ABC - Be Near Me (Phonogram)

This sounds like a B side. They've never been the same without Trevor Horn and they're no good at producing themselves. The song is weak and I don't like this four-piece line-up. Pleasant enough, I suppose, but I don't think it'll be a hit. It doesn't sound glamorous enough. Thumbs down! (Curt Smith, Record Mirror, March 30, 1985)

Rose: Lots of nice sounds. The main melody is dead good but I can't get very excited by the song. Jill: This is much more like the ABC of old. I thought it was weak at first but I really like it now. There's a good toy piano on it. I feel a bit cheeky saying this but I wish they didn't look so daft. (Strawberry Switchblade, Smash Hits, March 28, 1985)

ABC - How To Be A Millionaire (Phonogram)

ABC's Beauty Stab was, for me, one of the albums of '83. Precise, socially-aware lyrics beefed up into a heady rock mixture, - Here Martin Fry and Mark White - with two new members aboard - take the fashionable and logical next step. They throw their weight behind pounding electro rhythms in an ironic, scathing attack on money politics. Radical dance music of the first order. File next to "Fascist Groove Thang". (Martin Townsend, No1, November 3, 1984)

PH: There's a melody line in there which is very similar to Shannon's "Let The Music Play". It's the kind of fractured rhythm that you wish would settle down. AM: Sounded like a production in search of a song. I wanted to like that one, what have you done? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Why ABC should want to make a weak New York dance record is beyond me. Nevertheless, here we have Martin Fry crooning over a reasonable imitation of one of Shannon's backing tracks. There's no originality or feeling - ABC are just desperately apeing an already over-imitated sound. Obvious proof of a lack of material and a crisis of confidence and direction within their ranks. (Neil Tennant, Smash Hits, November 8, 1984)

Wet Wet Wet - Sweet Little Mystery (Phonogram)

The Wet ones won't need to wish they're too lucky with this as it's so patently commercial their growing horde of fans are bound to give the Glaswegians a big lift to the top. Shades of the Blow Monkeys and even Culture Club tend to make it sound very familiar but as safe pop goes it isn't too awful. At least you can ignore it. (Max Bell, No 1, July 18, 1987)

This is a perfectly breezy pop tune that starts with some finger clicking and soulsome groans, then smooths into an unforgettably inane chorus about love taking a tumble or some such nonsense. What spoils Wet Wet Wet songs however, is that just to hear them conjures up the alarming image of singer Marty's rather strange "dancing" which involves him flapping his arms like a deranged budgie dressed in Shakin' Stevens denim cast-offs and with that daft grin that quite spoils his anguished wails over love's woes. Shame really. (Lola Borg, Smash Hits, July 1, 1987)

Palais Schaumburg - Hockey (Phonogram)

With a little help from Dieter Meier of Yello, German avant-gardists Palais Schaumburg play the mad professors on this delightfully dotty song. There's a cute boy/girl duet, some jazzy touches and a great deal of off-centre charm. (Lynn Hanna, No 1, August 20, 1983)

Friends Again - Sunkissed (Phonogram)

Very pleasant indeed as John Peel would say. Friends Again (Scots lads) opt for a different class of pop music to the norm. Theirs is based on sultry vocal arrangements, Doobies styled acoustic guitars and a killer tune with a sting in the tail. More stylish than fashionable, it deserves a wide hearing. "Sunkissed" is produced by Bob Sargeant too so it sounds immaculate. (Max Bell, No 1, August 13, 1983)

Doesn't have the bite or exuberance of Aztec Camera whose shadow this walks in. It's all here, the lightly strummed acoustic guitar, the rattlesnake percussive effects, the doo-doo-de-doo chorus. It just isn't very interesting. (Johnny Black, Smash Hits, August 18, 1983)

Tears For Fears - Everybody Wants To Rule The World (Phonogram)

An excellent follow-up to "Shout". A very twee introduction but I think high-pitched vocals suit Curt Smith immensely. I hope it gives them a Number One. (Marshall O'Leary, Smash Hits, March 14, 1985)

TFF's so called harder sound (not before time) has been overstated. I'm no fan but I can hear the makings of a passable pop group in this mild tune. Highly hummable, well arranged and not at all megalomaniac. 'Everybody' even features a rockist guitar fade out from Roland which would have been cause for cries of "hang the scoundrel" two years back. Times change. A certain top five hit. (Max Bell, No 1, March 30, 1985)

Dire Straits - Money For Nothing (Phonogram)

The first half minute of this sounds nothing like Dire Straits, being full of bubbling synthesisers and falsetto vocals. Then Mark Knopfler gets going and it's back to the normal soporific stuff as he sings a truly tragic tale of rock stars who get "money for nothing and chicks for free". Is there anything more boring than pop stars writing about the endless trials and tribulations of being a pop star? (Yes actually. The whole country going bananas about Bruce Springsteen - Ed) (Chris Heath, Smash Hits, June 19, 1985)

Dire Straits - Brothers In Arms (Phonogram)

No denying Mark Knopfler's dexterity, or his ability to make the occasional classy pop record. "Brothers In Arms" isn't as charming as "Money For Nothing", but it will no doubt be blaring out of the odd Sierra or two this Christmas, as a thousand reps head off to their parents place for the festivities. (Andy Strickland, Record Mirror, October 12, 1985)

Tears For Fears - Change (Phonogram)

I'm not much of a Tears fan myself - all this staring out of windows and ruminating on the state of the world seems pretty futile to me - but this is an undeniably strong follow-up to "Mad World": up-tempo, almost disco directed, and complete with fashionably Eastern-sounding percussion. Not bad. (Dave Rimmer, Smash Hits, January 20, 1983)

ABC - All Of My Heart (Phonogram)

Ever since The Lexicon Of Love made its appearance, it's been obvious that this particular tune was its pride and joy and a natural monster hit. A stately arrangement full of elegant flourishes and studded with truly memorable detail encases Fry's courtly vocal and simply compels you to play it again and again. This record is going to number one. Not least because I have money on it. (David Hepworth, Smash Hits, September 2, 1982)

ABC - S.O.S. (Phonogram)

ABC lost a fair number of admirers with the new 'heavy' style of their Beauty Stab LP. But if they did get a little bit too raunchy at times, this lush ballad is not an offender. As ever Martin Fry's preoccupied with love and all the problems it brings, but the lyrics aren't as clever clever as they have been in the past. The apple crumble saga, for instance, is not continued. I like it. So there. (Karen Swayne, No 1, January 14, 1984)

It's always a bit sad when the best part of a record is the fade. The song is slight and Martin Fry sounds as if he'd rather be anywhere but in front of a microphone. Then after a cosy sax solo from Steve Singleton the singalong fade begins. But even with Frankie Goes To Hollywood on backing vocals, it isn't quite epic enough. Shame. (Ian Birch, Smash Hits, January 5, 1984)

It really is a waste of time asking me to review this. If this type of music has any merit then it completely escapes me. They call heavy metal moronic. This makes it sound like Sibelius. (Lemmy, Record Mirror, January 14, 1984)

INXS - This Time (Phonogram)

INXS, Australia's most popular rock band, gave a very good account of themselves on a recent edition of the Tube. Singer Michael Hutchence looked and sounded like a star and the band played that Simple Minds and U2 variation of late 60s pop meets the modern studio and lives. Too bad this single is so plain. (Max Bell, No 1, February 1, 1986)

ABC - Look Of Love (Phonogram)

A hit, beyond doubt. But even Martin Fry's best vocal performance yet over a Trevor Horn production so rich you could probably grow your tomatoes in it, can't disguise the fact that this is a pretty thin song. Meanwhile, can anyone, be they man, beast or Fry, explain to me the line: 'If you judge the book by the cover/Then you judge the look by the lover'? I throw down the gauntlet. (Dave Rimmer, Smash Hits, May 13, 1982)

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)

ABC - Vanity Kills (Phonogram)

Musically, a little more like the old ABC that most know and love, with a middle bit sounding like David Bowie's "Fame" thrown in as well. But the lyrics - considering that they're by Martin Fry, who has written some corkers in his time - are a real disappointment. A case of one step forward, three steps back, I'm afraid. (Maureen Rice, Smash Hits, June 5, 1985)

Not a patch on "Be Near Me", which wasn't a patch on "How To Be A Millionaire", which wasn't a patch on anything on their Lexicon Of Love LP. Sorry Martin, I know how you hate comparisons, but "Vanity Kills" is duff. A weak tune isn't helped by meaningless lyrics. Pull your finger out mate. (Anne Lambert, No 1, June 15, 1985)

Big Country - Wonderland (Phonogram)

'Take my hand and we will be in wonderland' sings Stuart Adamson in booming, butch tones. This is Big Country's answer to the film Gone With The Wind - bags of romance, riding off into deep red sunsets and never letting on how upset you really are. It needs to be played at great volume to capture the sound and the sweep. (Ian Birch, Smash Hits, January 5, 1984)

The band who put OK into rock, or just another guitar group? Vital questions for some people, meaningless to others. But however you feel about them, Stuart Adamson and co. aren't about to abandon their axes now they've made them respectable. 'Wonderland' is archetypal Big Country - broad, sweeping and majestic - and proves once again that they can make rock sound fresh. There's less of a Celtic feel too, so I promise not to mention bagpipes (oops). (Karen Swayne, No 1, January 14, 1984)

Very good. I like them. Nice time signature. Jolly clever use of fuzz tone oboe. They seem to be a good, consistent, useful band. Brian (Robbo) likes them. Chorus of "see you, see me," etc. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Tears For Fears - The Way You Are (Phonogram)

Apparently months in the making and full of moaning in rhythm, noises from the mysterious East and words about the singer's hands belonging to someone else. All a bit odd, really. I still couldn't make head nor tail of it. Unlikely, but brave. (Dave Rimmer, Smash Hits, December 8, 1983)

Boring. There's no melody, no tune in the backing 'cos it's all percussive. Not one of their best, definitely, but they do have a huge following, so... (Keren Woodward [Bananarama], Record Mirror, December 3, 1983)

They can write good songs, but this isn't one of them. "Pale Shelter" I thought was great. Trouble is, I think those noises have been used all this year by them, by Japan, and that horrible Howard Jones! It makes me sick the way everyone has to bring out a new single every three months. We just refuse to do it. We're only going to release singles when we like them. (Siobhan Fahey [Bananarama], Record Mirror, December 3, 1983)

If all the reviews in this column were reduced to a yes or a no, I'd give this one a definite yes. It's very much the same TFF, well-arranged and tuneful, though not a very strong song. The lyrics are still a bit sixth form, the production still accounts for a good half of the record's merits . . . But in the end, it is a good pop record. Yes. (Sunie, No 1, November 26, 1983)

ABC - Poison Arrow (Phonogram)

Beautiful arrangement and production, and some clever lines in the song; the singer wavers between Spandau Ballet, Tony Bennett and the Osmonds when they did "Love Me For A Reason". When he figures out the right approach, he will probably have a number one, but not yet, not with this one. (Charlie Gillett, Smash Hits, February 4, 1982)

Julian Cope - Sunshine Playroom (Phonogram)

'Ultimately butch', 'a devil of sophistication', 'a man for all seasons', all this and more, is the enigma of Julian Cope. As everyone knows 'ol Copey's been away, getting his head/act together and no doubt trying to find where he's coming from, and more important, going to. This piece of platter is very strange to say the least. Disjointed beyond belief, but nonetheless weird and quite wonderful at the same time. Amazing, in a funny way. (Gary Crowley, Record Mirror, November 12, 1983)

Unless you have fond memories of The Moody Blues' "Question" or Queen's "Bohemian Rhapsody", Cope's three part epic shouldn't seem familiar. It fuses an urgent rock song, a pleading ballad and a harmony chorus, tosses in the theme tune from Hawaii Five-0 and then wraps itself up in the lush string arrangements of Paul Buckmaster (who applies the same magic touch to the new Nick Heyward album). The work of a genius and absolutely wonderful. (Mark Steels, Smash Hits, November 10, 1983)

Jody - Where The Boys Are (Phonogram)

AM: Ever wondered what happened to Bruce Woolley? He co-wrote it. The best thing about it is the sleeve.

PH: When the chorus first came in you thought 'This is going to be great', then it went back to the verse and you thought 'oh, that's the chorus'.

(Andy McCluskey and Paul Humphries of OMD, Record Mirror, November 3, 1984)