The Tom Tom Club - The Man With The 4 Way Hips (Island)

The Tom Tom's last single "Under The Boardwalk" saw them treading water after the very wonderful "Genius Of Love". Now they're sinking slowly without so much as a melody to cling on to. (Paul Simper, No 1, July 23, 1983)

Bright and bouncy this song is simply jam-packed with goodies. Oozing synthetic vocals wash over a bubbly concoction of - you guessed it - summery sounds that celebrate the joys of being a physical jerk. You can't have everything I suppose. (Peter Martin, Smash Hits, August 4, 1983)

Desperate as somebody trying to break out of locked cupboard. Tom Tom Club stagger through a track sounding like a Metal Mickey novelty song. (Robin Smith, Record Mirror, July 23, 1983)

H2O - Just Outside Of Heaven (RCA)

This makes Kajagoogoo sound classy. Watery synths and stunningly intelligent lyrics(?) build up for a real barnstorming crescendo, I was really moved, I must say. And my word, aren't they a good-looking bunch for sure. They remind me of New Musik and I'm sure the singer must want to be in OMD very badly. (Peter Martin, Smash Hits, August 4, 1983)

Anonymous poppyrock. I suggest you heed the news bulletins and use as little H2O as possible. (Paul Simper, No 1, July 23, 1983)

H2googoo look like keeping their feet under the table for a long time. Another deceptive song with the initial impact of a wet flannel, before those soft musical rumblings begin to take hold. Absolutely no escape. (Robin Smith, Record Mirror, July 23, 1983)

JoBoxers - Johnny Friendly (RCA)

Film-buffs will know Johnny Friendly as the corrupt union boss in On The Waterfront, a dockland movie close to the Boxers' hearts. Unfortunately their tribute to Mr. Friendly doesn't quite come off. It tells a story alright and Dig has a great time delivering some of Marlon Brando's lines but it isn't half the song that "Just Got Lucky" was. I'll say no more - nasty things happen to people who badmouth Johnny .. . (Sunie, No 1, August 6, 1983)

A tug-boat roars in and that can only mean one thing ... the Tetley Teafolk are down on the waterfront. Dig tells the sad tale of Johnny - "he ain't a man to love" - over a funked-up alley cat backing. Not as infectious as "Lucky" but just as catchy in a harder sense. Looks like three in a row. (Peter Martin, Smash Hits, August 4, 1983)

After two barnstorming singles the Bowery Boys/Tetley Tea folk change the boxerbeat to a swing. But the swing is so leaden that they'll lose this round on a technical knock out. (Mike Gardner, Record Mirror, August 6, 1983)

Level 42 - The Sun Goes Down (Living It Up) (Polydor)

Oh God, not more summery disco records. The Radio One roadshow has got a lot to answer for. Level 42 have a suitably laid-back vocal swaying in and out of a warm jumpy synth rhythm. Fairly pleasant. Roll on winter. (Peter Martin, Smash Hits, August 4, 1983)

Level 42 goes increasingly spare every time somebody says they make anonymous records, so now they've enlisted the services of Earth, Wind And Fire at the production desk. The result is surprisingly not the funky equivalent of the Royal Philharmonic in your front room but a catchy little number marred only by the 42s' dry vocals. (Paul Simper, No 1, July 23, 1983)

Wham! - Club Tropicana (Innervision)

This time we see the bad boys avoiding their oppressive parents by saving up their social security and swanning off to Ibiza (oh, really). This is the 4th track taken off Fantastic and it's a heap of meaningless summer drivel. The boys have obviously got a bad case of sunstroke. (Peter Martin, Smash Hits, August 4, 1983)

Andrew 'Shorts' Ridgeley is convinced this will be their first No.1. Personally I'd have put more money on "Nothing Looks The Same In The Light" but this is likeable enough and, most importantly, a marked change from the Bad Guns Rap trilogy. (Paul Simper, No 1, July 23, 1983)

Perhaps it's because I'm a pale, skinny weakling that I detest Wham so much as they flex their muscles and flash those dazzling smiles, while I'm in the shade covering myself in Camomile lotion. Their stuff moves my penguin-like feet not an inch. Now, perhaps if I sent off for that Bullworker... (Robin Smith, Record Mirror, July 23, 1983)

JoBoxers - Jealous Love/She's Got Sex (RCA)

"She's Got Sex" is a seedy tale of the JoBoxers' ideal woman. The usual foot stompin' has been replaced by a snappy toe tappin' beat and it's easily their worst single yet. (Peter Martin, Smash Hits, October 27, 1983)

This group said right from the beginning that they'd be bringing out singles that were completely different from each other, and this double A-side proves they weren't joking. What you - the record buying public - will make of 'Jealous Love', could go either way. It's a thumping good ballad with Dig's voice at its finest, but no way can they be trying to be commercial. 'She's Got Sex' is about a girl who wants 'it' all the time, but doubtless the BBC will play none of 'that' on their precious airwaves! (Debbi Voller, No 1, October 29, 1983)

Their Braces are getting frayed and their boots are just beginning to leak. JoBoxers slide off the waterfront as the charts become increasingly apathetic. A slowie with a powerful chorus but I just can't help feeling that Billy Joel could have done this revamp a lot better. (Robin Smith, Record Mirror, October 29, 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)

Gary Numan - Sister Surprise (Beggars Banquet)

A hotchpotch of styles sellotaped together by dear old Gazza, whose new Darth Vader look makes him resemble something you get free in a Corn Flakes packet. He starts with disco plus the heavy metal guitars that come with it these days, then adds the usual synth doodlings and his inimitable tuneless yodel. That voice kills every song it touches, and here it whines away aimlessly until you want to strangle the balding spaceman with his own asteroid belt. (Sunie, No 1, October 15, 1983)

A moody synthesised intro is shattered by a driving bass/drum beat. Punctuated by a shrill keyboard chord the song covers familiar Numan ground - with the exception of the jazzy sax solo at the end. A slightly laboured effort. I'd rather see him live any day. (Peter Martin, Smash Hits, October 27, 1983)

Aztec Camera - Oblivious (WEA)

Oblivious is the word - that's how everyone stayed when this single first got released earlier in the year. And it should have been a monster. A delicate monster, mind. for Roddy Frame has penned a warm, mellow gem that jangles along with that '60s feel of singalong simplicity. Definitely one of this year's sadly underestimated talents, but about to blossom! If you stay oblivious that's your misfortune. (Debbi Voller, No 1, October 29, 1983)

Second time around - it was originally released on Rough Trade - and it still sounds as sweet. Roddy Frame's tender voice and gripping acoustic guitar work make this song a prized possession in anyone's collection. (Peter Martin, Smash Hits, October 27, 1983)

At last! A sign of character, Roddy Frame's writing oozes personality and his guitar playing is simply dreamy. The production makes them sound like a real group and all that's missing is that old amateur joy of heart. One day Mr Frame will find the muscular delicacy for which he's searching. Here he hasn't quite the song and he has problems with a rather offensive piece of organ playing. But he's still by far the nicest white boy on display. (Mark Cooper, Record Mirror, January 22, 1983)

It's Immaterial - White Man's Hut (Eternal)

Clanking bony things aplenty, It's Immaterial go in for rural/tribal chic. Tambourines and infant school choirs also get a look in on this cheeky song from the eccentric Liverpool band. Deserves to be a hit. (Peter Martin, Smash Hits, October 27, 1983)

Busy, industrious Scouse pop. There's nothing wrong with that, but the best music to come out of Liverpool sets its sights a little higher. (Sunie, No 1, October 15, 1983)

Lionel Richie - Hello (Motown)

Lionel, weak with emotion, gives a right old tug to the heartstrings on this classic weepie tale of unrequited love. Your Mum's bound to make you turn it up when Top Of The Pops is on. (Peter Martin, Smash Hits, March 15, 1984)

Apart from sounding like a piece of incidental film music, this also sounds like a shrewd bit of formula writing with its eye on a number one, It's a shameless product of calculated timing and market-research, banking on the fact that the whole world loves a love song. The Motown ballads are renowned for their sex and soul. 'Hello' is just soppy mush from the Dean Friedman school of cheap sentiment. (Maureen Rice, No 1, March 3, 1984)

Tracie - Souls On Fire (Respond)

She sounds much more confident now, as does the song. In fact, at times she reminds me of Madonna, while the song has tinges of Wham! and JoBoxers about it. A big hit if you ask me. (Peter Martin, Smash Hits, March 15, 1984)

Tracie's past offerings have all been adequate hits, and while she's never lacked confidence she has lacked dynamism - the kind that characterises Madonna and Cyndi Lauper. Here Tracie competes with a lot more gusto, depth and huskiness. The little girl image has finally caught fire!

Madonna - Lucky Star (Sire)

Our Lady From New York takes up astronomy for the follow-up to "Holiday". I've always thought stargazing was a nice quiet hobby, somewhere between birdwatching and trainspotting. Madonna manages to make it sound mildy naughty with much talk of 'heavenly bodies'. Her synth specialists grind away in the background with all the enthusiasm of sinners reciting 100 'Hail Marys' and. by the end of the record, Madonna sounds distinctly earthbound. Strong image, shame about the song. (Mark Cooper, No 1, March 10, 1984)

Twangy bass, shiny guitars, a pumping beat and seriously sexy vocals all go to making this a pretty jolly disco outing that sounds a bit like Shalamar. And since when has that been a bad thing? (Peter Martin, Smash Hits, March 15, 1984)

Julian Cope - The Greatness And Perfection Of Love (Mercury)

If Shaky sounds as though he's from the '50s, we all know where Julian's head must be at - the groovy '60s. Jangly guitars, shaking tambourines and bouncy drums all back his "ba ba ba"chorus and knowing, yet wistful, public school voice. A bit of a gem, this one, but sadly probably not a hit. (Peter Martin, Smash Hits, March 15, 1984)

The wild man of Tamworth sounds oddly formal during this discussion of 'the greatest imperfection' that is love. Where the best Teardrop singles sounded a joyful battle charge, Cope's solo singles are distinctly muted. Let me refer you instead to his World Shut Your Mouth LP, where this melancholy melody has its place. (Mark Cooper, No 1, March 10, 1984)

Level 42 - Micro Kid (Polydor)

Fast precision disco music that celebrates the video age. But I'm afraid all this talk of "generating square waves" and "megathoughts" leaves me cold. (Peter Martin, Smash Hits, October 27, 1983)

George Benson - Beyond The Sea (La Mer) (WEA)

With its gentle, swinging, Sinatra-style big band feel, this sounds like it should be the backing for one of those Kodak adverts with all the Me kids prancing round and Granny walking in with jelly and balloons, while Dad gets out the Instamatic. Then again, maybe not. (Peter Martin, Smash Hits, April 11, 1985)

This old French cabaret standard is given the big band treatment. While the arranger gets full marks for some neat brass pyrotechnics, George comes over like Dean Martin with a hangover. (Mike Gardner, Record Mirror, April 20, 1985)

"Beyond The Sea" sounds like Andy Williams doing the theme from Top Cat. Puzzling. (Stuart Husband, No 1, April 20, 1985)

Robert Marlow - The Face Of Dorian Gray (Reset Records)

Mr. Marlow is another member of the Basildon mafia, here given his first sniff of the big time on Vince Clarke's new label. The poppy synths carry Vince's trademark but the song, a brief synopsis of an Oscar Wilde novel, lacks that certain something – a strong melody. Still, a useful plot summary if you ever have to study the book. (Mark Cooper, No 1, July 16, 1983)

This is the sort of stuff I expected to hear from Vince Clarke after he left Depeche Mode, rather than the gems he produced with Alf. Pretentious words, clever clever sounds and a catchy tune make up the first release on Vince's new label and it sounds as though he played all the instruments as well (he did co-produce it). RM has got a bland voice and the song is probably a Yazoo reject. (Peter Martin, Smash Hits, August 4, 1983)

Oh dear, how many things has good old Oscar's tribute to youth inspired so far? Well, here's another one and the plink plonk of the synth is about the only new ingredient. That Paris grave must be in perpetual turmoil. (Simon Tebbutt, Record Mirror, July 30, 1983)

Depeche Mode - People Are People (Mute)

This time they've gone all radical with a distinctly metallic sound. But instead of jarring the nerves it tends to induce movement in bodies that normally wouldn't be seen dead on a dance floor. The lyrics are good, too - about "getting along awfully" and not understanding hate. Makes a change from all this unrequited love business. Easily their best yet and this harder direction is bound to spawn bags of imitators. (Peter Martin, Smash Hits, March 15, 1984)

Another one from the pessimists of pop! The lyrical content's always a bit outrageous - 'we got along so awfully' - I really laughed the first time that came on. They always seem to have one of these lines that make me laugh and I can't take the record seriously from then on. The production's pretty groovy, there's plenty of things flying around. But ever since Vince left, they've been doing these serious lyrics and they always use very obvious words to say intelligent things, and this is a good example. I think I saw their first ever gig, 'cos I used to go down to Croc's in Rayleigh, where we did our first gig, and I've followed them ever since. They made it before we did and I was in the area and well aware of their success, and there was one stage when I'd just joined Culture Club and Vince left Depeche and I was tempted to join! But I had faith in Culture Club! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Depeche Mode singles are often their own worst enemies. On first hearing, their simple synthesised tunes and Dave Gahan's stiff-necked vocals can seem plain and familiar. It's only after a few plays that the subtle melodies and rhythms begin to come through. "People Are People" is not as cynical as "Everthing Counts", but it's just as worldly-wise - the killer being the sub-chorus: "I can't understand. . ." A good one for the next time we take to the terraces in Paris. (Paul Simper, No 1, March 17, 1984)

Siouxsie And The Banshees - Swimming Horses (Polydor)

Here is the opportunity for Mike Read to prove he's quite a liberal sort of guy after all. "He gives birth to swimming horses," sings Siouxsie, and you don't have to be too imaginative to realise we're talking about Frankie's little come hither. Musically this is a much lighter touch for the Banshees. None of those psychedelic guitars - just a simple, lilting refrain. So go on, Mike, give it a go! (Paul Simper, No 1, March 17, 1984)

I hope this grows on me because I don't think much of it up to now. It's got a sort of staccato piano rhythm backing Siouxsie's powerfully gliding voice and it's all punctuated by a scratchy echoey guitar, much like the one on "Israel". I suppose it fits in well on the new album, but by itself I think it's one of their weakest singles yet. And for Heaven's sake don't ask me what "he gives birth to swimming horses" means. (Peter Martin, Smash Hits, March 15, 1984)

When it first came on I thought - Siouxsie and the Banshees, piano? Nah, it can't be. But it was. Haven't got much to say about this one. They're probably the sort of band that beat you up if you slag them off! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Prefab Sprout - When Love Breaks Down (Kitchenware)

The Sprout's Paddy McAloon has a knack of writing really intriguing lyrics and then setting them to strange, almost awkward melodies This one's got puns aplenty, an echoey, haunting tune crafted with the help of Phil Thornalley and well deserves to be a hit. (Dave Rimmer, Smash Hits, November 22, 1984)

Previous to this, I'd always envisaged Paddy McAloon and company to be one of those depressing vegetarian long mac brigade bands that I despise so much. It came as a great relief to discover that they produce the kind of melodic pop music that most bands can only aspire to - a kind of 10 c.c. meets Spandau Ballet. Must get the office veggies to lend me their old Sprouts. (Dave Ling, No 1, October 27, 1984)

Being someone with a liking for sensitive artists with meaningful lyrics and guitars, I think I'm supposed to like Prefab Sprout. Hmmm. Pleasant tale of woe, but with all these people rolling about in ecstacy over them I expected the Earth to move. Not a wobble. (Eleanor Levy, Record Mirror, April 6, 1985)

 "When Love Breaks Down" is a moody and haunting masterpiece which meanders along on gentle ripples of acoustic guitar and melodic keyboards. (Dave Ling, No 1, April 6, 1985)

The Sprouts are very odd indeed. They look really plain and wear things like string vests, come from Newcastle, call their LP Steve McQueen - and write brilliant songs about Mexico and love. This is acutely observed, intelligently written, quite sad but kind of, you know, uplifting, and sounds a bit like Joe Jackson on a good day. A cracker.  (Peter Martin, Smash Hits, April 11, 1985)

Seductive as a sweet, soft focus kiss - quality sounds, arrangement and production. A gorgeous record. Make this one big. A friend. (Paul King, Smash Hits, October 23, 1985)