Level 42 - It's Over (Polydor)

Once we've got past the positively asthmatic opening keyboard line, the Levellers deliver a powerfully sensitive song that makes up for some fairly corny lyrics with its atmosphere and, for once, restraint. Who cares if it's not the hippest single this week? It's an accomplished record that I'd play in my Cortina (if I had one) on the way to a cosy Epping Forest nook, late on Saturday night. (Andy Strickland, Record Mirror, September 5, 1987)

Kinda mellow and middle-America ie. benign ol' grandad out on the front porch serenading coyotes with trusty old harmonica and geetar. Don't quite know how Mark King and his varmints fit into this pleasing scenario but no doubt some black-and-white film and a well placed cactus will do the trick, (Paul Simper, No 1, September 5, 1987)

Immaculate Fools - Nothing Means Nothing (A&M)

Undoubtedly the most brilliant title since Depeche Mode's "People Are People". And the record's no disappointment. Unoriginal, silly and really rather boring. Actually it reminds me a bit of The Psychedelic Furs, which is a good link into the next one .. (Paul Simper, No 1, October 13, 1984)

Orchestral Manoeuvres In The Dark - So In Love (Virgin)

Only a year ago drippy pop was all the rage. Tears For Fears, China Crisis, The Lotus Eaters, OMD... But times have changed. The Tears have strapped on those guitars and punched their way into '85 while the rest of the country's listening to Springsteen and Don Henley. And as for OMD . . Despite a fancy XL design you still get the feeling they're both wearing little woollen jumpers. This is confetti pop of the second year. Wet and wimpy, as the weather forecasters say. (Paul Simper, No 1, May 18, 1985)

Aztec Camera - Still On Fire (WEA)

Roddy digs out his tried and tested chord progression, fiddles with a gruffer voice on the opening line before scampering back to more familiar territory. This and the rest of the Knife LP is an indisputable testimony on the deep, deep dangers of describing a fledgling such as Frame as a 'genius'. (Marvin B Macclefish, Record Mirror, November 17, 1984)

Still on fire or just an old flame? Roddy Frame's latest offering sees the Aztecs twiddling their fingers. The song's a dull harkback to Don McLean's 'American Pie' days and producer Mark Knopfler makes a dire mess of the group's usually chirpy sound. Matters are not helped when comparisons are drawn with the flip side – the late, great "Walk Out To Winter". It may be live and a bit leaden but it still cuts like a knife through the present material. Come on, let's get the home fires burning again. (Paul Simper, No 1, November 17, 1984)

On the back cover Mr Frame is sporting a v. expensive pair of flowery Scot Crone trousers (achingly trendy London shop) and can therefore be assumed to be doing rather well these days. This enjoyable, jerky and singalongable item should justifiably ensure he does even better. Thumbs aloft. (Dave Rimmer, Smash Hits, November 22, 1984)

Shriekback - Mercy Dash (Arista)

Shriekback are one of those alternative dance bands you hear about. The alternative in this case being anything rather than wasting your time trying to hop about to this record. Perhaps Shriekback are challenging our ideas, restructuring our notion of the dance, drawing us up to a new aesthetic plain. Perhaps they just make dance records you can't dance to. (Paul Simper, No 1, November 17, 1984)

A murky but quite appealing muddle of sound that, with a more interesting voice intoning the rather wiggy lyrics, could have been a really good record. As it is, I can't see it doing much. (Dave Rimmer, Smash Hits, November 22, 1984)

Nik Kershaw - The Riddle (MCA)

'The Riddle' in question concerns an old man of Arran going round and round a hole in the ground. Not the most stimulating of exercises but it seems to mean a great deal to mystic Nik. When Sting comes out with this metaphysical hogwash, so sweet are his songs that he gets away with it. Nik Kershaw probably couldn't get away with pinching a pack of liquorice from Woolies. The only riddle is why folk keep buying the boy's records. (Paul Simper, No 1, November 17, 1984)

Somewhere in its dim and distant lineage, this song is related to "Mull Of Kintyre". With its Celtic folksy tune, pushed along by military drums and penny whistles, and references to 'wise men', I suspect it's the first genuine Christmas Single of the season - albeit a little early - and the song most likely to be whistled by your milkmen in the winter months ahead. (Neil Tennant, Smash Hits, November 8, 1984)

Culture Club - The Medal Song (Virgin)

Go to Hollywood too, in a manner of speaking. The medal refers to one that Frances Farmer won whilst still at acting school in the Forties, and led her to that fabulous Babylon in the hills. She found the star system conflicting cruelly with little needs like Work, Art, Real Life. She couldn't take it and ended up in an asylum. Perhaps George is trying to tell us something? He shouldn't explain, but ... I remember when this group weren't so Mega and made records such as "I'm Afraid of Me" and "Time", and so does George. (Mark Cordery, Record Mirror, November 24, 1984)

Frances Farmer, the subject of "The Medal Song", was a Hollywood starlet who was committed to an asylum because she refused to conform to the star system. The song's conclusion would seem to be that pop star or movie queen, life's not so different to that of us ornery folk. And perhaps it's time we were reminded that George is only human. No one has a god-given right to No. 1 records, and the fact is, it's over a year since the Club's last chart-topper with "Karma Chameleon". There's not much of a tune on "The Medal Song" either, but that's no indication that this O' Dowd has had his day. (Paul Simper, No 1, November 17, 1984)

The Tom Tom Club - The Man With The 4 Way Hips (Island)

The Tom Tom's last single "Under The Boardwalk" saw them treading water after the very wonderful "Genius Of Love". Now they're sinking slowly without so much as a melody to cling on to. (Paul Simper, No 1, July 23, 1983)

Bright and bouncy this song is simply jam-packed with goodies. Oozing synthetic vocals wash over a bubbly concoction of - you guessed it - summery sounds that celebrate the joys of being a physical jerk. You can't have everything I suppose. (Peter Martin, Smash Hits, August 4, 1983)

Desperate as somebody trying to break out of locked cupboard. Tom Tom Club stagger through a track sounding like a Metal Mickey novelty song. (Robin Smith, Record Mirror, July 23, 1983)

H2O - Just Outside Of Heaven (RCA)

This makes Kajagoogoo sound classy. Watery synths and stunningly intelligent lyrics(?) build up for a real barnstorming crescendo, I was really moved, I must say. And my word, aren't they a good-looking bunch for sure. They remind me of New Musik and I'm sure the singer must want to be in OMD very badly. (Peter Martin, Smash Hits, August 4, 1983)

Anonymous poppyrock. I suggest you heed the news bulletins and use as little H2O as possible. (Paul Simper, No 1, July 23, 1983)

H2googoo look like keeping their feet under the table for a long time. Another deceptive song with the initial impact of a wet flannel, before those soft musical rumblings begin to take hold. Absolutely no escape. (Robin Smith, Record Mirror, July 23, 1983)

Level 42 - The Sun Goes Down (Living It Up) (Polydor)

Oh God, not more summery disco records. The Radio One roadshow has got a lot to answer for. Level 42 have a suitably laid-back vocal swaying in and out of a warm jumpy synth rhythm. Fairly pleasant. Roll on winter. (Peter Martin, Smash Hits, August 4, 1983)

Level 42 goes increasingly spare every time somebody says they make anonymous records, so now they've enlisted the services of Earth, Wind And Fire at the production desk. The result is surprisingly not the funky equivalent of the Royal Philharmonic in your front room but a catchy little number marred only by the 42s' dry vocals. (Paul Simper, No 1, July 23, 1983)

Wham! - Club Tropicana (Innervision)

This time we see the bad boys avoiding their oppressive parents by saving up their social security and swanning off to Ibiza (oh, really). This is the 4th track taken off Fantastic and it's a heap of meaningless summer drivel. The boys have obviously got a bad case of sunstroke. (Peter Martin, Smash Hits, August 4, 1983)

Andrew 'Shorts' Ridgeley is convinced this will be their first No.1. Personally I'd have put more money on "Nothing Looks The Same In The Light" but this is likeable enough and, most importantly, a marked change from the Bad Guns Rap trilogy. (Paul Simper, No 1, July 23, 1983)

Perhaps it's because I'm a pale, skinny weakling that I detest Wham so much as they flex their muscles and flash those dazzling smiles, while I'm in the shade covering myself in Camomile lotion. Their stuff moves my penguin-like feet not an inch. Now, perhaps if I sent off for that Bullworker... (Robin Smith, Record Mirror, July 23, 1983)

King - Won't You Hold My Hand Now (CBS)

An obvious follow-up this. I reviewed 'Hold My Hand' first time round and although it's been fiddled with a bit it still sounds the best King single yet let out of The Tower. More raunchy than "Love And Pride", the boys use both their boots and guitars to kick ass. Of course I knew they were going to make it all along... (Paul Simper, No 1, March 16, 1985)

Though they've yet to produce a classic 45, the boys from Coventry have certainly tried their hand at just about every musical style in the book. "Love & Pride" was a ska-based Gary Glitter/Jobriath gallop, "Soul On My Boots" was Culture Club on amphetamine ... and this here disc is like a mutant Shadows gone haywire. However thin and lifeless King may appear, you can't get the damn tunes out of your head. (Dylan Jones, Record Mirror, October 20, 1984)

Ah ha - a hot property! King have finally got the success they believed themselves worthy of and Paul's become a sex symbol. Swoon! As for this, it's more forceful than "Love And Pride" - stronger where that seemed to have great gaps in the mix, more controlled, less boppy and very very professional. Re-mixed to squeaky clean perfection. I'm going to stick my neck out here... I think it might be a hit. (Eleanor Levy, Record Mirror, March 16, 1985)

It's catchy but I think the instruments drown his voice too much. Probably a hit but not as big as "Love And Pride". I do like this group and the song is good but the chorus is very boring. (Marshall O'Leary, Smash Hits, March 14, 1985)

Strawberry Switchblade - Let Her Go (WEA)

Another single from this sugary twosome. Confused vocals with much the same backing as the rather-better "Since Yesterday". Give it another go, girls. (Marshall O'Leary, Smash Hits, March 14, 1985)

Sounds like one of those groovy records they used to make in the Swinging 60s - a touch of psychedelia, some tight harmonies and a 'neat' melody. If you have to live in the past I guess the 60s are as good a time as any. And with the might of Warners behind them no doubt the Strawberries will have everyone smothering themselves in apple blossom and chewing strange substances long before summer. (Paul Simper, No 1, March 16, 1985)

Despite all the slaggings, "Since Yesterday" had a certain lilting charm. This does not, ending up as a disposable dose of fairground sweetness. Strawberry Switchblade are neither stupid nor puppets but their success lies in their ability to fill a gap in the market. Nice girls with nice tunes who boys can harbour crushes on and girls emulate. Watch out for the Strawberry Switchblade dolls you can dress yourself. In the shops any day now! (Eleanor Levy, Record Mirror, March 16, 1985)

Debbie Harry - French Kissing (Chrysalis)

The Face, The Voice, The Bleach, The Beat - they're bock and there's no one to touch her. Forget your Madonnas and Patsys - Debbie H is the one and only pop Blondie. This return to greatness is as simple and smooth as the slinky disco it accompanies. A Goddess is re-born. 5/5 (Paul Simper, No 1, November 8, 1986)

She's back! Back, BACK! (You're getting the hang of this nicely - "Reviews" Ed.) And back in spiffing form too with this addictive little shuffle between France and America, sort of Paris, Texas set in a late-night disco groove. Why, I was just saying the other day, "What the world needs now is the return of Debbie Harry", and lo and behold here she is, sounding just as brill as she did 250 years ago with Blondie. Listen with eyes firmly closed and tongue in cheek for best effect. Naughty but v.v. nice. Single Of The Fortnight. (Barry McIlheney, Smash Hits, November 5, 1986)

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.

Billy Joel - Uptown Girl (CBS)

As a songwriter Billy Joel is sometimes looked on a touch disdainfully for his late-night smoochers. But with the respect now granted fellow-Americans Hall & Oates and the evident fascination of Spandau's Gary Kemp with this soulful American pop, perhaps he ain't such a bad guy after all. That said this is truly abysmal. (Paul Simper, No 1, October 1, 1983)

Dolly Parton - Here You Come Again (RCA)

There's a line in this that goes 'better than a body has a right to be', and folding out the full colour poster sleeve you get a good demonstration. It really is a wonderful song, you can't really like it but you do. There's a couple of Barry Manilow songs that are such good songs in terms of structure and melody, and this is one of them. I'd buy it for the poster meself, it's got class. We were trying to get her to cover one of our songs, we wanted her to do a country version of "Karma", but whether she'll get round to it I don't know. It'd be great. (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

A timely re-release of this hit from '77, as Dolly popped up on TV only last Saturday in the excellent 9 To 5. There's something remarkably attractive about Dolly's confident Tennessee voice and this is as good a time to get to know it as any. (Paul Simper, No 1, March 17, 1984)

Freeez - Pop Goes My Love (Beggars Banquet)

After the exhilarating "IOU" this is at first something of a disappointment. Pop has gone their music, their groove and their special effects. But once you've got over this sharp turn about the record reveals a lovely melody - stealing smartly from the Human League's Dare LP. Thinking back to this band's one-hit-wonder status with "Southern Freeez", a couple of years ago, they must have been having kittens about a follow-up to "IOU" but with 'Pop' Freeez should snuggle back (nicely) into the charts. (Paul Simper, No 1, October 1, 1983)

To someone who wore out at least three pairs of pumps dancing to "IOU" this summer, this comes as a bit of a let down. Arthur Baker's usual production job can't make a great record out of a weak song, but it still manages to get the feet popping. (Andy Strickland, Record Mirror, October 1, 1983)

Josh Yarlog takes over: "Katanga, my friends! This is a single in need of a song. All these bloomin' sound effects. Kubindi, it's turned my head into swamp mush."  (Lenny Henry, Smash Hits, September 29, 1983

Human League - The Lebanon (Virgin)

Long time no hear, and it's a pretty heavy subject. A rousing chorus and a snappy guitar riff (that reminds me somewhat of the Banshees) go together to make a big hit. (Dave Gahan, Smash Hits, April 26, 1984)

Heavier than the League's last couple of singles. Jo Callis rediscovers his guitar and adds a U2/Public Image riff to the normal synth and deep throat backing. It's a grower, but politics and pop don't mix, so I'm told. (Andy Strickland, Record Mirror, April 28, 1984)

It's hardly fair that The Human League should be criticised for making their records so slowly, since no one gave them a time limit in the first place. On the other hand. . . AND ABOUT TIME TOO!! 1984's Human League has a harder (as in rock) sound and it's mirrored by their lyrics. "I must be dreaming/It can't be true," says Phil Oakey of the Lebanese war, and he could just as easily be talking about the Libyan siege in London. This isn't too jolly, and some might say The Human League should keep their noses out of politics. I bet Phil's got an answer for that one too. (Paul Simper, No 1, April 28, 1984)

New Order - State Of The Nation (Factory)

A double A-side, presumably to appease those who'd given up on New Order releasing another record. 'State' and 'Shame' are actually different versions of the same song with 'Shame' by far the more dramatic of the two. Guitars growl, pianos shriek and all the while a muted synthesised dance beat rumbles on. Not the most dynamic thing they've ever done but at least it doesn't sound like Jam & Lewis. (Paul Simper, No 1, September 20, 1986)