China Crisis - You Did Cut Me (Virgin)

China Crisis have proved the most durable of the 'wimp rock' crew, mainly because of their talent for writing memorable melodies. They're still as wet as the weather though, but Garry Daly's breathy vocals lend a touch of distinction to whatever they do. Pleasant enough, but still nothing more than aural wallpaper. (Karen Swayne, No 1, August 31, 1985)

Another well-crafted technically exact pop tune, with definite chart potential. Some blousey sax for late night listening, with an undulating feel. You can't dislike it, but I find it all a bit insipid. As they say me ol' china - "just not my cup of tea". (Diane Cross, Record Mirror, August 31, 1985)

Yet another young British group make a boring, grown-up, American-style AOR ("Adult Oriented Rock") type record. China Crisis can be interesting when they try but here we find them plumbing the depths of cliché with the usual (for this sort of thing) slow sax solo and useless words like "A love incision/My inner vision". A sad business. (Dave Rimmer, Smash Hits, August 28, 1985)

China Crisis - Black Man Ray (Virgin)

I quite like this one. It's got a nice little melody to it. However, I don't like their image, which is as dismal as Julian Lennon. And unfortunately, it seems to rub off on their otherwise very pretty songs. (Marshall O'Leary, Smash Hits, March 14, 1985)

China Crisis are one of those semi-famous groups whose faces and songs you vaguely recognise but can never totally identify. The anonymity they unwillingly court is a drag, especially if their records aren't immediately catchy. However, 'Black Man Ray' produced by noted American musician Walter Becker, might help matters. It's sad, wistful air will appeal to audiences across the board, and China Crisis will remain in the shadows no longer. (Adrian Jones, No1, March 9, 1985)

Donald Fagen's old Steely Dan partner, Walter Becker, produces this soft rock effort - and it shows. Those soft harmonies and instrumental motifs show strong Steely Dan influences. Fortunately, like all Dan material, this easy-going opus grows with every play. (Mike Gardner, Record Mirror, March 9, 1985)

ABC - Be Near Me (Phonogram)

This sounds like a B side. They've never been the same without Trevor Horn and they're no good at producing themselves. The song is weak and I don't like this four-piece line-up. Pleasant enough, I suppose, but I don't think it'll be a hit. It doesn't sound glamorous enough. Thumbs down! (Curt Smith, Record Mirror, March 30, 1985)

Rose: Lots of nice sounds. The main melody is dead good but I can't get very excited by the song. Jill: This is much more like the ABC of old. I thought it was weak at first but I really like it now. There's a good toy piano on it. I feel a bit cheeky saying this but I wish they didn't look so daft. (Strawberry Switchblade, Smash Hits, March 28, 1985)

Sparks - Change (London)

Giant studio panarama from one of the precursors of electro-pop. Simply trashes the other rockish releases this week with a rare impudence and a desire to go for those massive, massive instrumental statements. Thundered synths, thunder clapped drums, jagged guitars, moments of quiet menace and yes, those thoroughly distinctive vocals. (Jim Reid, Record Mirror, July 20, 1985)

Madonna - Into The Groove (Sire)

Of course in pop, in showbiz, the star personality becomes far more important than the artifact ... the pop personality is the pop machine's ultimate product. Its very raison d'etre. Nobody knows this better than Madonna. Initially touted as NYC's disco queen, she's since unstintingly contrived at a direct hit on Kids From Fame All American Celebrity. As such her songs are now only fit to showcase her presumptious assumption of stardom - success with all the lipstick and midriff and none of the right moves. Her current single "Into The Groove" is formulaic in the extreme and, like her public persona, is hollow. (Jim Reid, Record Mirror, July 20, 1985)

Depeche Mode - It's Called A Heart (Mute)

Depeche Mode have reached an interesting stage in their life. In the long term, the (relative) lack of success of "Shake The Disease" will probably be a good thing - helping the band to get away from the teeny/girly/ chart image they've been saddled with. Anyone who's heard their album will know them as a band with more depth than that, but there are some still need convincing. If anything, "It's Called A Heart" is a step back - bringing them once more into the realms of the three minute pop song they'd broken out of with the last three singles. It features godawful electronic sounds, mixed into a beautifully simple tuneful concoction. That takes skill and commitment and Depeche Mode are increasingly well furnished with both. (Eleanor Levy, Record Mirror, September 21, 1985)

Virginia Astley - Tender (Elektra)

As the phenomenon that is the solo female singer-songwriter makes something of a comeback, Virginia makes her bid for stardom. After a spell supporting the Fun Boy Three and a solo deal on Rough Trade, Virginia now delivers her sweet lilting tunes accompanied by an equally sweet lilting vocal. A little sugary at first, but - like Cadbury's Cream Eggs - genuinely addictive. (Eleanor Levy, Record Mirror, September 21, 1985)

Quite possibly the only truly original-sounding song in the whole of this fortnight's bunch. With a wistful, dreamy vocal over a whole lot of oboes, violins and other orchestral stuff, multi-instrumentalist Ms. Astley conjures a mood that feels old-fashioned and rural and awfully English. Hardly the future of rock `n' roll, but very enjoyable and perfect music for the summer we never had. (Dave Rimmer, Smash Hits, August 28, 1985)

Jimmy The Hoover - Bandana Street (Use It) (MCA)

If you blinked two years ago you'll have missed the rise of Jimmy The Hoover - the strange collection of individuals who meteorically shot to fame with the instantly forgettable "Tantalise" and immediately returned to the obscurity from whence they came. Their new offering can best be described as an active assault on the aural cavities, with production overriding content to deliver a wall of sound comprising some 50 voices and a hundred trumpets blowing rather violently into your ear drums. (Eleanor Levy, Record Mirror, September 21, 1985)

David Cassidy - The Last Kiss (Arista)

What's that strange noise at the beginning? Did Rolf Harris sneak into the session? It takes a long time to take off but it's good at the end. I find the lyrics slightly doomy. I was never a fan of his but I loved the old songs. Nevertheless I like this song. (Hazell Dean, Record Mirror, March 2, 1985)

The Fixx - I Will (MCA)

I do like this. It's got a good atmosphere. They've never made it big in the UK but I hope they do. I can understand why they're successful in America. I like the singer's voice - he can sing. I will, I will, I will buy it. At the end of the day it's a good song. (Hazell Dean, Record Mirror, March 2, 1985)

Faith Brothers - A Stranger On Home Ground (Siren)

Another contestant on 'Great White Hope' and a fine example to all the others. Sure, they have their Sixties and early Costello influences but, despite a dreadful production [by Paul Hardiman], they've still managed to inject enough fire to kick it firmly into the Eighties. It should cause a modest ripple in the charts - and deservedly so. (Mike Gardner, Record Mirror, June 22, 1985)

Bucks Fizz - You And Your Heart So Blue (RCA)

I must say I always detested Bucks Fizz. Those medallion men! And those girls! Yucksville. Their records have always exemplified the worst traits of British pop kitsche. This is no exception. Now, it seems, they can't stand each others' guts either. What colour law suit do you want! (Max Bell, No 1, June 22, 1985)

Bucks Fizz have again proved that fact is always better than fiction, having read The Sun last week. Could the Dallas scriptwriters have made up a better tale of sex and high flying wheeling and dealing? Could The Godfather makers have made up a gorier tale of alleged 'family' treachery,and squalid break ups? This release is a spirited version of the sort of thing Smokie used to knock out in their sleep. It's not a patch on the B-side - "Now Those Days Are Gone" - a quality song and more than a little apt to boot. (Mike Gardner, Record Mirror, June 22, 1985)

Men At Work - Everything I Need (Epic)

I'm not proud. I like "Down Under" if only because it opened the door for a lot more interesting Aussie bands in Britain and America. Men At Work have changed since then and acquired a touch of the Dire Straits. The humour is gone. This is where Men At Work get their UB40s. (Mike Gardner, Record Mirror, June 22, 1985)

The Dream Academy - Life In A Northern Town (Blanco Y Negro)

Supposing it did exist, a dream academy would be a place to learn all there is to know about dreams. But there isn't one. Is there? Maybe the two boys and one girl in The Dream Academy know something, as the reason why this record is so damned good eludes me like a dream. It could be the haunting, almost-choral arrangement of this atmospheric song, or perhaps the lyrical content which triggers off a barrage of romantic images. Whatever makes it such a dream of a single, more please. (Adrian Tierney-Jones, No 1, March 9, 1985)

The Lucy Show - Undone (A&M)

Guitars nip and chatter while a singer with the sleepy drawl of a British Jack Nicholson gets all sardonic about hanging out on the corner with his stinky friends. Not much of a song tune-wise, but the sound is dashingly gloomy. You can dance to it, you can call it "art" if you so wish - either way it's shimmeringly cool. Single Of The Fortnight. (Tom Hibbert, Smash Hits, November 6, 1985)

The Toy Dolls - She Goes To Finos (Volume)

More Geordie jokiness from the intensely irritating Toy Dolls whose heavyhanded sense of humour and cod punk doesn't extend far beyond wearing out the welcome of banal rifling and silly voices. Anyone who likes this must have had their pilot light blown out at a very early age. (Max Bell, No 1, March 30, 1985)

Whitney Houston - Someone For Me (Arista)

Ms Houston's paper credentials are strong. Daughter of Cissy, cousin to Dionne Warwick, songs provided by Kashif, Jermaine Jackson, Narada Michael Walden, blah blah blah .. . Houston's big voice threatens to set Freddie Washington's semi-ballad alight and justify the brou-ha, but Jermaine's anonymous backing sends the listener into deep slumber. Don't give up your modelling engagements yet, Whitney, honey. (Max Bell, No 1, March 30, 1985)

Rockwell - He's A Cobra (Motown)

Rockwell has the sort of moustache Prince would die for. But "He's A Cobra" is the sort of song Prince wouldn't even give to Chick Huntsberry. Once upon a time someone was watching Rockwell. Now he's the victim of a snake-like charmer who's after his girl. Sad old world, ain't it? (Adrian Tierney-Jones, No 1, March 9, 1985)

King - Taste Of Your Tears (CBS)

The first three times I heard this piece of jangly '60s "la la la" wimpery, I had to check the sleeve to remind myself who the group was - it's that unmemorable. I think it's meant to be the song people wave their fraying "Paul King's a really hunky geezer" scarves around to at concerts, but quite frankly it would be more at home backing a jolly cornflake commercial. And yet this is the same group who were responsible for the magnificent "Love And Pride"! It's all very rum. (Vici MacDonald, Smash Hits, October 9, 1985)

The Nightingales - What A Carry On (Vindaloo)

Robert Lloyd and his merry men return to brighten the day, with their own quirky pop music. Pete and Andy's guitars criss-cross and crunch through an EP which emphasises the Nightingales' claim to the 'quiet men of indie music' crown. While others shout and stamp their leather feet, the Nightingales continue to make excellently eccentric music. Rob Lloyd's lyrics are there to be marvelled at as well. Carry on indeed. (Andy Strickland, Record Mirror, October 12, 1985)