Scott Walker - Track Three (Virgin)

A lot of people have been waiting for this record. Scott Walker – one-time half of the legendary Walker Brothers – hasn't released a record for six years, but interest in him as a cult figure, musical maverick and all-round enigma has never died. As a fan myself, I found 'Track Three' disappointing. It's a capable modern pop song, and the old Walker voice is as wonderful as ever. But there are dozens of songs in his back-catalogue that knock spots off this one. And dozens of new pop records that do that particular job a lot better. The B-side, "Blanket Roll Blues", is a better indication of his real nature – dark and honestly strange. (Maureen Rice, No 1, March 3, 1984)

Simply Red - Money's Too Tight To Mention (Elektra)

A cover version of a rather obscure but hipper-than-hip song by the Valentine Brothers that first surfaced a couple of summers ago. Simply Red couldn't have chosen a better showcase for their obvious talents - social-comment lyrics attacked by really excellent soul vocals, making a record that's understated but powerful, and impossible to resist. Fitting loosely into the Working Week/ Sade school of new jazz/soul, Simply Red are definitely a name to watch out for. Joint Single Of The Fortnight. (Maureen Rice, Smash Hits, June 5, 1985)

The much discussed Simply Red (i.e. much discussed in three London hostelries), a combo of indistinct heritage and no discernable talent have possibly made the greatest initial career blunder ever. Did no-one tell these poor wide eyed terrors that freshly scrubbed little white boy pop groups just do not attempt covers of mighty black dance discs - especially not those of the frightful might of the Valentine Brothers' "Money's Too Tight To Mention"? Apparently not. (Graham K Smith, Record Mirror, June 15, 1985)

Simply Red, who were no doubt signed to Elektra for a princely sum, debut here with a cover of the Valentine Brothers song about being borassic! (Look it up!) Strange that. As white soul goes this is plain fare. If Kane Gang and Bronski Beat make you splash the cash then step right on up. A fool and his money? It's alright really but some of that advance wouldn't go amiss lads, money being in such short supply. Oops, wasn't supposed to mention that. (Max Bell, No 1, June 22, 1985)

The Questions - Tuesday Sunshine (Respond)

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

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

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

China Crisis - Hanna Hanna (Virgin)

This is a very good song. And so it should be, with practically every note and phrase shamelessly nicked from the Talking Heads. Hardly original and almost certainly a hit. A real Hanna horror. (Maureen Rice, No 1, March 3, 1984)

I used to like this lot but I'm getting weary of their whimsical words and stare-at-the-wall-and-daydream melodies. The only really good thing about this is the noise that sounds like a stick being run up the ribs of a skeleton. Shame. (Dave Rimmer, Smash Hits, March 1, 1984)

This sounds like The Cure, the voice is really like Robert Smith. I'd never have guessed it was China Crisis. It's not bad at all, it's nice . . . weird. I really enjoyed listening to it. It's a bit flat, I was just beginning to get a bit bored when the middle eight came in which is quite melodic and picked it up. Hit potential - another grower. (Phil Fearon, Record Mirror, March 3, 1984)

Lionel Richie - Hello (Motown)

Lionel, weak with emotion, gives a right old tug to the heartstrings on this classic weepie tale of unrequited love. Your Mum's bound to make you turn it up when Top Of The Pops is on. (Peter Martin, Smash Hits, March 15, 1984)

Apart from sounding like a piece of incidental film music, this also sounds like a shrewd bit of formula writing with its eye on a number one, It's a shameless product of calculated timing and market-research, banking on the fact that the whole world loves a love song. The Motown ballads are renowned for their sex and soul. 'Hello' is just soppy mush from the Dean Friedman school of cheap sentiment. (Maureen Rice, No 1, March 3, 1984)

Tears For Fears - Head Over Heels (Mercury)

Tears For Fears have certainly come of age. Here they are again, living down their old 'wimp' tag, and singing their hearts out in a single that will certainly follow "Shout" and "Everybody Wants To Rule The World" to make this their third big hit in a row. The song is similar in style to "Shout", and probably deserves its success, but I can't help wondering where they'd be if they had any real competition in the charts. (Maureen Rice, Smash Hits, June 5, 1985)

Everything Tears For Fears do these days is tinged with gold-dust. Although the melody on their latest isn't as strong as "Shout", it'll undoubtedly grow on you as steadfastly as it climbs the charts. I'll be humming it until the next one's released. (Anne Lambert, No 1, June 15, 1985)

ABC - Vanity Kills (Phonogram)

Musically, a little more like the old ABC that most know and love, with a middle bit sounding like David Bowie's "Fame" thrown in as well. But the lyrics - considering that they're by Martin Fry, who has written some corkers in his time - are a real disappointment. A case of one step forward, three steps back, I'm afraid. (Maureen Rice, Smash Hits, June 5, 1985)

Not a patch on "Be Near Me", which wasn't a patch on "How To Be A Millionaire", which wasn't a patch on anything on their Lexicon Of Love LP. Sorry Martin, I know how you hate comparisons, but "Vanity Kills" is duff. A weak tune isn't helped by meaningless lyrics. Pull your finger out mate. (Anne Lambert, No 1, June 15, 1985)

Jimmy The Hoover - Tantalise (Innervision)

Go for the shades and the beany hat - summer's here! Sunny African rhythms, flamenco guitars and it's "hey, senorita, you playa the frisbee?" Exhilarating stuff and the rousing chorus of "wo-wo-ee-yeh-yeh" is easy enough for even me to remember. ("Extra gold star for really silly name" - Reg the Spin-drier). (Mark Steels, Smash Hits, June 9, 1983)

... Or, the United Nations play flamenco. The five members of Jimmy The Hoover come from different parts of the globe and very different cultures, but the feel of this record is pure Hispanic. It's a lovely single - pretty, poppy, sweet and fresh. Not as tropical as The Kid, but a million miles from the likes of Modern Romance. (Maureen Rice, No 1, June 4, 1983)

Paul Young - Tomb Of Memories (CBS)

Well, you won't catch me saying a bad word about Paul Young, though I do think it's a bit of a swizz taking a fourth single off The Secret Of Association LP. Paul sings predictably well on this song co-written by him and featuring Squeeze members Chris Difford and Glenn Tilbrook on backing vocals, but Laurie Latham's over-wrought production is really beginning to grate. (Maureen Rice, Smash Hits, June 5, 1985)

Think of something smooth. Something round, featureless and very, very bland. Something instantly forgettable. Something entirely worthless. Yes? Well, you're getting near to appreciating what the (wow) New Paul Young Single is really like. Paul Young's assimilation so quickly into the belly of the beast of boredom is tragic considering the class of interpretations like "Wherever I Lay My Hat" and, more recently Daryl Hall's "Every Time You Go Away". Young's voice can assume magical properties (occasionally) but the boy can not write songs. (Graham K Smith, Record Mirror, June 15, 1985)

From his latest LP The Secret Of Association this song is one of the weakest and a waste of his wonderful voice. Everything he's done so far has been great, but methinks everything must change if Paul is going to stay at the top. Loyal fans will probably make it a hit, but he doesn't deserve it with this funeral dirge. (Anne Lambert, No 1, June 15, 1985)

Feargal Sharkey - Loving You (Virgin)

A pretty orchestral opening sequence leads slowly into a song that never quite gets off the ground. The single is slow and laboured, and obviously intended as a vehicle for the Sharkey voice, but the effect is ruined by a puzzling three minutes spent waiting in vain for something to happen. It sounds unfinished and is certainly an odd choice for a single. (Maureen Rice, Smash Hits, June 5, 1985)

The facts are that Feargie wrote this with ex-Human League person Jo Callis and that it is produced by Queen's Roger Taylor. His collaborations with unlikely partners continue (Madness, Vince Clarke). "Loving You" is a romantic weepy whose restraint is its main appeal. Feargal threatens to let rip and do his celebrated Mario Lanza impression but holds back. Too much, I think for this to pick up where the immaculate "Listen to Your Father" left off. Hope I'm wrong. The modern ballad is in safe hands nevertheless. (Max Bell, No 1, June 22, 1985)

On the surface this sounds like the overwrought idiot offspring of 'Chariots Of Fire' and 'Amazing Grace' - it's got more synthesisers than the entire back catalogue of Human League and Depeche Mode put together - and it takes ages to get going. But for all that, it has a strangely endearing quality to it. (Mike Gardner, Record Mirror, June 22, 1985)

Sting - If You Love Somebody Set Them Free (A&M)

'If you love something, let it go free If it doesn't come back, hunt it down and kill it.' (Quote on T-shirt of some hip NY dude). So, Sting's first solo venture does indeed have that promised, laid-back, jazzy feel that he's been sprouting on about recently. The Police sound was always sparse, almost empty, but this is hectic, much busier. It won't grab you straightaway, but take the time and you'll agree the long wait was worth it. (Paul Bursche, No 1, June 1, 1985)

Sting's first solo single casts him in his usual tough-but-sensitive role, but takes him an interesting step away from the very distinctive Police sound, in spite of his characteristic voice. Not so instantly catchy or poppy as most Police singles, he's gone for a deliberately 'harder' feel, with lots of bass, drums and girl backing singers. Very grown up, and - gasp! - not necessarily a hit. (Maureen Rice, Smash Hits, June 5, 1985)

It sounds like I've heard it before. It reminds me of early Doobie Brothers or Average White Band. If a black guy had done it, it wouldn't do anything. I've got loads of albums with people who've done things like this. It doesn't bowl me over. (Leee John [Imagination], Record Mirror, June 8, 1985)

Paul Young - Wherever I Lay My Hat (CBS)

If fame and fortune smile on the deserving, Paul Young is headed for dizzy heights. Here's
a voice to shame even good singers like [Boy] George and Alf, while those [Spandau] Ballet boys aren't even in the same league. Truly gorgeous white-boy soul, and a cover version Marvin Gaye would be proud of. Move over, Tracie, you're behind me in the queue . . . (Maureen Rice, No 1, June 4, 1983)

The best British white soul singer I've ever heard. The power and emotion in his voice makes me feel so sure! The song is a traditional blues/soul melody in '60s style but the instrumentation sounds a lot like Japan. A duet with Alf should come soon. (Gary Kemp [Spandau Ballet], Smash Hits,May 26, 1983)

The story so far ... In the process of avoiding the lecherous advances of Tracie, Paul (27) dashes into the studio to polish off a single. Unfortunately dodgy production and arrangement smother his ooh so soulful voice. Will Paul find the tune he so desperately needs? Will Tracie find the boy she longs for? Folks, keep those eyes posted for 'Young Love' magazine. (Jim Reid, Record Mirror, May 26, 1983)

Howard Jones - Life In One Day (WEA)

Howard and his synthesiser take a sprightly hop, skip and a jump through some fairly average pop and Howard's personal philosophy: Relax, enjoy life, be happy with what you've got, and don't wish the years away. Howard, you old hippy, you! (Maureen Rice, Smash Hits, June 5, 1985)

Yet another single culled from Howie's Dream Into Action. And it's a stinker. Howard Jones is one of that breed of pop star who imagines that if we all had flutes and held hands then the nasty things in life would vanish overnight. I've heard of escapism but this takes the proverbial biscuit. Howard Jones has as much worldly acumen as a rubber duck.
I'm supposed to say it has a nice tune but even that sticks in the gullet. (Max Bell, No 1, June 22, 1985)

In the cold light of day, Howard's philosophising makes the TV series Kung Fu sound like Satre. Usually, like Mary Poppins, he coats his medicine with a spoonful of energetic, addictive sugar. But despite the party atmosphere you feel he could have worked harder to disguise a poor song. (Mike Gardner, Record Mirror, June 22, 1985)