Diana Ross - Shockwaves (EMI)

It's rather difficult to imagine that some 20 years ago Diana Ross (with The Supremes) was making some of the most fearsomely dazzling ditties the world has ever cocked an ear to. Sadly, her recent stuff hasn't been much cop and while this does have a thumping beat, a saxophone solo and Di sounding like she's just run up two flights of stairs, it still sounds a bit jaded and will no doubt end up being used in a "wacky" TV commercial for the hair gel of the same name. Oh dear. (Lola Borg, Smash Hits, October 7, 1987)

Arcadia - The Promise (EMI)

Despite exceedingly danceworthy rhythm guitar and extra vocal bits by Sting, this isn't as exciting as "Election Day" and can at first sound a little drab. But it grows on you, believe me. And grows and grows. P.S. There may be a 12", although we didn't get one. This 12" may contain the version with an utterly corking keyboard solo by Herbie Hancock. I hope it does. (Dave Rimmer, Smash Hits, January 15, 1986)

Come on, admit it. . . by the time you'd seen/heard "Election Day" for the tenth time on the video jukebox, you'd, begrudgingly at first, grown quite accustomed to the first and long-awaited sampler from the Taylor/Rhodes/Le Bon collective. Well, in that case, you'll be pleased to discover that "The Promise" goes one better. Maintaining a more pleasurably seductive mood throughout, Simon indulges in aesthetic extravagance and somehow manages to stifle the urge to wail with impromptu vigour. As expected, the goods are immaculately packaged - for maximum enjoyment on consumption. A promising endeavour! Duran Duran take heed. (Anna Martin, No 1, January 18, 1986)

Hot from the desert that is So Red The Nose, it starts with what sounds alarmingly like a Thin Lizzy riff. Simon groans manfully, the bass boings sleepily into action before our Si launches himself into vocals that are truly painful to hearken unto. A predictable review for a predictable record. This is obviously what Duran Duran do in their sleep, so I pity their good lady wives. (Nancy Culp, Record Mirror, January 18, 1986)

Talk Talk - Life's What You Make It (EMI)

And here it is. . . the surprise bundle in this week's box of tricks. Talk Talk are one of those mystifying bands that revel in glorious success throughout Europe but fail to make any mark in the UK charts. Dismissed by many and ridiculed by others, TT sustain an unfathomed quality all of their own - one that requires further investigation. After an 18-month absence, "Life's What You Make It" offers a rare glimpse at the possibilities. Hopeful. (Anna Martin, No 1, January 18, 1986)

Reluctantly placed in the latter category simply because these young men don't seem to get off the starting blocks in this part of the world. A slow and smouldering song that grew on me after a while. I've a feeling I could take to it a bit more, minus the angst ridden vocals. A bit too laid back for Radio One, I trow. And what they say, still goes unfortunately. (Nancy Culp, Record Mirror, January 18, 1986)

Talk Talk - My Foolish Friend (EMI)

Oh, the pain of being a member of Talk Talk! The starched shirts, the meaningful expressions, the dry ice, the anguish, the adenoids, not to mention the snide reviews! (David Hepworth, Smash Hits, March 17, 1983)

Suze De Marchi - Young Hearts (EMI)

A pretty face and an average-sounding single are in evidence. The looks belong to 21-year-old platinum blonde Suze, who hails from deepest Western Australia. The song on the other hand, hasn't got as much going for it, as it sounds alarmingly like a Pat Benatar or Laura Brannigan, for that matter, cast off. Thankfully, it's all over before you know it. (Anna Martin, No 1, May 14, 1986)

Suze De Marchi - Big Wednesday (EMI)

This girl's got a voice, and she's sickeningly beautiful too. Her debut single a while back was a good 'un, but didn't catch on. Perhaps this one will. Suze is Australian and her song hops along like a bunch of roos in the bush. It's a happy, summer sound written by Suze and Simon Climie - and he was co-writer of the George and Aretha monster smash - nice one possums! (Debbi Voller, No 1, July 25, 1987)

Kajagoogoo - The Lion's Mouth (EMI)

Well well well, what do we have here? It's my old mates the "Chappypoopoos". I suppose I could slag it off 'cause they gave me the boot or, on the other hand, I could be really nice just in case they review my next single. However, I've decided to be purely and simply honest: I bumped into Nick [Beggs] at the record company offices just before Xmas and he played it to me then. I left the building humming the chorus and generally reminiscing. Good luck, guys. Single Of The Fortnight. (Limahl, Smash Hits, February 16, 1984)

Holger Czukay - Cool In The Pool (EMI)

Starts off pretty, then gradually descends into out-and-out weirdness, but in utterly winning style. It's like watching the Eurovision Song Contest being stealthily taken over by little green men from outer space! Wonky and wonderful. (Sunie, No 1, August 6, 1983)

Talking Heads - Slippery People (EMI)

David Byrne's got bigger and better suits than Yohji Yamamoto, but never mind the width - what about the quality? Well, the Heam,' musical accomplishments continue ,) surpass even their sartorial achievements, and this two-headed blast of pure dance-floor intelligentzia is living proof of that. Since their first LP in 1977, they've been a constant source of mature moods and homely madness, never ever missing a single beat. Lifted from their forthcoming celluloid venture Stop Making Sense (filmed on their last tour), the sound quality is beyond excellence, whilst the puns are pure fun: get ahead - get a Talking Head. (Dylan Jones, Record Mirror, October 20, 1984)

More live meandering from David Byrne and a cast of thousands. Typically Headsy without expunging the memory of their late '70s peak, 'Slippery People' jerks along on Fenders, funk and Steve Scale's subtle percussion. The Squawking Teds pioneered this style so long ago it now fails to sound new. Very average. (Max Bell, No 1, October 20, 1984)

Queen - Hammer To Fall (EMI)

The fourth single to be taken from The Works. Just who are Queen trying to kid? I saw them play a stunning concert at Wembley recently but I remember writing "tuneless dirge" in my notebook alongside "Hammer To Fall". Why should I change my mind now? (Dave Ling, No 1, September 15, 1984)

There's something decidedly suspect about grown men poncing around in frocks and false boobs, and Queen are certainly old enough to know better. That they get away with these sort of antics says something for the loyalty of their fans, but this mess of a song will test the dedication of even those misguided souls. An overblown, melodramatic piece of nothing. (Karen Swayne, No 1, September 22, 1984)

When people start referring to their musical output as 'product' - as Freddie Mercury did on Radio l's Saturday Live the other day - it's a sure sign that the tinkle of cash registers has become more important than artistic integrity. This time it's Brian May's turn to put a bit of money in the bank and, although his song's about as modern as his stage outfits (i.e. prehistoric), it's bound to be a monster hit. How depressing. (Vici MacDonald, Smash Hits, September 27, 1984)

Gang Of Four - Is It Love (EMI)

There's only two left of the original gang of post-punk revolutionaries. And a smoother, tingling dance sound has replaced their taut, roughed-up funk-rock. This explores the love maze with an intensity that makes most of this week's singles sound pale. Ethereal girls' vocals are set against a reluctant admission that's all the more affecting. Although The Gang Of Four are famous for their theorising and political awareness, they hit at the heart. (Lynn Hanna, No 1, August 20, 1983)

Cliff Richard - Never Say Die (EMI)

Cliff gets funky shock! Here he suffers a setback, picks himself up, gets down on the disco floor and delivers a quick sermon on surviving. Cliff's such a trooper that this doesn't sound half as strange as it should. But then when you look like that at his age perhaps you can be said to know your subject. (Lynn Hanna, No 1, August 20, 1983)

Marillion - Punch And Judy (EMI)

This group hail from the same part of the country as the Kajas but their music is totally different. They'll be looking for their first hit but, to my ears, I don't think they'll get it with this one. It sounds a little dated to me. They apparently have a large loyal following so, if nothing else, it will please them. (Limahl, Smash Hits, February 16, 1984)

You've got to admire Marillion. Some bands nick chord sequences, others pinch songs. Marillion, they've nicked a whole group - Genesis. Here they rifle through the 1974 back catalogue, filching bits from every song on The Lamb Lies Down On Broadway LP. Six foot nine inch Duranie Fish stumbles about yelling "punch punch punch"as if he was Terry Lawless on a Frank Bruno training session. Undoubtedly the Heavy Medieval record of the week.(Frank Hopkinson, No 1, February 4, 1984)

Thomas Dolby - Airwaves (EMI)

Runner-up of the week - a strong, atmospheric performance of a catchy ballad with arresting imagery but a curious choice as a single given the odd subject matter. Excellent 'B' side too - a powerful near-instrumental about a plane crash ["The Wreck Of The Fairchild"]. Mark this man down as a star of the future. (Red Starr, Smash Hits, February 11, 1982)

The Farmer's Boys - Phew Wow! (EMI)

Any song that contains the immortal lines 'Don't worry, stop thinking. Let's go and do some drinking' is worthy of the highest praise. When that same song is bristling with pop harmonies, dead '60s guitar and a lyric that observes a bunch of lads talking down a pal who's been ditched it's doubly rare. Obviously a hit. But why don't The Farmers Boys sisters get themselves a group called the Norfolk Broads? (Max Bell, No 1, October 20, 1984)

Chris Sievey - Camouflage (EMI)

Mr Sievey was responsible for the greatest single title of the last five years, namely "I'm In Love With The Girl From The Manchester Virgin Megastore Check-Out Desk". Now the old trickster is resorting to records that play computer games on video screens. Unfortunately he spent so much money on the game that he had to record the single in his garden shack. One for lovers of new technology everywhere. Now where did I put that electric bookmarker. . .? (Mark Cooper, No 1, June 11, 1983)

Limahl - Only For Love (EMI)

Bearing Kajagoogoo's past efforts in mind, I honestly expected to loathe Limahl's debut solo single. And now that I've heard it I'm compelled to issue this warning - it's good! Simple, perfectly produced pop, you can really dance to this one and it's streets ahead of anything the Kajjers have brought out. Music and words by Limahl - he's not just a pretty face either. And with Carol Kenyon of Heaven 17 fame on backing vocals, need I say more? (Debbi Voller, No 1, October 29, 1983)

This makes "Big Apple" sound like an H2O reject. For all of Beggsie's talk of 'sophistication', Limahl has just kept his mouth shut and got on with the job in hand, producing a strong stylish debut. Just one thing, why's it called "Only For Love" when he persists in singing 'own letter fora leuuv'? (Peter Martin, Smash Hits, October 27, 1983)

Julian Lennon - Time Will Teach Us All (EMI)

This is really boring. The best bit is when Stevie Wonder comes in on backing vocals right near the end but then it finishes. I haven't seen the musical Time, but if this is the sort of stuff what's in it, I don't think I'll be going. (Samantha Fox, Smash Hits, July 16, 1986)

Bush Telegraph - Turn Those Guns Around (EMI)

Snappy, Afro-flavoured pop marred by an over-polite vocal. Still, in a climate where Holly, Simon and George Michael are top singers, what can you expect? Oh, for a decent set of pipes .. . (Sunie, No 1, November 24, 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.