crew have gone for a raw and raunchy rendition, which should rocket them into the higher echelons of our Christmas chart. And deservedly so. (Mike Morris, No 1, December 14, 1985)

A packet of Dairylea Cheese Triangles  has got more chance of turning the people to revolt, quite frankly, but this cover of the Beatles “classic” is well up to par as these things go. Still, I preferred their rendition at Live Aid when they had the not altogether unattractive and mightily talented Madonna on backing vocals. Much more preferable than a poke in the eye with a sharp stick, I can tell you. (Peter Martin, Smash Hits, December 4, 1985)

Michael Barrymore - Kenny The Kangaroo (EMI)

It's hard to put into words the deep and shocking effect this record had on me and the panel. A bold member made sure it jumped off the turntable and then - rather unnecessarily I thought - was violently sick all over it. I suppose he was giving us his gut reaction. (Jools Holland And The Panel, Smash Hits, November 24, 1983)

Tight Fit - Love The One You're With (Jive)

Hunky Steve [Grant] resurrects an early '70s number first recorded by Steve Stills (still a member of arch hippies Crosby, Stills & Nash). To say it's dull is a bit like putting The Tweets in the same class as David Bowie. Over and out. (Ian Birch, Smash Hits, October 13, 1983)

Old Steve Grant and two more enormous women try and take off Yazoo's synthesizer style and trip over their massive forms in the process. A ridiculous record by ridiculous people who would be better off modelling Brutus jeans and the like. Still, it'll pay for the odd Club 30 holiday or two. (Simon Hills, Record Mirror, October 8, 1983)

Tears For Fears - The Way You Are (Phonogram)

Apparently months in the making and full of moaning in rhythm, noises from the mysterious East and words about the singer's hands belonging to someone else. All a bit odd, really. I still couldn't make head nor tail of it. Unlikely, but brave. (Dave Rimmer, Smash Hits, December 8, 1983)

Boring. There's no melody, no tune in the backing 'cos it's all percussive. Not one of their best, definitely, but they do have a huge following, so... (Keren Woodward [Bananarama], Record Mirror, December 3, 1983)

They can write good songs, but this isn't one of them. "Pale Shelter" I thought was great. Trouble is, I think those noises have been used all this year by them, by Japan, and that horrible Howard Jones! It makes me sick the way everyone has to bring out a new single every three months. We just refuse to do it. We're only going to release singles when we like them. (Siobhan Fahey [Bananarama], Record Mirror, December 3, 1983)

If all the reviews in this column were reduced to a yes or a no, I'd give this one a definite yes. It's very much the same TFF, well-arranged and tuneful, though not a very strong song. The lyrics are still a bit sixth form, the production still accounts for a good half of the record's merits . . . But in the end, it is a good pop record. Yes. (Sunie, No 1, November 26, 1983)

The Stranglers - Strange Little Girl (Liberty)

Dear me, "Golden Brown" and now this. Even the nasty rough Stranglers have gone all mellow and soft in the middle. They're much better this way, actually, even though this one sounds suspiciously psychedelic. A hit, probably. (Dave Rimmer, Smash Hits, July 22, 1982)

Blitz - Solar (Future)

Reminiscent, in a very low-key way, of Simple Minds and Joy Division. It's not very forceful stuff, this, but it has its attractive moments, especially coming after the last three [singles reviewed]. Great cover, too. (Sunie, No 1, December 17, 1983)

A Flock Of Seagulls - Space Age Love Song (Jive)

Just one long hook that comes attached to a well-fashioned, well-fashionable, synth and guitar surround. Like a Glenn Hoddle through pass - simple but effective. Only total deafness among deejays should prevent hit status. (Fred Dellar, Smash Hits, June 10, 1982)

Madness - House Of Fun (Stiff)

With Thommo providing lusty impetus from the horn department and Barso weaving his customary keyboard magic, Suggs only has to knock out the lyric in the usual tongue-in-cheek fashion to make this slice of fairground reggae a worthy addition to the Madness catalogue and a definite hit. No fuss, no bother. (David Hepworth, Smash Hits, May 27, 1982)

The Sinatras - You Make Me Feel Like I'm Wearing New Clothes (Empire)

Tommy, Neville, Nick and Sparky have made a record and they want you to buy it. They are called The Sinatras. Frank himself makes an appearance on the cover for good measure. But would he approve of what goes on inside? The synths sound like Space Invaders but The Sinatras sound eager to please and know a thing or two about writing a song. You could do worse than buy this disc. (Martin Fry [ABC], Smash Hits, April 29, 1982)

Weekend - The View From Her Room (Rough Trade)

Hey, jazz! Shoo-be-doo, do-be-do. I'm clicking my fingers to cool vocalising, mellow trumpet playing and a sophisticated acoustic guitar. If you think jazz means pretentious noise, this young, fresh music should change your mind. (Neil Tennant, Smash Hits, March 4, 1982)

Talk Talk - Mirror Man (EMI)

Ah ha - talent. Highly promising stuff from a new group that blends tune, interesting lyrics and contemporary feel in a manner that suggests they know what they're doing and doing it right. Difficult to pigeonhole, easy to like. (Red Starr, Smash Hits, February 18, 1982)

Joan Armatrading - No Love (A&M)

Another number nudged off the Walk Under Ladders LP, this is up to Joan's usual impeccable standards. Bags of emotion and a wonderfully unpolished feel make it better than a bowl of Ready Brek any day. (Ian Birch, Smash Hits, January 7, 1982)

Rubber Rodeo - Anywhere With You (Eat)

These pretend cowboys and gals from Rhode Island, USA, certainly whip-crack away with gusto on this barmy blend of power pop and Country & Western. Eddie Stern's pedal steel guitar swings high and low, Trish Milliken sings her boots off and a splendid time is had by all. Refreshingly zesty. (Tom Hibbert, Smash Hits, August 2, 1984)

Queen - It's A Hard Life (EMI)

I unashamedly admit to having always liked Queen. The last two singles were brilliant, but this is a cynical repetition of past glories with a beginning that could be "Bohemian Rhapsody" and an overall feeling of lethargy. The New Seekers made a record like this once. (Eleanor Levy, Record Mirror, July 28, 1984)

Having gone all modern on "Radio Ga Ga" and then all peculiar on "I Want To Break Free", Queen finally return to the style of old with a lush ballad featuring a breathy, operatic Freddie Mercury and one of those sumptuous Brian May guitar solos. Suddenly, it's 1975 all over again and life doesn't seem so hard after all. Or does it? (Tom Hibbert, Smash Hits, August 2, 1984)

Patti Austin - Rhythm Of The Street (Qwest)

Fine strong singing ruined by the lack of a good song. The usual formula guitar solo interrupts just when you think you're about to get a blast of real soul, but the soul never emerges and the song falls flat on its face. Worth about 80p. (Muriel Gray, Smash Hits, July 19, 1984)

 One of, if not, THE all-time highest paid session singers in America. The album was dismissed by a lot of people but it's the sort of record that grows on you. Whether people will allow this single to grow on them, I really don't know, but it's a good record and I like Patti Austin's voice. (Robbie Vincent, Record Mirror, July 7, 1984)

Note: Smash Hits was predominantly monochrome back in 1984, so even though they showed many single sleeves, often the dayglo colour schemes could only be guessed at. It's great to finally see exactly what the reviewers were looking at.

Shakatak - Down On The Street (Polydor)

The suburbs' answer to Man Tran return with a half decent attempt to get hip to the streets. Could be big in wine bars. (Alan Marke, Record Mirror, June 23, 1984)

Alison Moyet - Love Resurrection (CBS)

After all the agonising over producers and songwriters - CBS reputedly wanted Alison Moyet to pursue an MOR direction - the girl with the Empire State voice sensibly plumps for her own pure composition. On "Love Resurrection" Alf gives it loads but the Swain and Jollified electronic wash which accompanies is not entirely suitable and leaves you feeling that here is a catchphrase in search of a song. Tender but disposable. (Max Bell, No 1, June 16, 1984)

I give loads of credit to what Yazoo did. The whole idea of crossing a soul feeling with the nouveau metallic beat. But I was never a great fan of Alf's voice. This isn't a very good song. It's flat. Lacks charm. It sounds as if it would be more at home on Radio 2. (John Taylor [Duran Duran], Smash Hits, June 21, 1984)

Mari Wilson - Ain't That Peculiar (Compact)

And a warm welcome back to the former Junior Dive Board Champion for the London Borough of Brent, now sporting a hairdo that looks not unlike the back end of a chicken in a strong cross-wind. In fact Mari both looks and sounds great on this frisky new version of a fearfully old song. A hit, I hope. (Dave Rimmer, Smash Hits, May 10, 1984)

You can't beat Marvin Gaye's original (although this is not a cash-in, as Motown will readily tell you), but Mari has a good old crack. It's terribly over-produced and Mari's voice isn't strong enough to carry the number off. (Simon Hills, Record Mirror, May 5, 1984)

Marillion - Garden Party (EMI)

I am tempted to say, 'Who needs another Genesis circa '75?' but its obvious that plenty of people do from the chart position this has already reached. I'm not one of them. (George Michael, Smash Hits, June 23, 1983)

I can't understand why a band should want to write songs and sound like the bands they admire. This is Genesis round about their Selling England By The Pound LP to a tee. Worthless. (Andrew Ridgeley, Smash Hits, June 23, 1983)

Yes folks, the healthy alternative to all those videos of macho men in leather trousers making a nuisance of themselves on street corners. Grab a ride on the new cosmic roundabout and listen to Fish's enigmatic vocals and that luscious quirky rhythm. For goodness sake, this should be their first real chart hit at last. Don't let it slip away. (Robin Smith, Record Mirror, June 11, 1983)

Shakespeare, Milton, Wordsworth, Genesis, Fish. These are the great English poets. Here Fish the younger offers an able demonstration that mid-'70s art-rock is undead. A disc to take a leisurely and thinking bath by. Just make sure the water doesn't overflow before it's finished. Serious means long. (Mark Cooper, No 1, June 11, 1983)

Pulp - My Lighthouse (Red Rhino)

Acoustic, hopeful and really rather jolly. One of these disarming indie singles in which less equals more. Its dated innocence leaves you beaming. (Paul Sexton, Record Mirror, July 2, 1983)

The Colours - The Dance (Loco)

Nice to hear a pop single that can do without synthetics. These young jackanapes borrow from The Jam and all that went before, but at least they sing and play with a bit of commitment and I'm down for that. (Paul Sexton, Record mirror, July 2, 1983)

More info here

Bananarama - Cruel Summer (London)

It must be said, the quality of Bananarama records seems to depend a lot on who's working with them. Here they're back with Swain and Jolley, the chaps who made "Shy Boy" the great single it was, and this is certainly their best single since then. Includes a great dub version and, for some inscrutable reason, lots of jokes about trucking and CB radio with the girls all dressed up in scruffy overalls and toting monkey wrenches. Can't see it catching on, somehow. (Dave Rimmer, Smash Hits, July 7, 1983)

It won't bother them a jot but I've always found them to have the flattest, dullest, least committed voices of anyone currently parading pop. "Cruel Summer" thuds unconvincingly away with a variety of some five notes to choose from and if they were singing for their lives, they'd never have been around to make the pesky record. (Paul Sexton, Record Mirror, July 2, 1983)

Debbie Harry - In Love With Love (Chrysalis)

How could she? Debs has gone all Hi-NRG on this painfully dull record and I shall never forgive her. Mr Stock Aitken Waterman (funny name that) is responsible for this piece of dance floor action but it's the wrong title for real Hi-NRG. Shouldn't it be called "In Love With Yours, Love" or "Men, Men Men" or something? Possibly the blandest thing she's ever done. (Andy Strickland, Record Mirror, May 9, 1987)

As soon as this started off, the word 'Europop' came straight into my head. I'm a great fan of Debbie Harry's - she's a wonderful human being and I've a great amount of respect for her but I think she can come up with something better than this.

The 'B' side is quite interesting because it's a French version of "French Kissin". I've never really been able to work out whether she means French people kissing in America or a tongue down the throat job! But she sings the 'French Kissin, chorus bit in English - maybe it's a little hard for French people to 'comprend' why their style is any different from anyone else's. (DJ Janice Long, No 1, May 9, 1987)

Flesh For Lulu - Postcards From Paradise (Beggars Banquet)

Old goths never die, they just end up sounding like the Psychedelic Furs. Commercial enough, and there's half a song there, but I snoozed all the way through it. I prefer the real Richard Butler, thank you very much. (Nancy Culp, Record Mirror, August 8, 1987)

Hula - Cut Me Loose (Red Rhino)

The massively underrated Hula should have an overdue hit with this brain-slicing but still accessible piece of danceability. Aw, come on boys and girls, have you all gone soft listening to Curiosity Killed The Cat? Buy Hula and make 'em massive, then I can say I told you so! (Nancy Culp, Record Mirror, August 8, 1987)

Private ID - Cold Cold Sweat (Where Artists Record)

Singer Jacqui Copland is the most striking ingredient in Private ID, an Aberdeen band. This seems to be short on original invention. Best bit is the "Two Tribes" fade - until then I barely perspired. (Max Bell, No 1, October 20, 1984)

Ultravox - Love's Great Adventure (Chrysalis)

Yes, but where's the revolution? Certainly, they play and sing masterfully, but Ultravox have become total industry, and their big band glossiness seems like a shameful concession to all the wrong values. Will they ever revolt? (Morrissey, Smash Hits, October 25, 1984)

"Love's Great Adventure" sees Ultravox finally justifying all the (largely unfair) criticism that's been thrown at them in the past. You know - how ALL their songs sound the same. Well they didn't, but they do now. I'm disappointed in you lads. (Eleanor Levy, Record Mirror, October 13, 1984)

It's not another "Vienna", but nevertheless good - haunting Ultravox keyboards soaring above what sounds like the insidious throbbing of a high-pitched outboard motor and fronted by the powerful voice of Midge Ure. Serious prophecy. In many years' time, Midge will be the British Sinatra - only more hip! The Mills & Boon title "Love's Great Adventure" will help sell a few to Barbara Cartland fans. (Mike Read, Smash Hits, October 11, 1984)

Intaferon - Baby Pain (Chrysalis)

The third single from this duo - who are two blokes both called Simon - and to their credit they're not plugging away at one distinctive style.
From their frantic debut "Get Out Of London" things have slowed right down. "Baby Pain" is a moody love song which chugs away with more than a nod to Bowie. After a few plays it begins to sound like something rather good. (Karen Swayne, No 1, September 22, 1984)

"Get Out Of London" and "Steamhammer Sam" were such chalk and cheese it was impossible to know what to expect. Unfortunately this is like eating chalk and cheese at the same time. A disappointingly tuneless throbber. (Paul Sexton, Record Mirror, September 29, 1984)

Nik Kershaw - Human Racing (MCA)

You shouldn't be embarrassed by your fans - ever. Surely it's better to be David Cassidy than Billy Joel. This is pure cocktail party music, uncannily like Mr Joel (who, it must be said, wrote "Say Goodbye To Hollywood", which I love). Still I suppose it is a good career move. (Bobby Bluebell, Smash Hits, August 30, 1984)

This is really bizarre. I understand that Kershaw is inordinately popular these days in spite of the dull, workmanlike nature of his 'art'. I understand that this is the title track from his LP. I understand that it was obviously time for a ballad after his three boppety-bop hits, to show that he's a mature, sensitive guy and not just a scream object.
What I don't understand is why the heck he sings the whole number in a fake Stevie Wonder voice! Excellent impersonation though - [Mike] Yarwood look out. This boy is a real all-rounder. (Sunie, No 1, September 1, 1984)

Stan Ridgway - Drive, She Said (IRS)

Formerly the singer with LA punks Wall Of Voodoo ("Mexican Radio"), Stanard Ridgway enjoys the happy knack of being able to write lyrics outside of pop music's 'I love you' conventions. "Drive She Said" conjures up images of science fiction and those grainy Sunday afternoon B&W detective flicks that had real Hollywood stars like Lana Turner to push the men around, and Ridgway sings it like he means it. Worth two dollars of anyone's money. 5/5 (Max Bell, No 1, April 5, 1986)

The The - Heartland (CBS)

The The have been around for a few years now, but unfortunately they're one of those bands who deserve more than they've ever had but will probably never get it. It's a shame that Radio One have banned this for including the word 'piss', we could have seen them on Top Of the Pops in a few weeks' time. 4/5 (Mark Booker, No 1, August 2, 1986)

Well, well. Second time around for former cult figure Matt Johnson (as The The is known to his mum). I always used to find his stuff a bit cold and mechanical, but this stunning, stringy, singalong state-of-the-nation ballad is something else again. What a terrible mess we are in, he seems to be saying, and of course he's right. This year's "Ghost Town" and Single Of The Fortnight. (Dave Rimmer, Smash Hits, July 30, 1986)

The Colour Field - Thinking Of You (Chrysalis)

In gooey old '60s films, there's usually a scene where a loving couple (one of whom has an incurable disease) celebrate their romance by bounding hand-in-hand through the countryside, admiring clouds, gazing wistfully into flowers and generally being very soppy. This idyllic romp is invariably accompanied by a jaunty little song (often sung by Andy Williams), full of plunking strings, jazz-tinged acoustic guitars and optimistic, yet bitter-sweet, lyrics. Well, Terry Hall must have watched an awful lot of gooey old '60s films, because this record sounds exactly like one of those soundtracks. And very pleasant it is, too. (Vici MacDonald, Smash Hits, January 17, 1985)

The Firm - Long Live The National (Stiff)

As an ex-bookmaker, I wouldn't give any price on this breaking the mouldy top forty. Ethno-cockney romp that is a non-runner next to their previous and seminal "Arthur Daley ('E's Alright"). Mind you, the B-Side "London Is The Biz" is the real works. Move over Chas 'N' Dave. (Jim Reid, Record Mirror, March 26, 1983)

Bit of a non-runner in usual Chas 'N' Dave style cashing in on the Big Race. (Kimberley Leston, March 31, 1983)

U2 - Two Hearts Beat As One (Island)

Fast, furious, very dense and carried out with de rigeur anger. I quite like the guitar that sounds as if it's being sawn in half but otherwise it lacks either high or low points. I know all about their massive Irish following but I can't help feeling U2 take themselves more seriously than anyone else does. (Kimberley Leston, Smash Hits, March 31, 1983)

A ferocious record savagely splintered by the very best rock guitar. Minimal. "Two Hearts" makes a brave attempt at being both aggressive and dancefloor, but unfortunately melodramatic vocals and pedestrian tub thumping snatch a last minute away goal for the opposition. I don't really like U2, but if they make a few more records in this vein, they may yet get to twist my arm. (Jim Reid, Record Mirror, March 26, 1983)

Girls Can't Help It - Baby Doll (Virgin)

This arrived with some soft-focus colour pics of three rather attractive models wearing very few clothes and sultry expressions. One of them was holding a teddy bear. Do I really have to tell you anything about the record? (David Hepworth, Smash Hits, October 28, 1982)

A frolicsome threesome to get grandad's pulse racing for the first time in 16 years. Shove Toto Coelo under the pillow, I'm sticking with these girls who bump 'n' grind while purring like kittens. The girl equivalent of Imagination. (Robin Smith, Record Mirror, October 30, 1982)

On the cover it's got 'US Remix' - didn't work over here, so they're gonna try it on the poor yanks! (Steve Strange, Record Mirror, January 21, 1984)

Heaven 17 - Let Me Go (Virgin)

Clever and well-crafted as one might expect, and utterly unmemorable. A briefcase in the hand is considerably less attractive than a heart worn on the sleeve. More profitable too, these days - ask Boy George. (Sunie, Record Mirror, October 23, 1982)

On first play this doesn't get through, giving the impression that someone's read a book about dance music and decided to give it a whirl. But after a while a subtle insistence is revealed (this is beginning to sound like the very book), at its most potent on the twelve inch version where the interplay between Glenn Gregory's grave baritone and a nifty bass line starts to strike sparks. (Please ignore the above pretentious rubbish and give it a listen.) (David Hepworth, Smash Hits, October 28, 1982)

Blancmange - Living On The Ceiling (London)

Blancmange once more come up with an interesting rhythmic idea and throw it away on an indifferent song. (David Hepworth, Smash Hits, October 28, 1982)

Stunningly similar to Simple Minds circa "I Travel", which is to say it sounds a lot better than the eyeliner kids do today. Meaty, beaty and only slightly Gumbie-ish, but there's a 'bloody' in the first line that the radio people won't like much. (Sunie, Record Mirror, October 23, 1982)

Eurythmics - Thorn In My Side (RCA)

Not one of Dave and Annie's most classic numbers, but interestingly devoid of much of the usual musical gymnastics. This sounds more like an early Everly Brothers song with regimented acoustic guitar and a nice line in cliched pop lyrics. (Andy Strickland, Record Mirror, August 30, 1986)

The Gargoyles - Madmen From The Planet Sex (Reasonable)

Deep, probing lyrics and piercing wit; hard to listen to, but impossible to turn away from. Deeply disturbing and profound. (James Grant [Love & Money], Record Mirror, April 25, 1987)

Hipsway - The Broken Years (Mercury)

This, the first single by four blokes from Glasgow, is simply the best record I've heard for months. There's nothing startlingly new or original about it - it's just a really good rock/funk song (imagine a punchy mixture of The Kane Gang and The Smiths) sung brilliantly by the deep-voiced Graham Skinner. If all their songs are this excellent we're going to hear an awful lot more of them. Single Of The Fortnight. (Chris Heath, Smash Hits, June 19, 1985)

Come on down, the price is right. It's summer and time to play 'Great White Hope' for 'Big Money'. Hipsway, like Coronation Street's Bet Lynch, show their (soul) roots but make up for their inelegance by a brassy attitude. (Mike Gardner, Record Mirror, June 22, 1985)

Howard Jones - Life In One Day (WEA)

Howard and his synthesiser take a sprightly hop, skip and a jump through some fairly average pop and Howard's personal philosophy: Relax, enjoy life, be happy with what you've got, and don't wish the years away. Howard, you old hippy, you! (Maureen Rice, Smash Hits, June 5, 1985)

Yet another single culled from Howie's Dream Into Action. And it's a stinker. Howard Jones is one of that breed of pop star who imagines that if we all had flutes and held hands then the nasty things in life would vanish overnight. I've heard of escapism but this takes the proverbial biscuit. Howard Jones has as much worldly acumen as a rubber duck.
I'm supposed to say it has a nice tune but even that sticks in the gullet. (Max Bell, No 1, June 22, 1985)

In the cold light of day, Howard's philosophising makes the TV series Kung Fu sound like Satre. Usually, like Mary Poppins, he coats his medicine with a spoonful of energetic, addictive sugar. But despite the party atmosphere you feel he could have worked harder to disguise a poor song. (Mike Gardner, Record Mirror, June 22, 1985)

Katrina And The Waves - Do You Want Crying (Capitol)

Similar thrashing pop-rock to "Walking On Sunshine" but without its energy, this probably sounds better blaring from the radio of a convertible full of surfboards and nubile Californian teenagers than it does from my Walkman on a drizzly afternoon in the laundrette. (Kimberley Leston, Smash Hits, July 31, 1985)

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)

Prince - Raspberry Beret (Warner)

The leader, and so far the only card carrying member of the new psychedelic revival is at it again. But if your first impression is to give this one a big raspberry, listen again.
This second single from the album that wasn't supposed to have any singles packs more punch than the last one. No instant appeal but could be a grower. (Pat Thomas, No 1, July 20, 1985)

The regal fruitcake returns with a chirpy tune about falling in love with someone who wears a beret. To my ears it's very much like the '60s-ish "Paisley Park", churning away to an addictive chorus in which Prince tells us about the said headgear. Of course paratroopers wear raspberry coloured berets, but I don't think we should jump to any conclusions there. (William Shaw, Smash Hits, July 17, 1985)

Sade - When Am I Going To Make A Living (Epic)

I used to think Sade was one big hype - even before she got a recording contract people were crooning how stupendous she was and her face was being splashed across the glossy mags. But then she made a record...
"Your Love Is King" and now "When Am I Going To Make A Living" have proved her promise. The current single is smooth, soulful and exceptionally honest. Truly this lady has class. (Frank Hopkinson, No 1, May 19, 1984)

A classic, and Sade makes singing (and writing) one sound positively effortless. A cheering song of optimism in the face of hardship with a chorus - 'We're hungry but we won't give in' - that should be sung from the rooftops. Only beaten to Single Of The Fortnight after a photo finish, I can tell you. As to the question of the title, I don't think you'll have any problems now, girl. (Dave Rimmer, Smash Hits, May 10, 1984)

'From now on!' should be the answer to the question posed in the title. This powerful follow-up to their equally strong debut merits their establishment as a natural treasure. It basically carries the same immediately identifiable sound of Sade, though its feel is determined where "Your Love Is King" was romantic. It carries a stamp of quality all over it. (Pedro, Record Mirror, May 19, 1984)

Meat Loaf - Nowhere Fast (Arista)

Bad news for heavy metal fans this week because Meatloaf's gone all synthesisery and computerish. His latest single sounds about as heavy as Depeche Mode used to sound about 10 years ago. On the sleeve there's this competition and the prize is a complete and utter bummer right so don't enter it. The prize is a day on the road with Meatloaf and you get to eat a load of motorway food and get hassled by the pigs. Do not on any account enter this competition, it'll be really bad karma for you. (neil [Nigel Planer], Record Mirror, December 1, 1984)

Still tearing down that highway on the verge of a massive coronary, Mr Loaf's all-American biker music never fails to engage his humour. Loud and brash and full of endearing self parody, this single will surely find itself eclipsed by the rumoured follow up where Meat goes hip hop and break dances through the rock stadia of the American Mid-West. Wild! (Lesley White, Smash Hits, December 6, 1984)

Note: even in the bizarre world of pop, the idea of an actor (Nigel Planer) portraying a character (The Young Ones' hippy neil) in order to write manic and rambling reviews of singles by other artists, including future actor Meatloaf, seems very surreal indeed. This was however, shortly after the 'character' scored a Top Five hit with "Hole In My Shoe".

Tears For Fears - Shout (Mercury)

Altogether more relaxed and accomplished than their last single, "Mothers Talk". Effective and powerful pop with an insidious chorus you'll find yourself singing at the most inopportune moments. For that reason, a hit. (Lesley White, Smash Hits, December 6, 1984)

So, it's not quite such a bummer this week after all. I mean there's a new single from Tears For Fears called "Shout". It sounds a bit like the soundtrack to Merry Christmas Mister Boring. You know that film with David Bowie in it pretending to be Michael York dressed up as a lizard. (neil [Nigel Planer], Record Mirror, December 1, 1984)

From Real Men to unashamed Quiche Eaters, and 'arguably their best single yet', it says here. the singing is far too angst-ridden; something a bit cooler would have been twice as effective. But musically, as ever, they're doing interesting, textured things. I just hope that they haven't abandoned their poppier side in favour of this more sombre mood. (Sunie, No 1, November 24, 1984)

Dire Straits - So Far Away (Vertigo)

If Ry Cooder had performed this laconic lament, the warmth could solve the energy crisis. Instead Dire Straits tackle it [with] their usual immaculately manicured style that refuses to touch anything so messy as a soul. (Mike Gardner, Record Mirror, April 20, 1985)

There's something really off-putting about this slick, laid-back, sleepy, Adult Orientated Rock business. It's all very professional and everything, and it could almost pass for Roxy Music (except for Mark Knopfler's dozy, twangy guitar and voice) but it just makes me feel about a hundred years old. Yawn. (Peter Martin, Smash Hits, April 11, 1985)

Did you know that Dire Straits are the world's biggest selling act on compact disc?
Anyway, they're still ploughing the same dreary old furrow they've been stuck in for the last seven years.
More interesting by far than the record are the group's world tour dates, helpfully printed on the back of the sleeve. Does anybody know where 'Ljubljana' is? (Stuart Husband, No 1, April 20, 1985)

The Raw Herbs - She's A Nurse But She's Alright (Medium Cool)

Probably the simplest few moments of pleasure you'll experience this week. Not wildly original, but "She's A Nurse..." (a very silly title) boasts a strong, fresh tune, jazzy harmonica and one of those nasally Scottish vocals you'll either love or loathe. The Raw Herbs come from East London and that's good enough for me. (Eleanor Levy, Record Mirror, May 16, 1987)