Everything But The Girl - When All's Well (Blanco Y Negro)

Disappointingly, this smacks of 'playing safe'. When Tracey and Ben can write such perfect feeling songs as "Bittersweet", why release an insubstantial and lifeless song like this? It smacks of panic by someone - a vague attempt to emulate "Each And Everyone"'s success by putting out a song as close to it as possible but with none of its free-flowing jazzy life. EBTG have new songs far better than this and hopefully we'll be seeing them soon. (Eleanor Levy, Record Mirror, March 16, 1985)

I think Tracey Thorn sounds very similar to Siouxsie Sioux on this. It's more powerful than their usual style but still a very thoughtful record and could be the song to give them their breakthrough. (Marshall O'Leary, Smash Hits, March 14, 1985)

Apparently Ben Watt is a big Glenda Jackson fan which explains why there's a picture of her on this single sleeve. In case you were wondering, film fans, the shot is taken from The Triple Echo. A film in which Glenda's bedmate is an AWOL soldier who hides in her cottage masquerading as her sister whenever anyone comes by - an idea which backfires when Oliver Reed takes a fancy to him. Good film taste aside, this record has little going for it. Unlike 'Each And Every One' and Tracey's work with Paul Weller and Working Week, it's simply unremarkable. When all's well hopefully they'll release something else . . . (Adrian Tierney-Jones, No 1, March 9, 1985)

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)

Thompson Twins - You Take Me Up (Arista)

This has more hooks than your average angling club, but the melody doesn't really cut it. The rhythm sounds like the sort of song the slaves would have sung in the old days on the American railroads - and that's what Tom intends as he tells us how his girl makes him forget about his mundane lifestyle and job I understand, Tom. Being rich must be such a pain. (Paul Bursche, No 1, March 24, 1984)

There's something fantastically annoying about Thompson Twins' records. They always
sound as if they should have been left in the oven a few minutes longer. The songs never quite set; the production's of ten underdone; the vocals are half baked. This is no exception despite a jaunty harmonica that gives the number a decidedly folksy feel. None of what I've said, of course, will stop it being a monster hit. (Ian Birch, Smash Hits, March 29, 1984)

The Power Station - Some Like It Hot (Parlophone)

A very strong first record from The Power Station, including Smash Hits readers' most fanciable man, John Taylor. It has a recognisable chorus and a rousing guitar solo from Andy Taylor– and I especially like the twangy acoustic guitar in the background. A hit. (Marshall O'Leary, Smash Hits, March 14, 1985)

If you live in a cave, hard luck. It must be cold. It must also mean you'll think The Power Station are just Another Group. You'll not know that some Duran chaps, a brace of Chics and super-cool crooner Robert Palmer have undertaken a musical project. With 'Some Like It Hot', they seem more intent on showing us that The Power Station will not be like Duran Duran, as opposed to producing anything memorable. Despite Palmer singing his socks off and a muscular rhythmic workout courtesy of John Taylor and Tony Thompson, it's little more than some of pop's sophisticates jamming. (Adrian Tierney-Jones, No 1, March 9, 1985)

Via Vagabond - Hip Today (Albion)

Via Vagabond are Nick Plytas, ex-Roogolator pianist, and friends. They concoct a jokey '50s beat brew which is light, breezy and very sarcastic. The title says it all. Whether they fall foul of the same faults they criticise in others is another matter which need not concern us here. (Lynn Hanna, No 1, August 20, 1983)

James - Hymn From A Village (Factory)

James, currently A Group To Watch, come from Manchester and are guests of The Smiths on their nationwide tour. Morrissey has taste. "Hymn From A Village" has a simple and magical charm which comes from the fragile but determined guitar-playing, lively drumming and singer Tommy Booth's strained but human voice. Like The Smiths' early singles it's the very essence of pop, free from technological excess and cosmetic overkill. Devour it. (Adrian Tierney-Jones, No 1, March 9, 1985)

All the bands coming through at the moment seem to be of a certain mould. BEAUTY is the thing to be possessed of and if you haven't got it, fake it, and bugger the sound you're making - that can be faked too. That's why James are so refreshing. So non-visual it hurts and makes it excessively difficult to find one of those easy nouns we journalists like attaching to the front of groups' names. You know, 'funksters', 'popsters', 'long macsters'. The comparisons with Joy Division are glaringly obvious but they have a less doomy, more open hearted feel and (ouch) energy. (Eleanor Levy, Record Mirror, March 16, 1985)

Martin Ansell - The Eighth Wonder (Island)

Martin Ansell's "I'll Be In The Jungle" was one of my top ten singles for '83. Now the ex-Tom Robinson and Captain Sensible guitarist proves himself still, unerringly, on target. "Eighth Wonder" is fresher than a sandwich in a pyramid and catchy enough to get the sphinx up and bopping. Joint single of the week. (Martin Townsend, No 1, February 23, 1985)

Orange Juice - Felicity/In A Nutshell (Postcard/Polydor)

Well, it's better than their last, unhappy effort "Love (L.O.V.E.)", but Edwyn should really look to his vocals. They let down the songs, the playing and the production, and that's not right. (Ian Birch, Smash Hits, January 7, 1982)

Frankie Goes To Hollywood - Relax (ZTT)

The sound of leather boys at pleasure, Frankie's debut single takes the boystown style out of safe hands and into a hard and dangerous night. Despite the title, the boys huff and puff like crazy, making their particular disco sound like a factory. A dark and dubious record that pumps up more steam than a posse of pistons. Let it whip, Frankie. (Mark Cooper, No 1, November 5, 1983)

Naughty lyrics that will shock the powers that be at BBC. Which is a shame as this Trevor Horn-produced powerhouse dance record screams out to be heard. In the sterile, germ free world of disco this is one contagious disease which should be caught. (Mark Steels, Smash Hits, November 10, 1983)

Hoodoo Gurus - Good Times (Chrysalis)

Aren't the Aussies doing well this year? Castlemaine XXXX, Foster's, Pat Cash, and Craig Johnston have all become household names, while musically the continent seems to have come out of the doldrums with the likes of Mental As Anything, the wonderful Go-Betweens and the longer-established Hoodoo Gurus. This, the umpteenth single from the Gurus, features The Bangles on (brilliant) backing vocals and (brilliant) instruments. A cheery affair, with a dynamic melody, "Good Times" is, of course, brilliant. (Fiona Looney, No 1, August 1, 1987)

The Associates - Club Country (Beggars Banquet)

Like thousands of others, I remained oblivious to the charms of the Associates until "Party Fears Two". This will no doubt float into the charts in the wake of that song, but it's a less appealing number: dry and a trifle dreary with Mr MacKenzie in relatively restrained form. (Dave Rimmer, Smash Hits, May 13, 1982)

Talking Heads - Life During Wartime (Live) (Sire)

A quicker, thicker, less slick version of the outstanding track from Fear Of Music, recorded during the 1980-81 world tour which the Heads did as a nine-piece, dance-enhanced out-and-out funk band. I narrowly prefer the original but that's on the B-side, so no complaints. (Tim De Lisle, Smash Hits, March 18, 1982)

Captain Sensible - Come On Down (A&M;)

In which our hero risks life and limb and dares attack those great British National Heroes, the TV quizmasters. A nation swoons and shouts 'shame' at the Captain who with a punk-like thrash pours scorn on those TV show Hitlers who offer 'a year's supply of Spam ' or a 'fluffy kangaroo' for witless participants. For his next record, the Captain will expose the evil men who make cats tap-dance in concrete booties. (Adrian Tierney-Jones, No 1, November 16, 1985)

"Win a holiday for two/or a fluffy kangaroo/Genuine vinyl three piece suite/ It will make your life complete. . ." Yes, Sensible is having a sneer at The Price Is Right and similar gruesome game shows, but he's so jolly and chirpy and inoffensive about it all that Derek Batey, Leslie Crowther and all those other masters of audience humiliation are left without a stain on their characters. In a couple of years, the "very lovely" Maggie Moone will probably be singing this jaunty cockney trot-along to the contestants on Name That Tune. (Tom Hibbert, Smash Hits, November 6, 1985)

Doctor And The Medics - Happy But Twisted (Illegal)

Me, I like a good groove and XTC recently made a fab psychedelic pisstake EP under the umbrella of Dukes Of The Stratosphere. But this EP from the Medics is a psychedelic insult. Their image is all paisley and Sergeant Pepper but the music lacks the colour and sparkle. 'Scuse me while I take off my little round sunglasses and reach for the ear plugs. (Debbi Voller, No 1, July 6, 1985)

Edwyn Collins - Don't Shilly Shally (Elevation)

Orange Juice were a good old band and it's good to see Edwyn Collins finally back in action. This is yet another song with a strong '60s influence (I've got the '60s coming out of my ears this week!) with Beatlesque harmonies on the chorus. Ace! (Debbi Voller, No 1, July 25, 1987)

Dave: It's certainly a bigger pop noise than he's ever produced before but it's the same old diction and everything I love.
Simon: Wonderful! Strange choice of producer (Robin 'Cochteau' Guthrie) but it works. Great guitar sound but I'm not so keen on the sleeve, Edwin. You come and produce our next single and we'll do your next sleeve.
(The Chesterfields, Record Mirror, August 1, 1987)

Fad Gadget - I Discover Love (Mute)

This group have been consistently fantastic, but nobody seems exactly over aware of them. Wake up you lot and listen to something decent. Frank Tovey is a mild-mannered man in real life, but transforms into an evil voice on record, and a performer well-known for doing obscene acts on stage. There, now you're interested! (Debbi Voller, No 1, September 10, 1983)

Annabel Lamb - Riders On The Storm (A&M;)

It takes some nerve to try to tackle The Doors' classic tale of murderous isolation, but Annabel Lamb manages to do the song justice. Ray Manzarek, The Doors' original keyboard player, helps out to give the song its authentic melody. The Lamb girl singer, who looks like a replicant, can't be far away from success anymore. Memorably chilling. (Max Bell, No 1, August 13, 1983)

Surprisingly, the metronomic dancebeat actually enhances this neatly understated, perfectly '80s update of a Doors classic. Much better than I would have expected, it apparently features Doors' keyboardist Ray Manzarek who has subtly altered his original contribution to suit this version. (Johnny Black, Smash Hits, August 18, 1983)

Samantha Fox - I Surrender (To The Spirit Of The Night) (Jive)

T: Apart from the bloke they shoved in at the end to do harmonies this is actually quite good. Can I keep it?
A: Sounds like a hit to me. Very good, her voice seems to have improved a lot recently. She could become quite famous, and if she does, I might let her be my friend.
J: She's starting to sound like Kim Wilde, isn't she? This is really good. If they'd put some medley guitars in with the backing I think it would be brilliant. (All About Eve, Record Mirror, July 18, 1987)

Sam Fox's achievement, if you can call it anything so grand, is to have become the first Brit to crack the formula for producing totally drossy Euro synth pop. This is about on a par with a Europe record i.e. it's nauseating and utterly daft. A gormless charmless sound from a big galoot. Will it be a hit? Do bears poop in the woods? (Max Bell, No 1, July 18, 1987)

Sam Fox has got this pop lark off to a fine art. However brainless the press may attempt to portray her, there's no denying she knows a good tune when she hears one. This, like all her other songs, sounds instantly familiar after the first spin and actually turns out to be a loosely disguised version of the 1978 disco classic "Let's All Chant" by the Michael Zager Band. Still, it's been Sam Fox-ed up with thundering drums, growling guitar solos and plenty of woh-oh-ohs. "I Surrender" sounds like a huge hit and just goes to prove that nothing, short of a nuclear war, is going to stop her now. (Ro Newton, Smash Hits, July 29, 1987)

Dead Or Alive - It's Been Hours Now (Black Eyes)

With his long, straggly multi-coloured hair, thick eye make-up and flowing clothes, Pete Burns, the lead singer of this Liverpool five-piece, has always looked a bit silly to me - like a would-be Steve Strange type who didn't quite make it. It came as some surprise, then, to find this tale of a gloomy sexual encounter eerily effective and genuinely disturbing. Two of the other songs on this four-track EP don't do much, but the fourth, another version of "Hours", is even more spine-chilling than the main one. Recommended. (Dave Rimmer, Smash Hits, April 1, 1982)

The Blue Nile - Tinsel Town In The Rain (Linn Records)

This is quite an achievement for only their second single, it's quite nice. There's nothing that jumps out at you but I love the strings, more bands should use them. I don't know if it'll be a hit because I'm lousy at picking them. I think they'll develop into quite a big band. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

This comes from the band's new album Walk Across The Rooftops, but there's no doubt that as an album track it's sophisticated, subtle and slightly melancholy. Sadly, though, it's also a single which makes it boring, predictable and slightly weak. It's hard for The Blue Nile to top their wonderful single "I Love This Life" and they certainly won't do it with this. If anything, it's very reminiscent of early '70s Steely Dan which, in 1984, is nothing to be proud of. (Muriel Gray, Smash Hits, July 19, 1984)

Jane Aire - I Close My Eyes And Count To Ten (Stiff)

When Martin Fry delivered his singles reviews the other week, I said to him, "Mark my words, young Fry, afore this year is out we shall have a Dusty Springfield revival on our hands." And at that instant the earth shook and a great darkness did come over Carnaby Street and a mighty voice did speak: "Funny you should say that. Here's the new Jane Aire single; a pretty wretched, ham-fisted rendering of Dusty's finest hour, full-to-bursting of modern bonks and thunks and entirely lacking in the required sensitivity." (David Hepworth, Smash Hits, May 27, 1982)

China Crisis - King In A Catholic Style (Wake Up) (Virgin)

These boys just keep turning out good tracks. This is a good lively tune with a real nice beat. You may think I'm biased towards Liverpool bands and you'd be right. However, all bias apart, this one really is worth 'getting into' (and I told our Rich, "African And White" was a one-off!) (Simon O'Brien, Smash Hits, May 22, 1985)

China Crisis are now the state of art in easy listening. The harder roots of early singles like "African And White" have withered away and left the band to develop pure, weightless melodies around Gary Daly's soft vocals. Crisis – what crisis? Unfortunately for a band that now stands or falls on its tunes, there are few good ones on the new LP and "King In A Catholic Style" is not one of them. It bounces along merrily enough on Walter Becker's airy production. But there are none of those essential shivers up the spine. (Martin Townsend, No 1, May 25, 1985)

An incessant and badgering ram-a-lam-a-ding-dong refrain keeps this going for longer than it deserves.  China Crisis are still too wordy for their own good but some considerable points scored in scooping Walter Becker as producer. (Dylan Jones, Record Mirror, May 25, 1985)

Red Box - Chenko (WEA)

A-Ha meet the Old Spice ad, and Red Box reap the rewards. Pronounced 'Tenka-io', which no doubt is something very deep and meaningful in some dodgy language, this slice of atmospheric musing finds the band at their best yet, with the duo rustling up an undoubted chart hit that deserves its place far more so than the appalling dross that Red Box have produced so far. With Chenko, opening up the Red Box is no longer the distasteful experience that it once was. (Fiona Looney, No 1, August 1, 1987)

I'm a complete pushover for anything with a bit of pseudo-Russian chanting so this gets off to a flying start and continues in the same majestically spooky flavour all the way through helped by loads of moody piano and the trembly, delicate vocals. I haven't heard anything quite so loin-stirring since Boney M's "Rasputin" - and a higher compliment than that could not be paid. (Lola Borg, Smash Hits, July 1, 1987)

Nick Kamen - Each Time You Break My Heart (WEA)

Beautiful boy from launderette ad in hit record shock! Yes. luscious, pouting Nick Kamen, he of designer jeans and boxer shorts fame, teams up with Her Royal Highness Madonna in an alliance that will undoubtedly see the Harlow heart-throb up there at the top alongside his even more famous mentor. "I know how it feels to be the talk of the town," purrs young Nick and I give it about three weeks before this confident prediction becomes all too true. Somehow the weekly wash will never seem the same again. (Barry McIlheney, Smash Hits, November 5, 1986)

Ooops, con we see a chink in the armour? First Maddy gets persuaded by hubby to leap before she looks into the duck doo-doo of Shanghai Surprise and now she's gone and penned (ho ho) a very ordinary little song to get everyone's favourite laundromat loiterer, Nick Kamen, on his way. Not all the sultry looks in the world can disguise the fact that "Each Time" is a third rate "True Blue" or "Shoo Bee Doo". Slower, more sugary, but sadly no sweeter. Still I'm sure we'll all enjoy the video. (Paul Simper, No 1, November 8, 1986)

Paul Haig - Heaven Help You Now (Operation Afterglow)

Paul Haig once said that he was quite happy making records that satisfied his own standards and public approval was just a bonus. Haig's attitude is honest but he could do with the added luxury of a hit. "Heaven Help You Now" isn't one of his strongest moments. It lacks the dramatic punch of "Big Blue World" which should have been monstrous, and concentrates instead on a slick rock momentum and Haig's own super butch delivery. (Max Bell, No 1, October 12, 1985)

The opening twiddly bits sounded familiar and I thought, ah yes, an ex-Associate at work here. In fact, Alan Rankine produced it. Curiously charming and likeable. Trouble is, it only re-emphasised to me how much I miss that magic Mackenzie/Rankine partnership of yore ... maybe one day, eh boys? (Nancy Culp, Record Mirror, October 26, 1985)

The Kane Gang - Gun Law (Kitchenware)

The boys from County Durham have always had a social conscience and "Gun Law" doesn't deviate from the path of righteousness. By comparing the rough and ready justice of the Wild West with today's equally harsh economic conditions, it points the finger at those who grow fat on profits made at the expense of others. And as if believing that the message must be rammed home, "Gun Law" is a dramatic electric slab of Kane funk. It's tightly constructed, sung with great gusto and the spaghetti western-style opening is a neat touch. It won't change much but at least they care. (Adrian Tierney-Jones, No 1, March 9, 1985)

An uptempo beat spoilt by tomcat vocals from whatever-his-name-is. You should take a leaf out of your own book and respect the people who have to listen to this piffle. Terrible. (Marshall O'Leary, Smash Hits, March 14, 1985)

Nik Kershaw - Wide Boy (MCA)

Perhaps "Wide Boy" is the result of Nik Kershaw realising how absurd it is that a year or so ago no one would even cash his cheques and now there are thousands who'd die for him. So being a responsible sort he takes to task those stars whose heads are turned by fame. "He's no big deal, he's just a wide boy," croons the Ipswich idol backed by the usual sugary melodic pop. I find "Wide Boy" quite forgettable, but I'm glad to see Mr Kershaw has got his feet firmly on the ground. (Adrian Tierney-Jones, No 1, March 9, 1985)

Very enjoyable. The lyrics tell a story about Nik Kershaw himself, I think. What he's trying to say is that his critics think he's stupid but, because he's got so much success, it doesn't bother him. One of those records that you may well find yourself humming at the bus stop. Nice one, Nik. Single of the fortnight. (Marshall O'Leary, Smash Hits, March 14, 1985)

The Railway Children - Brighter (Factory)

The classiest record of the week by far. From the pulsing bass to the staccato sub-'Blue Monday' drum break, from the gliding guitars to the smooth, sensual vocals, the Railway Children are almost too good to bear. They - or their producer - know the worth of space, pace and timing within a song. You've room to breathe as every bar flows warmly over you. Smoother and more refined than the previous "A Gentle Sound", the potential of this band takes my breath away. Single of the year so far. (Eleanor Levy, Record Mirror, February 21, 1987)

The Go-Betweens - Right Here (Beggars Banquet)

A veritable lemon meringue pie of a record. Light and fluffy, but with a sharp, firm base and solid tune, it borders precariously on the twee side, only just saving itself courtesy of Grant McLennan's nasal passages, his vocals adding a certain sarcastic sneer to the proceedings. The Go-Betweens have never really got above cult status in Britain, and this isn't the one to change that situation, but any song with a lyric like "I know you're 32 but you look 55" deserves a little respect at the very least. (Eleanor Levy, Record Mirror, February 21, 1987)

Marillion - Punch And Judy (EMI)

This group hail from the same part of the country as the Kajas but their music is totally different. They'll be looking for their first hit but, to my ears, I don't think they'll get it with this one. It sounds a little dated to me. They apparently have a large loyal following so, if nothing else, it will please them. (Limahl, Smash Hits, February 16, 1984)

You've got to admire Marillion. Some bands nick chord sequences, others pinch songs. Marillion, they've nicked a whole group - Genesis. Here they rifle through the 1974 back catalogue, filching bits from every song on The Lamb Lies Down On Broadway LP. Six foot nine inch Duranie Fish stumbles about yelling "punch punch punch"as if he was Terry Lawless on a Frank Bruno training session. Undoubtedly the Heavy Medieval record of the week.(Frank Hopkinson, No 1, February 4, 1984)

XTC - Ball And Chain (Virgin)

Now here's a good band . . . but a disappointing follow-up to "Senses Working Overtime". It starts well but doesn't go anywhere much and ends up as the kind of song you admire but don't greatly enjoy. (Tim De Lisle, Smash Hits, March 18, 1982)

The Mighty Lemon Drops - My Biggest Thrill (Blue Guitar)

Easily their most instantly accessible track to date, all bouncing rhythms and catchy melodies plus some scorching guitar, this couldn't be further from Bunnyland. And what's more, there isn't an 'up', 'down', or an 'around' within earshot. This one's all spills, fills, hills and thrills instead. It'll have them humming all the way to the bank, no doubt. (Jane Wilkes, Record Mirror, October 25, 1986)

If, by any chance, you've been wondering what Echo And The Bunnymen have been up to lately, they've actually gone into hospital and been transplanted into something called The Mighty Lemon Drops. The only problem is that The Lemons (The Droppies?) forgot to borrow any of the better songs and are thus left with a fair amount of egg on face. (Barry McIlheney, Smash Hits, November 5, 1986)

Thomas Dolby - Airwaves (EMI)

Runner-up of the week - a strong, atmospheric performance of a catchy ballad with arresting imagery but a curious choice as a single given the odd subject matter. Excellent 'B' side too - a powerful near-instrumental about a plane crash ["The Wreck Of The Fairchild"]. Mark this man down as a star of the future. (Red Starr, Smash Hits, February 11, 1982)

Bonnie Tyler - Here She Comes (CBS)

The new Giorgio Moroder-ised version of Metropolis has attracted some well dodgy geezers and boilers ... and why he wants to go and ruin such a great film by accompanying it with such dross as this - who knows? On the heels of the camp-fire favourite Freddie Mercury with his "Love Kills" opus, comes the Welsh wench of mammoth proportions ploughing her way through another track from the movie. Fritz Lang is currently turning in his grave. (Dylan Jones, Record Mirror, October 20, 1984)

Taken from the soundtrack to Metropolis, this could well be Bonnie's biggest hit since she made No.1 with "Total Eclipse Of The Heart". Slower than "Eclipse", it drifts along aimlessly on waves of melodic synthesisers . Besides helping out with Electric Dreams, Giorgio Moroder wrote this song, produced it and presumably contributed the keyboards. This time next year he should be a rich man. (Dave Ling, No 1, October 27, 1984)

Eurythmics - Who's That Girl? (RCA)

If you'd fed the last two Eurythmics hits into a computer and asked for a follow-up, this is what you'd get. It doesn't stray an inch from the blueprint. It's cold and calculated. In a way, though, that is what we love about so much British pop. When you buy a record by ABC, Wham, Yazoo, Eurythmics, you know that every detail, every nuance has been weighed to perfection. It's the best. "Who's That Girl?" expands Annie Lennox's twin images: the hard, icy lover and, in the video, the challenger of sexual roles. But that's all it is: image. And in the great game of pop manipulation The Eurythmics currently lead the field. (Phil McNeill, No 1, July 2, 1983)

Who's that bloke, is what most folk'll wonder when they clock Annie's latest look. Not that immediate but a strong if gloomy song and a flawless (though slightly dated) production. Already my favourite Eurythmics single. (Dave Rimmer, Smash Hits, July 7, 1983)

Madonna - Who's That Girl (Sire)

Madonna has decided not to put that flouncy flamenco dress back into the wardrobe, because here she floats and trills along to what is little more than "La Isla Bonita" Part Two. Although it doesn't tug at the heartstrings in quite the same delightful fashion as Part One, it is full of soft and incomprehensible Spanish mumblings and electronic calypso twiddles, which will have the Ibizan holiday brigade rushing for the bottles of Ambre Solaire and Vino Collapso as soon as the needle hits the groove. The really bizarre puzzler is that if anyone else had the audacity to release not just one. but two soppy Spanish holiday songs in quick succession, they would be treated to universal scorn. But Madonna is regarded as a Goddess-like being, incapable of mistakes. Which seems terribly unfair really, doesn't it? (Lola Borg, Smash Hits, July 1, 1987)

T: Very much a holiday record. If this wasn't Madonna it wouldn't do anything. I don't think she tries as hard any more.
A: I don't think she needs to, but you're right, it is very monotonous. I quite liked the last one, but I would not buy this.
J: Sounds like her last one remixed. The thing is though, I liked "La Isla Bonita" but I don't think this is exactly going to light any fires. (All About Eve, Record Mirror, July 18, 1987)

Who's that girl? As if we didn't already know. Madonna's fourth single of 1987 is the soundtrack title from her latest film and the sound that will accompany many expectant feet as they hop Wembley and Birmingwards this August. Madonna singles are so effortlessly accomplished these days it's easy to take them for granted. Madonna may also be taking her own talent the same way. This is three parts 'La Isla Bonita', one part Scritti Politti and only one part new inspiration - the exquisite chorus. The Spanish flavour is OK, if a trifle samey, but the breathless pace of the rest is fairly standard. No doubt it will grow on me when it's at Number One the week after next. That's the kind of predictability this girl likes. (Max Bell, No 1, July 18, 1987)

David Bowie - Blue Jean (EMI America)

Used to be that one thing you could never accuse Bowie of being was ordinary. Until "Let's Dance", that is. Suddenly, in a successful bid for mainstream appeal, he chucked away the weird quality that had in the past inspired so many people. The result was a slick but fairly ordinary pop LP. "Dull, dull, dull," our reviewer commented at the time, and for Bowie that was an unpardonable sin. On this, the first track of the batch that'll make up the next LP, he's stuck to the basic "Let's Dance" rock band format, added (but way in the distance) some wiggy percussion and made a single that can only be described, once again, as dull. At least, by his standards. (Dave Rimmer, Smash Hits, September 13, 1984)

With a legend like Bowie it's all too easy to let the past cloud the present. The prowess and magic of his old gems can often lead to an all too critical eye being placed on his every move whereas conversely, it may allow him to get away with murder. Any hopes of an Ali style comeback could be daunted though. Standards are standards and this is as standard - i.e. mediocre - as they come. (Pedro, Record Mirror, September 15, 1984)

When this record was first slapped onto the No.1 stereo a reverential silence descended on the office. "It's a bit plain," somebody ventured when it was finished, and at the time I agreed. However, as with most of Bowie's recent work 'Blue Jean' is more of a grower than an instant favourite. Not one of his all-time greats. But listen twice before you make up your mind. (Dave Ling, No 1, September 15, 1984)

Alison Moyet - That Ole Devil Called Love (CBS)

A smoochy number. One to play while you're with your loved one. I don't think it will be as big a success as its three predecessors but Alison does have a large following, enough to make it into the Top 30. Not one of my favourites, though. (Marshall O'Leary, Smash Hits, March 14, 1985)

The lights dim, an expectant hush descends upon a select audience, a piano tinkles, a trumpet softly blows and a voice that's blue and deep starts singing a Billie Holliday classic from the 30s. Alf has taken a break from the usual repertoire of pop-soul for young marrieds to sing something that's a bit more challenging. And she sounds a lot like Cleo Laine. Whether it's a calculated effort to broaden her appeal or a reflection of Alison's avowed love of the blues and jazz, I don't know. It'll be massive, whatever. (Adrian Tierney-Jones, No 1, March 9, 1985)

Billy Bragg - Between The Wars (Go! Discs)

A low price EP of four songs showing the man with the large nose at his most potent and lyrical. Billy 'pulls no punches', the thing beginning with "Between The Wars", an anti union-bashing song and ending on a new, slower version of "It Says Here" attacking the Tory press. You could argue that blatant political commentary alienates and ends up preaching only to the converted. Yet subtlety never works either. (Eleanor Levy, Record Mirror, March 16, 1985)

With just his trusty guitar and a swagbag of modern folk songs Spiced with the acid wit of punk, Billy Bragg has confounded all those who've said such antics had no place in 1985. Neil Kinnock's fave pop person (after Trace of course) has now released his first ever 7-inch single. It has four tracks that highlight Billy's mastery of investing simple songs with a sense of defiance and humanity. At £1.25, you can't go wrong. (Adrian Tierney-Jones, No 1, March 9, 1985)

Oh dear, I hate this man and his music. I've heard this on Whistle Test and hated it – my opinion hasn't changed. It's got the same monotonous tune all the way through and he can't sing to save his life. Why don't you just leave the music business, Billy? (Marshall O'Leary, Smash Hits, March 14, 1985)

JoBoxers - Is This Really The First Time? (RCA)

Remember that Boxer Beat? You could be forgiven for nearly forgetting it; Dig and the gang have been off the block so long they were in danger of being not last year's thing but the year before that's. Luckily for them no one else stepped into their shoes. The Boxers were one of our better modern R&B groups and this comeback has all the customised hard jiving kick that makes them so compelling. Instantly, naturally wonderful. (Max Bell, No 1, March 30, 1985)

The JoBoxers, who brought you "Boxerbeat" and all the rest of them, have bounced back with a new image - Edwardian-style. It suits them and the record is equally impressive, if just a little repetitious. (Marshall O'Leary, Smash Hits, March 14, 1985)

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)

Tears For Fears - Everybody Wants To Rule The World (Phonogram)

An excellent follow-up to "Shout". A very twee introduction but I think high-pitched vocals suit Curt Smith immensely. I hope it gives them a Number One. (Marshall O'Leary, Smash Hits, March 14, 1985)

TFF's so called harder sound (not before time) has been overstated. I'm no fan but I can hear the makings of a passable pop group in this mild tune. Highly hummable, well arranged and not at all megalomaniac. 'Everybody' even features a rockist guitar fade out from Roland which would have been cause for cries of "hang the scoundrel" two years back. Times change. A certain top five hit. (Max Bell, No 1, March 30, 1985)

Wham! - I'm Your Man (Epic)

I must say, I do like the cut of George Michael's jib. What usually happens once you've become the world's most famous rising pop star is you get complacent and start making useless records, or you go dotty and stop making records altogether. Not George. George cares about pop for too much to let himself become distracted just yet. He's passionate about pop and he's good at it too: not a great songwriter but a stylish "craftsman" and a marvellous singer. On "I'm Your Man" he comes on all breathy and slippery in a racy pumping romp that's a little bit Motown and quite a lot George McCrae. A dignified hit: G. Michael is a proper star. (Not entirely sure what Andrew does on this but, no doubt, he does it very well too). (Tom Hibbert, Smash Hits, November 6, 1986)

I don't own a crystal ball anymore but I suppose "I'm Your Man" will get to Number One. However, the first Wham! single this year doesn't have the snap, crackle and pop of "Go-Go" or the sheer cheek of "Freedom"'s Motown rip-off. To these ears it's a rather pale re-write of "Freedom" with a weedy sax. Perhaps George is working too hard. (Adrian Tierney-Jones, No 1, November 16, 1985)

Culture Club - The War Song (Virgin)

George has come to the profound conclusion that both war and people are stupid, and since he delivers the message in just about every language except Lithuanian and Swahili, he obviously feels it's important. Still, trite lyrics aside, the song's so infernally catchy that I've been whistling it all weekend (although I can't quite manage the "Aaieewuuurigh!!!' in the middle yet), and it's got to be Single Of The Fortnight. Whether I'll feel quite the same when everyone from the neighbour's budgie to the weird bloke downstairs is whistling it too's another matter, of course. Oh well, I can't wait to see the video. (Vici MacDonald, Smash Hits, September 27, 1984)

There's been so much intellectualising about war – obscure allegories, murky metaphor – plenty of space left for clever clogs to say "War is alright if .. " So George lays it on the line, from his position a mass medium, mass appeal group: "War is stupid and people are stupid and love means nothing in some strange quarters." Embraced by a tune that sweetens the message without weakening it, this is the ultimate Culture Club song. We need all cultures in that club learning to say 'No'. Single of the week. (Martin Townsend, No 1, September 29, 1984)

"War is stupid", George reveals. Lyrics of true insight there. And a tune that succinctly combines all their previous singles, and a poster with the 12-inch, and an even happier bank manager. (Paul Sexton, Record Mirror, September 29, 1984)

Thompson Twins - Sister Of Mercy (Arista)

Odious Airfix popsters return with their usual reworking of past commercial glories. All wrapped up in the usual big production job which fills any gaps. What an awful group they are. This will be a huge hit, You'll write to complain about me and none of us will be any the wiser. (Andy Strickland, Record Mirror, June 30, 1984)

Marshall Crenshaw - Whenever You're On My Mind (Warner Bros)

Despite a residency on the Old Grey Whistle Test and the solid backing of the rock press, Marshall just can't arrest the attention of the Great British Public. This is typically tuneful, punchy guitar rock: good intentions, bad sales. (Phil McNeill, No 1, July 2, 1983)

It's A Mystery: While the merits of the video seem to be up for debate, the actress playing the English love interest was clearly a hit with viewers. Shame that nobody seems to know who she was.

The Boomtown Rats - A Hold Of Me (Mercury)

Muddy, mouldy progression of tired ideas hung, drawn and quartered by Bob's tenth-rate Jagger. The Rats always dealt in back cliches, but at their best - "Rat Trap", "Mondays" - they managed to find a song from somewhere. They don't here, and only Geldof's new found celebrity status can do anything to save this. (Jim Reid, Record Mirror, February 2, 1985)

Poor old Bob Geldof. He does a brilliant job as the main force behind Band Aid, sacrificing months of his professional and private life and all some people can say is that he's doing it to resuscitate his own career. And it's just not true. Mind you, if it was, it wouldn't make any difference - this new Boomtown Rats single is too unspeakably ordinary to be saved by any amount of publicity. (Chris Heath, Smash Hits, January 31, 1985)

Kim Wilde - The Second Time (MCA)

The good news to emerge from Kim's long absence is that she's now writing her own songs. The bad news is that 'The Second Time' is not one of them. Penned once again by Dad Marty and brother Rick it's a fusion of fashionably 'hard' sounds. But it lacks the fluency of good dance music and the killer punch of Frankie-pop. Check out her own 'Fit In' on the new LP to find – at last – the real Kim Wilde. (Martin Townsend, No 1, September 29, 1984)

Ricky and Marty Wilde (her brother and Dad) always manage to build a classic little pop song around Kim's vulnerable falsetto, yet for some reason she doesn't do as well in the charts as she used to. I've got most of her singles, but it's a sad fact that they were all found in bargain bins. (Vici MacDonald, Smash Hits, September 27, 1984)

The title fits as Kim tries again with MCA and starts by nicking the chorus from "Let's Dance". Still, long as she does something risque in the video it'll be a hit - that's the way it works, I believe. (Paul Sexton, Record Mirror, September 29, 1984)

Virginia Astley - Melt The Snow (Rough Trade)

For the past few years, Virginia Astley has been quietly producing enchanting music. Using piano, flute, and her wistful, choirboy voice, she creates an atmosphere of stillness in her songs, which are often moving and always tender. "Melt The Snow" is the latest of these, and one of her best yet. A gentle and optimistic song, it kisses away those winter blues. Single of the week. (Stuart Husband, No 1, March 2, 1985)

Virginia Astley is like Kate Bush reincarnated as Sebastian Flyte: at times the tinny choral tones are stretched as thinly as a sliver of smoked salmon at a vicar's tea party, but they're more than compensated for by those quaint old stringed instruments. Julian Cope, eat your heart out. (Dylan Jones, Record Mirror, February 23, 1985)

The Style Council - Shout To The Top (Polydor)

The self-conscious searching for a sound that used to characterise the Style Council, has all but disappeared. "Shout To The Top" has Mick Talbot trading piano riffs with an orchestral backing that forms the song instead of just decorating it. And Paul Weller sounds comfortable copying no vocal style but his own. I think they just earned themselves a new fan. How does 'Cupofteano Kid' sound: (Dreadful – Ed.). (Martin Townsend, No 1, September 29, 1984)

Once more Mr Weller plunders the past to give us yet another passable imitation of those baggy-trousered soul stompers of yore. Personally, I've never been able to understand why he spends so much time and energy attempting to emulate something that's already been done - and far better - before. Must be all that capuccino. (Vici MacDonald, Smash Hits, September 27, 1984)

Playing spot-the-influence one more time - adaptations of the hard-hitting chords from "Backstabbers" and "War", a glance back to "My Ever Changing Moods", and still it sounds the freshest pop record of the week. (Paul Sexton, Record Mirror, September 29, 1984)