Men Without Hats - Living In China (Statik)

Set the synthesiser controls for the heart of the sun, as Ivan and his band embark on a headlong dash through the perils of living in China. Too frantic to dance to and too frenetic to pick out a melody, "Living In China" is a track off their debut album Rhythm Of Youth which was recorded at least two years ago. Unfortunately it shows. (Frank Hopkinson, No 1, February 4, 1984)

According to their press handout this incredibly silly Canadian group featured Margaret Trudeau on their last single and the defecting Chinese tennis star Hu Na on this one. I reckon they could hire Jesus Christ, Lassie and the Dagenham Girl Pipers and still not get a hit. (Max Bell, No 1, June 18, 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)

This Island Earth - Take Me To The Fire (Magnet)

It's pretty difficult to follow up a debut single as powerful as "See That Glow" - which should have leapt into the top 20 instead of struggling into the 50. This Island Earth haven't been discouraged, they've come up with an even better record. The minute the stylus hits the groove on "Take Me To The Fire" you're hooked. Its exhilarating synthesiser music with an infectious tune that Howard Jones would find hard to match. Single of the week by a couple of kilometres. (Frank Hopkinson, No 1, April 27, 1985)

Howard Jones - Pearl In the Shell (WEA)

The fourth and weakest single to be taken from the Human's Lib LP, "Pearl In The Shell" is an album track that had no idea it was going to be made into a single until the record company tapped it on the shoulder. Mine came enclosed in a fold-up poster instead of a sleeve. But what do you do with the record when you put the sleeve on the wall? Could it be a insidious plot by WEA to make you keep playing it? (Frank Hopkinson, No 1, May 19, 1984)

I tend to think of Howie as a puppy dog (mongrel, I think) - something so bright-eyed and trusting that you can't bring yourself to smack him when he messes the living room with poop like this. Poor little fella - only doing what nature tells him etc. This time it's a brassier, more aggressive sound with the usual irritatingly catchy chorus and twiddly synth bits. Mind you, next time it's definitely the rolled-up newspaper... (Ian Cranna, Smash Hits, May 24, 1984)

Wham - Wake Me Up Before You Go Go (Epic)

At last Wham have come up with a song to match the freshness and appeal that first sent them hurtling chartwards with "Young Guns". This is unstoppable, hip-swinging, finger-clicking stuff from George and Andrew, sung with a justifiable swagger and bags of horns. Light the blue touch paper and watch it rocket to No.1. (Frank Hopkinson, No 1, May 19, 1984)

An absolutely dreadful comeback in which George and Andrew ditch everything they do well in favour of a feeble foray into Shakin' Stevens country. Sounds like Darts or some similarly weak '50s impersonators. Awful. My copy took one look at me, hung its head in shame and slunk off to hide under the bed, as well it might. (Dave Rimmer, Smash Hits, May 10, 1984)

I sympathise with the dynamic duo for having at last solved their contractual wrangles and weathered a considerable media backlash - they deserve to silence their critics by coming back with a bang! As a fan, I have to say this is more like a bubblegum pop ping! Nauseatingly catchy, to my mind, it's an overdose of hooks and catches. As a commercial product it will doubtless succeed, but have style, depth and panache been replaced by the lowest common denominator? (Pedro, Record Mirror, May 19, 1984)

Bruce Springsteen - Dancing In The Dark (CBS)

King Rocker Bruce is perhaps the only mega white American rock star who succeeds in not sounding like some genetically engineered multi-corporation rock puppet to my ears. Blessed with a voice that would send the likes of Rick Springfield scampering for cover, he elevates this sometimes mediocre song with his inimitable punchy style. Fans will regard this as almost great, critics as almost average. (Pedro, Record Mirror, May 19, 1984)

When Bruce Springsteen's career was burdened with the prediction "I have seen the future of rock 'n' roll and it is Bruce Springsteen", whoever said it couldn't have imagined him recording "Dancing In The Dark". Maybe the influence of British synthesiser groups in the US charts has made him change his style from all-out guitar attack to flabby synth-rock, Whatever's made him do it, somebody should tell him to stop, and quick. (Frank Hopkinson, No 1, May 19, 1984)

Swans Way - Illuminations (Phonogram)

I think most people would agree that "Soul Train" was the type of record you either loved or hated. Personally, the pomp and pretence of those screeching strings and strangled vocals made me scream for the cotton wool. This record now sees me make an about turn. The ears are unplugged and the more natural and melodic sound of "Illuminations" can often be heard serenading from my Dansette. (Pedro, Record Mirror, May 19, 1984)

After the masterful "Soul Train", this breathy featherweight item about being magnetised, hypnotised and feeling total pleasure carries disappointingly little clout. But, pathetically grateful as we are for anything without a crash beat, we give it the benefit of the doubt. (Ian Cranna, Smash Hits, May 24, 1984)

As the smoke clears in a downtown, downbeat, down-on-the-cellar bar, Swans Way deliver an intimate celebration of love. A quite different tune to their last single "Soul Train", this has a bluesy feel to it. The fact that it's extremely listenable is due to the assured production of John L. Walters of Landscape fame, a much underrated producer and a man to watch. That is, if you like watching producers. (Frank Hopkinson, No 1, May 19, 1984)

Agnetha Faltskog - I Won't Let You Go (Epic)

The Bet Lynch of a famous Scandinavian soap opera returns. While fellow Abba stars Bjorn and Benny go on to musicals and Frida becomes a big hit with the squaddies, Agnetha comes up with a sub-standard bubbly Euro-disco record and flashes those eyes of hers seductively on the cover from behind a dead animal skin. (Eleanor Levy, Record Mirror, April 6, 1985)

Three years on from 'Under Attack' - Abba's final chart entry - blonde singer Agnetha surfaces with a chirpy attempt to recapture past glories. But without the songwriting genius of Bjorn and Benny, she struggles bravely with a number which wouldn't have made an Abba B-side. How the mighty have fallen .. .  (Dave Ling, No 1, April 6, 1985)

If Abba were Sweden's No.1 export in the 70s ahead of Volvo and Saab, Agnetha's solo efforts to date must count for all of two estate cars and a hatchback. "I Won't Let you Go" is a happy little melody sitting on top of a very dated disco beat. I suppose if they could beam her back to 1976 this might do well in the Eurovision Song Contest, but now.. . Can't see John Peel playing it. (Frank Hopkinson, No 1, April 27, 1985)

The Style Council - Walls Come Tumbling Down (Polydor)

Paul Weller is nothing but consistent. With "Walls Come Tumbling Down" he's thought long and hard over the political content of the lyric and come up with a classic opening line. . . 'You don't have to take this crap'. The tune is catchy 60s power pop, lots of organ, lots of brass and a pounding beat that'll see the single speeding up the charts. But when you have songwriters of Billy Bragg's eloquence, the message Weller puts across - though extremely worthy - seems crude and bludgeoning. Style Council is not an apt name. (Frank Hopkinson, No 1, April 27, 1985)

"Walls come tumbling down"? Sounds like a line from a Tears For Fears song! I like it. The effect on his voice makes him sound like John Lennon. I think Paul's a nice lad, but maybe he should smile a bit more often. Good refrain though, and the girl's vocals are excellent - the juxtaposition between his and her vocals make the record. Generally I like them as a band but there's always been something missing in their records. Objectivity, I think. The fuel's definitely there but it doesn't feel like there's anybody stoking the fire. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Killing Joke - Adorations (EG)

Moving from strength to strength, Killing Joke have surpassed the twisted power of "Love Like Blood" and come up with their most immediate single to date. "Adorations" has a smiliar feel to their previous hit but with greater depth of sound - there's still the threatening, distorted guitar, but this time it's blended with a synthesizer and the vocal is sung not shouted. When you look into Jaz Coleman's eyes you know he means business. And this is the business. Single Of The Week. 5/5 (Frank Hopkinson, No 1, August 9, 1986)

I think Killing Joke would like baggy jumpers, too; plenty of room to ruminate. This is the usual pitch black mood, thumped out with straight faced no-nonsense seriousness. But is it really that serious, boys? (Jim Reid, Record Mirror, August 9, 1986)

'Courage and cowards move heroes to ecstasy, welcomes of war and wounds, vigil and victory.' Cor! Real swashbuckling Boy's Own stuff this. The same sort of enormous, swirling sound as "Love Like Blood" but without the power and strength which made "Blood" such a sturdy compelling noise. "Adorations" is very nearly a pop record. (Simon Mills, Smash Hits, August 13, 1986) 

Toyah - World In Action (Portrait)

Whereas "Don't Fall In Love (I Said)" tootled along all chorus and no song, Toyah's produced a more structured effort for her follow up single. "World In Action" has all the Wilcox hallmarks we've grown to know and use the sick bag for: references to world destruction, chantable chorus, sung like a little girl, etc, etc. Making its debut is the synthesizer from China Crisis' "King In A Catholic Style". That's not to say it's original. No need for a signature. (Frank Hopkinson, No 1, September 14, 1985)

I've never been able to take Toyah seriously since she wrote the classic line 'crawling down the alleyway being very loud', and "World In Action" is another of her 'I'm on the side of ver kids on ver street' type songs, this time about nuclear war. The sentiments are admirable, the song is terrible. (Steve Bush, Smash Hits, September 11, 1985)

Toyah continues her dalliance with the nuclear age with the most pertinent of questions. 'Where will you go when the sirens blow?' Fourth form poetry from one who should know better by now. Toyah, your siren's blown. (Andy Strickland, Record Mirror, September 7, 1985)

Sade - When Am I Going To Make A Living (Epic)

I used to think Sade was one big hype - even before she got a recording contract people were crooning how stupendous she was and her face was being splashed across the glossy mags. But then she made a record...
"Your Love Is King" and now "When Am I Going To Make A Living" have proved her promise. The current single is smooth, soulful and exceptionally honest. Truly this lady has class. (Frank Hopkinson, No 1, May 19, 1984)

A classic, and Sade makes singing (and writing) one sound positively effortless. A cheering song of optimism in the face of hardship with a chorus - 'We're hungry but we won't give in' - that should be sung from the rooftops. Only beaten to Single Of The Fortnight after a photo finish, I can tell you. As to the question of the title, I don't think you'll have any problems now, girl. (Dave Rimmer, Smash Hits, May 10, 1984)

'From now on!' should be the answer to the question posed in the title. This powerful follow-up to their equally strong debut merits their establishment as a natural treasure. It basically carries the same immediately identifiable sound of Sade, though its feel is determined where "Your Love Is King" was romantic. It carries a stamp of quality all over it. (Pedro, Record Mirror, May 19, 1984)

H2O - Who'll Stop The Rain (RCA)

I don't think I'd be wrong if I called H2O a formula band. The trouble is, the chemistry that created "Dream To Sleep" has gone awry. Here they're searching around for a different sound.
Endgames and Bourgie Bourgie do this sort of single ten times better.
Back to the lab, boys. (Frank Hopkinson, No 1, May 12, 1984)