Simply Red - Jericho (WEA)

One of those frustrating songs with a brilliant intro and verse - blues and jazz combining perfectly with Mick Hucknall's soulful voice and then ruined by a ridiculously out of place chorus which sounds like a stupid football chant. A shame, but still a good single. (Simon Braithwaite, Smash Hits, February 12, 1986)

David Bowie - Absolute Beginners (Virgin)

From the forthcoming film with Patsy Kensit, Sade and the man himself, the song "Absolute Beginners" sounds a bit like something David Bowie was singing 14 years ago. There's some gentle strumming guitar, a lot of "be ba bowoos" (presumably because the film is set in the late '50s) and a lavish string arrangement for good measure. It seems a bit bland and then you find yourself humming it for the next half hour. Mmmmm... (Simon Braithwaite, Smash Hits, February 12, 1986)

If you're surprised, how do you think I feel? Never would I have believed that after the last two travesties of albums from a one time mega-god, he'd come up with a song that again captures the sensuality and sleek perfection his name once stood for. Once more, Bowie discovers the allure of the flat note, the sneering attraction of his nasal passages as the purveyors of song, and - most of all - how downright loin-tingling out-of-tune sax can be. Of course, it sounds like "Heroes" - but when he croaks "I absolutely love you" he's teasing your emotions on a level no-one else can. An absolute divinity returns. Single Of The Week. (Eleanor Levy, Record Mirror, March 8, 1986)

Bowie goes all soft and smoochy for the long awaited theme song from the even longer awaited film. Considering the secrecy this little gem has been shrouded in (I personally had to sell my body and my soul to the devil to obtain a copy!) it's a bit of an anti-climax - at first. Three or four plays and you'll be hooked. Did I say it was soft? I meant soft like an iron fist in a velvet glove. (Pat Thomas, No 1, March 1, 1986)

Colonel Abrams - I'm Not Gonna Let You (MCA)

For sheer cheek Colonel Abrams deserves some sort of prize with this one. It's such a blatant rip-off of his previous hit "Trapped" that you wonder why the record company bothered to release it in the first place. They may as well have just re-mixed "Trapped" and bunged that in the shops. A total, complete and utter swizzle. (Simon Braithwaite, Smash Hits, February 12, 1986)

Midge Ure - Wastelands (Chrysalis)

Pretty heavy stuff here as our Midge unfolds some of the horrors of 1980's Britain. Now, normally with Midge Ure this means not finding the right size Yamomoto jacket, but this time it refers to some of Britain's urban "wastelands" and the miseries of living there. Starts with a solitary cello and builds itself into a crashing crescendo of every instrument they could find in the ruddy studio. (Simon Braithwaite, Smash Hits, February 12, 1986)

'The boy is listening to those records from the past. . . They are the voices of the faces on the wall. . . One day he even cut their names upon his skin, they mean that much to him'. . Will anyone ever cut Midge Ure's name on their skin? For ten years he's shown a remarkable gift of survival, being in most of the right places at the right time with Slik, Rich Kids, Ultravox, Band Aid . . . but he's never been the sort of pop star a fan could die for, despite his likeable personality, powerful music and ever-changing facial hair. In fact, of course, the likeability and facial hair have always worked against Midge's music. Nobody ever took him seriously like they did, say, Gary Numan (to whom facial hair and likeability are equal sins) - which is no doubt why Midge has lasted longer. No one felt let down when Midge stopped acting like a Viennese aristocrat (unlike Numan's fans, who ditched him the day they realised he wasn't a robot after all). Anyway, sometimes he makes jolly good records like "Dancing With Tears In My Eyes", and sometimes he doesn't. "Wastelands" is Midge at his most pompous, but as long as being a No.1 solo artist doesn't go to his head, fair enough. (Phil McNeill, No 1, February 8, 1986)

Howard Jones - No One Is To Blame (WEA)

Move over Sigue Sigue Sputnik! Howard Jones never had to be hyped or wear fishnet tights over his head to get noticed. He just wrote brilliant songs - like this one. And he's had a spot of help with this reworked version of "No One Is To Blame" by a man who needs no introduction - Mr Phil Collins - who plays drums, sings and produces. This is a rich and romantic, arm-waving toe-tapping ballad that could give Ho-Jo (as we call him in the trade) his first Number One. And if it doesn't - I wanna know why! 5/5 (Debbi Voller, No 1, March 8, 1986)

The credit speaks a 1,000 words. "Produced by Phil Collins and Hugh Padgham." You expect 'slick' and slick is what you get. Less offensively happy than some of Howard's past offerings, he even sounds like vintage Elton John in parts, which can't be bad. One for mums and dads I think, and those who still believe in Father Christmas. (Eleanor Levy, Record Mirror, March 8, 1986)

Undoubtedly the best Howard Jones song since "Hide & Seek". Taken from the Dream Into Action album, this recording (produced by Phil Collins) sounds a bit like an early Elton John ballad, just some light piano and a few guitars. It's nice to see that old Howie has given up trying to save the world and is now concentrating on writing better songs.  (Simon Braithwaite, Smash Hits, February 12, 1986)

Depeche Mode - Stripped (Mute)

Depeche Mode must rate as one of the most consistent if not one of the best pop bands of the '80s. They have a distinctive sound, but not so much so that each release sounds like the last one. Their lyrics actually mean something without being pretentious and over the top. Yet they never seem to get the adulation that their competitors get. Strange that. Let's hope that the haunting stillness of "Stripped" puts them up where they belong, before Frankie and Spandau reappear. (Mark Booker, No 1, February 22, 1986)

Depeche Mode were becoming very predictable but this is the best thing they've done in ages. 'Let me see you stripped,' sings Dave Gahan and bang goes their appearance on Saturday Superstore. Actually, I think it's all about going back to nature and 'discovering yourself'. Slow and atmospheric, even when you can't work out what he's going on about. (Simon Braithwaite, Smash Hits, February 12, 1986)

Laudable B-Side: The flip is "But Not Tonight", surely one of the Mode's most elegant compositions.