Big Country - Chance (Mercury)

Stuart Adamson owes more than a little to New Joisey's own Bruce Springsteen, but this time he borrows voice, harmonies and tune. But where Springsteen would muck it all up with a surfeit of sax frenzy and over-enthusiastic vocals, Stuart and friends, with their clanking guitars, remain persuasively restrained, saving a power chord-driven chorus for a final treat. Single Of The Fortnight. (Tom Hibbert, Smash Hits, September 1, 1983)

Big Country - East Of Eden (Mercury)

The guitars take something of a back seat here, as Stuart Adamson delivers a tuneful and competent vocal. Trouble is, Big Country are at a bit of a loss when they're not going hell for leather and bouncing around on one foot. Maybe the odd piano on your gentler moments might add something, boys. (Andy Strickland, Record Mirror, September 22, 1984)

The production on this record is truly awful. The instruments blur into one muddy, thrashing mass, completely submerging any hapless tune which might be struggling to escape. (It sounds the same on the radio, so I know it's not my stylus.) The B-side, a brutally massacred version of Roxy Music's wonderful "Prairie Rose", is even worse. Yuk! (Vici MacDonald, Smash Hits, September 27, 1984)

David Essex - Sweethearts (Mercury)

A sweetheart from the early '70s, the early '80s find Mr. E. in a sorry state. This is a dull thump of a song which recycles every lyrical cliche in the canon. Pass quickly. (Ian Birch, Smash Hits, April 15, 1982)

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)

INXS - The One Thing (Mercury)

Listening to this makes you realise how few new groups have any simple old fashioned energy. This is not the greatest song in the world but INXS go for it as if it were their one and only chance of making a record, selling it with enormous zest and lots of concise instrumental fills (there's even a guitar riff in there, but I wouldn't spread it about). "The One Thing" doesn't really sound like anyone else at all, which is recommendation enough these days. Single Of The Fortnight. (David Hepworth, Smash Hits, September 15, 1983)

The Rainmakers - Downstream (Mercury)

More weird tales from rural mid-America - this time taking a raft down the Mississippi River with dead author Mark Twain (Huckleberry Finn etc), meeting characters like v. ancient rock 'n' roller Chuck Berry and deceased president Harry Truman, and exchanging words of "wisdom" with them. Pleasingly no-nonsense modern rock 'n' roll that gets it just about right and splendid guitar-playing that makes you wonder why people ever bother with a synthesiser. (Ian Cranna, Smash Hits, May 8, 1987)

Playing in all good Mexican restaurants now - come The Rainmakers with their quirky brand of countrified rock; a witty ditty with some heavy guitar action, and doubtless another hit for them. (Debbi Voller, No 1, May 16, 1987)

Swing Out Sister - Twilight World (Mercury)

Once you get to the 'Twilight world' hook this is OK but the first 30 seconds were really horrible. The production sounds so clean that it shows up a couple of really awful flat notes. I have to be careful about this band because Corinne's grandmother wrote to me around the time of "Breakout" and was almost threatening me if I didn't play it because I come from the same area as her. "Breakout" was a good single but I'm yet to be convinced by her voice. A hit only because of what's gone before, but they're not what I'd call an established band so they'll have to do better stuff than this if they want to last out the year. (Simon Mayo, No 1, April 11, 1987)

Fast becoming a band to reckon with, even if it is all a bit 1982, maaan. Classy, and has no great 'soul bro' pretentions, unlike some others I could mention. A bit like Marvin Gaye meets Astrud Gilberto. (Nancy Culp, Record Mirror, April 11, 1987)

Swing Out Sister - Breakout (Mercury)

Swing, hard funk and be-bop are the order of the day for SOS, a band who like Curiosity Killed The Cat, seem destined to spend their career in a fantasy world of glossy black and white photographs and high class posters. Signed in the afterglow of that rush of blood that accompanied the much vaunted new jazz era, Swing Out Sister will only convince me when they sweat themselves out of a trend and into a real trance. 2/5 (Max Bell, No 1, October 18, 1986)

I'll confess that I'd expected some routine jazz exercise from the Soho/St Martins clique, but I must stand corrected. It's breezy, buoyant, and it's tasteful; this is indeed a good record. (Stuart Bailie, Record Mirror, October 18, 1986)

Pete Shelley - On Your Own (Mercury)

Oo-er.. Pete Shelley swaps his usual easy nonchalance for a vaguely menacing electronic growl on this rather sad and lonely little song which contrasts the satisfaction of being in control with the uncertainties of being alone. Rather unsettling and rather good. (Ian Cranna, Smash Hits, May 7, 1986)

Shelley has left guitar rock behind and seems to favour a moody version of New York disco that's typically minimalist but very weak. (Mike Gardner, Record Mirror, May 17, 1986)

Hipsway - Ask The Lord (A New Version) (Mercury)

Amazing how much better records sound when the band are famous. This is a "new version" - remarkably similar to the old version, actually - of Hipsway's earliest single, a naggingly catchy, busy little chugger which begins with an Eastern call to prayer, has Graham "Skin" Skinner observing that money doesn't bring happiness (crackling with originality, this) in the middle and ends with him asking the Lord why not. The Lord's reply (if any) is not recorded. (Ian Cranna, Smash Hits, May 7, 1986)

OK. So we know what a good single this is. But, does that really justify its re-release (even if the cover itself is pretty snazzy)? What makes it worse is the fact that there are some exceedingly lush tunes on their self-titled debut LP eagerly beckoning release - namely "Forbidden" and "Long White Car". Hands up (and no cheating!) those of you out there that can 'really' distinguish an original recording from its newly remixed twin? Not many I'll bet. A worthy song all the same. 3/5 (Anna Martin, No 1, May 10, 1986)

Love And Money - Candybar Express (Mercury)

Ah, now this is more like it. Produced by Duran's Andy Taylor (well, the poor boy has to make a living somehow!), Glasgow's Love And Money have produced a versatile chunk of endearingly sharp funk. Mean, meaty and menacing - this is the stuff singles should be made of (even if it is slightly reminiscent of Hipsway's "Honeythief"). Sample this delicious concoction and become addicted to the essential. 4/5 (Anna Martin, No 1, May 10, 1986)

Julian Cope - The Greatness And Perfection Of Love (Mercury)

If Shaky sounds as though he's from the '50s, we all know where Julian's head must be at - the groovy '60s. Jangly guitars, shaking tambourines and bouncy drums all back his "ba ba ba"chorus and knowing, yet wistful, public school voice. A bit of a gem, this one, but sadly probably not a hit. (Peter Martin, Smash Hits, March 15, 1984)

The wild man of Tamworth sounds oddly formal during this discussion of 'the greatest imperfection' that is love. Where the best Teardrop singles sounded a joyful battle charge, Cope's solo singles are distinctly muted. Let me refer you instead to his World Shut Your Mouth LP, where this melancholy melody has its place. (Mark Cooper, No 1, March 10, 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)

Zerra I - Rain (Mercury)

Opening with a dramatic burst of synth, bass and drums it's immediately apparent that this is going to be a modern rock song. In comes the U2 guitar as expected, but then, surprise! They go all Echo And The Bunnymen. And there's the merest hint of Simple Minds lurking in there too. The end result? 0 out of 10 for originality, but I bet they're jolly good live at the Marquee when the three aforementioned bands are on their world tours. (Karen Swayne, No 1, May 4, 1985)

Tears For Fears - Mad World (Mercury)

Ooh look. Here's another one. Gardner and Smith break into a tuneless chorus of Cat Stevens' "Matthew And Son" - and it does sound like it. (Simon Hills, Record Mirror, September 18, 1982)

It's only a matter of time before this tuneful electro-duo have a hit. This may not be the one, but it does grow on you and the occasional rapid-fire brass riff pushes it along nicely. (Johnny Black, Smash Hits, September 30, 1982)

Love And Money - River Of People (Mercury)

Less overtly aggressive than "Candybar Express" and less Hall And Oates than "Dear John", L And M's third shot should give them the shortest odds on a hit yet. "River Of People sees James Grant drawing in his quiff (metaphorically speaking), toning down the squealing guitars a mite and unravelling his most conventional rocker to date. Forceful, fixating and damned wearing on the toes. (Lesley O'Toole, Record Mirror, January 10, 1987)

Hoist the flags, chher loudly and abandon yourself to wild behaviour. Amongst this fortnight's somewhat tawdry collection of singles there is this gem by this Glaswegian group. You may remember that they've already had one undeserved flop with last year's rock-along "Candybar Express", which was produced by former Duran Duran guitarist Andy Taylor, but perhaps they'll escape such shabby treatment this time with this optimistic, soulful thing that swings along at a joyful pace. Very enjoyable, praise the Lord! (William Shaw, Smash Hits, January 14, 1987)

Hipsway - The Broken Years (Mercury)

This, the first single by four blokes from Glasgow, is simply the best record I've heard for months. There's nothing startlingly new or original about it - it's just a really good rock/funk song (imagine a punchy mixture of The Kane Gang and The Smiths) sung brilliantly by the deep-voiced Graham Skinner. If all their songs are this excellent we're going to hear an awful lot more of them. Single Of The Fortnight. (Chris Heath, Smash Hits, June 19, 1985)

Come on down, the price is right. It's summer and time to play 'Great White Hope' for 'Big Money'. Hipsway, like Coronation Street's Bet Lynch, show their (soul) roots but make up for their inelegance by a brassy attitude. (Mike Gardner, Record Mirror, June 22, 1985)

Tears For Fears - Shout (Mercury)

Altogether more relaxed and accomplished than their last single, "Mothers Talk". Effective and powerful pop with an insidious chorus you'll find yourself singing at the most inopportune moments. For that reason, a hit. (Lesley White, Smash Hits, December 6, 1984)

So, it's not quite such a bummer this week after all. I mean there's a new single from Tears For Fears called "Shout". It sounds a bit like the soundtrack to Merry Christmas Mister Boring. You know that film with David Bowie in it pretending to be Michael York dressed up as a lizard. (neil [Nigel Planer], Record Mirror, December 1, 1984)

From Real Men to unashamed Quiche Eaters, and 'arguably their best single yet', it says here. the singing is far too angst-ridden; something a bit cooler would have been twice as effective. But musically, as ever, they're doing interesting, textured things. I just hope that they haven't abandoned their poppier side in favour of this more sombre mood. (Sunie, No 1, November 24, 1984)

Was (Not Was) - Robot Girl (Mercury)

The first from funk weirdos Was (Not Was) since George immortalised them with his version of "Where Did Your Heart Go". This is typical trade. A funk rhythm most adjacent to Matt Bianco's "Man's Mood" with additional lunacy from all sides. Entertaining track but best wait for the album. 3/5 (Paul Simper, No 1, September 20, 1986)

Single Of The Week or a terrible curse may fall upon your Hipswaying* heads. For freaky dancing and happy Walkmans. B-Side of the week too. "Earth To Doris" will crease never before used laugh lines. (Lesley O'Toole, Record Mirror, September 13, 1986)

Yes, Single Of The Week. What can you say? It's new! It's vital! It's essential listening for hipsters and casuals alike. Everyone should have it. [Referring to the B-Side] Extra good value. (Skin [from Hipsway], Record Mirror, September 13, 1986)

Single of the week in these very pages but a few months ago, and deservedly re-released. The Paris Mix is even freakier, spunkier and more pulsating than the spine-tingling original. Chaotic, frenetic and utterly impossible to dance to unless severely inebriated/Stuart Bailie/in possession of rubber legs. Lyric of the week - 'Robot Girl, do these sunglasses go with my shoes?' - and B-side of the week to boot. "Earth To Doris" is a manic, rambling monologue, and conclusive proof that the brothers Was are geniuses - demented ones at that. (Lesley O'Toole, Record Mirror, January 10, 1987)

Note: The sticker on the 12" was removable. There was an alternative cover with no boobs. * Hipsway were one of Record Mirror's favorite new bands in 1986, and they mentioned them at every opportunity.

INXS - Don't Change (Mercury)

Synth intro into a truly brilliant early Skids-like guitar thrash and one hell of a bellowed song to back it up. As they say, if Big Country can make it so can INXS. Fact is they're about a hundred times better (and fresher). (John Shearlaw, Record Mirror, June 18, 1983)