Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

China Crisis - You Did Cut Me (Virgin)

China Crisis have proved the most durable of the 'wimp rock' crew, mainly because of their talent for writing memorable melodies. They're still as wet as the weather though, but Garry Daly's breathy vocals lend a touch of distinction to whatever they do. Pleasant enough, but still nothing more than aural wallpaper. (Karen Swayne, No 1, August 31, 1985)

Another well-crafted technically exact pop tune, with definite chart potential. Some blousey sax for late night listening, with an undulating feel. You can't dislike it, but I find it all a bit insipid. As they say me ol' china - "just not my cup of tea". (Diane Cross, Record Mirror, August 31, 1985)

Yet another young British group make a boring, grown-up, American-style AOR ("Adult Oriented Rock") type record. China Crisis can be interesting when they try but here we find them plumbing the depths of cliché with the usual (for this sort of thing) slow sax solo and useless words like "A love incision/My inner vision". A sad business. (Dave Rimmer, Smash Hits, August 28, 1985)

Stephen 'Tin Tin' Duffy - She Makes Me Quiver (10 Records)

There's probably some perverse logic behind having such an unwieldy name, but if I were Stephen I'd drop the Tin Tin bit, pronto. That aside, the quest for the hit solo single by the Duran that got away continues. I'm not sure if this is the one though. It's got the right ingredients, but it doesn't make the impression it should. Could have something to do with all those rhyming lyrics. Narcotic/ neurotic/gothic/exotic . . . it all gets a bit wearing after a while. (Karen Swayne, No 1, September 22, 1984)

The Blow Monkeys - Atomic Lullaby (RCA)

More than obvious schmaltzy chords of the effort from the promising Blow Monkeys. Let's leave boring MOR to Spandau, eh lads? The obligatory sax wails on like Spiney with bad guts. Originality quota 2/10. (Andy Strickland, Record Mirror, September 22, 1984)

Friends have been raving about this band to me, and with good reason. The Blow Monkeys (don't be put off by the name) have come up with the week's best, and most unusual single. Opening with moody sax, "Atomic Lullaby" builds to a final crescendo with a style all of its own. The subdued but distinctive vocal fits somewhere between Lloyd Cole and Morrissey. The singer is called Dr Robert and he has a sinister charm that is hard to ignore. Try to hear it. (Karen Swayne, No 1, September 22, 1984)

Queen - Hammer To Fall (EMI)

The fourth single to be taken from The Works. Just who are Queen trying to kid? I saw them play a stunning concert at Wembley recently but I remember writing "tuneless dirge" in my notebook alongside "Hammer To Fall". Why should I change my mind now? (Dave Ling, No 1, September 15, 1984)

There's something decidedly suspect about grown men poncing around in frocks and false boobs, and Queen are certainly old enough to know better. That they get away with these sort of antics says something for the loyalty of their fans, but this mess of a song will test the dedication of even those misguided souls. An overblown, melodramatic piece of nothing. (Karen Swayne, No 1, September 22, 1984)

When people start referring to their musical output as 'product' - as Freddie Mercury did on Radio l's Saturday Live the other day - it's a sure sign that the tinkle of cash registers has become more important than artistic integrity. This time it's Brian May's turn to put a bit of money in the bank and, although his song's about as modern as his stage outfits (i.e. prehistoric), it's bound to be a monster hit. How depressing. (Vici MacDonald, Smash Hits, September 27, 1984)

The Cars - Drive (WEA)

The Cars are the kind of aging rockers that Americans love so much. "Drive" is the kind of bland, faceless ballad that Paul Gambaccini plays every Saturday afternoon. The combination of the two gives the word dirge a whole new lease of life. "Who's gonna drive you home tonight?" they ask. I think I'd take me chance on the night bus. (Karen Swayne, No 1, September 22, 1984)

Wham! - Freedom (Epic)

Ever since I gave "Wake Me Up Before You Go Go" a less than rave review, Wham! have apparently been saying that I was "out to get them". Not true. As their past releases (and, indeed, "Careless Whisper") show, Wham! have a tremendous spark of talent. I just don't think they're using it very well. With records like this weedy, uninspiring Motown-derived effort, I reckon they're aiming far too low. Take some risks, boys. You can afford to. Still, although this sounds like The Truth on a wet afternoon, it will undoubtedly be a hit. Such is life. (Dave Rimmer, Smash Hits, September 13, 1984)

"I don't want your freedom/I don't want to play round/I don't want nobody babe/Part-time love just brings me down." The bad boys have changed their tune in more ways than one. Now it's the girl who wants the freedom to fool around, and George isn't too keen on the idea. Like 'Wake Me Up', 'Freedom' is unashamedly lightweight and catchy. It bounces and swings along in masterly fashion and after two hearings you'll be singing it in the street. OK, so it may not be the toughest, most essential dance record of the week, but it's a cleverly crafted pop song which blends Motown with The Four Seasons and a touch of Bay City Rollers (ask your mum) .. . (Karen Swayne, No 1, September 22, 1984)

Howard Jones - Things Can Only Get Better (WEA)

Years from now, when the '80s are but a memory, I will still detest Howard's "New Song" as much as the day I first heard it, and squirm every time anyone mentions 'mental chains'. But ever since that rather ropey opener, he's been making increasingly likeable pop songs. This is no exception. The bubbling uptempo arrangement (especially good on the 12") masks a rather slight main tune, but the real killer bit is the chant. For the next two months the milkman, the hairdresser, the window cleaner and just about everyone else important in your life will be driving you barmy with their out-of-tune renditions of "woah-oh woah-oh-oh woah-oh, woah-oh, woah-oh-oh, woah-oh". A massive hit. (Chris Heath, Smash Hits, January 31, 1985)

Song construction kit: take two Squezy bottles, some sticky back paper, an outtake from Finland's entry in last year's Eurovision Song Contest and a smidgeon of garden fence philosophy. Then, get in some real fine musicians, beef it up a bit and smile. (Jim Reid, Record Mirror, February 2, 1985)

Never having succumbed to the Howie `I'm just an ordinary guy with a daft haircut' charm, this one totally passes me by. He sounds as optimistic as ever (how can anyone be that chirpy?), but has dropped the synth dependence for bass and brass and a chorus of "woh woh woah woah woh" which gets more than a touch irritating. 'Things. . .' bounces along merrily enough but there's nothing to convince me that I'd like to get to know him well. (Karen Swayne, No 1, February 2, 1985)

The Bluebells - All I Am (Is Loving You) (London)

You know that power chord in the Stones"Start Me Up"? Well, The Bluebells have revived it to great effect in a song which should stop those accusations of wimpiness. There's even a hint of Thin Lizzy (circa "Whisky In The Jar") plus a chorus so catchy you couldn't forget it if you wanted to. An unusual choice for a single, but a good one all the same, and there's a bonus for dedicated No.1 readers. . . play hunt Paul 'Young At Heart' Simper in the video (clue: he's the one bell-ringing at the front). (Karen Swayne, No 1, February 2, 1985)

The best youth club rock band in Glasgow, the beefed up Bay City Rollers, crack back with an intro nicked from the Stones' "Start Me Up", rhyme 'city' and 'pretty', then rock some more. Top 10 I'd warrant. (Jim Reid, Record Mirror, February 2, 1985)

Over And Out: A one off single following on from their 1984 LP Sisters, it would be their last single, although a revival of "Young At Heart" due to an ad campaign renewed interest in the band in the nineties. This single has never been released on CD.

The Fink Brothers - Mutants In Mega-City One (Zarjazz)

A fantasy piece based on the 2000 A.D. comic (see page 16) which finds Suggs and Carl from Madness being very indulgent. Not being au fait with 'the story so far', I find it all a bit confusing - amidst lots of chaotic funkiness we meet about 137 characters in 3 minutes. Nevertheless I can't stop singing the bit which goes 'When mutants are waiting on every corner/ Remember to call for Judge Dredd', much to the amusement of my friends. (Chris Heath, Smash Hits, January 31, 1985)

The strange world of The Fink Brothers is dominated by Judge Dredd. He's the enemy who, along with the other norms, won't allow mutants like The Brothers into Mega-City One. They're so upset they've written a song about it. Confused? You won't be if you're a fan of the comic strip in 2000AD. You might be if you're a Madness fan though, because in amongst the garbled funk are Suggs and Carl as you've never heard them before. This is a truly weird record, which you'd do well to learn to love.. . mutes can do very nasty things to norms. (Karen Swayne, No 1, February 2, 1985)

Carl and Suggs leave the mature mellow of Madness for a real tour into teen takeaway. Thus you get a pleasingly ham exposition of hip hop cliches set in praise of their favourite comic, 2000 AD. Everything but the kitchen sink and not bad on it, save the, laboured chorus. (Jim Reid, Record Mirror, February 2, 1985)

The Armoury Show - Castles In Spain (Parlophone)

Having already extolled the virtues of the band's new LP, any further words of praise are icing on the cake. Possibly the strongest track on the album and I can't see any reason why this racy little stomper shouldn't be top 20 by, oh, next week? (Nancy Culp, Record Mirror, October 26, 1985)

Originally released back in July '84, it's been bunged out again in the hope that it'll be a hit this time round. In an unfortunate piece of timing, however, it's up against new singles by Simple Minds and Echo And The Bunnymen, and as it's so wildly derivative of both, "Castles In Spain" may not fare much better now. Still, if you like sweeping guitars and emotive vocals (courtesy of ex-Skidsman Richard Jobson) you'll like this. (Karen Swayne, No 1, October 19, 1985)

Ultravox - All Fall Down (Chrysalis)

Ultravox's music has always verged on the pompous, and when they move into Celtic territory (previous explorers including Dexy's, Big Country and The Pogues) the result is as overblown as you might expect. Midge croons impassionedly over a slow, military-style snare beat, but the resulting product [also featuring The Chieftains] has remarkably little spirit. Suitable background music for a Selina Scott special on the Scottish highlands, but little else. (Karen Swayne, No 1, November 15, 1986)

Whatever happened to the "Ultra" bit? Probably got lost around the same time as Midge Ure decided he was fed up with being a pop star and wanted to be a serious human being instead, just like David Dimbleby or Sir Bob Geldof. This is always a big mistake and poor wee Midge has to sing lines like "Look in the mirror and what do you see, an American, Russian, a soldier or me", and make them sound important, but naturally it doesn't work and just sounds ridiculous instead. It's obviously meant to be a major comment on the stupidity of war, which is all very well and good, and can best be compared with, er, Rolf Harris' "Two Little Boys". (Barry McIlheney, Smash Hits, November 5, 1986)

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)

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)

B-Movie - A Letter From Afar (Sire)

On the back of the sleeve these guys are posing in an extremely macho fashion with a very nice car in the middle of the desert. They're as pretty as Duran Duran and younger probably. But however much Duran Duran may be favourite whipping boys for the music press, one cannot deny that they have musically progressed far beyond the pale, uninventive stereotypes that follow in their wake - like this. Still, given the state of the charts, this could well be a hit. Who knows. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

B Movie have been around some time now, but they're still searching for their first hit. From their Some Bizzare beginning they've now enlisted the aid of hip New York producer John 'Jellybean' Benitez but he can't do much to help. As a dance record it's depressing, and the swirly Eastern break in the middle just sounds incongruous. Back to the drawing board. (Karen Swayne, No 1, January 14, 1984)

Ian Dury - Profoundly In Love With Pandora (EMI)

Mr Dury teams up once more with his old pal, multi-instrumentalist Chaz Jankel, for a tune already familiar to those TV addicts amongst you (it's the theme from The Secret Diary Of Adrian Mole Aged 13 3/4, you see). Ian is at his very best here with lyrical gymnastics and a soft sweet chorus. A hit (I hope). (Paul King, Smash Hits, October 23, 1985)

The theme from the TV series from the book - The Secret Diaries Of Adrian Mole Aged 13 3/4. No doubt the TV exposure will ensure some sort of a chart position, but as a record it's a limp souvenir. As an Ian Dury song it's a liquefying embarrassment. To be theme and not heard. (Roger Morton, Record Mirror, October 19, 1985)

It was a bit inevitable, I suppose, that this theme to The Secret Life Of Adrian Mole Aged 13 3/4 would surface as a single - Dury's first in ages. It's a whimsical song that fits in well with the TV series about teenage traumas, but doesn't stand up that well in its own right. Cute though ...  (Karen Swayne, No 1, October 19, 1985)

Note: Interesting that all the reviewers mentioned the TV show, but each titled it differently. Paul King was the one who got it right.

Sting - Fortress Around Your Heart (A&M)

Considered opinion round these parts has it that Sting is something of a genius, and he certainly shows an intelligence that's rare these days. Taken from his solo album The Dream Of The Blue Turtles - which hasn't a dud track on it - "Fortress . . " proves once again that he's the master of melody and restraint. Class and charm - what more could you ask? (Karen Swayne, No 1, October 19, 1985)

An old turtle whose recent solitary wanderings have been jazzed down by 'musicianly' desires and grave lyrics. This out-take from the album is no exception. It's one of those songs with a surprise chorus that jumps on your back when you least want it to. For what doth it profit a man if he gains his dignity, but loses that magical touch? Many Yankee dollars, by the look of the US charts. (Roger Morton, Record Mirror, October 19, 1985)

Kate Bush - Cloudbusting (EMI)

Kate reminds me of those "astral" acquaintances I used to meet as a teenager on camping holidays - unusual, unpredictable but with a charm that always attracted me. Listen out for the stirring string section, an electric groove of Navajo red indian drums and some British pomp rock. I'm a fan. (Paul King, Smash Hits, October 23, 1985)

After the magnificent "Running Up That Hill", Kate returns with another dramatic breeze of a song. There's chugging strings, that soaring voice and a wonderfully evocative melody. Add to that a fascinating storyline video and you've got another massive hit. Music to swoon to ... (Karen Swayne, No 1, October 19, 1985)

Despite my dislike of the blind allegiance of Kate's followers - evidenced by contributions to the rm postbag - there's no denying her ability to make thoroughly stylistic, English sexy pop, and do it very well indeed. "Cloudbusting" may not be as instantly accessible as "Running Up That Hill", but it's an infuriatingly catchy bit of stringy nonsense nonetheless. Could be a hit! (Andy Strickland, Record Mirror, October 12, 1985)

Songs From Books: The ever-literary Kate was inspired by a 1973 memoir by Peter Reich, called A Book Of Dreams. Donald Sutherland played Reich's father, Wilhelm, in the video.

Dee C Lee - See The Day (CBS)

Dee's career-by-association has been pretty well chronicled, from young gun in Wham! to Style Councillor, but the lady's always aimed for a solo career. The voice that's just helped "The Lodgers" up the charts is given full rein here on a lush ballad that could've been done 20 years back by the likes of Dusty Springfield or Pet Clark. It's a progression from the poppy soul of earlier releases, and a move that should establish her as a name in her own right. (Karen Swayne, No 1, October 19, 1985)

Paul Weller's sidekick, currently prominent on the Style Council's "The Lodgers", swims bravely through a swelling soundtrack ballad for a non-existent Sixties movie, but ends up drowning in the strings. The cover of Weller's "The Paris Match" on the B-side is a much more suitable frame for D C's voice. (Roger Morton, Record Mirror, October 19, 1985)

Dee's excellent voice is showcased warmly on a song that Dusty Springfield (veteran British pop singer) or Tony Hatch (veteran British pop composer - he did the Crossroads them, fact fans) would have sinned for. A brave production and arrangement for the lady better known for her Style Council-ing. (Paul King, Smash Hits, October 23, 1985)

Siouxsie And The Banshees - Cities In Dust (Wonderland/Polydor)

Looks like Sioux has spent her absence from the music scene on her hols in Greece - judging by the rather tasteless picture of an ancient couple bonking on the record. Our travel correspondent says that this is the sort of thing you get on beer mats in dodgy tavernas out there along with lecherous waiters. The song itself has an unusually catchy, funky feel, but the usual lyrical concerns of the Banshees are present and correct - y' know, dirt, dust, decay, death, that kind of thing. Well, they couldn't write about beaches and suntans now could they? (Karen Swayne, No 1, October 19, 1985)

The Banshees have returned from a sojourn in Italy inspired, apparently, by Pompeii (ancient city preserved forever by a volcanic eruption thousands of years ago). The song moves in early Simple Minds territories and, surprisingly enough, the Jim Kerr-type vocal inflections work well. Anyway, I love Siouxsie Sue. (Paul King, Smash Hits, October 23, 1985)

Still possessed of the finest sorceress caterwaul in the business, Siouxsie briefly gloats and croaks over the demise of a civilisation as her fellow statues stir up a scattering of underground sound effects. Meanwhile, the rest of the world wonders where the dip and drive of "Dazzle" has been buried, and waits for the next earthquake. A private record, to be bought for old times' sake, for the lupine massacre of sound on the B-side, and for the sake of a little sanity amid the surrounding musical insipidness. (Roger Morton, Record Mirror, October 19, 1985)