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)

Samantha Fox - I Surrender (To The Spirit Of The Night) (Jive)

T: Apart from the bloke they shoved in at the end to do harmonies this is actually quite good. Can I keep it?
A: Sounds like a hit to me. Very good, her voice seems to have improved a lot recently. She could become quite famous, and if she does, I might let her be my friend.
J: She's starting to sound like Kim Wilde, isn't she? This is really good. If they'd put some medley guitars in with the backing I think it would be brilliant. (All About Eve, Record Mirror, July 18, 1987)

Sam Fox's achievement, if you can call it anything so grand, is to have become the first Brit to crack the formula for producing totally drossy Euro synth pop. This is about on a par with a Europe record i.e. it's nauseating and utterly daft. A gormless charmless sound from a big galoot. Will it be a hit? Do bears poop in the woods? (Max Bell, No 1, July 18, 1987)

Sam Fox has got this pop lark off to a fine art. However brainless the press may attempt to portray her, there's no denying she knows a good tune when she hears one. This, like all her other songs, sounds instantly familiar after the first spin and actually turns out to be a loosely disguised version of the 1978 disco classic "Let's All Chant" by the Michael Zager Band. Still, it's been Sam Fox-ed up with thundering drums, growling guitar solos and plenty of woh-oh-ohs. "I Surrender" sounds like a huge hit and just goes to prove that nothing, short of a nuclear war, is going to stop her now. (Ro Newton, Smash Hits, July 29, 1987)

Madonna - Who's That Girl (Sire)

Madonna has decided not to put that flouncy flamenco dress back into the wardrobe, because here she floats and trills along to what is little more than "La Isla Bonita" Part Two. Although it doesn't tug at the heartstrings in quite the same delightful fashion as Part One, it is full of soft and incomprehensible Spanish mumblings and electronic calypso twiddles, which will have the Ibizan holiday brigade rushing for the bottles of Ambre Solaire and Vino Collapso as soon as the needle hits the groove. The really bizarre puzzler is that if anyone else had the audacity to release not just one. but two soppy Spanish holiday songs in quick succession, they would be treated to universal scorn. But Madonna is regarded as a Goddess-like being, incapable of mistakes. Which seems terribly unfair really, doesn't it? (Lola Borg, Smash Hits, July 1, 1987)

T: Very much a holiday record. If this wasn't Madonna it wouldn't do anything. I don't think she tries as hard any more.
A: I don't think she needs to, but you're right, it is very monotonous. I quite liked the last one, but I would not buy this.
J: Sounds like her last one remixed. The thing is though, I liked "La Isla Bonita" but I don't think this is exactly going to light any fires. (All About Eve, Record Mirror, July 18, 1987)

Who's that girl? As if we didn't already know. Madonna's fourth single of 1987 is the soundtrack title from her latest film and the sound that will accompany many expectant feet as they hop Wembley and Birmingwards this August. Madonna singles are so effortlessly accomplished these days it's easy to take them for granted. Madonna may also be taking her own talent the same way. This is three parts 'La Isla Bonita', one part Scritti Politti and only one part new inspiration - the exquisite chorus. The Spanish flavour is OK, if a trifle samey, but the breathless pace of the rest is fairly standard. No doubt it will grow on me when it's at Number One the week after next. That's the kind of predictability this girl likes. (Max Bell, No 1, July 18, 1987)