Eighth Wonder - When The Phone Stops Ringing (CBS)

I can't believe that Eighth Wonder have had a number one in Italy. Are all Italians mad? Or are they just deaf? Anyway, singer Patsy Kensit warbles an instantly forgettable tune as though she's holding a lolly in one hand and her teddy in the other and there are yet more puff pastries "tra-la-laaing" in the background. And, why, you ask yourself, does she pretend she hangs out in downtown New York and use American slang like "Momma" when she really comes from Surrey? This girl's a bit of a fraud and no mistake. (Lola Borg, Smash Hits, October 7, 1987)

Paul Young - Everything Must Change (CBS)

A slow and stately self-penned ballad that's more like "Wherever I Lay My Hat" than anything else Paul has done. Takes its time to sink in, as good ballads often do. Should do the business. (Dave Rimmer, Smash Hits, November 22, 1984)

After the post-Frankie heavy metal soul of "Playhouse", Paul veers towards country on his first self-written release since the hits started coming. The country-style guitar freshens up his familiar bass 'n' synth sound, and the song's pretty creditable too. It gives away his '70s rock origins, but then he's never been at great pains to disguise those. I look forward to seeing him clutching his mikestand on TOTP as soon as poss - that much won't change. (Sunie, No1, November 24, 1984)

Freur - Matters Of The Heart (CBS)

If your name looks like a worm and is pronounced like the sound of someone being a little unwell ("freur"), you should have no chance, but this is a suede-skinned, juicy peach of a record. A blissfully romantic song, graced by an arresting vocal and an arrangement that hugs like loving arms at a windy bus-stop. The best electro-ballad since "Vienna". (Mark Steels, Smash Hits, June 9, 1983)

Those silly sods from Splottland are back. once more the sub-Sylvian drone erodes my little brain cells. (Robin Smith, Record Mirror, June 18, 1983)

Adam And The Ants - Goody Two Shoes (CBS)

Mr Ant goes rockabilly, suggests we wear a little make-up, exhorts us not to smoke and drink, namechecks soul maestro Al Green for some reason, and - frankly - bores the highwayman's breeches off me. Dull. (Dave Rimmer, Smash Hits, May 13, 1982)

King - Soul On My Boots (CBS)

This is really nice, the bass player's good. It could be a hit and they've got quite a good image. The old long hair's coming back, like mine, and it's important to have a good image without being too fabricated. The only thing is, they shouldn't wear Doctor Martens. I've never had a pair of them. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

Psychedelic Furs - Angels Don't Cry (CBS)

A steady diet of filterless cigarettes is probably the cause of Richard Butler's gravel-pit groans, here interspersed with the sax lines that were so successful on "Heaven". Nowhere near as vibrant as "Pretty In Pink" this is strictly for US audiences crying out for a pit of pretension in rock instead of the home-grown capsleeves, denims and cowboy boots. (Frank Gillespie, No 1, January 17, 1987)

A fairly pensive ditty from the band now elevated to a much deserved level of stardom, courtesy of "Pretty In Pink". Difficult to elaborate really. Not one of the Furs' finest moments, and Richard Butler still sounds like his throat is locked in combat with a spoonful of gravel. Oh for another "Love My Way". (Lesley O'Toole, Record Mirror, January 10, 1987)

King - Taste Of Your Tears (CBS)

The first three times I heard this piece of jangly '60s "la la la" wimpery, I had to check the sleeve to remind myself who the group was - it's that unmemorable. I think it's meant to be the song people wave their fraying "Paul King's a really hunky geezer" scarves around to at concerts, but quite frankly it would be more at home backing a jolly cornflake commercial. And yet this is the same group who were responsible for the magnificent "Love And Pride"! It's all very rum. (Vici MacDonald, Smash Hits, October 9, 1985)

Dee C Lee - Selina Wow Wow (CBS)

Who's this? ... Oh, the girl from Wham! That's .. . alright. It stays on the same level, there's no light and shade .. it doesn't seem to quite take off. It's a very powerful chorus but it isn't very pretty, it doesn't swing. Could be a continental hit but I don't think it's what the UK wants to hear. Best of luck with it, though! (Phil Fearon, Record Mirror, March 3, 1984)

This lady was apparently booted out of Wham! but it obviously hasn't affected her talent and confidence. I love the chorus and verse, and I also love the middle. In fact, I love it all. May be a hit. (Limahl, Smash Hits, February 16, 1984)

Just like Carol Kenyon, Dee C. Lee is undoubtedly a great singer, but she stands a little lost
in the limelight. The self-penned "Selina Wow Wow" is an affectionate tribute to her sexy sister - a harmless, un-frantic exercise in funk. Dee C. Lee has a lovely voice and a vivacious personality. All she needs is some better material. (Maureen Rice, No 1, March 3, 1984)

Paul Young - Every Time You Go Away (CBS)

The introduction sounds like the theme to Eastenders. Very meaningful lyrics and a nice melody. Paul's obvious ability is in singing ballads (this was originally by Hall & Oates) and this is another classic example. (Marshall O'Leary, Smash Hits, March 14, 1985)

This has got to go down as my favourite. Paul Young has got to be the best British white male singer. This has got everything; a great song, powerful production and he's a talented performer. I'm so glad to hear Paul's having singing lessons for his breath control after his vocal problems last year because he has a marvellous voice and I, for one, would be sad not to hear it again. This record got me on the first listening. Single Of The Week. (Hazell Dean, Record Mirror, March 2, 1985)

Deacon Blue - Loaded (CBS)

On first hearing, this sounds like another miserable Scottish group (of which there are many) singing a miserable song and sounding like they've just lost a week's wages. It even has a miserable cover. After a few spins, however, it reveals itself to be sensitive, delicate, very miserable and yet perversely charming. (Lola Borg, Smash Hits, July 1, 1987)

Bonnie Tyler - Here She Comes (CBS)

The new Giorgio Moroder-ised version of Metropolis has attracted some well dodgy geezers and boilers ... and why he wants to go and ruin such a great film by accompanying it with such dross as this - who knows? On the heels of the camp-fire favourite Freddie Mercury with his "Love Kills" opus, comes the Welsh wench of mammoth proportions ploughing her way through another track from the movie. Fritz Lang is currently turning in his grave. (Dylan Jones, Record Mirror, October 20, 1984)

Taken from the soundtrack to Metropolis, this could well be Bonnie's biggest hit since she made No.1 with "Total Eclipse Of The Heart". Slower than "Eclipse", it drifts along aimlessly on waves of melodic synthesisers . Besides helping out with Electric Dreams, Giorgio Moroder wrote this song, produced it and presumably contributed the keyboards. This time next year he should be a rich man. (Dave Ling, No 1, October 27, 1984)

Alison Moyet - That Ole Devil Called Love (CBS)

A smoochy number. One to play while you're with your loved one. I don't think it will be as big a success as its three predecessors but Alison does have a large following, enough to make it into the Top 30. Not one of my favourites, though. (Marshall O'Leary, Smash Hits, March 14, 1985)

The lights dim, an expectant hush descends upon a select audience, a piano tinkles, a trumpet softly blows and a voice that's blue and deep starts singing a Billie Holliday classic from the 30s. Alf has taken a break from the usual repertoire of pop-soul for young marrieds to sing something that's a bit more challenging. And she sounds a lot like Cleo Laine. Whether it's a calculated effort to broaden her appeal or a reflection of Alison's avowed love of the blues and jazz, I don't know. It'll be massive, whatever. (Adrian Tierney-Jones, No 1, March 9, 1985)

King - Won't You Hold My Hand Now (CBS)

An obvious follow-up this. I reviewed 'Hold My Hand' first time round and although it's been fiddled with a bit it still sounds the best King single yet let out of The Tower. More raunchy than "Love And Pride", the boys use both their boots and guitars to kick ass. Of course I knew they were going to make it all along... (Paul Simper, No 1, March 16, 1985)

Though they've yet to produce a classic 45, the boys from Coventry have certainly tried their hand at just about every musical style in the book. "Love & Pride" was a ska-based Gary Glitter/Jobriath gallop, "Soul On My Boots" was Culture Club on amphetamine ... and this here disc is like a mutant Shadows gone haywire. However thin and lifeless King may appear, you can't get the damn tunes out of your head. (Dylan Jones, Record Mirror, October 20, 1984)

Ah ha - a hot property! King have finally got the success they believed themselves worthy of and Paul's become a sex symbol. Swoon! As for this, it's more forceful than "Love And Pride" - stronger where that seemed to have great gaps in the mix, more controlled, less boppy and very very professional. Re-mixed to squeaky clean perfection. I'm going to stick my neck out here... I think it might be a hit. (Eleanor Levy, Record Mirror, March 16, 1985)

It's catchy but I think the instruments drown his voice too much. Probably a hit but not as big as "Love And Pride". I do like this group and the song is good but the chorus is very boring. (Marshall O'Leary, Smash Hits, March 14, 1985)

Spandau Ballet - Through The Barricades (CBS)

After the initial rocking rowdiness of "Fight For Ourselves" the Spands have toned down a notch or two and produced a cool, calculatingly dreamy ballad. Here Tone's distinctive vocals tremble seductively as he finally gets to sing the type of irritating song mums and aunties will be turning the radio up for. In the background there's a smooth, sexy wailing sax, in the foreground, an alluringly gently-strummed guitar, both of which compliment big Tone's big voice a treat. Unadventurous but highly polished, this is very much a classic Spands release - a safe and a sure-fire hit. Just watch this glide effortlessly into the Top 40. (Anna Martin, No 1, November 1, 1986)

Here come Spandau Ballet sounding about as "profound" as Nick Berry and dressed with about as much style as Wicksey. And what a preposterous name for a song - even The Banned's Harry "Trotsky", who uses phrases like "selling out to the establishment", would hesitate before calling a song "Through The Barricades". What has happened to Spandau Ballet? I can remember when they used to make brilliant records like "Chant No. I ", wear dead smart gear and say things like: 'We want this band to be the most contemporary statement possible.' This is all about the troubles in Northern Ireland with references to being 'born on different sides of life' (Protestant and Catholic?) and 'making love on wasteland' all tinged with a vaguely Gaelic, acoustic feel. I'm sure it's all very sincere and significant - I just can't stand it. (Simon Mills, Smash Hits, October 22, 1986)

Billy Joel - Uptown Girl (CBS)

As a songwriter Billy Joel is sometimes looked on a touch disdainfully for his late-night smoochers. But with the respect now granted fellow-Americans Hall & Oates and the evident fascination of Spandau's Gary Kemp with this soulful American pop, perhaps he ain't such a bad guy after all. That said this is truly abysmal. (Paul Simper, No 1, October 1, 1983)

King - Love & Pride (CBS)

This lot were once briefly touted by the inkier side of the pop press as the next new something or other. They don't look or sound like it on the strength of this single. Judging by the cover, their image is based on Wayne from Auf Wiedersehen Pet, and the music's more or less like Fashion's - modern and anonymous. (Sunie, No 1, April 21, 1984)

I don't know much about this band but I find the tune very instant. After a few plays I flip over to find that the B-side has a rough edge the A-side doesn't. I'm afraid "Don't Stop" turns me on and "Love & Pride" doesn't. (Dave Gahan, Smash Hits, April 26, 1984)

The Bangles - Walk Like An Egyptian (CBS)

Actually we reviewed this single in the last issue of Smash Hits and it got a bit of a "thumbs down". However, an error of monstrous proportions had taken place. The reviewer was listening to the wrong side of the record which isn't very good at all and so rightfully received a drubbing. The A side is really much, much better. Brilliant in fact. Probably the best song that The Bangles have ever done. It's a sublimely addictive piece of nonsense verse that jumps about all over the shop with this sort of imitation Middle Eastern melody. One takes "Walk Like An Egyptian" to be a reference to the ancient heiroglyphics on the pyramids in which blokes are pictured with their heads and hands at funny angles. Honorary Second Single Of The Fortnight. (William Shaw, Smash Hits, September 24, 1986)

Let's look at the cover of this one. Poor old Susanna still hasn't found a blouse and the others (whatever their names are) haven't found a comb/decent dress designer/shower (delete where applicable). For me the Bangles are the non-event of the century and this record smacks of gimmickry. Which came first, the record or the marketing campaign? 2/5 (Pat Thomas, No 1, September 6, 1986)

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)

Alison Moyet - Is This Love? (CBS)

Alison Moyet's been biding her time lately in L.A. (man), recording new material but really this is nothing to bring you or her out in a sweat. "Is This Love?" is tunesome alright but hardly enough for her to wrap her tonsils around. This woman is worthy of far greater things than this. (Ro Newton, Smash Hits, November 19, 1986)

Eighth Wonder - Stay With Me (CBS)

Don't get me wrong, I'm all in favour of pretty girls flaunting it a bit. Silly boys with more money than sense will always fall for this kind of thing. However, the bottom line is that the much hyped, long-awaited product sounds horrifically like a Compact Records reject. And I'm telling you people, that is so bad as to be unimaginable. Unsubtle, unforgiveable hard-sell of a pair of big blue eyes. Does this girl have no shame? She certainly has no talent. (Nancy Culp, Record Mirror, October 26, 1985)

Here's another lot who've been "hyped" for all the wrong reasons; namely, that their lead singer is a "curvaceous lovely" who once pretended to be a pea pod. The fact that she can't sing for toffee and her group's record is squeaky bubble-gum trash which would drive you completely bonkers if you were forced to listen to it more than once doesn't seem to bother anybody. Such is the way of the world... (Vici MacDonald, Smash Hits, October 9, 1985)