Human League - Human (Virgin)

Hands up anyone who actually remembers the Human League. Sheffield's own were last gracing the charts in 1984 with 'Louise'. Then Phil Oakey went off to do things with Giorgio Moroder. Now they're back with this smoochy little number which at first isn't all that impressive. However for want of anything better to play we've given it quite a few listens here at No.1 and it does grow on you - honest. With time this could be a massive hit. 5/5 (Pat Thomas, No 1, August 16, 1986)

Long-awaited re-appearance of the Leaguesters, and I'm seemingly the sole objector at rm. What infiltrates the charts with unswerving regularity these days, they ponder? Mostly American, mostly medallion-sporting balladeers. Aw shucks, we can't fail. Exactly the girlie nonsense I consistently fall for, but not this time. As for that dumb blonde talkover twixt 'I'm only huuuman'... yeeuurrk! Limp, listless and resolutely installed in the subconscious. Mammoth hit. (Lesley O'Toole, Record Mirror, August 16, 1986)

Just about everybody in the Smash Hits' "office" tried to bully me into awarding this record the unparalleled accolade of Single Of The Fortnight. At first I agreed. After all, it is a beautifully crafted, warm and melodic tune. A perfect pop record, no less. It's also remarkably similar to many other songs by artistes like The SOS Band. Change. Alexander O'Neal and Cherelle who have all, together with "Human", been produced by the much in demand team of Jimmy Jam and Terry Lewis. There is one howlingly evident difference, though: Philip Oakey can't sing. The vocals on this single sound, as on all League records, fragile and unconfident. "I'm only human, born to make mistakes," sings Philip in his own unique flat style. Jam and Lewis actually turned down Lionel Richie to make this record and I would guess that as well as producing it, they arranged it, played all the instruments on it and probably wrote most of it as well. Pity they couldn't sing on it or get someone else in to do the job. (Simon Mills, Smash Hits. August 13, 1986)

The Housemartins - Happy Hour (Go! Discs)

What endearing souls these Housemartins are. The sort of boys who probably wet their knickers in the school playground, wore shorts after everyone else had moved into long trousers and always, but always, look into their hankies after blowing their noses. Nice, normal chaps making the chirpiest, most heart-tingling records this side of St Winfrid's School Choir (well, maybe not that chirpy). "Happy Hour" is like Bob's Full House or Blue Peter set to music. Sublime. (Eleanor Levy, Record Mirror, May 31, 1986)

The Housemartins are, as they say themselves, "quite good", but this jangly little romp isn't a patch on their two previous singles, "Flag Day" and "Sheep". The lyrics appear to advocate taking one's clothes off in the kitchen sink, which doesn't sound very hygienic at all. On the back of the sleeve there's a little form to fill out which says 'I like this record because. . .(Answer in not more than ten words)'. Well, I like this record because its catalogue number is GOD 11, which is extremely cosmic. (Vici MacDonald, Smash Hits, June 4, 1986)

Bangles - Going Down To Liverpool (CBS)

Americans only usually know two 'towns' in the whole of Britain. London, because everyone knows London, and Liverpool - because it's where the Beatles come from. Thus, the Bangles in their quest to get a hit over here, give us a song the British public can relate to. With this in mind they offer us an immortal line 'Hey; Where you going with that UB40 in your hand?'. What? (Eleanor Levy, Record Mirror, April 6, 1985)

Moderate song with its moments of glory - such as the supreme incongruity of the West Coast trash thrash meeting this line: 'Heh, where are you going with that UB40 in your hand?' Makes more sense than the Easterhouse album, though. (Jim Reid, Record Mirror, June 28, 1986)

Psychedelic music was made to reach the mind. When breakdancing and Go-Go have spun themselves silly, groups like the Bangles could catch on. They're an American four-piece all-girl guitar group with a mean line in mellow harmonies - and an excellent live act. This lazy but rocky song is loaded with 60s influenced jangly guitars and jolly tambourines. Old hippies who've heard it all before may scoff. For the electro-generation, this is a new trip. (Debbi Voller, No 1, April 13, 1985)

I first heard the Bangles perform this on the Tube, and I'm glad to say that the studio version is every bit as pleasing. There's nothing spectacular about it, just very hummable harmonies, and a great chorus that I defy you not to sing along with. That said, pick a sunny day (not easy, but. . .), find a car, roll down the windows, and play it loud. Especially if your singing is a little on the, ahem, 'unpredictable' side. (Ursula Kenny, No 1, June 21, 1986)

I love the Bangles: they hardly do anything and yet they're hugely successful. They don't write their own hits, they don't always play very well "live" and when they do play they look sooo 'nonchalant.' But they do make wonderful poplicious singles and that makes all the difference. "Going Down To Liverpool" is a re-released flop but so what? - it's a lovely, bangly, jangly pop song that makes you feel that we might actually get some "summer" at last (if only in three minute bursts). Single Of The Fortnight. (Duncan Wright, Smash Hits, June 18, 1986)

Godley And Creme - Cry (Polydor)

There are some things in life too precious for mere words. A beautiful sunrise; the Smiths; the sound of stud on bone as Graham Roberts rushes in for another tackle. Such is "Cry". Kevin Godley's pure, choirboy voice soars away, layer upon layer of sound floats around and you sit back and drink in the sparkling Trevor Horn production. Gloss with class and beauty. (Eleanor Levy, Record Mirror, April 6, 1985)

Jill: A weak ballad in amongst some nice synth sounds. Like most of the singles this week, it's produced by Trevor Horn. It's got a horrible ending that made my backbone go all squeegy. Rose: I like the sleeve - it reminds me of a dress I had when I was eight. (Jill Bryson & Rose McDowell [Strawberry Switchblade], Smash Hits, March 28, 1985)

Feels Like The First Time: The award winning video was the first to use computer morphing techniques - to great effect.

Simple Minds - Don't You (Forget About Me) (Virgin)

In which Jim Kerr goes all Billy Idol (brooding, dreamy, erotic) and the song goes all American. Taken from the film The Breakfast Club, it highlights the `filmic' qualities of their music. I don't know what the film's about but it sounds like it should be set in sunny LA. - you know, all blazing blue skies, long open roads eaten up by gleaming, flash, speeding cars full of people with healthy tans and meaningful glances. Then again, it just might be a cartoon. (Peter Martin, Smash Hits, April 11, 1985)

Ironic (innit)? For years Simple (Minds) have been delighting us with their beautiful (filmic) music that could have provided some wonderful soundtracks for, ooh, at least a dozen movies. The New Gold Dream (LP) and Bladerunner (film) would have been good together for instance. But now, with a genuine movie at their fingertips - the forthcoming (The) Breakfast Club - they pull out all the stops only to come up with something that sounds like Billy Idol ! It's a (nice) song - very gentle and melodic - but (the) Minds are capable of much more (than) this. What are all these brackets doing here? (Debbi Voller, No 1, April 13, 1985)

Streamlined Simple Minds sound, produced by Keith Forsey  - as featured in the new movie The Breakfast Club. Though hardly shattering, their earnest and hard-earned 'Community AOR' image - this is one of their most pleasant songs to date. Jim Kerr and his merry men were constantly accused of being a bunch of tortured artists making trite and unsophisticated pseudo-philosophical rubbish that was bludgeoned into the public with massively lengthy tours... but they have seen the light at the end of the tunnel. The feeling is UP! (Dylan Jones, Record Mirror, April 13, 1985)

Oh, The Irony: I'm not sure if Peter and Debbi were at all aware that Simple Minds recorded the song only after Billy Idol turned it down, Keith Forsey being his long time producer. By far and away Simple Minds' biggest chart hit, Billy attempted somewhat belatedly to reclaim the song - adding his own recording to a Greatest Hits compilation many years later.

Phil Collins - One More Night (Virgin)

Already firmly lodged in the US Top Three, "One More Night" sees workaholic Phil taking a breather from his exertions with "Sussudio" and Philip Bailey's "Easy Lover". The tempo recedes to walking pace, the lights dim, the smooch-level goes off the barometer and, well . . . the rest is obvious. (Dave Ling, No 1, April 6, 1985)

In films, no-one cares that Clark Gable probably said 'Frankly my dear I don't give a damn' 120 times before he got it right - it still felt like he meant it - it sounded real. Nor that he was probably thinking more about going and having a piss than about Vivien Leigh - it didn't matter. In records, it's so much harder to get the emotion that love songs such as this demand. "One More Night" probably meant something when Phil wrote it from the heart, but what feeling it may have had has been lost somewhere among the 65 saxophones and 150 pianos. Great for the radio but lousy for the tear ducts. (Eleanor Levy, Record Mirror, April 6, 1985)

This is Number One in America and it'll probably be Number One here. Can this man do no wrong? Luckily, like most of his solo stuff, this isn't a bit pompous, painfully clever or even 87 minutes long (like a lot of his Genesis stuff), it's just an easy, pleasing ballad that floats by quite painlessly.  (Peter Martin, Smash Hits, April 11, 1985)

Howard Jones - Look Mama (WEA)

Sure as eggs is eggs. Howard is a very nice chap and I think it's daft the amount of people who just can't stomach him and his music: after all it is only pop music and he's doing no harm, possibly even some good. That said, I'm not madly keen on this song - a bit too Genesis for my liking and the title gets on my nerves, but apart from that ifs full of the usual ultra-catchy bits and it'll sell in droves. (Peter Martin, Smash Hits, April 11, 1985)

Many said that Howard's last single "Things Can Only Get Better", was his best to date. Sadly "Look Mama" (also taken from the new album) is a disappointing choice for a follow up. Although it'll do well, I can't see it being the No.1 hit that's eluded him for so long now. Howard's lyrics are as clever as ever but what this lacks is the haunting heartfelt melodies that have made him so incredibly popular. I'd have released "Specialty" and finally got that No.1 tucked firmly under my belt! (Debbi Voller, No 1, April 13, 1985)

Again Howard has constructed another catchy ditty that'll have Radio One DJs wetting themselves with excitement. It'll slide easily over the airwaves but it hasn't got a twinkle of the melody of "What Is Love" and feels about as substantial as a plate full of candy floss. (Mike Gardner, Record Mirror, April 20, 1985)

Jimmy Jimmy - Silence (Epic)

Mary Mary quite contrary how does your garden grow? With catchy pop and not a spot on the pretty boys all in a row. Jimmy Jimmy are two such mortals making acoustic, guitar-based pop that could be Aztec Camera with added sugar. Very smart, very clean, creases in the trousers and shiny shoes. Nice boys who will be stars one day. (Eleanor Levy, Record Mirror, April 6, 1985)

Making a record about silence is a bit of a contradiction, isn't it? Not when it's as sweet as this. This is a weird cross between Aztec Camera and ABC, with simple guitar pop backed up with strings and a clever little piano intro. Jimmy Jimmy are in fact two Jimmys. Astonishing. (Paul Bursche, No 1, March 23, 1985)

The Twelfth Man - It's Just Not Cricket (EMI)

Are they sure Richie Benaud won't sue? Quite a chucklesome pastiche, Aussie style, of a test match commentary. But you won't hear too much of it on the radio. I mean, uncle Richie doesn't know the meaning of some of these words. (Paul Sexton, Record Mirror, August 24, 1985)

The Alarm - Absolute Reality (IRS)

"You may love/ You may hate/ You may be President of the United States/ But you can't deny it while the world wants to die/ This is absolute reality." The Alarm are still singing the same old duff lyrics but musically have now moved on from early Clash to 'Modern World' Jam. Give us a break, chaps! (Paul Bursche, No 1, February 16, 1985)

Good intro, I like this already. First of all I'm a Bob Dylan fan, it's a very clear lyric with a Dylanesque sound, but the chorus is not the kind of thing that you'd associate with Dylan. Intros are so important, because they establish attention, and within 60 seconds of this there are changes that indicate it's not going to be a monotone. There's energy, attitude, it's a well-constructed record. (Gary Byrd, Record Mirror, February 16, 1985)

Alexei Sayle - Ullo John! Gotta New Motor? (Springtime)

A B-serk assault on the horrors of modern life - like music centres, package tours to Miami, people who say 'Cheers!' and 'Nice One!', micro-wave ovens and records by Billy Joel, all linked by frantic repetitions of the title. If you wanna dance 'n' chuckle at the same time, this is the disc for you. Nice one, Alexei! (Neil Tennant, Smash Hits, March 4, 1982)

The Gist - Fool For A Valentine (Rough Trade)

Ex Young Marble Giant in rather limp reggae/pop offering. Most interesting thing about this record is that Rough Trade had the commercial sense to release it to coincide with St Valentine's day. What next, free packet of brown rice for singles reviewers? (Jim Reid, Record Mirror, February 12, 1983)

Then Jericho - Prairie Rose (London)

I have but one judgement to pass on this: never a good song in the first place, and how dare they!! (Nancy Culp, Record Mirror, April 11, 1987)

What a surprise - another cover version. It's obviously a great (Bryan Ferry) song to begin with, but then so are most of them currently flooding the charts. This is definitely a good radio record with a strong sound but I don't think it will be the one to give them their first hit. I haven't heard the LP, but if this track is representative of it I'll certainly be playing a few tracks from it on my show. A band with a healthy future for sure. (Simon Mayo, No 1, April 11, 1987)

The Triffids - You Don't Miss Your Water (Hot)

A slow, sprawling lament from what is probably Australia's best group at the moment. The Triffids take all sorts of musical influences under their umbrella - from psychedelic to folk - but always come out on top. Simon Le Bon's record of the month, I hear... (Paul Bursche, No 1, August 24, 1985)

Wham! - Wham Rap! (Innervision)

A hard, hot and witty rap on the subject of unemployment. Brilliant words, real excitement, hundreds of ideas, built-in participation and maximum humour. I'd be lost in admiration if I could find time to stand still. Single Of The Fortnight. (Neil Tennant, Smash Hits, June 24, 1982)

China Crisis - Christian (Virgin)

In a week when everyone seems to be slowing down and strumming, CC really go for the ballad in a big way. Sublime Karn-esque bass floats, the acoustic gets plucked, the voice dreams away. Every one a tearjerker. Hardly 'A Single' but who cares. We can wallow. ET must have gone to everyone's heads. (Betty Page, Record Mirror, January 15, 1983)

The Liverpool lads - now, with the departure of drummer Dave Reilly, slimmed down to a duo - muff another stab at the charts by releasing an awkward, obscure song that should have been left on the album where it belongs. (Dave Rimmer, Smash Hits, January 20, 1983)

Lisa Stansfield - The Only Way (Polydor)

Looking like a prime candidate for 'Vest What I Always Wanted' Ms Stansfield shouts through a plethora of electro beats, syndrums, etc. A performance that must surely be a trailer for her eventual appearance on page three of the Sun. (Jim Reid, Record Mirror, November 6, 1982)

Nominating this as star single isn't going to win me any credibility points. It's the kind of obvious, blatantly commercial number that everyone sneers at until it makes the top five and then some vaguely apologetic voice pipes up with: "actually, I quite like this". The producer, who also wrote the thing and, for all we know, knitted Lisa's rather fetching string vest for her as well, has boosted her little girl voice until it's just this side of glass-shattering, schooled the drummer in the ABC clatter and compressed every element right down so that, on replay, everything springs out like the contents of an overstuffed suitcase. A contender. (David Hepworth, Smash Hits, October 28, 1982)

Trevor Herion - Kiss Of No Return (Island)

Absolutely gorgeous. On a wafer-thin flan of electronics comes a haunting melody on the world's most romantic instrument - the accordion. Trevor croons away, mentions Paris and wins my heart. (Deborah Steels, Smash Hits, November 25, 1982)

The Flirts - Passion (Import Only)

An ultimate electronic dance record which takes nearly nine minutes to build up from a throbbing bass line and a throwaway synthesizer phrase via a deliciously dippy vocal to such hot disco ignition that I needed a cold shower afterwards. Only available on expensive import from Canada, it demands to be released here. (Neil Tennant, Smash Hits, August 19, 1982)

That's My Impression: The record was produced by Bobby 'O' Orlando, who would famously go on to produce Neil Tennant's early efforts with the Pet Shop Boys.

[Update - April 2017] The influence of this particular track on the Pet Shop Boys' own sound is well documented. I recommend Wayne Struder's comprehensive analysis, found here.

Paul McCartney - Take It Away (Parlophone)

What's amazing about Macca is that he makes everything sound so effortless. He probably knocked this one out while boiling the milk for the family's cocoa. The song bounces along, picking up en route honeyed harmonies, quick-fire guitar and snappy brass. Watch it streak into the top five. (Ian Birch, Smash Hits, July 8, 1982)

With A Little Help From My Friends: Ringo Starr played drums on this one.

Ray Parker Jr - Ghostbusters (Arista)

Ever heard of a funky ghost? Well you will have done by Christmas. Ghostbusters, the movie, is currently the biggest thing to sweep America since the last big thing. It's a spooky comedy with Bill Murray and Dan Aykroyd. So now you know what Ray Parker Jr's grooving about and what that stupid 'no entry' sign with a ghost in the middle of it is doing at your bus stop. (Paul Simper, No 1, August 25, 1984)

America's Number One single from the film of the same title - proving once again the all-prevailing power of the visual image; film soundtracks seem to be surefire providers of hits these days. This is a good, fun record; a bit of humour is what discos badly need and this will provide it. I'm not afraid of ghosts either, Ray, but I'm afraid of me. (Bobby Bluebell, Smash Hits, August 30, 1984)

1000 Mexicans - Under Construction (Abstract)

Interesting. Adventurous use of synth and a decidedly funky bass line lend this a fresh sound, even if shades of the Human League are evident. I'd play this as my own personal warm-up music before setting out on the town. (Linda Duff, Smash Hits, July 5, 1984)

Matchbox (Featuring Kirsty MacColl) - I Want Out (Magnet)

There's not many rock 'n' roll acts who are worse than Shakin' Stevens but here's one. Nevertheless, this is saved by a real rootsy-tootsy vocal from Kirsty who once had a hit about a chippy or something. (Ian Birch, Smash Hits, February 17, 1983)

English people trying to be redneck Americans, nearly as embarrassing as Kajagoogoo's imitation of a vibrant new pop group. (Jim Reid, Record Mirror, February 12, 1983)

Eyeless In Gaza - Sun Bursts In (Cherry Red)

Perfect! It's got that barefoot feel to it. I find myself playing it again and again...more chart orientated than previous offerings. The horns have got that 'out there' refrain. Hope to hear it on the radio! (Joe Leeway [Thompson Twins], Record Mirror, February 11, 1984)

The Shillelagh Sisters - Give Me My Freedom (CBS)

Mundane rock-a-boogie written by a shrewd chap called 'unknown'. Not only is the lead vocal delivered totally deadpan, but every line is immediately repeated by the equally dozy backing singers. There's a lot of fuss being made about these rockabilly girls. On the evidence of this single, I can't see why. (Martin Townsend, No 1, March 31, 1984)

I haven't even the heart to damn it. It is an awful record, an atrocious record. "Give Me My Freedom"...isn't that what record reviewers always say...why am I locked in this room? (Paddy McAloon [Prefab Sprout], Record Mirror, April 7, 1984)

The Cocteau Twins - Pearly-Dewdrops' Drops (4AD)

The Cocteau Twins are a band I've never really listened to and I feel that maybe I've missed out on something. Elizabeth Fraser's voice appeals to me in a way that I like very much. This is a great record and is definitely Single Of The Fortnight. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)

This record harks back even further [than singer-songwriters in the '70s] - to the late '60s or early '70s forsooth. It's a hurdygurdy of positively hippyish sounds. Very attractive for all that, this has layers of old-fashioned guitars and Elizabeth Fraser's yearning voice is well-deployed. File next to "Dear Prudence" and your patchouli joss-sticks. (Sunie, No 1, April 21, 1984)

The darlings of the spikey mohican brigade, aren't they? I quite like it and it's a very nice sleeve. It's quite middle of the road in a way, I'm sure my mum would like it but it won't be a hit. Not as good as "Song To The Siren". (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)

Erasure - Victim Of Love (Mute)

As ever, the play off between synthi textures and Andy Bell's unimpeachable voice is a wonder to behold, and Vince's sneakily simple melody is well up to standard. But the instant replay stomp can't go on forever and at some point V and A will have to e-raise their aims above the giddy and glib. (Roger Morton, Record Mirror, May 23, 1987

It's Immaterial - Rope (Siren)

You're either very irritated or completely beguiled by It's Immaterial. Their songs reach out for that strangeness, that twitchiness that Talking Heads used to deal in. You either twitch along or leave the room. Here, they've re-invented a non-existent traditional folk melody, laced it with ghostly fiddling, and set it to a skipping drum machine. All pastel hues and shadowy word play, it makes for a nervily merry English voodoo pop. Stay with it, and twitch. (Roger Morton, Record Mirror, March 7, 1987)

Itsy (as we fans call them) have had an undeservedly hard time following up "Driving Away From Home". "Rope" could just be the one to do it, ridiculously catchy, hopelessly cheery, and it has a 79-year-old banjo player, one Tarrant Bailey Jr, rocking out. Not a lot of singles can say that! Probably their strength (all their songs are so different) is their weakness (nobody knows it's them). All the same, 'tis a harsh and cruel world that cannot find room for It's Immaterial. (John Aizlewood, No 1, February 28, 1987)

Johnny Hates Jazz - Shattered Dreams (Virgin)

Johnny Hates Jazz! What, all of it? Sadly, JHJ don't quite live up to their really crazy radical name with "Shattered Dreams" which is a polite little ditty of interest only to incurable insomniacs. (Barry McIlheney, Smash Hits, March 11, 1987)

A-ha - Manhattan Skyline (WEA)

Just when you think you can have a little snooze because A-ha have dished up another Eurovision song contest-type ditty, something dreadful happens. The gentle musings about umbrellas flying (?) are interrupted and a Slade record suddenly appears from nowhere - except of course it's not Slade because you can still hear the little tinkly bits. This is really very strange indeed, jumping about madly between quiet bits and lots of crashing drums. What has come over them? (Lola Borg, Smash Hits, February 11, 1987)

Swings and roundabouts here. Much meatier than the annoying "Cry Wolf" but less beautiful than the mighty "Hunting High And Low", "Manhattan Skyline" is edited from Scoundrel Days (and there can't be much of that not on singles) and shows A-Ha quiet and contrite, brash and bold all on the same song - charmer chameleons! It's backed with "Looking For The Whales" recorded live in London. If they'd peered towards Birmingham, they'd probably have seen one! (John Aizlewood, No 1, February 28, 1987)

When Aled Jones grows up, he'll probably be Morten Harket. This, the latest from the denim-clad Adonises, is the muso side of A-ha. Touches of Peter Gabriel and Sergeant Pepper creep in, with those virginal choir-boy-whose-balls-have-dropped off vocals are as forward as ever. If A-ha weren't so pretty they'd be on the cover of 'Q' and treated as the new Tangerine Dream. And that's something none of us need. (Eleanor Levy, Record Mirror, February 21, 1987)

Howard Jones - Little Bit Of Snow (WEA)

Howard Jones, the singing man's Bjorn Borg, delivers a heartfelt anti-drug plea. Simply done, with voice and piano, the song celebrates the joys of things like, oh, the sun and the rain over the perils of indulgence in evil substances. The absence of tub-thumping is most welcome, but tactful Howard almost comes a cropper in a sea of understatement. Blink your ears and you'll miss it. (Pete Clark, Smash Hits, February 25, 1987

Paul Johnson - When Love Comes Calling (CBS)

This is the first single by a man who's made quite a reputation for himself as a British gospel singer. It's a lighthearted piece of soppy soul that bounces along in a most catchy manner and I've an inkling it may do rather well. Most pleasant. (William Shaw, Smash Hits, January 14, 1987)

I don't know anything about this bloke (he comes from Croydon and the single's produced by Junior Giscombe). He's got a good voice but the song doesn't go anywhere. It's too midtempo and there's not enough of a hook. I've listened to this twice and I still can't remember how it goes. It'll probably be a minor hit, around the 40s but it won't get into the Top Ten. (Lee MacDonald, No 1, February 21, 1987)

Love And Money - River Of People (Mercury)

Less overtly aggressive than "Candybar Express" and less Hall And Oates than "Dear John", L And M's third shot should give them the shortest odds on a hit yet. "River Of People sees James Grant drawing in his quiff (metaphorically speaking), toning down the squealing guitars a mite and unravelling his most conventional rocker to date. Forceful, fixating and damned wearing on the toes. (Lesley O'Toole, Record Mirror, January 10, 1987)

Hoist the flags, chher loudly and abandon yourself to wild behaviour. Amongst this fortnight's somewhat tawdry collection of singles there is this gem by this Glaswegian group. You may remember that they've already had one undeserved flop with last year's rock-along "Candybar Express", which was produced by former Duran Duran guitarist Andy Taylor, but perhaps they'll escape such shabby treatment this time with this optimistic, soulful thing that swings along at a joyful pace. Very enjoyable, praise the Lord! (William Shaw, Smash Hits, January 14, 1987)

Talking Heads - This Must Be The Place (Naive Melody) (Sire)

A track from the excellent 1983 album Speaking In Tongues, which finds the band in classic style. The characteristic Byrne vocals harnessed to some truly funky guitar keeps the heads nodding in time. Rather senseless to release such an old track, which obviously breaks no new ground, although it contains all the usual dance qualities, zany appeal, profound professionalism and personality that you would expect from the Heads. (Diane Cross, Record Mirror, June 14, 1986)

Talking Heads now have a different British record company, so the old one is predictably trying to make some cash from the old stuff. This could mean endless tired old re-releases, but in the case of a chestnut like this one, who cares? It's absolutely ruddy marvellous! A dreamy little holiday of a song that transports you away on funny bendy notes, interesting choppy beats and charming lyrics and is just...yummy. (Duncan Wright, Smash Hits, June 18, 1986)

Madonna - Live To Tell (Sire)

A somnambulant ballad which contains all the dreariness of a wet weekend in Stockton with Jennifer Rush. Written by Her Elusiveness for her husband's new movie 'At Close Range', it's clearly a piece of background scene-setting. As a single it does to the ears what snooker does for the blind. (Mike Gardner, Record Mirror, April 19, 1986)

Madonna's first new single for a while is a bit of a surprise. After the immediacy of goodies like "Into The Groove", this is a remarkably subdued affair, with Mads crooning away mournfully over a dreamy, smoochy toon. A few listens is all it takes to take root in the brain, and it'll be Top Five before you can say 'Fleet Street Hacks'. And good luck to her - anyone who's that hated by the gutter press must have something going for them. 4/5 (Karen Swayne, No 1, April 19, 1986)

Skipetty skip. Like a virgin, HEY! touched....What's this? The ugly duckling's turned into a swan (er, metaphorically speaking, you understand). We've sunk two octaves, dropped the pinky and perky stuff, and moved in to give Lionel Richie a run for his money in the hankies-out-soppy-time corner. Not an area I care to linger in generally, but this is simple and melodic, soft and achingly sad, and I like it. (Sorrel Downer, Smash Hits, April 9, 1986)

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)

Depeche Mode - Stripped (Mute)

Depeche Mode must rate as one of the most consistent if not one of the best pop bands of the '80s. They have a distinctive sound, but not so much so that each release sounds like the last one. Their lyrics actually mean something without being pretentious and over the top. Yet they never seem to get the adulation that their competitors get. Strange that. Let's hope that the haunting stillness of "Stripped" puts them up where they belong, before Frankie and Spandau reappear. (Mark Booker, No 1, February 22, 1986)

Depeche Mode were becoming very predictable but this is the best thing they've done in ages. 'Let me see you stripped,' sings Dave Gahan and bang goes their appearance on Saturday Superstore. Actually, I think it's all about going back to nature and 'discovering yourself'. Slow and atmospheric, even when you can't work out what he's going on about. (Simon Braithwaite, Smash Hits, February 12, 1986)

Laudable B-Side: The flip is "But Not Tonight", surely one of the Mode's most elegant compositions.

Marc Almond - The House Is Haunted (By The Echo Of Your Last Goodbye) (Some Bizzare)

I've always been worried a bit about Marc Almond. He'll never be Jacques Brel or Scott Walker or, from the look of the sleeve in front of me, much of a body builder. However, he's ignored these set backs and managed to rework "This House Is Haunted" with a killer of an arrangement. All high camp melodrama and the sort of gorgeous trumpet that could be on a downbeat Special AKA record. (Jim Reid, Record Mirror, January 11, 1986)

Nailed It: Jim correctly predicts Marc's Brel fixation, culminating in his 1989 LP, Jacques.

Someone for whom chart success is less important than artistic integrity, Marc Almond will always make records worth listening to. This track drops the dramatic sleaze in favour of a tooting, jazzy-style swing thing that could be a hit if it's played enough on the radio. Taken from a Janice Long session, "The House..." is delicate and sensitive and a million miles away from the electro-pop of Soft Cell. The double pack features an extra five tracks, so seek it out. (Karen Swayne, No 1, January 11, 1986)

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Suzanne Vega - Small Blue Thing (A&M)

Simple yet effective; if only all records were made this way. This is a hauntingly beautiful ballad, sung in an almost lullaby-like whisper. Evocative, serene and oozing a pleasing warmth, this is many things to many people. A luxurious dip into the exquisite. A self-indulgent wallow in tenderness. A perfectly polished gem. A plea from the heart. No record collection should be without. (Anna Martin, No 1, January 18, 1986)

Notes: The B-Side is "The Queen And The Soldier", another highlight from her first album. And if you really, really want to know what the small blue thing was....it's a door knob. I learned this and much more during Suzanne's great interview with the guys at Sodajerker.

Killing Joke - Adorations (EG)

Moving from strength to strength, Killing Joke have surpassed the twisted power of "Love Like Blood" and come up with their most immediate single to date. "Adorations" has a smiliar feel to their previous hit but with greater depth of sound - there's still the threatening, distorted guitar, but this time it's blended with a synthesizer and the vocal is sung not shouted. When you look into Jaz Coleman's eyes you know he means business. And this is the business. Single Of The Week. 5/5 (Frank Hopkinson, No 1, August 9, 1986)

I think Killing Joke would like baggy jumpers, too; plenty of room to ruminate. This is the usual pitch black mood, thumped out with straight faced no-nonsense seriousness. But is it really that serious, boys? (Jim Reid, Record Mirror, August 9, 1986)

'Courage and cowards move heroes to ecstasy, welcomes of war and wounds, vigil and victory.' Cor! Real swashbuckling Boy's Own stuff this. The same sort of enormous, swirling sound as "Love Like Blood" but without the power and strength which made "Blood" such a sturdy compelling noise. "Adorations" is very nearly a pop record. (Simon Mills, Smash Hits, August 13, 1986) 

The Smiths - The Boy With The Thorn In His Side (Rough Trade)

Morrissey desperately tries to divert our attention from this weedy, half-cocked song (which is apparently the original 'demo' recording) by doing a horrible impersonation of Frank Ilfield (useless '60s yodelling pop star)! Their weakest single, and definitely time for a change of tack. (Steve Bush, Smash Hits, September 11, 1985)

Call me predictable, call me boring, call me sentimental - I don't care. The worries of the world float away as the new single from the ever lovable Smiths arrives on my desk. Still on Rough Trade, still adorning the covers with Morrissey's heroes (Truman Capote looking like Ernie Wise this time), and still making the most perfect pop music ever created. A light 'Williamesque' backing has Morrissey trilling and warbling his exquisite way around Johnny Marr's simple melodies. After the slip that "Shakespear's Sister" proved to be and the questionable decision to release "That Joke Isn't Funny Anymore" - probably the only track on Meat Is Murder that shouldn't have been a single - the group brush off the dust from a thousand gleeful cries of 'has-beens' and resume normal service. Single Of The Week, obviously. (Eleanor Levy, Record Mirror, September 21, 1985)

Toyah - World In Action (Portrait)

Whereas "Don't Fall In Love (I Said)" tootled along all chorus and no song, Toyah's produced a more structured effort for her follow up single. "World In Action" has all the Wilcox hallmarks we've grown to know and use the sick bag for: references to world destruction, chantable chorus, sung like a little girl, etc, etc. Making its debut is the synthesizer from China Crisis' "King In A Catholic Style". That's not to say it's original. No need for a signature. (Frank Hopkinson, No 1, September 14, 1985)

I've never been able to take Toyah seriously since she wrote the classic line 'crawling down the alleyway being very loud', and "World In Action" is another of her 'I'm on the side of ver kids on ver street' type songs, this time about nuclear war. The sentiments are admirable, the song is terrible. (Steve Bush, Smash Hits, September 11, 1985)

Toyah continues her dalliance with the nuclear age with the most pertinent of questions. 'Where will you go when the sirens blow?' Fourth form poetry from one who should know better by now. Toyah, your siren's blown. (Andy Strickland, Record Mirror, September 7, 1985)

Keanan - Watersport (Awesome)

This bloke's been getting loads of publicity lately, purely because he goes to the 'right' art school, designs funny clothes, has weird hair and knows people who work on trendy magazines. Nobody ever mentioned his music, and I presumed - as is usual in such cases - that it would be complete rubbish. What a nice surprise, then, to discover that this record is really excellent, a spirited hi-energy romp which knocks Pete Burns' recent weedy attempts into a cocked hat. And it's got the week's best cover. Runner-up single of the fortnight. (Vici MacDonald, Smash Hits, October 9, 1985)

Pete Townshend - Face The Face (Atco)

Full marks to the ex-who guitarist for staying in the fray with a song that'll probably be a hit. Great beat and brass - all borrowed heavily from Ashton Garner And Dyke's "Resurrection Shuffle" if my memory serves me right. (Andy Strickland, Record Mirror, October 12, 1985)

New Model Army - Brave New World (EMI)

Surprisingly listenable ditty from the band with supposedly 'no artistic merit - official'. Slade actually sings for once on this angry tale of the state of the nation with a decent enough backdrop of arse kicking drums, Burnel-esque bass and singalong chorus. The overall effect is akin to Tom Robinson singing Killing Joke. Much more of this, and it'll be tea on the White House lawn. Not bad at all! (Andy Strickland, Record Mirror, December 14, 1985)

Peter Murphy - Final Solution (Beggars Banquet)

This is a cover version of a record by Pere Ubu (a group fronted by an interesting fat man who did some mighty strange squealing and squawking five years ago). Pete Murphy, who left Bauhaus to do embarrassing things like dancing around in sand pits at ‘art happenings’ is now called Peter. Sounding more like David ‘Ziggy Stardust’ Bowie than ever, and making great gnash ‘n’ snarl club records like this. (Sorrel Downer, Smash Hits, November 20, 1985)

Yet another small-minded song, made on a big scale, this is apparently the third and final mix. Still better known for doing tape commercials than he is for his singing, Peter Murphy will remain on the periphery of pop stardom until he learns to stop imitating David Bowie and tries to find his own identity. As it stands, the only thing that could make this sound decent…is distance. (Mike Morris, No 1, December 14, 1985)