China Crisis - Black Man Ray (Virgin)

I quite like this one. It's got a nice little melody to it. However, I don't like their image, which is as dismal as Julian Lennon. And unfortunately, it seems to rub off on their otherwise very pretty songs. (Marshall O'Leary, Smash Hits, March 14, 1985)

China Crisis are one of those semi-famous groups whose faces and songs you vaguely recognise but can never totally identify. The anonymity they unwillingly court is a drag, especially if their records aren't immediately catchy. However, 'Black Man Ray' produced by noted American musician Walter Becker, might help matters. It's sad, wistful air will appeal to audiences across the board, and China Crisis will remain in the shadows no longer. (Adrian Jones, No1, March 9, 1985)

Donald Fagen's old Steely Dan partner, Walter Becker, produces this soft rock effort - and it shows. Those soft harmonies and instrumental motifs show strong Steely Dan influences. Fortunately, like all Dan material, this easy-going opus grows with every play. (Mike Gardner, Record Mirror, March 9, 1985)

Paul Young - Every Time You Go Away (CBS)

The introduction sounds like the theme to Eastenders. Very meaningful lyrics and a nice melody. Paul's obvious ability is in singing ballads (this was originally by Hall & Oates) and this is another classic example. (Marshall O'Leary, Smash Hits, March 14, 1985)

This has got to go down as my favourite. Paul Young has got to be the best British white male singer. This has got everything; a great song, powerful production and he's a talented performer. I'm so glad to hear Paul's having singing lessons for his breath control after his vocal problems last year because he has a marvellous voice and I, for one, would be sad not to hear it again. This record got me on the first listening. Single Of The Week. (Hazell Dean, Record Mirror, March 2, 1985)

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 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)

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)

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)

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)

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)

The Smiths - Shakespeare's Sister (Rough Trade)

I carefully removed the Pat Phoenix cover, placed the shiny platter onto the turntable, and then walked to my chair. By the time I'd reached it, 129 seconds later, the record had finished. "Shakespeare's Sister" finds our lads in boisterous mood wth young Marr jangling on the guitar as if his life depended on it. 'Shakespeare's Sister' was a Virginia Woolf essay on what would have happened if the great Bard had been a Bardess, blah blah, different way of looking at women, etc, etc. Her essay lasted longer than 129 seconds, though. (Paul Bursche, No 1, March 23, 1985)

Ooooh, shut up! Stop moaning. Don't they go on? Morrissey does not sing, he groans. He should have been drowned at birth. Rubbish. (Marshall O'Leary, Smash Hits, March 14, 1985)

IF MEAT is murder, "Shakespeare's Sister" is death by strangulation. A bruising, unfocused rush that mistakes energy for Eater live in Stockport cemetery. One wonders if such an ill conceived move would have been considered by a record company less enamoured of their one major act. A dumb record and a poor way to end such a fine singles run. (Jim Reid, Record Mirror, March 23, 1985)

Pat Benatar - Love Is Like A Battlefield (Chrysalis)

My mate Spizz really fancies Pat because she's thin. I can't get over the fact that every American you hear wants to be modern. They think that by putting a sequencer or a synthesizer or a Linn drum in the background, this qualifies. How wrong they are. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Another re-release. Heavy stuff from Pat. The first part of the record is very jumbled and it's hard to decipher what she's singing about. Nowhere near as good as the excellent "We Belong". (Marshall O'Leary, Smash Hits, March 14, 1985)

Sal Solo - Music And You (MCA)

Sounds like gospel singers in the background. It's a pleasant melody but I think the Classix Nouveaux man has overdone it with the backing vocals. For your next single, Sal, I'd recommend that you don't use another choir. You did on "San Damiano"– a very uplifting song - and you've done it again on this one and might have another Top 20 hit with it. But, if you carry on like this, it won't be a case of third time lucky. (Marshall O'Leary, Smash Hits, March 14, 1985)