The Icicle Works - Hollow Horse (Beggars Banquet)

Another splendid track from Liverpool's The Icicle Works. Neither "Birds Fly (A Whisper To A Scream)" nor "Love Is A Wonderful Colour" got the Top Ten placings they deserved. I was praying this wasn't going to be a disappointment and it's not. Distinctive, inventive and fresh sounding. Fingers crossed for a huge hit and definitely Single Of The Fortnight. (DJ Mike Read, Smash Hits, October 11, 1984)

I've always thought The Icicle Works tried a bit too much. Not so here, "Hollow Horse" is a roistering exercise in the big guitar coupled with a classic example of the 'northern' rock voice - epic spilling of emotion over a dirty old long mac. I'm surprised, I really like it.(Jim Reid, Record Mirror, October 6, 1984)

Limahl - The Never Ending Story (EMI)

So twee it hurts! This is really just a cheap, over-dressed fairy story - and one that, as the title suggests, never seems to come to an end. Limahl only sings half of this anyway. The more demanding bits are handled by a mysterious girl. Limahl is a major talent. He once told me so himself. But this is just a joke, surely? (Paul Bursche, No 1, October 6, 1984)

Giorgio Moroder's certainly had a busy summer and seems to be making an onslaught on the charts from every direction, as writer, producer and performer. With a little vocal help from friends, Beth Anderson (vocals), Giorgio and legendary photographer Brian Aris (hi, Brian) who snapped the sleeve picture, it should be another hit for the ex-Kajagoogoo anagram.

Floy Joy - Until You Come Back To Me (Virgin)

The pastiche Matisse cover of a reclining nude and the Don Was production might make you believe Floy Joy are content to make an art of the inevitable. But appearances are deceptive. The Ward brothers search for soul has hit jackpot with singer Carrol Thompson. Her charming romanticism and the ingenious instrumental backdrop should give Floy Joy the hit they so blatantly deserve. (Max Bell, No 1, October 20, 1984)

Naming yourself after a well-known song undoubtedly puts an act one step ahead in the Awareness Factor Stakes, and that - coupled with the fact that Smash Hits told me they were trendy - encouraged me to play it to three friends. Here's a section of what they thought - Sheena Easton/Diana Ross/A young Lulu. Expect a remake of Spandau Ballet's "I'll Floy For You" any day. (DJ Mike Read, Smash Hits, October 11, 1984)

These sweet and sultry chatterbox hazy rhythms should place the Floy Joys on the chart-mart in next to no time. Don't listen to all those dour journalists revelling in the dark and dowdy exploits of some of pop's more trite-minded merchants . . . throw off those autumn anxieties and loop the loop to this most wunnerful 12 inch release. As a bonus to the torch-like ballad on Side A - we are also blessed with the "Theme From The Age Of Reason" and their debut LPs title cut "Into The Hot". Was Not Wasness at its most animated and uncluttered. One hundred per cent! (Dylan Jones, Record Mirror, October 20, 1984)

Alison Moyet - All Cried Out (CBS)

A lady whose undoubted vocal talent will help her outlast the more short-lived careers of other less gifted artists. My Radio 1 colleague Andy Peebles would rather wrestle with five hundred whirling dervishes than lose his copy of this record. Big hit, natural voice. No cosmetics needed. (DJ Mike Read, Smash Hits, October 11, 1984)

"All Cried Out" is the best of a poor bunch of solo singles. Over a smoothly winding Imagination type backing (Swain and Jolley produce) Alf offers a perfunctory plea of passion that says more about her vocal coach than her state of mind. (Jim Reid, Record Mirror, October 6, 1984)

In no way am I the first to rave about this exquisite voice, nor, I suspect, shall I be the last. But I wouldn't let the voice distract me from the song. "Love Resurrection" was magnificent, perhaps the best song of 1984 ("Two Tribes" just scrapes best single) - and "All Cried Out" follows up that epic with ease. Alison Moyet not only has a great voice, she's also some songwriter. And the best may yet be to come. (Paul Bursche, No 1, October 6, 1984)

Ultravox - Love's Great Adventure (Chrysalis)

Yes, but where's the revolution? Certainly, they play and sing masterfully, but Ultravox have become total industry, and their big band glossiness seems like a shameful concession to all the wrong values. Will they ever revolt? (Morrissey, Smash Hits, October 25, 1984)

"Love's Great Adventure" sees Ultravox finally justifying all the (largely unfair) criticism that's been thrown at them in the past. You know - how ALL their songs sound the same. Well they didn't, but they do now. I'm disappointed in you lads. (Eleanor Levy, Record Mirror, October 13, 1984)

It's not another "Vienna", but nevertheless good - haunting Ultravox keyboards soaring above what sounds like the insidious throbbing of a high-pitched outboard motor and fronted by the powerful voice of Midge Ure. Serious prophecy. In many years' time, Midge will be the British Sinatra - only more hip! The Mills & Boon title "Love's Great Adventure" will help sell a few to Barbara Cartland fans. (Mike Read, Smash Hits, October 11, 1984)