A-ha - Take On Me (WEA)

Gold star too for A-ha, a Norwegian trio. "Take On Me" and "And You Tell Me" are fresher that a freezing gust up the fjord and highlight the singer's incredible vocal range. Essential purchases both. (Martin Townsend, No1, November 3, 1984)

Scott Walker - Track Three (Virgin)

A lot of people have been waiting for this record. Scott Walker – one-time half of the legendary Walker Brothers – hasn't released a record for six years, but interest in him as a cult figure, musical maverick and all-round enigma has never died. As a fan myself, I found 'Track Three' disappointing. It's a capable modern pop song, and the old Walker voice is as wonderful as ever. But there are dozens of songs in his back-catalogue that knock spots off this one. And dozens of new pop records that do that particular job a lot better. The B-side, "Blanket Roll Blues", is a better indication of his real nature – dark and honestly strange. (Maureen Rice, No 1, March 3, 1984)

Voice Of The Beehive - Just A City (Food/London)

This crew - two Californian girls and three British blokes - actually manage to capture the true adventurous spirit of the '60s and blend it with the spangling guitars and dense choruses of prime period Cocteau Twins. The song itself sways and swirls attractively enough BUT! flip over the 12 inch and they get stuck right into - corky o'rorky! - a biting pop version of rock dinosaurs Led Zeppelin's elderly reggae spoof "D'Yer Maker" (Jamaica - geddit?)!! The result, played (relatively) straight, turns into a completely bur-rrrilliant teenage "don't go" love song and would be a HUGE hit, so utterly utterly catchy is it. 'B'-side of the century (at least) and almost Single Of The Fortnight... (Ian Cranna, Smash Hits, May 8, 1987)

Sheila E - Hold Me (WEA/Paisley Park)

Extremely laidback for Prince's prime timbale rattler, this elegant ballad should slip Sheila E. from the sidelines and have her ruffling gimpy Whitney's perm out of place. It might also signal the end of the Janet Jackson/Jam & Lewis stranglehold on the dance charts. What an exciting world we live in. Please also turn, if you will, to the brilliant B-side The World Is High' - this spring's dead cert floor-filler. (Paul Simper, No 1, March 7, 1987)

Wham! - Last Christmas (Epic)

And the public gets what the public wants . . . The mega-duo celebrate a mega-golden year with another mega-hit - no doubt about that. Well, it is Christmas and George finds himself in the clutches of a young-love crisis while Andrew looks on sympathetically and the Whamettes swoon. For all musicologists out there note the close similarity to Peaches & Herb's cream-curdling duet, "Reunited". (Lesley White, Smash Hits, December 6, 1984)

Predictable schmaltzy seasonal love story from Pinky and Perky. This must be the tenth song in the last six months to have lifted the chord structure of Peaches And Herb's "Reunited". Obviously a hit, but I'd rather listen to the Queen's speech myself. (Andy Strickland, Record Mirror, December 8, 1984)

Laudable B-Sides: Now considered something of a Christmas staple, "Last Christmas" was originally released as a double A side single, with "Everything She Wants" on the flip. After Christmas, Epic simply put the same single in a new sleeve and reversed the order, causing "Everything She Wants" to become the next big hit for the group. Incidentally, the much more obscure extended mix of "Last Christmas" was known as the "Pudding Mix".

Floy Joy - Until You Come Back To Me (Virgin)

The pastiche Matisse cover of a reclining nude and the Don Was production might make you believe Floy Joy are content to make an art of the inevitable. But appearances are deceptive. The Ward brothers search for soul has hit jackpot with singer Carrol Thompson. Her charming romanticism and the ingenious instrumental backdrop should give Floy Joy the hit they so blatantly deserve. (Max Bell, No 1, October 20, 1984)

Naming yourself after a well-known song undoubtedly puts an act one step ahead in the Awareness Factor Stakes, and that - coupled with the fact that Smash Hits told me they were trendy - encouraged me to play it to three friends. Here's a section of what they thought - Sheena Easton/Diana Ross/A young Lulu. Expect a remake of Spandau Ballet's "I'll Floy For You" any day. (DJ Mike Read, Smash Hits, October 11, 1984)

These sweet and sultry chatterbox hazy rhythms should place the Floy Joys on the chart-mart in next to no time. Don't listen to all those dour journalists revelling in the dark and dowdy exploits of some of pop's more trite-minded merchants . . . throw off those autumn anxieties and loop the loop to this most wunnerful 12 inch release. As a bonus to the torch-like ballad on Side A - we are also blessed with the "Theme From The Age Of Reason" and their debut LPs title cut "Into The Hot". Was Not Wasness at its most animated and uncluttered. One hundred per cent! (Dylan Jones, Record Mirror, October 20, 1984)

Howard Jones - What Is Love? (WEA)

So you thought "New Song" was good? Well just wait until you hear this gem. It's all about love, about when you love someone but still doubt them - and it's spot on. The bouncy synths are still there and Howard is definitely carving out a niche of his own. We need this sort of warm and happy music. (Paul Bursche, No 1, November 19, 1983)

I've always thought Howard was a far-sighted, intelligent man ever since he said he liked my single on Roundtable. This is a well-produced song that sounds great loud. On the back of the sleeve one is invited to send off for Howard's magazine "Risk", the title of which I hope bears no relation to his thoughts on the chances of his single. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

It's obvious from seeing Howard Jones play that "New Song" was more the exception than the rule in the High Wycombe Wonder's repertoire. "What Is Love?" is a lot smoother, more melodic and much less immediate, but is sure to feature on many an 'Our Tune' and 'First Love' in the future. That doesn't make it a great record through, and for all Howard's emotion and sincerity it only left me cold. (Eleanor Levy, Record Mirror, November 19, 1983)

Note: The B-Side is the wildly poppy multi-ethnic tour de force "It Just Doesn't Matter".

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)

Dee C Lee - See The Day (CBS)

Dee's career-by-association has been pretty well chronicled, from young gun in Wham! to Style Councillor, but the lady's always aimed for a solo career. The voice that's just helped "The Lodgers" up the charts is given full rein here on a lush ballad that could've been done 20 years back by the likes of Dusty Springfield or Pet Clark. It's a progression from the poppy soul of earlier releases, and a move that should establish her as a name in her own right. (Karen Swayne, No 1, October 19, 1985)

Paul Weller's sidekick, currently prominent on the Style Council's "The Lodgers", swims bravely through a swelling soundtrack ballad for a non-existent Sixties movie, but ends up drowning in the strings. The cover of Weller's "The Paris Match" on the B-side is a much more suitable frame for D C's voice. (Roger Morton, Record Mirror, October 19, 1985)

Dee's excellent voice is showcased warmly on a song that Dusty Springfield (veteran British pop singer) or Tony Hatch (veteran British pop composer - he did the Crossroads them, fact fans) would have sinned for. A brave production and arrangement for the lady better known for her Style Council-ing. (Paul King, Smash Hits, October 23, 1985)

Frankie Goes To Hollywood - Welcome To The Pleasuredome (ZTT)

When a group has stamped its sound and style so thoroughly on a year as Frankie did on 1984, there can be a problem moving on. A short time later the same style and sound that took you to the top can sound dated. The Escape Act: where Frankie try to become a long-term chart-topping group, a Duran Duran. At first this appeared a strange way of attempting that feat. Releasing a fourth single off the album looked like going back rather than forwards. But it now seems to me that 'Welcome' is in fact saying goodbye, heralding the end of this particular Frankie type of song. On the B-side may lie the future. "Happy Hi" sees Frankie in a new mood. Quirky, whimsical, it is genuinely different. On the evidence of it I'll put my head on the chopping block to predict that Frankie won't be a one year wonder after all. Play Frankie, play on. (Paul Bursche, No 1, March 23, 1985)

It doesn't quite fit together. The presentation, the sleeve notes, neither square with the group their audience. The record, always a fine album track, is a bloated self-important grand daddy of a single, more to do with the self-indulgence of early Seventies types than the vibrant, exciting sensational scam that Frankie's sales and Frankie's marketing people tell us they are. It is in fact a beautifully executed piece of pomp and that has no part in the past, present or future as the full colour poster of this review might say. Disappointing. (Jim Reid, Record Mirror, March 23, 1985)

Jill: Everybody's heard this song lots of times already. Rose: And I like the album version better anyway. I do think it's about time they did something new - you can only stretch a song so far, you know. Jill: I do like "Happy Hi!" on the B-side - Frankie go electrobop. (Jill Bryson & Rose McDowell [Strawberry Switchblade], Smash Hits, March 28, 1985)

Depeche Mode - Stripped (Mute)

Depeche Mode must rate as one of the most consistent if not one of the best pop bands of the '80s. They have a distinctive sound, but not so much so that each release sounds like the last one. Their lyrics actually mean something without being pretentious and over the top. Yet they never seem to get the adulation that their competitors get. Strange that. Let's hope that the haunting stillness of "Stripped" puts them up where they belong, before Frankie and Spandau reappear. (Mark Booker, No 1, February 22, 1986)

Depeche Mode were becoming very predictable but this is the best thing they've done in ages. 'Let me see you stripped,' sings Dave Gahan and bang goes their appearance on Saturday Superstore. Actually, I think it's all about going back to nature and 'discovering yourself'. Slow and atmospheric, even when you can't work out what he's going on about. (Simon Braithwaite, Smash Hits, February 12, 1986)

Laudable B-Side: The flip is "But Not Tonight", surely one of the Mode's most elegant compositions.

Suzanne Vega - Small Blue Thing (A&M)

Simple yet effective; if only all records were made this way. This is a hauntingly beautiful ballad, sung in an almost lullaby-like whisper. Evocative, serene and oozing a pleasing warmth, this is many things to many people. A luxurious dip into the exquisite. A self-indulgent wallow in tenderness. A perfectly polished gem. A plea from the heart. No record collection should be without. (Anna Martin, No 1, January 18, 1986)

Notes: The B-Side is "The Queen And The Soldier", another highlight from her first album. And if you really, really want to know what the small blue thing was....it's a door knob. I learned this and much more during Suzanne's great interview with the guys at Sodajerker.

The Firm - Long Live The National (Stiff)

As an ex-bookmaker, I wouldn't give any price on this breaking the mouldy top forty. Ethno-cockney romp that is a non-runner next to their previous and seminal "Arthur Daley ('E's Alright"). Mind you, the B-Side "London Is The Biz" is the real works. Move over Chas 'N' Dave. (Jim Reid, Record Mirror, March 26, 1983)

Bit of a non-runner in usual Chas 'N' Dave style cashing in on the Big Race. (Kimberley Leston, March 31, 1983)

Was (Not Was) - Robot Girl (Mercury)

The first from funk weirdos Was (Not Was) since George immortalised them with his version of "Where Did Your Heart Go". This is typical trade. A funk rhythm most adjacent to Matt Bianco's "Man's Mood" with additional lunacy from all sides. Entertaining track but best wait for the album. 3/5 (Paul Simper, No 1, September 20, 1986)

Single Of The Week or a terrible curse may fall upon your Hipswaying* heads. For freaky dancing and happy Walkmans. B-Side of the week too. "Earth To Doris" will crease never before used laugh lines. (Lesley O'Toole, Record Mirror, September 13, 1986)

Yes, Single Of The Week. What can you say? It's new! It's vital! It's essential listening for hipsters and casuals alike. Everyone should have it. [Referring to the B-Side] Extra good value. (Skin [from Hipsway], Record Mirror, September 13, 1986)

Single of the week in these very pages but a few months ago, and deservedly re-released. The Paris Mix is even freakier, spunkier and more pulsating than the spine-tingling original. Chaotic, frenetic and utterly impossible to dance to unless severely inebriated/Stuart Bailie/in possession of rubber legs. Lyric of the week - 'Robot Girl, do these sunglasses go with my shoes?' - and B-side of the week to boot. "Earth To Doris" is a manic, rambling monologue, and conclusive proof that the brothers Was are geniuses - demented ones at that. (Lesley O'Toole, Record Mirror, January 10, 1987)

Note: The sticker on the 12" was removable. There was an alternative cover with no boobs. * Hipsway were one of Record Mirror's favorite new bands in 1986, and they mentioned them at every opportunity.