This Island Earth - Take Me To The Fire (Magnet)

It's pretty difficult to follow up a debut single as powerful as "See That Glow" - which should have leapt into the top 20 instead of struggling into the 50. This Island Earth haven't been discouraged, they've come up with an even better record. The minute the stylus hits the groove on "Take Me To The Fire" you're hooked. Its exhilarating synthesiser music with an infectious tune that Howard Jones would find hard to match. Single of the week by a couple of kilometres. (Frank Hopkinson, No 1, April 27, 1985)

Roaring Boys - House Of Stone (Epic)

When they first appeared earlier this year, perfectly made up with not a hair out of place, the Roaring Boys came in for some stick. Touted as the next DD rumours flew of huge advance payments etc etc. "We're serious musicians," they pouted. Maybe. But this single will do nothing to add to their credibility. Dull, instantly forgettable, and going absolutely nowhere. Don't spend it all at once lads. (Anne Lambert, No 1, June 15, 1985)

Y'know I actually feel quite sorry for those lovable old empty-heads the Roaring Boys. Imagine having all that money and all those people telling you how very talented and good looking you are when in fact - yeah, hilarious isn't it - you're not. In fact an uglier bunch of derivative old also-rans you'd be hard pressed to find. "House Of Stone" treads the well-worn path of sub-Roxy moodiness with all the content, all the right noises but not one whiff of the style or personality. (Graham K Smith, Record Mirror, June 15, 1985)

Kirsty MacColl - He's On The Beach (Stiff)

A sad tale from Kirsty about a boy who takes off on holiday and ends up in Australia. Still, he's happy there. Kirsty will be happy too when the single marches up the charts. It's even better than "A New England", more bouncy and with a chorus that stays in your brain after just one listen. (Anne Lambert, No 1, June 15, 1985)

Even though Kirsty wrote this herself it sounds very like her last single, Billy Bragg's "A New England" - lots of shiny guitars above which a million Kirsty MacColls breathlessly sing the tune. I just don't quite understand why she's bothered to write a song about an old drinking partner who's gone to Australia, spends all his time on the beach and isn't coming back. (Chris Heath, Smash Hits, June 19, 1985)

The lovely Kirsty is always worth a lot of anybody's time. Her appreciation of the finer aspects of pop construction are enough to warm even the coldest discaphile's heart. All the usual ingredients are there - sometime bittersweet but ultimately optimistic lyric, hefty, pacey backbeat, just the right amount of memorable jangling and those trebly harmonised vocals. A tribute to lost love? A yearning for sunnier climes? A summer hit? All these, and more. (Graham K Smith, Record Mirror, June 15, 1985)

Sheila E - The Glamorous Life (WEA)

Lyrically it seems to be in line with Madonna's "Material Girl". It's not an outstanding song but her work as a percussionist with Prince is enough for her to be taken seriously. Hopefully there'll be better things to come in the future. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

A re-release of Ms Escovedo's cutesy-pie debut single; while it's a pleasant enough experience not even Prince's purple production reins can flesh out the bare minimum of a song here. (Mike Gardner, Record Mirror, April 20, 1985)

This is Sheila Escovedo's debut single, re-released after the success of "The Belle Of St Mark". Not much of a song, but performed enthusiastically by Ms E and her troupe, it doesn't sound so much like a Prince song as most records by Prince proteges do. A bigger hit than her last effort. (Stuart Husband, No 1, April 20, 1985)

Teena Marie - Love Me Down Easy (Epic)

A song about peeling off rose petals, eating white chocolate and drinking champagne in bed! Utter decadence but very appealing coming from Ms Marie's 'pout' mouth. Less of the Prince than there was in "Lips 2 Find U", more of the real Teena. Anyone who has ever spotted Ms Marie in her, er, day job will know what this means. A lusty ditty. 3/5 (Max Bell, No 1, October 18, 1986)

Blancmange - That's Love, That It Is (London)

Thankfully we are calm enough now to evaluate this record with some sense of hygiene. I like the song. So do the panel. The production, however, is a little bit 'standard contemporary'. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

The dynamic duo return with a belter of a song which should quickly re-establish them at the top of the synthetic tree just in time for Christmas. With Tears For Fears also about to charge back into the scene, we can safely assume that we've seen the last of those nasty guitar bands for a while. (Paul Bursche, No 1, November 19, 1983)

Tracey Thorn - Goodbye Joe (Cherry Red)

Wonderful acoustic version of a slightly world-weary song from one of my all-time favourite LPs, Strange Boutique by The Monochrome Set, which came out about 2 1/2 years ago. Everything But The Girl chanteuse Thorn provides all vocals and instruments and artfully assumes the kind of breathy, mysterious tone of the '50s solo girl singers she doubtless greatly admires. This'll catch on and the whole of '83 will be flooded with bare-footed types in jumpers and slacks strumming away on bar-stools. You just wait. (Ian Birch, Smash Hits, January 6, 1983)

Thomas Dolby - Radio Silence (Venice In Peril)

A perky performance that trampolines on elastic drums, bubbling synthesisers (Depeche Mode's producer Daniel Miller lends a hand here) and some extra vocals from Akiko Yano (everyone has to have a Japanese on their record at the moment). Tasty! (Ian Birch, Smash Hits, April 15, 1982)

Spandau Ballet - Only When You Leave (Chrysalis)

Just as well I've already heard this a couple of times, since the review copy fell out of its sleeve in two pieces. They don't make 'em like they used to - or rather they do, since this long overdue offering sounds exactly like something from True. Nowt wrong With that, of course, and it's great to have the lads back. But we'll have to wait a little longer to see what Spandau's '84 model is made of. (Sunie, No 1, June 9, 1984)

Tony Hadley's singing has improved to such an extent that the time when his surname was always preceded by the nickname "Foghorn" is becoming a dim memory. He gives a warm, restrained performance on this funky and rockin' number which also displays Gary Kemp's talents as a scratchy rhythm guitarist. (Neil Tennant, Smash Hits, June 7, 1984)

Floy Joy - Until You Come Back To Me (Virgin)

The pastiche Matisse cover of a reclining nude and the Don Was production might make you believe Floy Joy are content to make an art of the inevitable. But appearances are deceptive. The Ward brothers search for soul has hit jackpot with singer Carrol Thompson. Her charming romanticism and the ingenious instrumental backdrop should give Floy Joy the hit they so blatantly deserve. (Max Bell, No 1, October 20, 1984)

Naming yourself after a well-known song undoubtedly puts an act one step ahead in the Awareness Factor Stakes, and that - coupled with the fact that Smash Hits told me they were trendy - encouraged me to play it to three friends. Here's a section of what they thought - Sheena Easton/Diana Ross/A young Lulu. Expect a remake of Spandau Ballet's "I'll Floy For You" any day. (DJ Mike Read, Smash Hits, October 11, 1984)

These sweet and sultry chatterbox hazy rhythms should place the Floy Joys on the chart-mart in next to no time. Don't listen to all those dour journalists revelling in the dark and dowdy exploits of some of pop's more trite-minded merchants . . . throw off those autumn anxieties and loop the loop to this most wunnerful 12 inch release. As a bonus to the torch-like ballad on Side A - we are also blessed with the "Theme From The Age Of Reason" and their debut LPs title cut "Into The Hot". Was Not Wasness at its most animated and uncluttered. One hundred per cent! (Dylan Jones, Record Mirror, October 20, 1984)

The Adventures - Send My Heart (Chrysalis)

A big "uplifting" song with hymn-like "aaahs" in the chorus and jangling guitars while the group work hard to live up to the beautiful hand-tinted photo of them on the cover. Record sleeve of the fortnight and possibly a hit. (Neil Tennant, Smash Hits, November 8, 1984)

The Adventures try ever so hard to construct classic and mature pop songs to make up for their anonymous image. However, "Send My Heart" sounds like A Flock Of Silly Haircuts' last single and is about as classic as their bri-nylon shirts. Hummable yes, adventurous no. (Adrian Tierney-Jones, No 1, November 10, 1984)

Salvation Sunday - Heart In Motion (Polydor)

Only about 12 months ago the "serious" music papers (hi!) were "tipping" three new bands for the top. One was Curiosity Killed The Cat, one was Brother Beyond and the third was Salvation Sunday. Mmmm. Well, if "Heart In Motion" is the best they can do, looks like the pollsters will have to settle for a disappointing one out of three. (Barry McIlheney, Smash Hits, March 11, 1987)

The Jesus And Mary Chain - Happy When It Rains (blanco y negro)

Oh, I'm SO BORED with all these bands who should've been on the West Coast in 1967 supporting the Byrds! The JAMC trot out yet one more predictable single and try to make a happy record, but end up sounding wetter than this week's weather. Why is it so popular to sing about rain all of a sudden, too? (Nancy Culp, Record Mirror, August 8, 1987)

It's good to see something makes the Brothers Grimm smile! I listen to the first opening notes with breath a-baited. 'April Skies' was too successful for their liking; Mike Smith loved it. So their next single would not be so commercial. The world asked itself "Would they go back to their electric guitar bashing and drilling days?" 'Fraid not, they're still as brilliant as ever. Looks like Mike Smith will like this one too - something else for the Chain to moan about. (Anita Strymowicz, No 1, August 8, 1987)

Swing Out Sister - Twilight World (Mercury)

Once you get to the 'Twilight world' hook this is OK but the first 30 seconds were really horrible. The production sounds so clean that it shows up a couple of really awful flat notes. I have to be careful about this band because Corinne's grandmother wrote to me around the time of "Breakout" and was almost threatening me if I didn't play it because I come from the same area as her. "Breakout" was a good single but I'm yet to be convinced by her voice. A hit only because of what's gone before, but they're not what I'd call an established band so they'll have to do better stuff than this if they want to last out the year. (Simon Mayo, No 1, April 11, 1987)

Fast becoming a band to reckon with, even if it is all a bit 1982, maaan. Classy, and has no great 'soul bro' pretentions, unlike some others I could mention. A bit like Marvin Gaye meets Astrud Gilberto. (Nancy Culp, Record Mirror, April 11, 1987)

The Smiths - Hand In Glove (Rough Trade)

The ridiculously pretentious press release could be enough to put you off The Smiths for life but this record is a dense and lyrical delight. Gorgeous guitar and emotive vocals make this an unusual release that's worth seeking out. (Karen Swayne, No 1, May 28, 1983)

The Smiths are even better at spouting spurious nonsense than the stuff you'll find on the back of Respond Records. 'The group attacks the depersonalised sterility of 'modern' groups whose clinical synthesised rhythms have left audiences feeling non-human and petrified'. I don't know about that, but I do know that the Smiths aren't very crisp. (Robin Smith, Record Mirror, June 18, 1983)

Lisa Stansfield - I Got A Feeling (Polydor)

This is a perfect example of someone who has had their face on telly and automatically assumes they can sing. But all is not lost. Not only is this actually a good song (a cover), but Lisa has the funniest voice ever, sort of a strangled Tracey Ullman. Unlike Tracey, however, Lisa's serious about it. (Paul Bursche, No 1, November 19, 1983)

It's very hard to make a Holland-Dozier-Holland song (the Motown writers) sound bad so I hope she has a hit with this bright pop song. However, my panel thought it a miss. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

Howard Jones - What Is Love? (WEA)

So you thought "New Song" was good? Well just wait until you hear this gem. It's all about love, about when you love someone but still doubt them - and it's spot on. The bouncy synths are still there and Howard is definitely carving out a niche of his own. We need this sort of warm and happy music. (Paul Bursche, No 1, November 19, 1983)

I've always thought Howard was a far-sighted, intelligent man ever since he said he liked my single on Roundtable. This is a well-produced song that sounds great loud. On the back of the sleeve one is invited to send off for Howard's magazine "Risk", the title of which I hope bears no relation to his thoughts on the chances of his single. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

Note: The B-Side is the wildly poppy multi-ethnic tour de force "It Just Doesn't Matter".

Limahl - Love In Your Eyes (Parlophone)

He's back. Back! With a moving imitation of a piece of pink tissue paper (i.e. his singing is gigantically wispy) and a completely weedy pop song. Hip hip hooray! "Love In Your Eyes" is, of course, awesomely exquisite: swoonsome, tunesome, frighteningly wholesome, covered in fluff and without an ounce of malice. Better even than "Never Ending Story", Limahl's last blub-soaked imperishable, it's a work of intense drippiness. "Sublime". "Soppy". Totally brilliant. Single Of The Fortnight. (Tom Hibbert, Smash Hits, April 23, 1986)

Note: The late, great Tom Hibbert was notorious for his sarcastic reviews, very much in evidence here. I was also saddened to read that he suffered from a debilitating medical condition for the last fourteen years of his life, and so wrote nothing from the age of 45. Such a shame.

The Bangles - If She Knew What She Wants (CBS)

Irresistably catchy, worse luck. I know there are some big fans back at Smash Hits HQ, so I'll probably get a beating for this, but really, it's even more drivelly than "Manic Monday", and there's all these nauseating little harmonies just where you'd most expect them. A bit like one of those Tracey Ullman jokey numbers. I bet they're lovely people but they do sing some awfully wet songs. (Shut your mouth - Deputy Ed.) (Sorrel Downer, Smash Hits, April 9, 1986)

With "Manic Monday" hardly dead and buried, why have CBS rushed this out? Luckily it is another gem with Susanna Hoffs turning out to be a more versatile singer than I'd imagined. There's touches of Dolly Parton in her plus a pure pop harmony and a rousing Californian chorus. A few years ago this would only have stood a chart chance in America but British pop is in such an awful state right now that the Bangles will soon be back to show us how it's done. 5/5 (Max Bell, No 1, April 5, 1986)

Dead Or Alive - In Too Deep (CBS)

Pete Burns and Dead Or Alive drop the incessant beat and concentrate on their melody here and the result is most pleasant. Instant pop like this is a hard act to master but Burns keeps the song simple and the harmonies tight, even adding a shade of The Beach Boys to his measured vocals. Bound to go hurtling into the charts. DOA's best yet. (Max Bell, No 1, June 22, 1985)

Without a doubt this is DOA's best so far - but that's not saying much. It's identikit pop, like most of the other success stories of the past two years; it takes a lot of Motown devices and tricks, throws them into a Human League/disco blender, adds a dash of sparkle and Robert's your father's brother. I'd be more enthusiastic if I didn't have the nagging feeling that I've heard the chorus before. (Mike Gardner, Record Mirror, June 22, 1985)

The Editor said I'd be sacked if I was nasty about this one. Luckily it's quite good. Slightly slower and a bit more sensitive than the excellent "You Spin Me Round" and the terrible "Lover Come Back To Me", it finds Pete Burns complaining about being too involved with a lover who's never satisfied. Maybe another nose job would do the trick? (Report to my office. - Ed) (Chris Heath, Smash Hits, June 19, 1985)

R.I.P. Pete Burns August 5, 1959 - October 23, 2016

Happy Mondays - Forty Five EP (Factory)

Infused with the tired old independent spirit, a group of postmen and ex-postmen from Manchester make the ridiculous claim that they are real people, and trundle through a raucous guitar scramble of a song. A worthy skitter, but nothing to write to Tony Wilson about. (Roger Morton, Record Mirror, October 19, 1985)

Shooting Party - Trick Of The Light (Siren)

Stranger things have happened ... To find myself listening to (and liking I hasten to add) this; a purely unadulterated cross-over from AOR (American Orientated Rock) to the more desirable realms of pop, was beyond my wildest ambitions. A memorable tune with searing guitars, cascading effects and
pleasing vocals make up the package. The B-side isn't bad either! It's surprising then, to discover that the pair responsible for its creation hail from deepest north London. Like I said, stranger things have happened ... (Anna Martin, No 1, October 26, 1985)

Simple Minds - Waterfront (Virgin)

'Come in, come out of the rain. . .' and shelter in the company of the best record of the week. The Minds have always been masters at producing fragile yet muscular music and here the formula is repeated but with even more power. "Waterfront" is haunting, breathtaking, stunning, evocative and beautiful. And all at the same time. A glittering prize. (Paul Bursche, No 1, November 19, 1983)

Built round a shuddering backbeat shot through with guitar chords that will take your head off and overlaid with those haunting keyboard lines. "Waterfront" is remarkable even by Simple Minds' own high standards.Jim Kerr's vocal is one of rare beauty and measured passion. An iron fist in a velvet glove. Single Of The Fortnight. (Mark Steels, Smash Hits, November 10, 1983)

Alison Moyet - All Cried Out (CBS)

A lady whose undoubted vocal talent will help her outlast the more short-lived careers of other less gifted artists. My Radio 1 colleague Andy Peebles would rather wrestle with five hundred whirling dervishes than lose his copy of this record. Big hit, natural voice. No cosmetics needed. (DJ Mike Read, Smash Hits, October 11, 1984)

"All Cried Out" is the best of a poor bunch of solo singles. Over a smoothly winding Imagination type backing (Swain and Jolley produce) Alf offers a perfunctory plea of passion that says more about her vocal coach than her state of mind. (Jim Reid, Record Mirror, October 6, 1984)

In no way am I the first to rave about this exquisite voice, nor, I suspect, shall I be the last. But I wouldn't let the voice distract me from the song. "Love Resurrection" was magnificent, perhaps the best song of 1984 ("Two Tribes" just scrapes best single) - and "All Cried Out" follows up that epic with ease. Alison Moyet not only has a great voice, she's also some songwriter. And the best may yet be to come. (Paul Bursche, No 1, October 6, 1984)

Sheena Easton - Telefone (Long Distance Love Affair) (EMI)

Sheena ought to get together with Kenny Rodgers for another heartbreak session in his log cabin. She isn't quite as soppy as him, to give her her due, but it's an ordinary sort of song, and sounds like it was written by a computer. It'll probably do well with people who are pining and whining over faded holiday romances. (Jessi McGuire, Record Mirror, September 10, 1983)

I used to be a sucker for a good telephone song but the magic is gone. I've had enough of pop stars trying to get us to believe that they sit up all night waiting for the thing to ring when eny fule knos they're far too busy having their pictures taken at the Camden Palace. What we need is an injection of realism. I'm working on a few numbers. One's called "'I've Just Had My Bill For The First Quarter And I'm Sure There's Been A Mistake". It's off a concept album called "Why Do Trimphones Always Slide Off The Table?" I've got high hopes for the whole project. (David Hepworth, Smash Hits, September 15, 1983)

The Smiths - This Charming Man (Rough Trade)

This should have seen them move from 'one to watch out for' to 'this week's thing' but the gorgeous melody and unusual. sensitive lyrics are all but shot down in flames by a horribly ham-fisted production job. One day. (Mark Steels, Smash Hits, November 10, 1983)

Raw but gentle rock that pulsates yet gets slowed down by the clear and haunting melody in Johnny Marr's unique voice. It has that slight off-key quality that makes Siouxsie's voice so brilliant. A strong single with a style unto itself. (Debbi Voller, No 1, October 29, 1983)

Morrissey is the man of the moment, a handsome devil,with his finger in other people's pies and a lyrical twist ejaculating unforgettable one liners in a sensual celebration. He is touched and touching - a beautiful pivot for the pure pop jangle of Johnny Marr's trembling strings and the plop 'n crash of those other rigorous Smiths - a winner, a grinner. (Graham K Smith, Record Mirror, November 5, 1983)

Gary Numan - Sister Surprise (Beggars Banquet)

A hotchpotch of styles sellotaped together by dear old Gazza, whose new Darth Vader look makes him resemble something you get free in a Corn Flakes packet. He starts with disco plus the heavy metal guitars that come with it these days, then adds the usual synth doodlings and his inimitable tuneless yodel. That voice kills every song it touches, and here it whines away aimlessly until you want to strangle the balding spaceman with his own asteroid belt. (Sunie, No 1, October 15, 1983)

A moody synthesised intro is shattered by a driving bass/drum beat. Punctuated by a shrill keyboard chord the song covers familiar Numan ground - with the exception of the jazzy sax solo at the end. A slightly laboured effort. I'd rather see him live any day. (Peter Martin, Smash Hits, October 27, 1983)

The Questions - Tuesday Sunshine (Respond)

Although improved by new recruit Maureen Barry's vocals and equipped with a warm, bright, soul-ly sort of song, this group still display more potential than punch. The question is: what's wrong with the sun on Thursdays? (Dave Rimmer, Smash Hits, March 1, 1984)

'Respond' - a calculated respect for the soul sound that makes me despond, frankly. Still, at least the forced passion squeezes a decent, very Boy George-like vocal out of Paul Barry and there's an overall infectiousness which suggests that away from Weller's fetishes they'd be as potent as the early Undertones. I've sent the sleeve note straight to Pseud's Corner. (Martin Townsend, No 1, February 18, 1984)

With their fingers out and the lovely Maureen in their line up, The Questions may finally have a hit on their hands. In fact, this record seems to be everything Paul Weller had in mind when he started his own record label - it's young, bright, clear, light, sweet and unpretentious. I love the record, but I'm not so sure about the relentless Respond advertising on the sleeve.. (Maureen Rice, No 1, March 3, 1984)

Marillion - Assassing (EMI)

And what does "assassing" mean? Beats me. A clever-cloggy pun, perhaps. Or maybe just something your average assassin does from time to time. All I can tell you is that at one point Fish does indeed appear to be screaming "I assassing the collector" along with a lot of other stuff that sounds suspiciously like the harmless ravings of a hopeless maniac. This, by the way, is an "edited version". The full-length one probably takes up about six 12" singles. (Dave Rimmer, Smash Hits, May 10, 1984)

Nik Kershaw - I Won't Let The Sun Go Down On Me (MCA)

Nik Kershaw has written some good songs and this is one of the better. He's had a lot flak but I guess that's what happens when you pick up awards for us. A huge hit especially with the fold-out, hunk of the month colour poster. I wish he wouldn't try so hard to shrug off his young image. He should be grateful for it. (John Taylor [Duran Duran], Smash Hits, June 21, 1984)

New name has couple of hits, re-releases oldie that didn't quite make it first time around but is sure to score on this go. Meanwhile he has to contend with trauma of wanting to be serious artist, sensitive musician, etc, but keeps getting screamed at by weenies, teddy bears chucked on stage and so on. Which reminds me - whatever happened to Tears For Fears?  (Sunie, No 1, June 9, 1984)

Madonna - Like A Virgin (Sire)

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

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

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

The Pretenders - If There Was A Man (Real)

The goddess Chrissie turns in a fine vocal performance over a song that sounds completely unlike the Pretenders, due to the famous John Barry effect. He could make a washing machine sound like a Tchaikovsky symphony. The song itself follows in great Bond theme tradition and, as such, could be from any of this decade's Bond films. Somehow classic though it threatens to be, it doesn't quite make it since it lacks the familiar Pretenders bite. (Nancy Culp, Record Mirror, August 8, 1987)

Chrissie Hynde is renowned for being a bit of a bigmouth. She has plenty to spout out about how people should live their lives i.e. in a "wholesome" fashion like her, and she prides herself on doing and saying "the right things". It's a pity then that she doesn't apply this philosophy to her music. Why on earth she should record such a lifeless uninspiring ballad as this for the soundtrack of the latest James Bond movie [The Living Daylights] is beyond me. Unfortunately it seems as if The Pretenders are starting to live up to their name. (Ro Newton, Smash Hits, July 29, 1987)

It's Immaterial - Space (Siren)

It's great to write a song about "Space" - it's an unusual subject and they've done it in a really novel way. It's almost sad at times - especially if you live in a built up city. The song's got that Talking Heads/David Byrne sound which I like. I think they're one of the best new English groups around because they've got intelligence and this is the best new song and the most original lyrics I've heard in a long time. (Gary Kemp, Smash Hits, October 8, 1986)

It's Immaterial never said they were going to conform to expectations and so the deliberately deadpan approach they adopt here is wilfulness personified. This is Itsy in funny peculiar and not funny ha ha mood, too slow and atmospheric to capitalise on "Driving" and never as charming as in "Ed's Funky Diner". Forgettable. 2/5 (Max Bell, No 1, October 18, 1986)

James - So Many Ways (Sire)

James are a bunch of enthusiastic, cheerful and dedicated Manchester "lads" who don't seem to give a tinker's cuss whether they have hits or not. "So Many Ways" is a kind of modern folky dirge with an uplifting chorus built from layers of vocal harmony. Unfortunately, their fresh "live" sound and total lack of slick production will probably prevent them from getting onto the new Radio 1 shrunken swizzaway "play" list. Shame. (Duncan Wright, Smash Hits, June 18, 1986)

Swing Out Sister - Breakout (Mercury)

Swing, hard funk and be-bop are the order of the day for SOS, a band who like Curiosity Killed The Cat, seem destined to spend their career in a fantasy world of glossy black and white photographs and high class posters. Signed in the afterglow of that rush of blood that accompanied the much vaunted new jazz era, Swing Out Sister will only convince me when they sweat themselves out of a trend and into a real trance. 2/5 (Max Bell, No 1, October 18, 1986)

I'll confess that I'd expected some routine jazz exercise from the Soho/St Martins clique, but I must stand corrected. It's breezy, buoyant, and it's tasteful; this is indeed a good record. (Stuart Bailie, Record Mirror, October 18, 1986)

The Fall - Cruiser's Creek (Beggars Banquet)

Yet another riff that makes you wonder how the Monkees ever did without it, and reinforces the Fall as just extraordinary (in the humblest sense). Brix lets loose a stinging guitar stutter that, backed with a split splat drum and Mark's sock-in-mouth vocals, remains one of the most exciting, raw sounds around. Great stuff to annoy the neighbours with. The AA side 'LA' should be listened to as well - it's not a B-side. (Andy Strickland, Record Mirror, October 12, 1985)

Perhaps Mark Smith is bored by now with his "Last Angry Young Man" label. Here he delivers his story in an economic pulsator with an excellent guitar twist that you don't want to stop. And it doesn't. Single Of The Fortnight. (Paul King, Smash Hits, October 23, 1985)

Julian Cope - World Shut Your Mouth (Island)

Chop my right leg off and feed it to Ozzy Osbourne, I never thought the day would come when I'd like anything by the eccentric Copey. But what a splendid piece of listenable trash this is. Cope belting his way through a song that knocks down even the strongest walls of apathy. One hell of a rousing theme, I just hope it gets the airplay it so justly deserves. Single Of The Week. (Robin Smith, Record Mirror, September 20, 1986)

One of the great lovable English Eccentrics of pop returns with an uncharacteristically crude crash-bang-wallop affair complete with kerranging guitar and a totally out of place '60s solo. It is, however, the proud possessor of a real tune wot you can hum, and the words - about flying in the face of fashion and telling the world what it can do - might have been written for the reclusive one himself. A splendidly individual effort. (Ian Cranna, Smash Hits, September 10, 1986)

A fair stomper. Julian Cope used to front Teardrop Explodes before he went off on some artistic quest or other. Now, suitably enlightened, he returns after a few false starts with a typically loud declaration to a groovy rock and roll beat. Perhaps this time the world will kindly open his ears. 3/5 (Paul Simper, No 1, September 20, 1986)

Note: Another Top Of The Pops performance I remember from thirty years ago - especially that microphone...

Chris De Burgh - Fatal Hesitation (A&M)

Taken from the mega selling Into The Light album, mega-boring Chris De 'Euro' Burgh returns with a tune much in the same (sleep-inducing) vein as "Lady In Red". It's another lament to a loved one. 'I'm a lonely romeo standing in the rain' warbles Chris. With tunes like this no wonder he's lonely. (Andrew Panos, No 1, September 27, 1986)

A-ha - I've Been Losing You (Warner Bros)

As someone who previously couldn't have cared less either way about A-ha, it came as something of
a shock to find this is actually a very good record. Sounding tougher and meaner than before, there's: (a) a good lyric about losing your way, given a typically soaring vocal by Morten (sounding oddly like Bono in places); b) a slightly used but dead catchy hook that pleads, rather touchingly, "tell me things I could find useful"; c) a very nifty false ending - all of which give it a bite missing in previous efforts. A lot of people will have to reshuffle their prejudices ... (Ian Cranna, Smash Hits, September 10, 1986)

More music to chat up au-pairs to, this the first of no doubt several singles to betaken from the forthcoming album Scoundrel Days. Last time we tuned in Morten was hunting high and low, now he's losing someone - probably girlfriend Bunty. But hold that sleigh team back Marts, and don't go throw yourself into the nearest fjord - I know where she is! She's prancing around in Billy Idol's new video. Easily the worst effort so far and I predict that it won't even go Top 40 (Ha-Ha). 2/5 (Frank Gillespie, No 1, October 4, 1986)

Prince - Pop Life (WEA)

While Prince is off looking for the ladder, singles continue to be lifted from Around The World In A Day. The latest has that distinctive beat, some crazy psychedelic writing on the sleeve and synthesised vocals that first saw the light of day on The Beatles Sgt. Pepper album. So far so good, and although a bit insubstantial, "Pop Life" has a lot of charm. I don't reckon he'll ever top the God-like "When Doves Cry" though. (Karen Swayne, No 1, October 19, 1985)

Yaaaawn. Prince is sooo boring. This is a stupendously tedious "rock" "workout" about horrible decadent "rockbiz" types putting "stuff" up their noses, nudge nudge wink wink knoworramean. Complete drivel. (Vici MacDonald, Smash Hits, October 9, 1985)

The Woodentops - It Will Come (Rough Trade)

A spunky bass line drives a hint of a tune that you already know - it's an echo of Bunnymen! A blast of the past but a band to watch. (Paul King, Smash Hits, October 23, 1985)

Echo And The Bunnymen - Bring On The Dancing Horses (Korova)

"Bring On The Dancing Horses" is Echo at their least enigmatic and most political. The verses are charged to bursting with Mac pointing the finger of scorn at the fakers and liars who ruin the lives of ordinary people by selling them cheap dreams. This October song comes at an ironically apt time considering the current arguments about democratic socialism. Melodically this is also the Bunnymen in their strongest single form since "Never Stop". Will, Mac, Les and Pete concoct a multi-layer of effects from fragile to razor sharp. It's been a long while but it's more than worth the wait. (Max Bell, No 1, October 12, 1985)

The first Bunnies single in over a year and as someone who's not been knocked flat by their charms previously, I was more than pleasantly surprised. Lush and lovely. Bring on the windswept videos! Mac - I'm converted. I swear I could almost hear your heart beating. (Nancy Culp, Record Mirror, October 26, 1985)