Black - Wonderful Life (A&M)

Aaaaaah (satisfied sigh). This is a wonderful record - sentimental without being slushy, and the most enjoyable song to whistle along to this fortnight. In fact Black have released quite a few wonderful records, it's just that until "Sweetest Smile", none of them were hits. This is a re-release of one of those earlier songs, and it's possibly even more poignant and swoonful than "Sweetest Smile" (though the one before that, the Bowie-esque "Everything's Coming Up Roses" was even better). It's heartening to see someone who a) isn't particularly handsome, b) has a spook-name (i.e. Colin Vearncombe), c) has no discernible "image" and d) writes slightly odd lyrics, get into the charts purely on the strength of their music, which in this case is very strong indeed. (Vici McDonald, Smash Hits, August 12, 1987)

Carol Kenyon - Warrior Woman (A&M)

At first it sounds like a Eurythmics rip-off session. I wish her all the luck in the world, she's a good singer, and I'd be interested to hear more of her material. She's trying to fit into as many bags as possible here, an interesting record but a bit disjointed. There's a lot of inventiveness in there, but she definitely needs a good backing group behind her. (Stewart Copeland, Record Mirror, January 28, 1984)

Carol Kenyon's blitzkrieg on Heaven 17's "Temptation" turned her into a star-in-waiting. By the sound of it, she's missed the bus. Andy Hill is a skillful producer for Bucks Fizz, but in his attempts to ape Trevor Horn he's made some pretty unlistenable records of late. "Warrior Woman" takes that to an extreme: quite simply, it's a dreadful racket. The fact that this "Warrior Woman" drivel was written by Carol Kenyon herself hardly promises better things in future either. Back to the session work. Estimated chart placing: 60. (Phil McNeill, No1, January 28, 1984)

Black - Sweetest Smile (A&M)

Isn't that Prince's favourite colour? Or was that last week? Either way, this is delicious. Really moody and dramatic, from the latest band to emerge from Liverpool. File under classics. (David Martin, No1, July 4, 1987)

Black - Paradise (A&M)

Considering this is meant to be a song all about paradise, Mr Colin Vearncombe doesn't sound to be having a very good time at all. Mostly he "woah oh woah oh's" in a rather unenthusiastic manner to a not terribly jolly "beat" that's very similar to "Wonderful Life" and "Sweetest Smile". Perhaps he was suffering from a nasty bout of bellyache when he recorded it. Or perhaps he's just a bit of a sad soul... (Sue Dando, Smash Hits, December 30, 1987)

As with all of Black's slower songs, the percussion track immediately grabs your attention. As long as he steers clear of James Hamilton disco territory, he can't really fail. (Lawrence Donegan, Record Mirror, January 9, 1988)

Great Lines: 'Life should never feel small', sings Colin. And he is correct.

The Lucy Show - Undone (A&M)

Guitars nip and chatter while a singer with the sleepy drawl of a British Jack Nicholson gets all sardonic about hanging out on the corner with his stinky friends. Not much of a song tune-wise, but the sound is dashingly gloomy. You can dance to it, you can call it "art" if you so wish - either way it's shimmeringly cool. Single Of The Fortnight. (Tom Hibbert, Smash Hits, November 6, 1985)

Suzanne Vega - Tom's Diner (A&M)

Hmm, not sure if it's a good idea to promote an artist by putting out acapella songs about cafes on 112th Street and Broadway in Britain just yet. If you like Vega, and I do in measured doses, then you'll be able to pretend to enjoy this without dying of terminal embarrassment but otherwise it defines twee in naked single format. While we're on the subject of new folk, and we're not, Jennifer Warnes' version of Leonard Cohen's 'First We Take Manhattan' (reviewed last week) is tremendous, as Mike Gatting would say. By comparison this is like doing the quick crossword in the Evening Standard. Not very stimulating. (Max Bell, No 1, July 18, 1987)

T: I can't believe she's released this, I mean it's such an odd choice.
A: Yeah, I agree, I like Suzanne Vega but this one doesn't do her a lot of favours.
J: What is she playing at? Halfway through I thought nothing was going to happen - and I was right!
(All About Eve, Record Mirror, July 18, 1987)

Immaculate Fools - Nothing Means Nothing (A&M)

Undoubtedly the most brilliant title since Depeche Mode's "People Are People". And the record's no disappointment. Unoriginal, silly and really rather boring. Actually it reminds me a bit of The Psychedelic Furs, which is a good link into the next one .. (Paul Simper, No 1, October 13, 1984)

Joe Jackson - Cosmopolitan (A&M)

Joe's Night And Day was one of the revelations of last year, a pure distillation of black and white sophistication. This, the theme from the up-and-coming Mike's Murder movie, continues to explore Joe's fascination with wee small hours pop jazz. Jackson makes the most of his vocal strengths and leaves plenty of space for his fine group to toughen up the rhythm. Bound to break through in America again where Joe is now a celebrity. (Max Bell, No 1, August 13, 1983)

Much as I admire Joe's technique, craftsmanship and piano playing, I rarely like his records. Somehow they seem smugly cynical and this is no exception, with his voice too mid-Atlantic and the arrangement too contrived for success. (Johnny Black, Smash Hits, August 18, 1983)

Captain Sensible - Come On Down (A&M)

In which our hero risks life and limb and dares attack those great British National Heroes, the TV quizmasters. A nation swoons and shouts 'shame' at the Captain who with a punk-like thrash pours scorn on those TV show Hitlers who offer 'a year's supply of Spam ' or a 'fluffy kangaroo' for witless participants. For his next record, the Captain will expose the evil men who make cats tap-dance in concrete booties. (Adrian Tierney-Jones, No 1, November 16, 1985)

"Win a holiday for two/or a fluffy kangaroo/Genuine vinyl three piece suite/ It will make your life complete. . ." Yes, Sensible is having a sneer at The Price Is Right and similar gruesome game shows, but he's so jolly and chirpy and inoffensive about it all that Derek Batey, Leslie Crowther and all those other masters of audience humiliation are left without a stain on their characters. In a couple of years, the "very lovely" Maggie Moone will probably be singing this jaunty cockney trot-along to the contestants on Name That Tune. (Tom Hibbert, Smash Hits, November 6, 1985)

Annabel Lamb - Riders On The Storm (A&M)

It takes some nerve to try to tackle The Doors' classic tale of murderous isolation, but Annabel Lamb manages to do the song justice. Ray Manzarek, The Doors' original keyboard player, helps out to give the song its authentic melody. The Lamb girl singer, who looks like a replicant, can't be far away from success anymore. Memorably chilling. (Max Bell, No 1, August 13, 1983)

Surprisingly, the metronomic dancebeat actually enhances this neatly understated, perfectly '80s update of a Doors classic. Much better than I would have expected, it apparently features Doors' keyboardist Ray Manzarek who has subtly altered his original contribution to suit this version. (Johnny Black, Smash Hits, August 18, 1983)

Immaculate Fools - Never Give Less Than Everything (A&M)

It's very David Bowie, very, who was it?... I've got brain death here ... "Heartbeat" ... ah, The Psychedelic Furs! I like the song, I like the idea of never giving less than everything and I like the cover. The Immaculate Fools haven't had a big hit yet have they? They really deserve to with this, but it probably won't be the way things run. I love this, it gets better as it goes on. Easily the best single. (Johnny Logan, No 1, May 30, 1987)

Birch And Hallam - What You Say (A&M)

Two lads that sound like a firm of lawyers, by name, if not by music. Perhaps they should get a third cohort, one with a name like Jones. Then they could sound like estate agents. Birch, Hallam and Jones. The tune itself has the kind of synth line OMD once aspired to and a breathless vocal that is a little too breathless for its own good. File under 'Eager To Please'. (Mark Cooper, No 1, June 11, 1983)

Oh gawd, not another pretty duo I groan. But wait, this is different. While some of the others have limp wrists B & H have a firm handshake leading you through particularly effervescent themes and stark lyrics. Impressive debut. Buy it. (Robin Smith, Record Mirror, June 18, 1983)

Chris De Burgh - Fatal Hesitation (A&M)

Taken from the mega selling Into The Light album, mega-boring Chris De 'Euro' Burgh returns with a tune much in the same (sleep-inducing) vein as "Lady In Red". It's another lament to a loved one. 'I'm a lonely romeo standing in the rain' warbles Chris. With tunes like this no wonder he's lonely. (Andrew Panos, No 1, September 27, 1986)

Big Heat - Watch Me Catch Fire (A&M)

The "Sexual Healing" drumbox pre-empts a rather disappointing track, of which the most outstanding feature is Elvis Costello (who produced it) doing backing vocals. It's soul music, I suppose. Soul music by design though, not by feel. Do I like soul music? I like good music - Talking Heads, The Specials, The Blue Nile. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Unfortunate Timing: The Bradford City stadium fire on May 11, 1985, which killed 56 people, led to several singles mentioning 'fire' in the title being withdrawn from radio airplay.

Jim Diamond - Desire (A&M)

Who are these people that go out and buy Jim Diamond records by the trunk load? 'Cos I know what I'll do if I ever come across one. . . sorry, got a bit carried away there. . . it's having to listen to this gut-wrenching piece of plastic, heavily disguised as the latest gem from heart-throb Jim. What a stunner! What a desirable item to grace any record collection! What utter piffle! 1/5 (Anna Martin, No 1, May 10, 1986)

Chas Jankel - Glad To Know You (A&M)

A round of applause for Chas. He's number one in the American disco charts . . . and deservedly so. Chas might not have the most powerful larynx but he more than compensates with fiendishly tight dance rhythms and salty words courtesy of Ian Dury. (Ian Birch, Smash Hits, April 15, 1982)

Sting - Fortress Around Your Heart (A&M)

Considered opinion round these parts has it that Sting is something of a genius, and he certainly shows an intelligence that's rare these days. Taken from his solo album The Dream Of The Blue Turtles - which hasn't a dud track on it - "Fortress . . " proves once again that he's the master of melody and restraint. Class and charm - what more could you ask? (Karen Swayne, No 1, October 19, 1985)

An old turtle whose recent solitary wanderings have been jazzed down by 'musicianly' desires and grave lyrics. This out-take from the album is no exception. It's one of those songs with a surprise chorus that jumps on your back when you least want it to. For what doth it profit a man if he gains his dignity, but loses that magical touch? Many Yankee dollars, by the look of the US charts. (Roger Morton, Record Mirror, October 19, 1985)

Philip Jap - Save Us (A&M)

In which Jap half-heartedly tries to be Bowie and Producer Trevor Horn (Any relation, Dave? - Ed.) proves that even he can make mistakes. (Dave Rimmer, Smash Hits, May 13, 1982)

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)

Immaculate Fools - Hearts Of Fortune (A&M)

I saw the Fools on tour not so long ago, so I know they've got better material than this. The words are great - all medieval and poetic - but after having spent a hard morning working on the words, the lads took a lunch break. And never came back. (Paul Bursche, No 1, June 1, 1985)