The Tempest - Didn't We Have A Nice Time? (And All My Friends Are Here) (Magnet)

First up, and what do we have here (apart from probably the longest title on record!?). 'Tis a chirpy third release from Glenn Tilbrook proteges The Tempest no less. A swift no nonsense knock-kneed, foot-stomping, toe-tapping little filler, complete with hum-worthy melody and catchy chorus (reminiscent of Dexy's circa "Come On Eileen" - dare I say). Weaving in and out with a searing momentum, singer Mike Sherrin unleashes a mystifying tale of death and doom - here cleverly shrouded in a country-fied combination of charm and humour - and comes up with a beauty. A hit? Perhaps. 5/5 (Anna Martin, No 1, May 10, 1986)

Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

Arcadia - The Promise (EMI)

Despite exceedingly danceworthy rhythm guitar and extra vocal bits by Sting, this isn't as exciting as "Election Day" and can at first sound a little drab. But it grows on you, believe me. And grows and grows. P.S. There may be a 12", although we didn't get one. This 12" may contain the version with an utterly corking keyboard solo by Herbie Hancock. I hope it does. (Dave Rimmer, Smash Hits, January 15, 1986)

Come on, admit it. . . by the time you'd seen/heard "Election Day" for the tenth time on the video jukebox, you'd, begrudgingly at first, grown quite accustomed to the first and long-awaited sampler from the Taylor/Rhodes/Le Bon collective. Well, in that case, you'll be pleased to discover that "The Promise" goes one better. Maintaining a more pleasurably seductive mood throughout, Simon indulges in aesthetic extravagance and somehow manages to stifle the urge to wail with impromptu vigour. As expected, the goods are immaculately packaged - for maximum enjoyment on consumption. A promising endeavour! Duran Duran take heed. (Anna Martin, No 1, January 18, 1986)

Hot from the desert that is So Red The Nose, it starts with what sounds alarmingly like a Thin Lizzy riff. Simon groans manfully, the bass boings sleepily into action before our Si launches himself into vocals that are truly painful to hearken unto. A predictable review for a predictable record. This is obviously what Duran Duran do in their sleep, so I pity their good lady wives. (Nancy Culp, Record Mirror, January 18, 1986)

Talk Talk - Life's What You Make It (EMI)

And here it is. . . the surprise bundle in this week's box of tricks. Talk Talk are one of those mystifying bands that revel in glorious success throughout Europe but fail to make any mark in the UK charts. Dismissed by many and ridiculed by others, TT sustain an unfathomed quality all of their own - one that requires further investigation. After an 18-month absence, "Life's What You Make It" offers a rare glimpse at the possibilities. Hopeful. (Anna Martin, No 1, January 18, 1986)

Reluctantly placed in the latter category simply because these young men don't seem to get off the starting blocks in this part of the world. A slow and smouldering song that grew on me after a while. I've a feeling I could take to it a bit more, minus the angst ridden vocals. A bit too laid back for Radio One, I trow. And what they say, still goes unfortunately. (Nancy Culp, Record Mirror, January 18, 1986)

Suze De Marchi - Young Hearts (EMI)

A pretty face and an average-sounding single are in evidence. The looks belong to 21-year-old platinum blonde Suze, who hails from deepest Western Australia. The song on the other hand, hasn't got as much going for it, as it sounds alarmingly like a Pat Benatar or Laura Brannigan, for that matter, cast off. Thankfully, it's all over before you know it. (Anna Martin, No 1, May 14, 1986)

The Weeds - China Doll (In Tape)

Yet more Stooge-aphiles here. Splendid country and northern tally ho with a fine line in raucous bounce and bawl. With some incredibly penetrating female vocals on the chorus, this is finger lickin' good. And if anyone recognises their graphics as being akin to a Sixties psychedelic combo of not dissimilar name, contact Age Concern immediately. (Jane Wilkes, Record Mirror, October 25, 1986)

Depeche Mode - A Question Of Time (Mute)

The follow up to 'A Question Of Lust' - they don't half ask a lot of questions these boys! Anyway I have it on good authority that the lads were a bit upset that the last single didn't do too well. This is a much livelier outing which should get them the much coveted airplay they didn't get with the last one. It's not as good as 'Lust' but then you can dance to it and that's the most important thing - isn't it? 3/5 (Pat Thomas, No 1, August 16, 1986)

Spruced up, meatier mix of old track. Not quite as alluring as 'A Question Of Lust' but the rabid, sequenced throb is better programmed for radio land. Good sorts that they are, Depeche Mode will run and run while Martin Gore grows weirder and weirder by the milli-second. (Lesley O'Toole, Record Mirror, August 16, 1986)

The Mighty Lemon Drops - My Biggest Thrill (Blue Guitar)

Easily their most instantly accessible track to date, all bouncing rhythms and catchy melodies plus some scorching guitar, this couldn't be further from Bunnyland. And what's more, there isn't an 'up', 'down', or an 'around' within earshot. This one's all spills, fills, hills and thrills instead. It'll have them humming all the way to the bank, no doubt. (Jane Wilkes, Record Mirror, October 25, 1986)

If, by any chance, you've been wondering what Echo And The Bunnymen have been up to lately, they've actually gone into hospital and been transplanted into something called The Mighty Lemon Drops. The only problem is that The Lemons (The Droppies?) forgot to borrow any of the better songs and are thus left with a fair amount of egg on face. (Barry McIlheney, Smash Hits, November 5, 1986)

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)

Debbie Harry - French Kissing (Chrysalis)

The Face, The Voice, The Bleach, The Beat - they're bock and there's no one to touch her. Forget your Madonnas and Patsys - Debbie H is the one and only pop Blondie. This return to greatness is as simple and smooth as the slinky disco it accompanies. A Goddess is re-born. 5/5 (Paul Simper, No 1, November 8, 1986)

She's back! Back, BACK! (You're getting the hang of this nicely - "Reviews" Ed.) And back in spiffing form too with this addictive little shuffle between France and America, sort of Paris, Texas set in a late-night disco groove. Why, I was just saying the other day, "What the world needs now is the return of Debbie Harry", and lo and behold here she is, sounding just as brill as she did 250 years ago with Blondie. Listen with eyes firmly closed and tongue in cheek for best effect. Naughty but v.v. nice. Single Of The Fortnight. (Barry McIlheney, Smash Hits, November 5, 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)

Spandau Ballet - Through The Barricades (CBS)

After the initial rocking rowdiness of "Fight For Ourselves" the Spands have toned down a notch or two and produced a cool, calculatingly dreamy ballad. Here Tone's distinctive vocals tremble seductively as he finally gets to sing the type of irritating song mums and aunties will be turning the radio up for. In the background there's a smooth, sexy wailing sax, in the foreground, an alluringly gently-strummed guitar, both of which compliment big Tone's big voice a treat. Unadventurous but highly polished, this is very much a classic Spands release - a safe and a sure-fire hit. Just watch this glide effortlessly into the Top 40. (Anna Martin, No 1, November 1, 1986)

Here come Spandau Ballet sounding about as "profound" as Nick Berry and dressed with about as much style as Wicksey. And what a preposterous name for a song - even The Banned's Harry "Trotsky", who uses phrases like "selling out to the establishment", would hesitate before calling a song "Through The Barricades". What has happened to Spandau Ballet? I can remember when they used to make brilliant records like "Chant No. I ", wear dead smart gear and say things like: 'We want this band to be the most contemporary statement possible.' This is all about the troubles in Northern Ireland with references to being 'born on different sides of life' (Protestant and Catholic?) and 'making love on wasteland' all tinged with a vaguely Gaelic, acoustic feel. I'm sure it's all very sincere and significant - I just can't stand it. (Simon Mills, Smash Hits, October 22, 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)

Owen Paul - One World (Epic)

1986's Nik Kershaw, Owen Paul's recent success continues to elude me... Is it due to the boyishly cute looks (he reminds me of a cross between Pat and Damon Grant from Brookside!), the way he casually cocks his guitar to one side when he dances or the blatantly twee lyrics he enthusiastically sings? I'm none the wiser. This single merely echoes the previous two, in that it's equally irritatingly catchy and looks destined to receive a mega bout of radio airplay, and with it possible chart success. However, it really is high time the real Nik Kershaw stepped forward. (Anna Martin, No 1, November 1, 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)

Amazulu - Things The Lonely Do (Island)

If Amazulu's last single was an embarrassing attempt at doing Mrs Mills in a reggae stylee, this is another nail in the coffin of a once promising band. Even a lazy, hypnotic sax solo fails to save this slow, pretty but empty-headed song. One day, there'll be a female group who won't be made to look stupid by the men they sign their careers away to. (Eleanor Levy, Record Mirror, March 8, 1986)

A bouncy, mellow reggae ballad that shows off vocalist Anne-Marie's rich and husky voice to the full. It's much lazier than "Excitable" but lacks none of the bite and I predict a hit. Good to see some female bands back in the charts again - oops! Sorry Nardo - Amazulu do of course have one male member. 3/5 (Debbi Voller, No 1, March 8, 1986)

Hollywood Beyond - What's The Colour Of Money? (WEA)

If you can imagine a troupe of rampaging Apache Indians whooping, yelping and doing an Irish Reel then you'll roughly have the feel of this. It's infinitely hummable, quite irresistible and even has very nice cover. (Lola Borg, Smash Hits, July 2, 1986)

Perky, everything-but-the-kitchen-sink mix of pop styles, culminating in some very positive HM chording. Tumbled along by some cute military style drumming, this is cynical and clever - clever enough to win plenty of airplay. (Jim Reid, Record Mirror, June 28, 1986)

Doctor And The Medics - Spirit In The Sky (IRS)

Spirited and vibrant in mood and appearance - just like the Medics really - this colourfully animated sound gives you all you could possibly want or expect from a single (plus a free full-colour fold-out picture bag no less!). Soulful, haunting backing vocals quiver in joyous unison as the Norman Greenbaum classic is covered with sheer complimentary aplomb by the good doctor. To betaken twice daily - at least. 5/5 (Anna Martin, No 1, May 10, 1986)

The Bangles - Walk Like An Egyptian (CBS)

Actually we reviewed this single in the last issue of Smash Hits and it got a bit of a "thumbs down". However, an error of monstrous proportions had taken place. The reviewer was listening to the wrong side of the record which isn't very good at all and so rightfully received a drubbing. The A side is really much, much better. Brilliant in fact. Probably the best song that The Bangles have ever done. It's a sublimely addictive piece of nonsense verse that jumps about all over the shop with this sort of imitation Middle Eastern melody. One takes "Walk Like An Egyptian" to be a reference to the ancient heiroglyphics on the pyramids in which blokes are pictured with their heads and hands at funny angles. Honorary Second Single Of The Fortnight. (William Shaw, Smash Hits, September 24, 1986)

Let's look at the cover of this one. Poor old Susanna still hasn't found a blouse and the others (whatever their names are) haven't found a comb/decent dress designer/shower (delete where applicable). For me the Bangles are the non-event of the century and this record smacks of gimmickry. Which came first, the record or the marketing campaign? 2/5 (Pat Thomas, No 1, September 6, 1986)