Rod Stewart - Trouble (WEA)

Lovable old hack or LA creep? He annoys me a lot less since he's started wearing a suit instead of those cellulite-sausage lycra leggings, actually. "Some Guys", whilst unable to hold a candle to Robert Palmer's version, showed that of big nose still knew how to pick 'em. But this self-written slowie is undistinguished, to put it kindly. (Sunie, No1, November 24, 1984)

In which everyone-over-40's favourite Jack-the-lad takes a breather from the endless round of ditching old blondes, finding young ones and wearing scoop-neck t-shirts to reflect on the sorry fate of the ageing Romeo. A palatable miss-you-babyee effort, this, which merits some success. Trouble is, I remember Rod before he got a full time post at the Ministry Of Music - well 'ard, 'e was. (Lesley White, Smash Hits, December 6, 1984)

Five Star - Crazy (Tent)

Say hi to the New Edition! Five Star are a family of five black Brits, including three Crolla-clad girls with lightened hair and a pretty good Michael Jackson clone. Someone in the Five Star camp knows a hook when he hears one. They should give him a raise and sack their stylist. (Sunie, No1, November 24, 1984)

Paul Young - Everything Must Change (CBS)

A slow and stately self-penned ballad that's more like "Wherever I Lay My Hat" than anything else Paul has done. Takes its time to sink in, as good ballads often do. Should do the business. (Dave Rimmer, Smash Hits, November 22, 1984)

After the post-Frankie heavy metal soul of "Playhouse", Paul veers towards country on his first self-written release since the hits started coming. The country-style guitar freshens up his familiar bass 'n' synth sound, and the song's pretty creditable too. It gives away his '70s rock origins, but then he's never been at great pains to disguise those. I look forward to seeing him clutching his mikestand on TOTP as soon as poss - that much won't change. (Sunie, No1, November 24, 1984)

The Chant Of Barry Flynn - The Smile And The Kiss (Ensign)

This originally came out under the name of Bonk. I mean, BONK!!! And if you don't know what that means, I'm certainly not going to tell you. It flopped, so Bonk, who is actually Barry Flynn, decided to give it another go under his real but equally uncharismatic moniker. It's still pretty unexciting. (Sunie, No 1, April 21, 1984)

Almost a hit last year and deservedly re-released. Bas has dropped the awful Bonk moniker which must have affected his chances before. A rousing sixties soul stomp chorus and not too much else, but a hit. (Andy Strickland, Record Mirror, April 28, 1984)

Holger Czukay - Cool In The Pool (EMI)

Starts off pretty, then gradually descends into out-and-out weirdness, but in utterly winning style. It's like watching the Eurovision Song Contest being stealthily taken over by little green men from outer space! Wonky and wonderful. (Sunie, No 1, August 6, 1983)

China Crisis - African And White (Inevitable)

While you're at the shop checking out the Chas Jankel, ask to hear this one too; it has a lot of nice instrumental ideas, and only the slightly doomy vocals stop it from being really good. (Charlie Gillett, Smash Hits, February 4, 1982)

Saw this lot at the Venue the other night, supporting Wang Chung, which is about as enviable a task as having to spend a weekend in Doncaster with John Shearlaw. They tackled it pretty well, mind you, and the single bears out their status as Promising Newcomers or whatever. Well-paced and charmingly played, its synth bits are surprisingly subtle, with the excellent drumming and percussion well to the fore. An Australian tells us: "Iyem convinced that thay wull by a mijor baaand within the next (hic) yee-er." (Sunie, Record Mirror, February 13, 1982)

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)

The Blue Nile - Stay (Virgin)

The Blue Nile are a band I know absolutely nothing about but I'll be listening out for them in the future. I think this is probably their debut single and it sounds as if it's been influenced by Talking Heads. An hypnotic bassline drives the verse into a catchy chorus. Good single. (Dave Gahan, Smash Hits, April 26, 1984)

A very pretty first release by some young Scottish chaps who, if their plain white record cover is anything to go by, aren't giving away too much about themselves. This is refreshing and perfectly sensible, since the music speaks for itself, It's gentle, not too busy and topped off with a vocal borrowed from an American singer-songwriter - the sensitive '70s kind. No, I like it, honest! Discovery of the week. (Sunie, No 1, April 21, 1984)

King - Love & Pride (CBS)

This lot were once briefly touted by the inkier side of the pop press as the next new something or other. They don't look or sound like it on the strength of this single. Judging by the cover, their image is based on Wayne from Auf Wiedersehen Pet, and the music's more or less like Fashion's - modern and anonymous. (Sunie, No 1, April 21, 1984)

I don't know much about this band but I find the tune very instant. After a few plays I flip over to find that the B-side has a rough edge the A-side doesn't. I'm afraid "Don't Stop" turns me on and "Love & Pride" doesn't. (Dave Gahan, Smash Hits, April 26, 1984)

I-Level - In The River (Virgin)

Lithe, funky pop from an outfit who are well overdue for a taste of the charts. Smart and sophisticated, it's also a damn sight more listenable than a lot of the stuff that's littering up the dance floor these days. You certainly couldn't break-dance to it. But then what kind of a person wants to spend their life spinning on their back? Quick, the next single - I feel a Joan Collins joke coming on... (Sunie, No 1, June 9, 1984)

Tina Turner - What's Love Got To Do With It (Capitol)

Well, it looks as if the Tina Turner revival was a flash in a well preserved pan. At a complete loss for a follow-up to "Let's Stay Together" she first tried a dreadful Beatles cover, and now here's a piece of limp reggae pop. The next move may well be an attempt to jump on the breakers bandwagon - careful Tina, a fracture could prove troublesome at your age. Perhaps you'd better apply to The Smiths for your next new lease of life. (Sunie, No 1, June 9, 1984)

She still looks fantastic (he sighs). Don't like it, I'm afraid. It reminds me of Marianne Faithfull. It's like an out-take from her Dangerous Acquaintances LP. I'm disappointed. Where's the raunchola this week? (John Taylor, Smash Hits, June 21, 1984)

Ultravox - We Came To Dance (Chrysalis)

Ultravox write some OK tunes, but invariably team them up with the most pompous words in the world. Here, Midge intones the usual meaningless blather in his mournful tones. Doesn't he ever feel like singing something normal, about getting up, feeding the cat, hanging out with Mick Karn and so on? (Sunie, No 1, May 21, 1983)

Frankie Goes To Hollywood - The Power Of Love (ZTT)

Led Zeppelin do a ballad! Gosh, these boys are versatile. I've tried to see some redeeming feature in this - as you might expect, it's Trevor Horn's lush production. Otherwise the thing's a fairly major disappointment. Seventies' kitsch seems to be the Flavour Of The Month, but a pomp rock revival I can live without. (Sunie, No 1, November 24, 1984)

A stronger-than-brandy, big ballady monster. A lot of heart, all over the place. Strings sweep, fools weep. 'Make love your goal', pleads Holly, going over the big top and outta sight. The B-side carries the Lads' Xmessage - beep beep! - in which they get pissed, take the piss out of themselves, and make a few suggestions (about getting the most out of the festive season). O come, all ye ... (Mark Cordery, Record Mirror, November 24, 1984)

Billy Idol - Dancing With Myself (Chrysalis)

Some of us will remember this song as being one of Billy's punk pop band Gen. X's better moments. A surprisingly good song with hummable bits and a nice punky riff. Billy's solo version sticks pretty close to the original, through seems tamer somehow - but perhaps nostalgia is colouring my memory. Shame there's no Billy pic on the cover; his bleached-up good looks always make me smile. (Sunie, No 1, October 15, 1983)

Bush Telegraph - Turn Those Guns Around (EMI)

Snappy, Afro-flavoured pop marred by an over-polite vocal. Still, in a climate where Holly, Simon and George Michael are top singers, what can you expect? Oh, for a decent set of pipes .. . (Sunie, No 1, November 24, 1984)

Spandau Ballet - Only When You Leave (Chrysalis)

Just as well I've already heard this a couple of times, since the review copy fell out of its sleeve in two pieces. They don't make 'em like they used to - or rather they do, since this long overdue offering sounds exactly like something from True. Nowt wrong With that, of course, and it's great to have the lads back. But we'll have to wait a little longer to see what Spandau's '84 model is made of. (Sunie, No 1, June 9, 1984)

Tony Hadley's singing has improved to such an extent that the time when his surname was always preceded by the nickname "Foghorn" is becoming a dim memory. He gives a warm, restrained performance on this funky and rockin' number which also displays Gary Kemp's talents as a scratchy rhythm guitarist. (Neil Tennant, Smash Hits, June 7, 1984)

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)

Nik Kershaw - I Won't Let The Sun Go Down On Me (MCA)

Nik Kershaw has written some good songs and this is one of the better. He's had a lot flak but I guess that's what happens when you pick up awards for us. A huge hit especially with the fold-out, hunk of the month colour poster. I wish he wouldn't try so hard to shrug off his young image. He should be grateful for it. (John Taylor [Duran Duran], Smash Hits, June 21, 1984)

New name has couple of hits, re-releases oldie that didn't quite make it first time around but is sure to score on this go. Meanwhile he has to contend with trauma of wanting to be serious artist, sensitive musician, etc, but keeps getting screamed at by weenies, teddy bears chucked on stage and so on. Which reminds me - whatever happened to Tears For Fears?  (Sunie, No 1, June 9, 1984)

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)

The Cocteau Twins - Pearly-Dewdrops' Drops (4AD)

The Cocteau Twins are a band I've never really listened to and I feel that maybe I've missed out on something. Elizabeth Fraser's voice appeals to me in a way that I like very much. This is a great record and is definitely Single Of The Fortnight. (Dave Gahan [Depeche Mode], Smash Hits, April 26, 1984)

This record harks back even further [than singer-songwriters in the '70s] - to the late '60s or early '70s forsooth. It's a hurdygurdy of positively hippyish sounds. Very attractive for all that, this has layers of old-fashioned guitars and Elizabeth Fraser's yearning voice is well-deployed. File next to "Dear Prudence" and your patchouli joss-sticks. (Sunie, No 1, April 21, 1984)

The darlings of the spikey mohican brigade, aren't they? I quite like it and it's a very nice sleeve. It's quite middle of the road in a way, I'm sure my mum would like it but it won't be a hit. Not as good as "Song To The Siren". (Bobby Bluebell [The Bluebells], Record Mirror, April 21, 1984)