The Icicle Works - All The Daughters (Beggars Banquet)

What fake fur are they flinging at our kids? More poppy brass for the scouse gardeners - sounding more like Scott Walker with Teardrop Explodes than ever. A good earnest performance that nods along at the back - but is far too dated to offer much in the way of newsworthy style. (Dylan Jones, Record Mirror, May 25, 1985)

The Fall - Call For Escape Route (Beggars Banquet)

I'd love to know just how many takes it needed to get Mark E. Smith's lead out of tune. Maybe the guy has a natural talent for it. Similarly, it must have taken hours of valuable studio time to get that tinny guitar sound just so; time that could have been spent writing a decent song. (Dave Ling, No 1, October 27, 1984)

The Mighty Wah! - Weekends (Beggars Banquet)

In which Mr Wylie, to a U2 style rock heroic backing, lists all the interesting places one could go for a weekend - New York, Rio, Russia, Paris, "Or swan on a beach in Sri Lanka - just like Duran Duran!!!" - and bemoans the fact that he always ends up "here" (Liverpool, presumably). He probably means that a dull life is made to seem even more so in comparison with glossy jet-set images in videos and magazines. A million Duran fans will doubtless disagree. (Dave Rimmer, Smash Hits, September 13, 1984)

And so the romantic myth of Pete Wylie, (the maverick poet street fighter armed with guitar in one hand, determination in his guts and acid scouse wit on his tongue) continues. For some that all adds up to one noisy wretch, whereas for others it's inspirational. The raunchy attack of "Weekends" will do little to alter that position; lacking the wider anthem-like appeal of "Come Back" but still delivering venom and intent as only he knows how. (Pedro, Record Mirror, September 15, 1984)

The Associates - Club Country (Beggars Banquet)

Like thousands of others, I remained oblivious to the charms of the Associates until "Party Fears Two". This will no doubt float into the charts in the wake of that song, but it's a less appealing number: dry and a trifle dreary with Mr MacKenzie in relatively restrained form. (Dave Rimmer, Smash Hits, May 13, 1982)

The Go-Betweens - Right Here (Beggars Banquet)

A veritable lemon meringue pie of a record. Light and fluffy, but with a sharp, firm base and solid tune, it borders precariously on the twee side, only just saving itself courtesy of Grant McLennan's nasal passages, his vocals adding a certain sarcastic sneer to the proceedings. The Go-Betweens have never really got above cult status in Britain, and this isn't the one to change that situation, but any song with a lyric like "I know you're 32 but you look 55" deserves a little respect at the very least. (Eleanor Levy, Record Mirror, February 21, 1987)

The Ramones - Bonzo Goes To Bitburg (Beggars Banquet)

Ah, they don't make records like this anymore - unless, of course, "they" are The Ramones who continue to thrash away in their leaky jeans and unhygienic sneakers as if it were still 1976. Perhaps no one bothered to tell them the news that "punk's dead" - and thank goodness for that, because this topical assault on R. Reagan's recent German blunderings reminds one that a song that sounds like it was recorded by road drills in a tub of yoghurt can still be genuinely exciting. I love this for its "blistering-chainsaw" qualities, its dumb attempts at "na-na-na" harmonies, and, most of all, for Joey Ramone's voice which sounds more like a nasty accident in a hamburger factory than ever. Joint Single Of The Fortnight. (Tom Hibbert, Smash Hits, July 3, 1985)

The lovable pin-heads return with some more typical Ramones thrash. Untouched completely by anything that has happened in the world for the past 10 years, the Ramones go their own sweet way re-recording the same song time after time but still sounding fresh and happy. Old friends, dear friends, what a sad and trivial place the world would be without them. (Eleanor Levy, Record Mirror, June 29, 1985)

The Fall - Couldn't Get Ahead (Beggars Banquet)

Psychobilly was a name coined to describe wild and wonderful horror folk the Cramps. This latest from the dear old Fall could fit such a description equally well, although the Manchester band owe far more to the living than the dead. The whole thing bops along jerkily but with a total joy and life that's brilliantly infectious. Wild. (Eleanor Levy, Record Mirror, June 29, 1985)

Mark E. Smith is without doubt the man with the most revolting voice in modern day music. A tuneless dirge with puerile lyrics presumably written on his tube ticket to the studio, "Couldn't Get Ahead" is an utter embarrassment from start to finish. I've always placed pride before a Fall, maybe it's time Mr Smith started doing the same. (Dave Ling, No 1, June 29, 1985)

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)

Freeez - Pop Goes My Love (Beggars Banquet)

After the exhilarating "IOU" this is at first something of a disappointment. Pop has gone their music, their groove and their special effects. But once you've got over this sharp turn about the record reveals a lovely melody - stealing smartly from the Human League's Dare LP. Thinking back to this band's one-hit-wonder status with "Southern Freeez", a couple of years ago, they must have been having kittens about a follow-up to "IOU" but with 'Pop' Freeez should snuggle back (nicely) into the charts. (Paul Simper, No 1, October 1, 1983)

To someone who wore out at least three pairs of pumps dancing to "IOU" this summer, this comes as a bit of a let down. Arthur Baker's usual production job can't make a great record out of a weak song, but it still manages to get the feet popping. (Andy Strickland, Record Mirror, October 1, 1983)

Josh Yarlog takes over: "Katanga, my friends! This is a single in need of a song. All these bloomin' sound effects. Kubindi, it's turned my head into swamp mush."  (Lenny Henry, Smash Hits, September 29, 1983

The Bolshoi - A Way (Beggars Banquet)

In these days of increasing musical mimicry it's pleasing to see a young band attempting to do their own thing, Marquee regulars The Bolshoi are one such a group. Admittedly there's a sprinkling of Simple Minds, U2 and a host of influences fighting to get out, but they don't override what the Bolshoi are trying to get across. An interesting hotchpotch of ideas, but hardly Top Fifty fodder. But with experience and application, who knows? (Dave Ling, No 1, April 26, 1986)

Gary Numan - Sister Surprise (Beggars Banquet)

A hotchpotch of styles sellotaped together by dear old Gazza, whose new Darth Vader look makes him resemble something you get free in a Corn Flakes packet. He starts with disco plus the heavy metal guitars that come with it these days, then adds the usual synth doodlings and his inimitable tuneless yodel. That voice kills every song it touches, and here it whines away aimlessly until you want to strangle the balding spaceman with his own asteroid belt. (Sunie, No 1, October 15, 1983)

A moody synthesised intro is shattered by a driving bass/drum beat. Punctuated by a shrill keyboard chord the song covers familiar Numan ground - with the exception of the jazzy sax solo at the end. A slightly laboured effort. I'd rather see him live any day. (Peter Martin, Smash Hits, October 27, 1983)

The Fall - Cruiser's Creek (Beggars Banquet)

Yet another riff that makes you wonder how the Monkees ever did without it, and reinforces the Fall as just extraordinary (in the humblest sense). Brix lets loose a stinging guitar stutter that, backed with a split splat drum and Mark's sock-in-mouth vocals, remains one of the most exciting, raw sounds around. Great stuff to annoy the neighbours with. The AA side 'LA' should be listened to as well - it's not a B-side. (Andy Strickland, Record Mirror, October 12, 1985)

Perhaps Mark Smith is bored by now with his "Last Angry Young Man" label. Here he delivers his story in an economic pulsator with an excellent guitar twist that you don't want to stop. And it doesn't. Single Of The Fortnight. (Paul King, Smash Hits, October 23, 1985)

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)

Peter Murphy - Final Solution (Beggars Banquet)

This is a cover version of a record by Pere Ubu (a group fronted by an interesting fat man who did some mighty strange squealing and squawking five years ago). Pete Murphy, who left Bauhaus to do embarrassing things like dancing around in sand pits at ‘art happenings’ is now called Peter. Sounding more like David ‘Ziggy Stardust’ Bowie than ever, and making great gnash ‘n’ snarl club records like this. (Sorrel Downer, Smash Hits, November 20, 1985)

Yet another small-minded song, made on a big scale, this is apparently the third and final mix. Still better known for doing tape commercials than he is for his singing, Peter Murphy will remain on the periphery of pop stardom until he learns to stop imitating David Bowie and tries to find his own identity. As it stands, the only thing that could make this sound decent…is distance. (Mike Morris, No 1, December 14, 1985)

Flesh For Lulu - Postcards From Paradise (Beggars Banquet)

Old goths never die, they just end up sounding like the Psychedelic Furs. Commercial enough, and there's half a song there, but I snoozed all the way through it. I prefer the real Richard Butler, thank you very much. (Nancy Culp, Record Mirror, August 8, 1987)

Claire Hamill - 24 Hours From Tulsa (Beggars Banquet)

Powerful treatment of the old Gene Pitney warhorse by a lady who seems to have nearly but not quite made it ever since I started listening to music. Maybe I'm just sentimental but I'd love it to be a hit. (Deborah Steels, Smash Hits, April 28, 1983)