Orchestral Manoeuvers In The Dark - Shame (Virgin)

Most of OMD's songs, unfortunately, sound like Andy McCluskey and Paul Humphreys have fallen asleep behind their synthesisers during the recording. This bounds along quite chirpily at the beginning but then it trails off into the usual oblivion half way through. Maybe it's something to do with Andy's dreadful dancing. (Ro Newton, Smash Hits, March 25, 1987)

The Blow Monkeys - Out With Her (RCA)

What an old cynic Dr Robert is. Everyone else is falling over themselves with the joys of being in love, and here he is analysing the consequences. Should his heart rule his head or vice versa? Judging by all the sighing and gasping he's up to on this slowie, it sounds like love doesn't really come into it at all. Not when you can survive on lust. Classy all the same. (Jane Wilkes, Record Mirror, March 21, 1987)

Hark! What a cheeky monkey Dr Robert is. Hear him wake up, yawn, stretch and then launch into the heaviest breathing I've heard this side of Donna Summer. Highly provocative, and if that alone doesn't make this song appealing, the sultry, smoothy blend of piano and glistening percussion just might. Most relaxing, I must say. (Ro Newton, Smash Hits, March 25, 1987)

Samantha Fox - I Surrender (To The Spirit Of The Night) (Jive)

T: Apart from the bloke they shoved in at the end to do harmonies this is actually quite good. Can I keep it?
A: Sounds like a hit to me. Very good, her voice seems to have improved a lot recently. She could become quite famous, and if she does, I might let her be my friend.
J: She's starting to sound like Kim Wilde, isn't she? This is really good. If they'd put some medley guitars in with the backing I think it would be brilliant. (All About Eve, Record Mirror, July 18, 1987)

Sam Fox's achievement, if you can call it anything so grand, is to have become the first Brit to crack the formula for producing totally drossy Euro synth pop. This is about on a par with a Europe record i.e. it's nauseating and utterly daft. A gormless charmless sound from a big galoot. Will it be a hit? Do bears poop in the woods? (Max Bell, No 1, July 18, 1987)

Sam Fox has got this pop lark off to a fine art. However brainless the press may attempt to portray her, there's no denying she knows a good tune when she hears one. This, like all her other songs, sounds instantly familiar after the first spin and actually turns out to be a loosely disguised version of the 1978 disco classic "Let's All Chant" by the Michael Zager Band. Still, it's been Sam Fox-ed up with thundering drums, growling guitar solos and plenty of woh-oh-ohs. "I Surrender" sounds like a huge hit and just goes to prove that nothing, short of a nuclear war, is going to stop her now. (Ro Newton, Smash Hits, July 29, 1987)

Alison Moyet - Is This Love? (CBS)

Alison Moyet's been biding her time lately in L.A. (man), recording new material but really this is nothing to bring you or her out in a sweat. "Is This Love?" is tunesome alright but hardly enough for her to wrap her tonsils around. This woman is worthy of far greater things than this. (Ro Newton, Smash Hits, November 19, 1986)

Paul Simon - The Boy In The Bubble (WEA)

A strange one this. Paul Simon sings about lasers in the jungle, babies with baboons' hearts, and magical medicine over a fuzzy accordion melody. One can only presume that either he's flipped his lid or he's trying to convey some deep and meaningful message about technology or something. Anyway, this is nowhere near as endearingly quirky as "You Can Call Me Al" and it'll need a pretty snappy video to liven it up, that's for sure. (Ro Newton, Smash Hits, November 19, 1986)

The Pretenders - If There Was A Man (Real)

The goddess Chrissie turns in a fine vocal performance over a song that sounds completely unlike the Pretenders, due to the famous John Barry effect. He could make a washing machine sound like a Tchaikovsky symphony. The song itself follows in great Bond theme tradition and, as such, could be from any of this decade's Bond films. Somehow classic though it threatens to be, it doesn't quite make it since it lacks the familiar Pretenders bite. (Nancy Culp, Record Mirror, August 8, 1987)

Chrissie Hynde is renowned for being a bit of a bigmouth. She has plenty to spout out about how people should live their lives i.e. in a "wholesome" fashion like her, and she prides herself on doing and saying "the right things". It's a pity then that she doesn't apply this philosophy to her music. Why on earth she should record such a lifeless uninspiring ballad as this for the soundtrack of the latest James Bond movie [The Living Daylights] is beyond me. Unfortunately it seems as if The Pretenders are starting to live up to their name. (Ro Newton, Smash Hits, July 29, 1987)

Kim Wilde - Say You Really Want Me (MCA)

Gone are the days when Kim's brother Ricky Wilde would conjure up twee, frivolous songs for his sister to sing. Now she's moved up-market, gone all "sophisticated" and taken a fancy to clumsy disco dirges that don't mean anything at all. Kim sings with about as much passion as Hilda Ogden (sob!) doing the hoovering, while some bloke programmes the computer with a flimsy drumbeat that could just about raise a shuffle on the dancefloor. (Ro Newton, Smash Hits, July 29, 1987)

Good old Kim! She's a bit of a girl and I like girls with a bit of spike in their stilettos! However goddess-like Kim is though, the record is a bit pony and trap. I wish she'd find another good song like "View From A Bridge" or something. (Nancy Culp, Record Mirror, August 8, 1987)

Frankie Goes To Hollywood - Rage Hard (ZTT)

The best things in life are threes. So after Whambley and Prince, here come the boys who'll come all over you.. Frankie, welcome back. So what's new? Well, there's more of those awfully nice guitar noises, less of the 'frisco disco and some jolly good burps on the B-side. 'Rage Hard' may not at first catch the ear in the same way as 'Relax' or 'Two Tribes' but crank it up for a couple of hours and even Snabber Towers will shake to the chandeliers. Beefy! Only weak link is a less than brutal version of Bowie's "Sufragette City" on the 12-inch but whom careth? The Hit Parade is for Frankie. And Frankie only. 5/5 (Paul Simper, No 1, August 30, 1986)

Frankie have been away for what seems like ages. Actually it's been 18 months and during this time they've been messing about in recording studios all over the world. Naturally then, you'd expect them to come forging back with a single impressive enough to knock your socks off. Unfortunately this didn't even wrinkle mine. "Rage Hard" sounds like any of their previous singles but watered-down and without the guts. They've even used that familiar "menacing" voice from the "Two Tribes" single (the one that tells you what to do in the event of a nuclear explosion) but it's no longer menacing - in fact it sounds like he was out of the room when his bit was being recorded. The overall effect is a bit limp and very disappointing. (Ro Newton, Smash Hits, August 27, 1986)

The Bangles - Following (CBS)

Oooh look, The Bangles have suddenly gone all serious and most effective it is too. "Following" is a sparse folk-like ballad and Michael Steele talks rather than sings the words, accompanied only by an acoustic guitar and some floaty strings. It wafts along very gracefully apart from the spoken parts which get a bit hoity toity here and there, and should see them repeating their recent huge successes all over again. (Ro Newton, Smash Hits, March 25, 1987)

Following Suzanne Vega, girlies? All dour talkovers and serious voices cracking with 'emotion'. Very sixth form angst, girls, and I would've thought that description was pushing the truth a bit. Pass the sick bag.  (Nancy Culp, Record Mirror, April 11, 1987)

Owen Paul - Pleased To Meet You (CBS)

Owen is the kind of bloke it's impossible to dislike: he's inoffensive but not bland. In fact his records are quite a tonic. This one is a re-release from the times when Owen's claim to fame was being a mate of Charlie Nicholas ('Flamboyant' Arsenal footballer). It's almost as catchy as "Favourite Waste Of Time" and even if you don't like it you'll be humming along in no time. Can't help thinking though that his breezy take life as it comes kind of songs are only suited to the summertime. What's going to happen in winter? Perhaps Owen will have to hibernate... (Ro Newton, Smash Hits, August 27, 1986)

Fatal Charm - King Of Comedy (Carrere)

Inspired by the film of the same name, starring Robert De Niro, although I don't see the connection. But this is uplifting stuff. The Nottingham three piece hit you from the word go with some potent guitar orientated hysteria - American style. Well worth a listen. (Ro Newton, No 1, May 11, 1985)

www.fatalcharm.co.uk

Marcel King - Reach For Love (New York Remix) (Factory)

A surprising release from Factory Records, and by 'eck it's a belter. A definite contender to New Order's "Blue Monday" for best dance record ever. Pulsating and irresistible. Play at maximum volume. (Ro Newton, No 1, May 11, 1985)

Animotion - Obsession (Polygram)

A top ten hit in the States, but the Americans never did have any taste. A catchy but unoriginal brand of synth-funk churned out by six rather wet looking people trying their best to appear as non-conformist as possible. Frankly, it doesn't wash. (Ro Newton, No 1, May 11, 1985)

Strawberry Switchblade - Who Knows What Love Is? (Korova)

Strawberry Switchblade have taken over from Bananarama as cutie pie press puppets with waspish tongues. Temporarily ensconced in the public eye, these girls can do no wrong. This is a gooey adolescent love song which lacks the catchiness of "Since Yesterday", although the trumpet playing is like a blast of fresh air. Full marks to the session musician. (Ro Newton, No 1, May 11, 1985)

A very pleasant ballad, but I can't help feeling that Strawberry Switchblade are deliberately aiming at the more mainstream pop market. Not that that's a bad thing - I just feel they could be really really interesting and obscure. (Stephen 'Tin Tin' Duffy, Smash Hits, May 8, 1985)

More breathy goo from the Scots duo. It's pleasant but only for those who sigh when they see the Andrex puppy nuzzling that rabbit on the advert - not realising he's only licking him to see whether he prefers it roasted or braised. (Mike Gardner, Record Mirror, May 11, 1985)

This record is mellow. It is for lazing around in the sun doing as little as possible to. The lyrics are great! With such lines as "I get myself a glass of milk and a colour magazine" they won't move the people to revolt, but they are about day-to-day happenings. (Simon O'Brien, Smash Hits, May 22, 1985)

Note: Simon O'Brien played Damon Grant in Channel 4's Brookside. Apparently.

Duran Duran - A View To A Kill (EMI)

After a six month breather, Duran follow in the footsteps of Shirley Bassey and Sheena Easton with a James Bond theme. Co-written by themselves and John Barry, the collaboration is obvious. This contains all Duran's stock ingredients - frenzied guitar and bass, but Bond-ised with tell-tale, dramatic bursts of brass. The dull drumbeat smacks of The Power Station... I Say it's time Simon Le Bon's vocals were laid to rest. (Ro Newton, No 1, May 11, 1985)

The lyrics to this are connected to the Bond film this forms the theme to, I presume, as they are a little oblique. Musically, it's also full of Bond allusions - full of seas of strings and brass stabs. Quite stunning production. Producer Bernard Edwards seems to have superceded Nile Rodgers in every direction. Takes a long time to get to the hook, but very interesting. (Stephen 'Tin Tin' Duffy, Smash Hits, May 8, 1985)

Those expecting a load of old Thunderballs will be surprised at this grower. Simon Le Bond - licensed to thrill - does his Bryan Ferry/David Sylvian impression on the best Bond theme since Carly Simon's "Nobody Does It Better". (Mike Gardner, Record Mirror, May 11, 1985)