Annabel Lamb - Riders On The Storm (A&M)

It takes some nerve to try to tackle The Doors' classic tale of murderous isolation, but Annabel Lamb manages to do the song justice. Ray Manzarek, The Doors' original keyboard player, helps out to give the song its authentic melody. The Lamb girl singer, who looks like a replicant, can't be far away from success anymore. Memorably chilling. (Max Bell, No 1, August 13, 1983)

Surprisingly, the metronomic dancebeat actually enhances this neatly understated, perfectly '80s update of a Doors classic. Much better than I would have expected, it apparently features Doors' keyboardist Ray Manzarek who has subtly altered his original contribution to suit this version. (Johnny Black, Smash Hits, August 18, 1983)

Alison Moyet - That Ole Devil Called Love (CBS)

A smoochy number. One to play while you're with your loved one. I don't think it will be as big a success as its three predecessors but Alison does have a large following, enough to make it into the Top 30. Not one of my favourites, though. (Marshall O'Leary, Smash Hits, March 14, 1985)

The lights dim, an expectant hush descends upon a select audience, a piano tinkles, a trumpet softly blows and a voice that's blue and deep starts singing a Billie Holliday classic from the 30s. Alf has taken a break from the usual repertoire of pop-soul for young marrieds to sing something that's a bit more challenging. And she sounds a lot like Cleo Laine. Whether it's a calculated effort to broaden her appeal or a reflection of Alison's avowed love of the blues and jazz, I don't know. It'll be massive, whatever. (Adrian Tierney-Jones, No 1, March 9, 1985)

Dolly Parton - Here You Come Again (RCA)

There's a line in this that goes 'better than a body has a right to be', and folding out the full colour poster sleeve you get a good demonstration. It really is a wonderful song, you can't really like it but you do. There's a couple of Barry Manilow songs that are such good songs in terms of structure and melody, and this is one of them. I'd buy it for the poster meself, it's got class. We were trying to get her to cover one of our songs, we wanted her to do a country version of "Karma", but whether she'll get round to it I don't know. It'd be great. (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

A timely re-release of this hit from '77, as Dolly popped up on TV only last Saturday in the excellent 9 To 5. There's something remarkably attractive about Dolly's confident Tennessee voice and this is as good a time to get to know it as any. (Paul Simper, No 1, March 17, 1984)

Tracey Thorn - Goodbye Joe (Cherry Red)

Wonderful acoustic version of a slightly world-weary song from one of my all-time favourite LPs, Strange Boutique by The Monochrome Set, which came out about 2 1/2 years ago. Everything But The Girl chanteuse Thorn provides all vocals and instruments and artfully assumes the kind of breathy, mysterious tone of the '50s solo girl singers she doubtless greatly admires. This'll catch on and the whole of '83 will be flooded with bare-footed types in jumpers and slacks strumming away on bar-stools. You just wait. (Ian Birch, Smash Hits, January 6, 1983)

Lisa Stansfield - I Got A Feeling (Polydor)

This is a perfect example of someone who has had their face on telly and automatically assumes they can sing. But all is not lost. Not only is this actually a good song (a cover), but Lisa has the funniest voice ever, sort of a strangled Tracey Ullman. Unlike Tracey, however, Lisa's serious about it. (Paul Bursche, No 1, November 19, 1983)

It's very hard to make a Holland-Dozier-Holland song (the Motown writers) sound bad so I hope she has a hit with this bright pop song. However, my panel thought it a miss. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

The Bangles - If She Knew What She Wants (CBS)

Irresistably catchy, worse luck. I know there are some big fans back at Smash Hits HQ, so I'll probably get a beating for this, but really, it's even more drivelly than "Manic Monday", and there's all these nauseating little harmonies just where you'd most expect them. A bit like one of those Tracey Ullman jokey numbers. I bet they're lovely people but they do sing some awfully wet songs. (Shut your mouth - Deputy Ed.) (Sorrel Downer, Smash Hits, April 9, 1986)

With "Manic Monday" hardly dead and buried, why have CBS rushed this out? Luckily it is another gem with Susanna Hoffs turning out to be a more versatile singer than I'd imagined. There's touches of Dolly Parton in her plus a pure pop harmony and a rousing Californian chorus. A few years ago this would only have stood a chart chance in America but British pop is in such an awful state right now that the Bangles will soon be back to show us how it's done. 5/5 (Max Bell, No 1, April 5, 1986)

Annabella - Fever (RCA)

She's back. Back! Annabella Lwin, the girl with the striking hair and the tingling squeak who rocketed to fame for two seconds with Bow Wow Wow - back! And her voice - husky and controlled - is sounding quite marvellous. Unfortunately for her, though, some studio personage who shall remain nameless (i.e. producer Jimmy Lea of Slade) has gone very wonky: in an attempt to soup up the sound of this much-recorded cracker of the '50s, he's stuffed in everything he can lay his hands on - ZTT/ Propaganda electric shocks, Van Halen squiggling guitars, Sade-type "sophisticated" flutings, Slade-type unsophisticated clonking - and he's ended up with a nasty mess all over the place. Boo. (Tom Hibbert, Smash Hits, April 23, 1986)

Former Bow Wow Wow star Annabella's second solo single (I think), and she's improving all the time. Though nothing to get excited about, "Fever" (produced by Slade bassist Jimmy Lea) is a million miles from the ineptitude that was "C30 C60 C90 Go". At least she's singing these days, and although she'll never be another Sade, that's a step in the right direction. Come back in twelve months time. Next! 3/5 (Dave Ling, No 1, April 26, 1986)

Sandie Shaw - Are You Ready To Be Heartbroken? (Polydor)

It may not be her 60th birthday, but Sandie Shaw - the barefoot, be-fringed '60s songstress - is quite simply one of the best pop people ever invented. This bright and brash version of an old Lloyd Cole song ('Looking like a born again / Living like a heretic') sounds not unlike the Pretenders with its spangling guitars and quavering vocal, and is also quite simply wonderful. Bravo, ma'am! (Ian Cranna, Smash Hits, May 7, 1986)

Nick Cave & The Bad Seeds - The Singer (Mute)

Nick Cave used to be in the Birthday Party and Barry Adamson was in Magazine, the others involved are new names to me. But who cares? The fact is, this is a damned fine effort from all concerned. Cave's lazy-lowdown-Lou Reed growl of a vocal covers a twangy acoustic guitar that keeps on coming back and everything is pretty laid back. You're at a party, it's 4am, the room is thick with cigarette smoke and. . . sorry, getting a bit carried away here. Anyway, 10 out of 10 for atmospherics. Howard Keel go hang yourself! 4/5 (Ursula Kenny, No 1, June 21, 1986)

Dominated by a deep three note guitar motif, this growling version of the old Johnny Cash song further indulges Nick's wish to leave the rock for the Rawhide. But it doesn't quite work; sure, the softly rising string background is a neat touch, but in the final analysis this is just flat. (Jim Reid, Record Mirror, June 28, 1986)

George Benson - Beyond The Sea (La Mer) (WEA)

With its gentle, swinging, Sinatra-style big band feel, this sounds like it should be the backing for one of those Kodak adverts with all the Me kids prancing round and Granny walking in with jelly and balloons, while Dad gets out the Instamatic. Then again, maybe not. (Peter Martin, Smash Hits, April 11, 1985)

This old French cabaret standard is given the big band treatment. While the arranger gets full marks for some neat brass pyrotechnics, George comes over like Dean Martin with a hangover. (Mike Gardner, Record Mirror, April 20, 1985)

"Beyond The Sea" sounds like Andy Williams doing the theme from Top Cat. Puzzling. (Stuart Husband, No 1, April 20, 1985)

The Flying Pickets - Only The Lonely (10)

Jill: I don't like this song, I don't like how it's done - electrobop, disco, acapella, whatever. But I do quite like the idea of this lot being pop stars - I don't think they'd abuse the position or anything. I mean they're so gormy. Rose: Yeah, I suppose they're a harmless enough bunch. (Jill Bryson & Rose McDowell [Strawberry Switchblade], Smash Hits, March 28, 1985)

Shriek! Lock up your mothers. The unholy sextet have gone back in time to filch this Roy Orbison classic, the original of which is probably nestling in your mum's collection. She'll love it—and when mums start buying records we all know what happens (step forward [Elaine] Paige and [Barbara] Dickson). Meanwhile, I'll donate my copy of the record to the first person who can tell me why the lads are garbed in Red Indian gear on the cover. It's a strange enough world, without The Flying Pickets having hits.  (Paul Bursche, No 1, March 23, 1985)

Paul Young - Wherever I Lay My Hat (CBS)

If fame and fortune smile on the deserving, Paul Young is headed for dizzy heights. Here's
a voice to shame even good singers like [Boy] George and Alf, while those [Spandau] Ballet boys aren't even in the same league. Truly gorgeous white-boy soul, and a cover version Marvin Gaye would be proud of. Move over, Tracie, you're behind me in the queue . . . (Maureen Rice, No 1, June 4, 1983)

The best British white soul singer I've ever heard. The power and emotion in his voice makes me feel so sure! The song is a traditional blues/soul melody in '60s style but the instrumentation sounds a lot like Japan. A duet with Alf should come soon. (Gary Kemp [Spandau Ballet], Smash Hits,May 26, 1983)

The story so far ... In the process of avoiding the lecherous advances of Tracie, Paul (27) dashes into the studio to polish off a single. Unfortunately dodgy production and arrangement smother his ooh so soulful voice. Will Paul find the tune he so desperately needs? Will Tracie find the boy she longs for? Folks, keep those eyes posted for 'Young Love' magazine. (Jim Reid, Record Mirror, May 26, 1983)

Memphis - You Supply The Roses (Swamplands)

Rose: Got to be the Single Of The Fortnight for me. Great vocals, great guitar, it's a great pop record with tinges of country & western. It makes me really happy - I just wish the charts were full of songs like this. Jill: I don't think this is the best version I've heard of this song, but I like it anyway. The cover is great - a highland cow in a purple loch! (Jill Bryson & Rose McDowell [Strawberry Switchblade], Smash Hits, March 28, 1985)

Then Jericho - Prairie Rose (London)

I have but one judgement to pass on this: never a good song in the first place, and how dare they!! (Nancy Culp, Record Mirror, April 11, 1987)

What a surprise - another cover version. It's obviously a great (Bryan Ferry) song to begin with, but then so are most of them currently flooding the charts. This is definitely a good radio record with a strong sound but I don't think it will be the one to give them their first hit. I haven't heard the LP, but if this track is representative of it I'll certainly be playing a few tracks from it on my show. A band with a healthy future for sure. (Simon Mayo, No 1, April 11, 1987)

Marc Almond - The House Is Haunted (By The Echo Of Your Last Goodbye) (Some Bizzare)

I've always been worried a bit about Marc Almond. He'll never be Jacques Brel or Scott Walker or, from the look of the sleeve in front of me, much of a body builder. However, he's ignored these set backs and managed to rework "This House Is Haunted" with a killer of an arrangement. All high camp melodrama and the sort of gorgeous trumpet that could be on a downbeat Special AKA record. (Jim Reid, Record Mirror, January 11, 1986)

Nailed It: Jim correctly predicts Marc's Brel fixation, culminating in his 1989 LP, Jacques.

Someone for whom chart success is less important than artistic integrity, Marc Almond will always make records worth listening to. This track drops the dramatic sleaze in favour of a tooting, jazzy-style swing thing that could be a hit if it's played enough on the radio. Taken from a Janice Long session, "The House..." is delicate and sensitive and a million miles away from the electro-pop of Soft Cell. The double pack features an extra five tracks, so seek it out. (Karen Swayne, No 1, January 11, 1986)

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Peter Murphy - Final Solution (Beggars Banquet)

This is a cover version of a record by Pere Ubu (a group fronted by an interesting fat man who did some mighty strange squealing and squawking five years ago). Pete Murphy, who left Bauhaus to do embarrassing things like dancing around in sand pits at ‘art happenings’ is now called Peter. Sounding more like David ‘Ziggy Stardust’ Bowie than ever, and making great gnash ‘n’ snarl club records like this. (Sorrel Downer, Smash Hits, November 20, 1985)

Yet another small-minded song, made on a big scale, this is apparently the third and final mix. Still better known for doing tape commercials than he is for his singing, Peter Murphy will remain on the periphery of pop stardom until he learns to stop imitating David Bowie and tries to find his own identity. As it stands, the only thing that could make this sound decent…is distance. (Mike Morris, No 1, December 14, 1985)

Thompson Twins - Revolution (Arista)

Everyone’s got their favourite Beatles’ songs, and this original flip-side to the “Hey Jude” single has always been one of mine. Included on their recent Here’s To Future Days album, The Twins have since remixed “Revolution” for single release. In keeping with the sound of the original, Tom Bailey and crew have gone for a raw and raunchy rendition, which should rocket them into the higher echelons of our Christmas chart. And deservedly so. (Mike Morris, No 1, December 14, 1985)

A packet of Dairylea Cheese Triangles  has got more chance of turning the people to revolt, quite frankly, but this cover of the Beatles “classic” is well up to par as these things go. Still, I preferred their rendition at Live Aid when they had the not altogether unattractive and mightily talented Madonna on backing vocals. Much more preferable than a poke in the eye with a sharp stick, I can tell you. (Peter Martin, Smash Hits, December 4, 1985)

Michael Barrymore - Kenny The Kangaroo (EMI)

It's hard to put into words the deep and shocking effect this record had on me and the panel. A bold member made sure it jumped off the turntable and then - rather unnecessarily I thought - was violently sick all over it. I suppose he was giving us his gut reaction. (Jools Holland And The Panel, Smash Hits, November 24, 1983)

Tight Fit - Love The One You're With (Jive)

Hunky Steve [Grant] resurrects an early '70s number first recorded by Steve Stills (still a member of arch hippies Crosby, Stills & Nash). To say it's dull is a bit like putting The Tweets in the same class as David Bowie. Over and out. (Ian Birch, Smash Hits, October 13, 1983)

Old Steve Grant and two more enormous women try and take off Yazoo's synthesizer style and trip over their massive forms in the process. A ridiculous record by ridiculous people who would be better off modelling Brutus jeans and the like. Still, it'll pay for the odd Club 30 holiday or two. (Simon Hills, Record Mirror, October 8, 1983)

Mari Wilson - Ain't That Peculiar (Compact)

And a warm welcome back to the former Junior Dive Board Champion for the London Borough of Brent, now sporting a hairdo that looks not unlike the back end of a chicken in a strong cross-wind. In fact Mari both looks and sounds great on this frisky new version of a fearfully old song. A hit, I hope. (Dave Rimmer, Smash Hits, May 10, 1984)

You can't beat Marvin Gaye's original (although this is not a cash-in, as Motown will readily tell you), but Mari has a good old crack. It's terribly over-produced and Mari's voice isn't strong enough to carry the number off. (Simon Hills, Record Mirror, May 5, 1984)