Echo And The Bunnymen - Lips Like Sugar (WEA)

Let's see now, we've had some sugar mice from Marillion and now the Bunnies are blowing some 'sugar kisses' our way. My, aren't we all in a soppy mood this week! This is a pleasantly soppy, girly love song, full of sugar'n'spice and all things nice, and for once there's less of the ol' whining from Mac. (Debbi Voller, No 1, July 25, 1987)

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)

A-ha - Take On Me (WEA)

Gold star too for A-ha, a Norwegian trio. "Take On Me" and "And You Tell Me" are fresher that a freezing gust up the fjord and highlight the singer's incredible vocal range. Essential purchases both. (Martin Townsend, No1, November 3, 1984)

Alphaville - Forever Young (WEA)

"Big In Japan" was a real horror. Sickeningly twee but a big enough hit to be played into infinity at tacky Continental discos or dragged out annually as a Radio 1 golden oldie: "Back in time with Alphaville . . . All of which makes "Forever Young" a real surprise. A stately and well-sung melody floating along on echoey church organ, it does everything but scream `follow up'. Big in the credibility stakes if not in the charts. (Martin Townsend, No1, November 3, 1984)

PH: It started off for me quite interesting, but then it went into something which was quite MOR. AM: They're from Munster, I met them three weeks ago in Cologne, I was doing an interview. They made me feel like Grandad, because they came up to me and said "Oh OMD, big heroes of ours, your first album was really important, made us want to make music." They're all our age, and one of them's 30, actually. That song started off sounding like Toto on synths, then got strange... it's a mega Euro-ballad. (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Fleetwood Mac - Little Lies (WEA)

I can never hear the words 'Fleetwood Mac' without thinking of Stevie Nicks flinging her skirts around her ankles in their horrible little videos, as well as a particularly gruesome tale someone once told me about Nicks which is far too disgusting to repeat here. This is more of their cunningly addictive, sugar-sweet MOR that, in comparison to today's pretty, sophisticated, sterile, CD pop bands, sounds positively rebellious. Lindsey Buckingham to join Danny Wilson, anyone? (Eleanor Levy, Record Mirror, September 12, 1987)

Howard Jones - New Song (WEA)

Candifloss synthi-pop. Producer Colin Thurston, man at the controls of Duran Duran and Kajagoogoo, spins out lots of sweetness and light. About as substantial as the fluffy pink stuff on a stick. (Lynn Hanna, No 1, August 20, 1983)

Another in the long line of pretty-boy popsters, Howard is apparently rather big in High Wycombe. This first offering is produced by the same man as Duran Duran and Kajagoogoo and will probably be MASSIVE. It's squeaky clean disco pop with lots of whoops and woos in the background. You can't fault it. (Eleanor Levy, Record Mirror, August 20, 1983)

Missed A Sitter: Smash Hits failed to review 'New Song' which reached number 3 in the pop charts.

Nick Kamen - Loving You Is Sweeter Than Ever (WEA)

I don't know about you, but I always preferred the bloke in the bath in those Levi's ads. Much less obvious than Mr Kamen - but then the charts are full of 'obvious' acts at the moment and Nick fits into this as perfectly as those dinky little boxer shorts of his. Making use of Spandau Ballet's one sax solo, it's soft disco that reminds you of a million other tacky dance greats. Pre-packaged for party time! As stylish as the man who's singing it. And take that as you will. (Eleanor Levy, Record Mirror, February 21, 1987)

I hated his last one but I heard it so often it sort of grew on me. Here he's covered a classic song (originally done by legendary Motown soul act The Four Tops) and killed it. His voice is really dodgy. I don't think models should try and be singers. Let's face it, he's made it just 'cos he's got a pretty face. My dad's mate is a really brilliant singer and he's been trying for years to get a record contract and he can't get one. I think it's unfair. But the charts are all about novelty really ain't they? I mean, I think it's out of order that records by the EastEnders lot get to Number One. Mind you I can't talk! The Grange Hill records I sang on were bloody awful. I don't know how they got into the charts either. Makes you wonder dunnit? (Lee MacDonald, No 1, February 21, 1987)

Howard Jones - Hide And Seek (WEA)

So many artists seem to do two fast ones and then a slowy. This is a big, soft, slow, slushy ballad that sounds incredibly like Barry Manilow at times. I don't like this as much as his uptempo stuff but it's still up to his usual standard. I would think a chart cert. (Limahl, Smash Hits, February 16, 1984)

The strength of the new solo stars like Paul Young and Howard Jones is that they're not over-keen to impress. "Hide And Seek" builds ever so slowly from a few gentle drumbeats and synth doodlings into a stately and controlled masterpiece which harks back to Japan's "Ghosts". No.1 in a month. (Martin Townsend, No 1, February 18, 1984)

Prince - Paisley Park (WEA)

The man in the violet loon-pants returns to us via an acid-drenched ballad called "Paisley Park". But doesn't Prince know that the paisley revival was strictly last year? In all honesty this sounds like one of the songs that didn't quite make the Beatles' White Album. If "When Doves Cry" conjured up images of tight spandex trousers ... then this is definitely flare city. Mutton dressed as lamb. (Dylan Jones, Record Mirror, May 25, 1985)

When all the flower power and Sergeant Pepper jokes have died away, Prince's Around The World In A Day LP will stand as a momentous achievement. Despite the pressure of mega-success it's patently not 'Purple Rain Vol. 2', but it marks yet another deft re-definition of the Prince sound. Across funk rhythms as dry and brittle as parchment he's scrawled guitar lines which are little more than feedback, with pained vocals that swoop, dip and finally crack completely. "Paisley Park" exorcises all these elements while it evokes a place where casualties of city life buy a "lifetime lease" to hippy happiness. A nursery rhyme tune pitched above Prince's range, it teeters on a tightrope between the ridiculous and the brilliant. And Prince – alone, currently, among all the major stars – will walk that rope till it's as thin as thread. (Martin Townsend, No 1, May 25, 1985)

Everything But The Girl - Native Land (WEA)

Although the lyrics are quite challenging, this jazzy, late-night music is perfect to `mellow out' and 'get laid back' to. The only jarring note is the suspiciously out-of-tune harmonica in the middle. What's wrong with a nice bit of flute? (Vici MacDonald, Smash Hits, September 27, 1984)

I'm starting to think "Each And Every One" was a fluke. Nothing Ben Watt and Tracy Thorn have done before or since has matched their own solo work. Lyrically, "Native Land" is a brilliant plea for tolerance and understanding – in a town, in the world. But what little excitement there is in the tune is trodden flat by Tracy's lumpen, hung-over vocal and - on my copy at least - Smithman Johnny Marr's harmonica solo, which sounds painfully off-key. A major re-think required. (Martin Townsend, No 1, September 29, 1984)

Aztec Camera - Still On Fire (WEA)

Roddy digs out his tried and tested chord progression, fiddles with a gruffer voice on the opening line before scampering back to more familiar territory. This and the rest of the Knife LP is an indisputable testimony on the deep, deep dangers of describing a fledgling such as Frame as a 'genius'. (Marvin B Macclefish, Record Mirror, November 17, 1984)

Still on fire or just an old flame? Roddy Frame's latest offering sees the Aztecs twiddling their fingers. The song's a dull harkback to Don McLean's 'American Pie' days and producer Mark Knopfler makes a dire mess of the group's usually chirpy sound. Matters are not helped when comparisons are drawn with the flip side – the late, great "Walk Out To Winter". It may be live and a bit leaden but it still cuts like a knife through the present material. Come on, let's get the home fires burning again. (Paul Simper, No 1, November 17, 1984)

On the back cover Mr Frame is sporting a v. expensive pair of flowery Scot Crone trousers (achingly trendy London shop) and can therefore be assumed to be doing rather well these days. This enjoyable, jerky and singalongable item should justifiably ensure he does even better. Thumbs aloft. (Dave Rimmer, Smash Hits, November 22, 1984)

The Go-Betweens - Bachelor Kisses (WEA)

Yet another fine offering from one of the few bands who regularly give us something to smile about and be thankful for. "Bachelor Kisses" is a classic Go-Betweens lament of lost love and youthfulness which seems to preoccupy them these days. Not a hit, but a gem. (Andy Strickland, Record Mirror, September 22, 1984)

Red Box - Heart Of The Sun (WEA)

This lot last graced the chart with the jolly "For America" - a tune with a great video and an irresistible hook that everyone was humming in spite of themselves. Before that they pioneered pop music for the deaf (!?) with a video for the single "Lean On Me" which included a person in the corner of the screen signing the lyrics to the song. Looks like they've just run out of good ideas. (Pat Thomas, No 1, January 31, 1987)

Talk about finding the formula and milking it dry. Do Red Box know the meaning of the word variety? It's the same as the previous saccharine-laden objects of inanity, destined to be bought by thousands with no taste. (Nancy Culp, Record Mirror, January 31, 1987)

Dollar - Give Me Back My Heart (WEA)

Slush. Well sung slush and, with the much-in-demand Trevor Horn at the controls, beautifully-produced slush. But slush nonetheless. Nothing wrong with that necessarily, but nowhere near as interesting as "Mirror Mirror". (Dave Rimmer, Smash Hits, April 1, 1982)

Prince - If I Was Your Girlfriend (WEA/Paisley Park)

People call Boy George a "gender bender", but Prince confuses the sexes in a far more clever and subtle way. Consider: he's definitely a man, and most of his lyrics are steamy odes about how much he fancies women, yet he looks and sounds incredibly feminine and loads of blokes think he's extremely sexy. And now, to tangle the subject still further, here he is with a song about how he'd like to be his girlfriend's girlfriend, so he could help her get dressed and be privy to her innermost secrets. Which is probably a very erotic idea to the boyfriends of this world, but will leave most girls heaving a sigh of relief that, when they're squeezing their blackheads and moaning about men in the ladies' loos, their "loved" ones cannot be there to witness them. Confusing, non? (Vici MacDonald, Smash Hits, June 3, 1987)

Like it! Got a few tapes of his at home actually. Some people say that a lot of his stuff is too similar but I like that basic feel to all his songs. When you listen to the words they don't seem to go a lot of the time. Not that I'm saying he's mad or anything, he's just very creative and takes a bit of tuning into. I've never seen him live but I'm hoping to go to Wembley. Na, I'm not going to wear anything peach or black! I'll be wearing pink, dear! Don't put that bit in will you... (Neidet Salih, No 1, June 20, 1987)

The Cars - Drive (WEA)

The Cars are the kind of aging rockers that Americans love so much. "Drive" is the kind of bland, faceless ballad that Paul Gambaccini plays every Saturday afternoon. The combination of the two gives the word dirge a whole new lease of life. "Who's gonna drive you home tonight?" they ask. I think I'd take me chance on the night bus. (Karen Swayne, No 1, September 22, 1984)

Red Box - Chenko (WEA)

A-Ha meet the Old Spice ad, and Red Box reap the rewards. Pronounced 'Tenka-io', which no doubt is something very deep and meaningful in some dodgy language, this slice of atmospheric musing finds the band at their best yet, with the duo rustling up an undoubted chart hit that deserves its place far more so than the appalling dross that Red Box have produced so far. With Chenko, opening up the Red Box is no longer the distasteful experience that it once was. (Fiona Looney, No 1, August 1, 1987)

I'm a complete pushover for anything with a bit of pseudo-Russian chanting so this gets off to a flying start and continues in the same majestically spooky flavour all the way through helped by loads of moody piano and the trembly, delicate vocals. I haven't heard anything quite so loin-stirring since Boney M's "Rasputin" - and a higher compliment than that could not be paid. (Lola Borg, Smash Hits, July 1, 1987)

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)

Strawberry Switchblade - Let Her Go (WEA)

Another single from this sugary twosome. Confused vocals with much the same backing as the rather-better "Since Yesterday". Give it another go, girls. (Marshall O'Leary, Smash Hits, March 14, 1985)

Sounds like one of those groovy records they used to make in the Swinging 60s - a touch of psychedelia, some tight harmonies and a 'neat' melody. If you have to live in the past I guess the 60s are as good a time as any. And with the might of Warners behind them no doubt the Strawberries will have everyone smothering themselves in apple blossom and chewing strange substances long before summer. (Paul Simper, No 1, March 16, 1985)

Despite all the slaggings, "Since Yesterday" had a certain lilting charm. This does not, ending up as a disposable dose of fairground sweetness. Strawberry Switchblade are neither stupid nor puppets but their success lies in their ability to fill a gap in the market. Nice girls with nice tunes who boys can harbour crushes on and girls emulate. Watch out for the Strawberry Switchblade dolls you can dress yourself. In the shops any day now! (Eleanor Levy, Record Mirror, March 16, 1985)

Howard Jones - Things Can Only Get Better (WEA)

Years from now, when the '80s are but a memory, I will still detest Howard's "New Song" as much as the day I first heard it, and squirm every time anyone mentions 'mental chains'. But ever since that rather ropey opener, he's been making increasingly likeable pop songs. This is no exception. The bubbling uptempo arrangement (especially good on the 12") masks a rather slight main tune, but the real killer bit is the chant. For the next two months the milkman, the hairdresser, the window cleaner and just about everyone else important in your life will be driving you barmy with their out-of-tune renditions of "woah-oh woah-oh-oh woah-oh, woah-oh, woah-oh-oh, woah-oh". A massive hit. (Chris Heath, Smash Hits, January 31, 1985)

Song construction kit: take two Squezy bottles, some sticky back paper, an outtake from Finland's entry in last year's Eurovision Song Contest and a smidgeon of garden fence philosophy. Then, get in some real fine musicians, beef it up a bit and smile. (Jim Reid, Record Mirror, February 2, 1985)

Never having succumbed to the Howie `I'm just an ordinary guy with a daft haircut' charm, this one totally passes me by. He sounds as optimistic as ever (how can anyone be that chirpy?), but has dropped the synth dependence for bass and brass and a chorus of "woh woh woah woah woh" which gets more than a touch irritating. 'Things. . .' bounces along merrily enough but there's nothing to convince me that I'd like to get to know him well. (Karen Swayne, No 1, February 2, 1985)