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)

Faith Brothers - A Stranger On Home Ground (Siren)

Another contestant on 'Great White Hope' and a fine example to all the others. Sure, they have their Sixties and early Costello influences but, despite a dreadful production [by Paul Hardiman], they've still managed to inject enough fire to kick it firmly into the Eighties. It should cause a modest ripple in the charts - and deservedly so. (Mike Gardner, Record Mirror, June 22, 1985)

Bucks Fizz - You And Your Heart So Blue (RCA)

I must say I always detested Bucks Fizz. Those medallion men! And those girls! Yucksville. Their records have always exemplified the worst traits of British pop kitsche. This is no exception. Now, it seems, they can't stand each others' guts either. What colour law suit do you want! (Max Bell, No 1, June 22, 1985)

Bucks Fizz have again proved that fact is always better than fiction, having read The Sun last week. Could the Dallas scriptwriters have made up a better tale of sex and high flying wheeling and dealing? Could The Godfather makers have made up a gorier tale of alleged 'family' treachery,and squalid break ups? This release is a spirited version of the sort of thing Smokie used to knock out in their sleep. It's not a patch on the B-side - "Now Those Days Are Gone" - a quality song and more than a little apt to boot. (Mike Gardner, Record Mirror, June 22, 1985)

Men At Work - Everything I Need (Epic)

I'm not proud. I like "Down Under" if only because it opened the door for a lot more interesting Aussie bands in Britain and America. Men At Work have changed since then and acquired a touch of the Dire Straits. The humour is gone. This is where Men At Work get their UB40s. (Mike Gardner, Record Mirror, June 22, 1985)

Midge Ure - That Certain Smile (Chrysalis)

I've always been fascinated by the paradox of Midge Ure. He makes grandiose, swirling high pop with allusions to quality and distinction, but its success is rooted more in hard graft perspiration than cool inspiration, He's a workman who tosses out nee-symphonic ditties with the industry and efficiency of a factory. The product is always functional, adequately pleasing in design and has built-in obsolescence. While most bands unconsciously aspire to this plateau, despite mouthing, to the contrary, Midge has turned this reliability into an art form. (Mike Gardner, Record Mirror, November 9, 1985)

It's the plush, grandiose pop sound of "If I Was" once again, only more so - which can mean only four things... 1) "That Certain Smile" will be a very big hit; 2) You'll be quite fond of it for a couple of days; 3) By the time it being played on the radio every six minutes you'll be sick to death of it; 4) If he does those stupid theatrical hand wiggles in the video again you'll scream and scream and hurl the TV set out of the window and it'll land on top of a police car and you'll be sent to prison for a very long time. Bad luck. (Tom Hibbert, Smash Hits, November 6, 1985)

Howard Devoto - Rainy Season (Virgin)

An atmospheric trip to the jungle with Howard obviously having fun. It's a sophisticated and classy offering with lovely guitars, piano and understated percussion. The catchy chorus assures that you'll get peculiar looks as you burst forth with "It's the rainy season and I'm on fire" - but it's worth it. A hit, no doubt about it. (Anne Lambert, No 1, June 25, 1983)

Despite all the pretension and intellectuality, the ex Buzzcocks and Magazine editor still finds it difficult to make records that provoke any reaction apart from apathy. (Mike Gardner, Record Mirror, June 25, 1983)

JoBoxers - Johnny Friendly (RCA)

Film-buffs will know Johnny Friendly as the corrupt union boss in On The Waterfront, a dockland movie close to the Boxers' hearts. Unfortunately their tribute to Mr. Friendly doesn't quite come off. It tells a story alright and Dig has a great time delivering some of Marlon Brando's lines but it isn't half the song that "Just Got Lucky" was. I'll say no more - nasty things happen to people who badmouth Johnny .. . (Sunie, No 1, August 6, 1983)

A tug-boat roars in and that can only mean one thing ... the Tetley Teafolk are down on the waterfront. Dig tells the sad tale of Johnny - "he ain't a man to love" - over a funked-up alley cat backing. Not as infectious as "Lucky" but just as catchy in a harder sense. Looks like three in a row. (Peter Martin, Smash Hits, August 4, 1983)

After two barnstorming singles the Bowery Boys/Tetley Tea folk change the boxerbeat to a swing. But the swing is so leaden that they'll lose this round on a technical knock out. (Mike Gardner, Record Mirror, August 6, 1983)

Care - My Boyish Days (Drink To Me) (Arista)

Care are a combination of the talents of Paul Simpson (once of The Wild Swans) and Ian Broudie (formerly of the Original Mirrors and producer of Echo and The Bunnymen). Their name comes a little too close to The Cure for comfort and is perhaps a trifle precious. Mind you, calling a duo Tears For Fears seems to have worked and I suppose that 'Care' will do. This ditty tinkles along prettily but doesn't give the voice or the lyrics the assurance they deserve. Promising but too close to forgettable. (Mark Cooper, No 1, July 16, 1983)

The Liverpool mafia strikes again. Ex-Original Mirror person and Bunnymen and Wah! producer Ian Broudie knocks out a sultry number that goes down nicely with the lazy, hazy days of summer and a cool glass of Pimms No 1. (Mike Gardner, Record Mirror, July 16, 1983)

Good grief, is there anyone from Liverpool who's not in a band these days? Formed by ex-Wild Swan and Teardrop Explodes founder-member Paul Simpson and ex-Original Mirror Ian Broudie, they ought to have come up with a better name than Care. Mind you, it's as vapid and forgettable as this record. Disappointing. (Deborah Steels, Smash Hits, July 21, 1983)

Pet Shop Boys - West End Girls (Parlophone)

The Pet Shop Boys (alias Mutt and Tibbs, no doubt) released "West End Girls" some time ago, but claim that second time around it's re-recorded. Which could be another way of saying that they've only got one good song and this is it and please will you buy it. Well if it worked for King with "Love and Pride", it should work for "West End Girls" which, with its sad, reflective air set to subdued sub-disco, is miles better. (Adrian Tierney-Jones, No 1, November 16, 1985)

For some reason, this sprightly amble through the studied lowlife of a city triggers off the fragrance of William DeVaughn's "Be Thankful For What You Got" and something else that'll come to me when I least need it. (Mike Gardner, Record Mirror, November 9, 1985)

A tumble through Soho in the seedy wee, wee hours accompanied by the kind of jaundiced horns that are more often found on soundtracks of films about Hollywood actresses hitting the bottle and cracking up with mascara running down their faces (Valley Of The Dolls springs to mind). Set against this, the electronic bleats and the demi-rap (Grandmaster Flash And The Furious Five's "The Message" without the baseball bat) create an atmosphere of danceteria sleaze that's almost sinister. Brrr. (Tom Hibbert, Smash Hits, November 6, 1985)

Freur - Runaway (CBS)

The boys with the silly rune for a name have an immaculately produced single but no real song to hang it on. It's just a riff padded out with none of the flair of their "Doot Doot" hit. (Mike Gardner, Record Mirror, September 3, 1983)

So they've finally abandoned the profoundly dumb ploy of being The Band With A Squiggle Instead Of A Name. Now maybe a few people will listen to their music instead of dismissing them out of hand (as I previously did). They're not a bad group in a mannered kind of way and this has a strong folksy kind of tune. But their haircuts are an offence against decent folk everywhere. (David Hepworth, Smash Hits, September 15, 1983)

Don Henley - Sunset Grill (Geffen)

Another winner from the ex-Eagle's Building The Perfect Beast LP. It hinges on Pino Palladino's fluid bass oozing through the languid beat while atmospheric synthesiser washes coat this classy travelogue of LA's lowlife. A nice one. (Mike Gardner, Record Mirror, April 20, 1985)

Toyah - Soul Passing Through Soul (Portrait)

Q: What do you get when you cross Toyah in her Bowie mood (circa "Heroes") and Sheena Easton's old producer? A: Two things. One is difficulty stifl­ing those yawns, and secondly, something you wouldn't want to tread in while walking across a cow field.(Mike Gardner, Record Mirror, June 22, 1985)

I'm sorry to say it but in the whole history of popular music I can think of no-one who I've liked less than Toyah (except, possibly, The Art Company with their summer hit, "Susanna" last year - but at least they had the decency to fade into obscurity). So I'm not the best person to ask for an objective opinion on her new single, which is a bit similar to David Bowie's "Heroes". For the record though, I don't like it. (Chris Heath, Smash Hits, June 19, 1985)

Sheila E - The Glamorous Life (WEA)

Lyrically it seems to be in line with Madonna's "Material Girl". It's not an outstanding song but her work as a percussionist with Prince is enough for her to be taken seriously. Hopefully there'll be better things to come in the future. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

A re-release of Ms Escovedo's cutesy-pie debut single; while it's a pleasant enough experience not even Prince's purple production reins can flesh out the bare minimum of a song here. (Mike Gardner, Record Mirror, April 20, 1985)

This is Sheila Escovedo's debut single, re-released after the success of "The Belle Of St Mark". Not much of a song, but performed enthusiastically by Ms E and her troupe, it doesn't sound so much like a Prince song as most records by Prince proteges do. A bigger hit than her last effort. (Stuart Husband, No 1, April 20, 1985)

Dead Or Alive - In Too Deep (CBS)

Pete Burns and Dead Or Alive drop the incessant beat and concentrate on their melody here and the result is most pleasant. Instant pop like this is a hard act to master but Burns keeps the song simple and the harmonies tight, even adding a shade of The Beach Boys to his measured vocals. Bound to go hurtling into the charts. DOA's best yet. (Max Bell, No 1, June 22, 1985)

Without a doubt this is DOA's best so far - but that's not saying much. It's identikit pop, like most of the other success stories of the past two years; it takes a lot of Motown devices and tricks, throws them into a Human League/disco blender, adds a dash of sparkle and Robert's your father's brother. I'd be more enthusiastic if I didn't have the nagging feeling that I've heard the chorus before. (Mike Gardner, Record Mirror, June 22, 1985)

The Editor said I'd be sacked if I was nasty about this one. Luckily it's quite good. Slightly slower and a bit more sensitive than the excellent "You Spin Me Round" and the terrible "Lover Come Back To Me", it finds Pete Burns complaining about being too involved with a lover who's never satisfied. Maybe another nose job would do the trick? (Report to my office. - Ed) (Chris Heath, Smash Hits, June 19, 1985)

R.I.P. Pete Burns August 5, 1959 - October 23, 2016

Freeez - That Beats My Patience (Beggars Banquet)

. . . and this record beats mine. Following the departure of John Rocca, Freeez have undergone considerable line-up changes, and have come out sounding like Kajagoogoo on an off-day. Sad. (Stuart Husband, No 1, April 20, 1985)

How the mighty have fallen. After the brittle cool of "Southern Freeez", the monster sound of "IOU" and Johnny Rocca-less; they want to become the new Duran Duran. Four out of 10 for effort, chaps.  (Mike Gardner, Record Mirror, April 20, 1985)

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)

Eurythmics - Would I Lie To You (RCA)

What has happened to Eurythmics? The duo who've been responsible for some of the finest 80s pop return after a year's sabbatical (broken only by the 1984 soundtrack) with. . . er. . . Well, a pretty bad record, actually. What there is of the song (and there isn't much) is buried under a barrage of thrashing guitars, blaring trumpets and pounding drums. Meanwhile poor Annie, lost in the midst of this jumble, has to caterwaul to make herself heard before the whole top-heavy circus disappears down the hole in the middle. A disappointment. (Stuart Husband, No 1, April 20, 1985)

After the anaemic "Julia", Annie and Dave return with an energetic version of an old-fashioned soul work-out crossed with Sixties pop. Annie works up her usual vocal sweat but it passes on sheer muscle rather than on finesse. (Mike Gardner, Record Mirror, April 20, 1985)

Erasure - Oh L'Amour (Mute)

Borrowing a selection of Dead Or Alive and OMD backing tapes, Vince Clarke's little baby attempts a third stab in the direction of the charts. This blow however, is only a breeze. And although the hypnotizing angelic vocals trigger something in your brain on first sampling, the effect soon wears thin after a third of fourth listen. Pity really, as I rather liked the Thomas The Tank Engine sleeve. 2/5 (Anna Martin, No 1, May 10, 1986)

Vince Clarke is a lot like Mr Kipling. His pop comes nicely packaged, with lots of sweet bits to whet your appetite and just enough feeling and home-made simplicity to make it just that bit tastier than other similar convenience music. But there again, Mr Clarke does make exceedingly good records. This is no different. (Mike Gardner, Record Mirror, May 17, 1986)

Cease And Desist: The jolly sleeve was in fact quickly withdrawn due to legal issues.

James Ross - Slow Down (A&M)

One man band Ross has a fair crack at Kajagoogoo land but he doesn't quite capture the correct level of banality. (Mike Gardner, Record Mirror, July 16, 1983)

Freddie Mercury - I Was Born To Love You (CBS)

Jesus! I just think this is 'a happy sound' which is really depressing. Looking at the cover, I don't think much care was taken over this record; it was just taken off the album without much thought. You should try really hard to make sure that a single has its own identity - the cover, the video, generally how it's presented and promoted. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Freddie's second solo single (after the dismal 'Love Kills') finds him in jubilant mood. "I've got this wonderful feeling coming through!"he squeals. I can't say I shared his enthusiasm. But then, songs that sound like old ELO out-takes are hardly the stuff of which legends are made. Still, this'll no doubt be a hit. Rock on, Fred! (Stuart Husband, No 1, April 20, 1985)

By anybody else this over dramatic piece of Hi-NRG would die a natural death after two weeks on the local dancefloor. Unfortunately Freddie has tailored it for the Benidorm discos and it will be the soundtrack to throwing up your excesses of Sangria and Watney's on the Costa Packet this summer. (Mike Gardner, Record Mirror, April 20, 1985)