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)

Two People - Heaven (Polydor)

Two people have much in common with Red Box, and will hate me for saying so. Both pen songs which resolutely burrow their way deep into the subconscious, leaving one humming along like a blithering idiot, quite unable to stop. The essential difference is the embarrassment factor when accosted mid-hum. If Red Box are the offenders, one would expect to blush in places you didn't know blushed. If, on the other hand, Two People are issuing forth from your lips, relax, you have taste. (Lesley O'Toole, Record Mirror, January 10, 1987)

This pair of Scousers could be the ones to pick up where Go West left off, as, unlike the thousands of nothing-in-particular but-ideal-for-tinny-Radio-One-records that are released every week, "Heaven" actually is a compact and tuneful effort. But be warned. Singer Mark Stevenson has had a penchant for erotic lyrics ever since he gave up training for the Catholic priesthood. Their last single was the "Mouth Of' An Angel". Need I say more? (Frank Gillespie, No 1, January 17, 1987)

Depeche Mode - A Question Of Time (Mute)

The follow up to 'A Question Of Lust' - they don't half ask a lot of questions these boys! Anyway I have it on good authority that the lads were a bit upset that the last single didn't do too well. This is a much livelier outing which should get them the much coveted airplay they didn't get with the last one. It's not as good as 'Lust' but then you can dance to it and that's the most important thing - isn't it? 3/5 (Pat Thomas, No 1, August 16, 1986)

Spruced up, meatier mix of old track. Not quite as alluring as 'A Question Of Lust' but the rabid, sequenced throb is better programmed for radio land. Good sorts that they are, Depeche Mode will run and run while Martin Gore grows weirder and weirder by the milli-second. (Lesley O'Toole, Record Mirror, August 16, 1986)

Black - Wonderful Life (Ugly Man)

Guaranteed to make grown girls whimper and hard-nosed boys blubber. A beeeautiful, balmy antidote to today's 99 per cent inconsequential output. A smooth coating of non-drip vocal gloss glides over a melody which seduces you with its eyes shut. Lyrically, a mass of contradictions which fool no one, matey! Simplicity and perfection itself (sigh). On a par with Marks and Sparks' cheesecake. (Lesley O'Toole, Record Mirror, August 16, 1986)

A rather pretty ballad from a Liverpool lad once involved with Wylie's Wah!. With a typically studious Northern vocal - so you know he means it - this is the indie equivalent of "A Different Corner". Stick to George. 3/5 (Paul Simper, No 1, August 30, 1986)

Talking Heads - Road To Nowhere (EMI)

David Byrne and the Little Drummer Boy undergo a head-on collision, with no apparent damage caused to either party. A gospel-style intro flows into a spate of manically rhythmic drumming, strangely reminiscent of that bizarre record by Kissing The Pink, "The Last Film". Sounds wonderful. (Lesley O'Toole, Record Mirror, October 5, 1985)

Grace Jones - Slave To The Rhythm (ZTT)

Everyone at "Ver Hits" thinks this ultra smooth 'n' slick jazz-tinged ZTT production number is a work of unparalleled genius. Everyone except me, that is, who thinks it's all gloss and no substance. So there. (Vici MacDonald, Smash Hits, October 9, 1985)

Kept this one under your hat, eh, Trey? T Horn's latest love child sees a long over-due return to vinyl by Grace Jones. The lady is certainly not one to be manipulated; hence those illustrious fingers on the knobs haven't been permitted to twiddle to excess. An understatement perhaps, as it's rather difficult to ascertain exactly what the man with the grotesque glasses has injected. Ms Androgynous does at least sing, as opposed to sneer, for a change but, all things considered, I'd rather shuffle around to one of her earlier masterpieces. (Lesley O'Toole, Record Mirror, October 5, 1985)

The Ice Woman returns with a record that demands obedience. Taking up where "Pull Up To The Bumper" left off, this Trevor Horn produced blockbuster grabs the attention by virtue of its quiet, calculated power. Grace Jones in this mood elevates dance music to pure ritual. Her voice has a tribal quality that drains the listener of resistance while the backbeat moves even the most jaded limbs into irresistible motion. Imagine John Barry meets the Pleasuredome. Imagine a killing song. (Max Bell, No 1, October 12, 1985)

Simple Minds - Alive And Kicking (Virgin)

Being something of a Simple Minds zealot, I must confess that my initial reaction was one of intense disappointment. However, a couple of plays later I'm relieved to report a complete restoration of faith in Jim and the boys. "Alive And Kicking" is a regression from the searing, razor-edged bite of Sparkle In The Rain and a resurrection of the beeeeautiful music of New Gold Dream. A subtle melody is topped with lashings of that luscious voice. Play loud, and wallow. (Lesley O'Toole, Record Mirror, October 5, 1985)

Simple Minds' ability to transform the most tenuous phrases and simple vocal gestures into fully blown majestic big league rock is not a formula that can be dismissed out of hand. Forgive me then if I say I find the Minds sound utterly predictable. The immediate emotional effect is all here on a song which is really "Don't You Forget About Me" part two, but is nowhere near as catchy. Simple Minds' deliberate assimilation into American culture is boosted by the production of Iovine and Clearmountain, knob twiddlers to his majesty, Bruce Springsteen. (Max Bell, No 1, October 12, 1985)

Bit subtle, this one. At first Simple Minds' usual "glittering shards of sepulchral majesty" seem strangely absent, but after a few plays the little blighters sneak up on you from behind, revealing the song's true "grandeur". A "right little grower", as suave TV horticulturist Geoffrey Smith says on Gardeners' "very boring" World. (Vici MacDonald, Smash Hits, October 9, 1985)

Sade - The Sweetest Taboo (Epic)

If 1985 is the year of Madonna then, in Britain, 1984 was Sade's patch. Having reaped maximum mileage from the excellent Diamond Life set, Ms. Adu's long awaited follow up 45 sounds safe. It's a fair helping of more of the same. Not really taboo, more a love song addressed directly to its subject and wrapped around a light jazz arrangement in which all the ingredients fall into place on second or third listening. You can't expect Sade to suddenly metamorphose into Miriam Makeba (famous South African jazz singer) or someone, but her music tends to conjure up a being somewhere-else feeling. Still, what would the hairdressing profession have done without her? (Max Bell, No 1, October 12, 1985)

The habitual, luxuriant warble over a snappy backing. Doesn't appear to have much of a hook, though. Ambles along aimlessly and evidently gets lost at the crossroads. Ah well, it's easy on the ears. (Lesley O'Toole, Record Mirror, October 5, 1985)

A-ha - Take On Me (WEA)

Morten, Pal and Mags (they're from Oslo) have come up with the clumsiest title of the week here. This song sounds like a cross between Queen and the Thompson Twins, and something tells me this trio are going to have a hit sooner or later. File alongside Spelt Like This and the Roaring Boys as The Groups Most Likely To But Don't Deserve to. (Stuart Husband, No 1, April 20, 1985)

Pal, Morten and Mags. No, not an exotic brand of dog food but three unfortunately christened Norwegian toddies, who are the driving force behind A-Ha. Must confess to a secret predilection for this on its initial release a while back. The revamped version kicks off with a hideously synthetic drum beat but develops into a multi-layered little pop gem. The winsome ones may have dreadful names but they make irresistible noises. (Lesley O'Toole, Record Mirror, October 5, 1985)

Hollywood Beyond - No More Tears (WEA)

How very, very disappointing. One expected something better than this after the wonderfully original "What's The Colour Of Money?", but this is hopelessly average. Sure enough it rocks along at a fair old pace, and there's definitely a bit of a 'riff'' in there, but apart from lots of people chanting No more all the time like there was no tomorrow, nothing actually happens. Tush! (William Shaw, Smash Hits, September 24, 1986)

Don't expect "What's The Colour Of Money?" - look forward to something far better. This is more up-tempo, has a better variation of sounds and proves that Hollywood Beyond are in no danger of being one hit wonders. Mark Rogers may be the most outspoken man this side of Dirty Den, but this is the evidence that he has a right to be. 4/5 (Anna Martin, No 1, September 13, 1986)

I loved "What's The Colour Of Money?" but this is a distinctly off-colour follow-up. Sounds more like a Eurythmics record. More brashness, more gawkiness. Immediately. (Lesley O'Toole, Record Mirror, September 13, 1986)

Just too nice and polished. I like that son of bassline but this should have been much tougher. Wasn't bad enough where it should have been. Never edges its way above mediocrity. (Skin [of Hipsway], Record Mirror, September 13, 1986)

Botany 500 - Bully Beef (Supreme International Editions)

Aha, the scent of Scottish vinyl wafts enticingly my way. My ears detect an unashamed ghost of Caledonian pop past - not necessarily a bad thing while there are suckers like me to lap it up without question. Janglier than an epileptic tambourine with sweaty, panting tongue wedged firmly in cheek. Bounds along with consummate verve and lashings of Hibernian charm. (Lesley O'Toole, Record Mirror, August 16, 1986)

Margo Buchanan - Keep On (London)

A beeeautiful, lush ballad oozing conviction, character and not a trace of Jennifer Rush-like sickliness. Margo Buchanan is clearly a woman with a story (childhood in care, heroin, jail), not to mention a husky voice tailor-made to melt hardened hearts. (Lesley O'Toole, Record Mirror, January 10, 1987)

Sophie And Peter Johnson - Happy Together (WEA)

Already receiving a fair amount of radio airplay, this sweet, inevitably catchy, single has some rather sparkling moments. One of them being the gentle tempo and impressively arranged instrumentation. The chorus by comparison, is a bit watery, but mixed together, the brother and sister team seem to have a notable debut on their hands. 3/5 (Anna Martin, No 1, August 23, 1986)

The resurrection of the boy/girl formula. Where Dollar were lampooned as wet, very tacky and occasionally quite kitsch, these two are touted as 'enigmatic'. The winsome sister and bro collaborate on an airy-fairy coo, the very epitome of niceness. In close proximity to neutral on the love/hate scale. (Lesley O'Toole, Record Mirror, August 16, 1986)

Prince And The Revolution - Girls And Boys (WEA)

If Morecambe and Wise ever lent their gifted gabble to a snake-charming sketch, "Girls And Boys" should undoubtedly have been the soundtrack. Utterly ludicrous swaying rhythm and a voice sounding like it's spent a sojourn in a cement-mixer. Scummier than coffee from the rm drinks machine and less sexed than a neutered ant. The purest tackerama on two legs comes good, again. (No innuendo intended - smutheads!) (Lesley O'Toole, Record Mirror, August 16, 1986)

Yes, Prince is back on form after the disaster of his last single "Mountains". This is the third track from the Parade LP and it has lots of groovy sax, lots of mumbling in French, I think there's even a rude word or two. All in all a typical Prince outing. Good, but not special enough for anything other than sized chart success. 4/5 (Pat Thomas, No 1, August 16, 1986)

Released in place of "Anotherloverholenyohead." The drums sound like someone banging a wooden spoon on an Addis flip-top bin turned upside down; the cymbals sound like someone tapping a Lucozade bottle with a penknife, and Prince sings things like "she had the cutest ass he'd ever seen" and it's totally brilliant. (Simon Hills, Smash Hits, August 13, 1986)

The Stranglers - Nice In Nice (Epic)

A rags to riches tale that bobs along with an alarming lack of dignity. The lads have had their moments of glittering glory - this ain't another to add to the roster. Either a piss-take or twee in the extreme. Return to suntanned senders and assign cold showers at random. (Lesley O'Toole, Record Mirror, August 16, 1986)

'Nice', as in pleasant, opposite to nasty or horrid; 'Nice' as in v. chic city on the Cote D'Azur in the South of France. Clever, eh? This is quite a good song about a spoilt girl who's 'got diamond rings from her Dad.' I like Hugh Cornwell because he hisses when he sings and I'll always have a soft spot for The Stranglers because they once did a song, "Go Buddy Go", which went "Boooooooogie!" (Simon Hills, Smash Hits, August 13, 1986)

Oh dear. Another rich-girl-who's-going-to-break-all-the-boys-hearts saga. In the old days if some tarty rich girl had tried to break one of the Men in Black's hearts they would have broken her jaw and kicked her in the shins for good measure. These days they just sit there and take it. Oh, how the mighty have fallen. A dirge. 2/5 (Pat Thomas, No 1, August 16, 1986)

Human League - Human (Virgin)

Hands up anyone who actually remembers the Human League. Sheffield's own were last gracing the charts in 1984 with 'Louise'. Then Phil Oakey went off to do things with Giorgio Moroder. Now they're back with this smoochy little number which at first isn't all that impressive. However for want of anything better to play we've given it quite a few listens here at No.1 and it does grow on you - honest. With time this could be a massive hit. 5/5 (Pat Thomas, No 1, August 16, 1986)

Long-awaited re-appearance of the Leaguesters, and I'm seemingly the sole objector at rm. What infiltrates the charts with unswerving regularity these days, they ponder? Mostly American, mostly medallion-sporting balladeers. Aw shucks, we can't fail. Exactly the girlie nonsense I consistently fall for, but not this time. As for that dumb blonde talkover twixt 'I'm only huuuman'... yeeuurrk! Limp, listless and resolutely installed in the subconscious. Mammoth hit. (Lesley O'Toole, Record Mirror, August 16, 1986)

Just about everybody in the Smash Hits' "office" tried to bully me into awarding this record the unparalleled accolade of Single Of The Fortnight. At first I agreed. After all, it is a beautifully crafted, warm and melodic tune. A perfect pop record, no less. It's also remarkably similar to many other songs by artistes like The SOS Band. Change. Alexander O'Neal and Cherelle who have all, together with "Human", been produced by the much in demand team of Jimmy Jam and Terry Lewis. There is one howlingly evident difference, though: Philip Oakey can't sing. The vocals on this single sound, as on all League records, fragile and unconfident. "I'm only human, born to make mistakes," sings Philip in his own unique flat style. Jam and Lewis actually turned down Lionel Richie to make this record and I would guess that as well as producing it, they arranged it, played all the instruments on it and probably wrote most of it as well. Pity they couldn't sing on it or get someone else in to do the job. (Simon Mills, Smash Hits. August 13, 1986)

Love And Money - River Of People (Mercury)

Less overtly aggressive than "Candybar Express" and less Hall And Oates than "Dear John", L And M's third shot should give them the shortest odds on a hit yet. "River Of People sees James Grant drawing in his quiff (metaphorically speaking), toning down the squealing guitars a mite and unravelling his most conventional rocker to date. Forceful, fixating and damned wearing on the toes. (Lesley O'Toole, Record Mirror, January 10, 1987)

Hoist the flags, chher loudly and abandon yourself to wild behaviour. Amongst this fortnight's somewhat tawdry collection of singles there is this gem by this Glaswegian group. You may remember that they've already had one undeserved flop with last year's rock-along "Candybar Express", which was produced by former Duran Duran guitarist Andy Taylor, but perhaps they'll escape such shabby treatment this time with this optimistic, soulful thing that swings along at a joyful pace. Very enjoyable, praise the Lord! (William Shaw, Smash Hits, January 14, 1987)

The Waltones - She Looks Right Through Me (Medium Cool)

Gosh. Can it be true? Another indie record with not a whiff of anorak about it. A compulsive breath of fresh air. Why, you can even hear the chord changes. A total peach. (Your reviewer is too overcome to comment further). (Lesley O'Toole, Record Mirror, November 7, 1987)

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.

The Caretaker Race - Somewhere On Sea (Roustabout)

Just when you thought Andy Strickland did nothing but sit at the Index desk and pursue Portsmouth FC to the ends of the earth, the dark horse offloads his first vinyl offering since the untimely demise of the fabulous Loft. Strickland is well aware of rm feeling about the group name (no comment), but rm is fortunately unanimous in awarding "Somewhere On Sea" a gold star. Articulate, as one would, of course, expect from a journo), reflective, melodic and everything a good record should be. (There is no truth in the rumour that fivers are being waved under my nose.) (Lesley O'Toole, Record Mirror, November 7, 1987)