Level 42 - It's Over (Polydor)

Once we've got past the positively asthmatic opening keyboard line, the Levellers deliver a powerfully sensitive song that makes up for some fairly corny lyrics with its atmosphere and, for once, restraint. Who cares if it's not the hippest single this week? It's an accomplished record that I'd play in my Cortina (if I had one) on the way to a cosy Epping Forest nook, late on Saturday night. (Andy Strickland, Record Mirror, September 5, 1987)

Kinda mellow and middle-America ie. benign ol' grandad out on the front porch serenading coyotes with trusty old harmonica and geetar. Don't quite know how Mark King and his varmints fit into this pleasing scenario but no doubt some black-and-white film and a well placed cactus will do the trick, (Paul Simper, No 1, September 5, 1987)

The Chant Of Barry Flynn - The Smile And The Kiss (Ensign)

This originally came out under the name of Bonk. I mean, BONK!!! And if you don't know what that means, I'm certainly not going to tell you. It flopped, so Bonk, who is actually Barry Flynn, decided to give it another go under his real but equally uncharismatic moniker. It's still pretty unexciting. (Sunie, No 1, April 21, 1984)

Almost a hit last year and deservedly re-released. Bas has dropped the awful Bonk moniker which must have affected his chances before. A rousing sixties soul stomp chorus and not too much else, but a hit. (Andy Strickland, Record Mirror, April 28, 1984)

Big Country - East Of Eden (Mercury)

The guitars take something of a back seat here, as Stuart Adamson delivers a tuneful and competent vocal. Trouble is, Big Country are at a bit of a loss when they're not going hell for leather and bouncing around on one foot. Maybe the odd piano on your gentler moments might add something, boys. (Andy Strickland, Record Mirror, September 22, 1984)

The production on this record is truly awful. The instruments blur into one muddy, thrashing mass, completely submerging any hapless tune which might be struggling to escape. (It sounds the same on the radio, so I know it's not my stylus.) The B-side, a brutally massacred version of Roxy Music's wonderful "Prairie Rose", is even worse. Yuk! (Vici MacDonald, Smash Hits, September 27, 1984)

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)

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)

Thompson Twins - Sister Of Mercy (Arista)

Odious Airfix popsters return with their usual reworking of past commercial glories. All wrapped up in the usual big production job which fills any gaps. What an awful group they are. This will be a huge hit, You'll write to complain about me and none of us will be any the wiser. (Andy Strickland, Record Mirror, June 30, 1984)

The Sound - Counting The Days (Statik)

A light, melodic piece of strummy pop which fairly races along and brings a smile to the lips. A lack of light and shade means it tends to wash over you rather than impress, but it's good. A hit. (Andy Strickland, Record Mirror, April 28, 1984)

Freeez - Pop Goes My Love (Beggars Banquet)

After the exhilarating "IOU" this is at first something of a disappointment. Pop has gone their music, their groove and their special effects. But once you've got over this sharp turn about the record reveals a lovely melody - stealing smartly from the Human League's Dare LP. Thinking back to this band's one-hit-wonder status with "Southern Freeez", a couple of years ago, they must have been having kittens about a follow-up to "IOU" but with 'Pop' Freeez should snuggle back (nicely) into the charts. (Paul Simper, No 1, October 1, 1983)

To someone who wore out at least three pairs of pumps dancing to "IOU" this summer, this comes as a bit of a let down. Arthur Baker's usual production job can't make a great record out of a weak song, but it still manages to get the feet popping. (Andy Strickland, Record Mirror, October 1, 1983)

Josh Yarlog takes over: "Katanga, my friends! This is a single in need of a song. All these bloomin' sound effects. Kubindi, it's turned my head into swamp mush."  (Lenny Henry, Smash Hits, September 29, 1983

Human League - The Lebanon (Virgin)

Long time no hear, and it's a pretty heavy subject. A rousing chorus and a snappy guitar riff (that reminds me somewhat of the Banshees) go together to make a big hit. (Dave Gahan, Smash Hits, April 26, 1984)

Heavier than the League's last couple of singles. Jo Callis rediscovers his guitar and adds a U2/Public Image riff to the normal synth and deep throat backing. It's a grower, but politics and pop don't mix, so I'm told. (Andy Strickland, Record Mirror, April 28, 1984)

It's hardly fair that The Human League should be criticised for making their records so slowly, since no one gave them a time limit in the first place. On the other hand. . . AND ABOUT TIME TOO!! 1984's Human League has a harder (as in rock) sound and it's mirrored by their lyrics. "I must be dreaming/It can't be true," says Phil Oakey of the Lebanese war, and he could just as easily be talking about the Libyan siege in London. This isn't too jolly, and some might say The Human League should keep their noses out of politics. I bet Phil's got an answer for that one too. (Paul Simper, No 1, April 28, 1984)

Tracie Young - Invitation (Respond)

Although the excellent "I Can't Leave You Alone" was the hit that undoubtedly should have been, but never was, Tracie Young eagerly continues in her quest to prove that her pleasing voice and pretty face are a determined match for even Paul Weller's shadow. "Invitation" is a tender and touching (Anna Martin, No 1, October 26, 1985)

Tracie continues in much the same vein, with a song that's pleasant but ultimately ineffectual. Good to see the young woman putting her own pen to paper, and Camelle Hinds' vocal additions give a classy feel to a record destined for the wrong end of the top 60. (Andy Strickland, Record Mirror, October 12, 1985)

Billy Idol - Flesh For Fantasy (Chrysalis)

Billy's passionate devotion to 'rawkanroll' normally leaves me cold, but here the buzz-saw guitars, meaty drumming and snarled vocals all combine to produce a powerfully driving record with about 19 times more energy than anything else released this week. The tune's pretty good too, which isn't surprising seeing as it's lifted almost wholesale from Simple Minds' brilliant "Up On The Catwalk". (Vici MacDonald, Smash Hits, September 27, 1984)

Billy is the Idol of America's young nouveau punx. They pogo in droves to his full-throated rebel yell. But we Brits lost interest in that years ago. We preferred "Eyes Without A Face". The sighs without the pace. Wised-up, our Gen X-ile repeats the formula - prowling a steamy hotel room as the bass throbs through the floor and the guitar throws odd shapes against the wall. William, this is really something... (Martin Townsend, No 1, September 29, 1984)

Billy Idol's the sort of bad boy who runs home crying if you say boo, but I can't deny he's making some great records these days. "Flesh For Fantasy" is one of these despite the most outrageous Simple Minds rip off on the chorus. Big fat production and a big fat hit. Grrrr. (Andy Strickland, Record Mirror, September 22, 1984)

Anne Clark - Hope Road (10)

It pays to be conscientious, pop tarts. Hidden away amidst all the good, bad and just plain average records which crowd the Singles Box every fortnight, there is always one unexpected gem which stands high above the crowd. And this is it! Over a simple but effective backing track of vaguely melodic electronic "oohs" and "aahs" (sort of Laurie Anderson meets OMD), Anne Clark recites her sorry tale of how she met this nice, interesting guy at a party, was invited to dinner in a faraway town and turned up only to find, despite following instructions, that the address he gave her - Hope Road - just doesn't exist. Wail! A metaphor too, methinks, for politicians and, erm, the world around us. A few neatly cutting observations get slipped in too before Anne ends sadly with a warning to beware of unaccountably nice people because "there's no place called Hope Road". Sniff. A hit? Almost certainly not, but for making a record that dares to be different, that works on its own terms and doesn't try to sound like anybody else or as if it would sell its granny to be a hit - just this once, Anne Clark - come on down! - yours is Single Of The Fortnight. (Ian Cranna, Smash Hits, May 8, 1987)

Almost a very good little record this, as poor little Annie gets the run-around from a party acquaintance and decides to have nothing more to do with men. The sparse musical setting has a wonderfully hypnotic effect, but there are one or two outrageous bits of scanning and the odd struggle to match rhymes. In the end one has to conclude that Anne Clark gets a bit het up about not very much or all, if being given a bogus address at a party is the worst thing that happens to her, she obviously doesn't go to the parties that I do. (Andy Strickland, Record Mirror, May 9, 1987)

Wham! - Last Christmas (Epic)

And the public gets what the public wants . . . The mega-duo celebrate a mega-golden year with another mega-hit - no doubt about that. Well, it is Christmas and George finds himself in the clutches of a young-love crisis while Andrew looks on sympathetically and the Whamettes swoon. For all musicologists out there note the close similarity to Peaches & Herb's cream-curdling duet, "Reunited". (Lesley White, Smash Hits, December 6, 1984)

Predictable schmaltzy seasonal love story from Pinky and Perky. This must be the tenth song in the last six months to have lifted the chord structure of Peaches And Herb's "Reunited". Obviously a hit, but I'd rather listen to the Queen's speech myself. (Andy Strickland, Record Mirror, December 8, 1984)

Laudable B-Sides: Now considered something of a Christmas staple, "Last Christmas" was originally released as a double A side single, with "Everything She Wants" on the flip. After Christmas, Epic simply put the same single in a new sleeve and reversed the order, causing "Everything She Wants" to become the next big hit for the group. Incidentally, the much more obscure extended mix of "Last Christmas" was known as the "Pudding Mix".

Dire Straits - Brothers In Arms (Phonogram)

No denying Mark Knopfler's dexterity, or his ability to make the occasional classy pop record. "Brothers In Arms" isn't as charming as "Money For Nothing", but it will no doubt be blaring out of the odd Sierra or two this Christmas, as a thousand reps head off to their parents place for the festivities. (Andy Strickland, Record Mirror, October 12, 1985)

The Fall - Cruiser's Creek (Beggars Banquet)

Yet another riff that makes you wonder how the Monkees ever did without it, and reinforces the Fall as just extraordinary (in the humblest sense). Brix lets loose a stinging guitar stutter that, backed with a split splat drum and Mark's sock-in-mouth vocals, remains one of the most exciting, raw sounds around. Great stuff to annoy the neighbours with. The AA side 'LA' should be listened to as well - it's not a B-side. (Andy Strickland, Record Mirror, October 12, 1985)

Perhaps Mark Smith is bored by now with his "Last Angry Young Man" label. Here he delivers his story in an economic pulsator with an excellent guitar twist that you don't want to stop. And it doesn't. Single Of The Fortnight. (Paul King, Smash Hits, October 23, 1985)

Silent Running - Young Hearts (Parlophone)

This band do seem to have their off days. The last time I saw them play the singer bust his zip and had to change his stage leathers for casual day-wear maroon strides. Hours later, the drummer stepped out of a first-floor window and ended up breaking his arm. And now they've released a record which sounds like either U2 or Simple Minds. At times it could almost be Jim Kerr singing. I prefer the real thing, myself. (Linda Duff, Smash Hits, July 5, 1984)

Latest in a long line of 'when we were young' ditties. When I was young, pop didn't take itself too seriously and the only people making records like this were over 30. (Andy Strickland, Record Mirror, June 30, 1984)

Kate Bush - Cloudbusting (EMI)

Kate reminds me of those "astral" acquaintances I used to meet as a teenager on camping holidays - unusual, unpredictable but with a charm that always attracted me. Listen out for the stirring string section, an electric groove of Navajo red indian drums and some British pomp rock. I'm a fan. (Paul King, Smash Hits, October 23, 1985)

After the magnificent "Running Up That Hill", Kate returns with another dramatic breeze of a song. There's chugging strings, that soaring voice and a wonderfully evocative melody. Add to that a fascinating storyline video and you've got another massive hit. Music to swoon to ... (Karen Swayne, No 1, October 19, 1985)

Despite my dislike of the blind allegiance of Kate's followers - evidenced by contributions to the rm postbag - there's no denying her ability to make thoroughly stylistic, English sexy pop, and do it very well indeed. "Cloudbusting" may not be as instantly accessible as "Running Up That Hill", but it's an infuriatingly catchy bit of stringy nonsense nonetheless. Could be a hit! (Andy Strickland, Record Mirror, October 12, 1985)

Songs From Books: The ever-literary Kate was inspired by a 1973 memoir by Peter Reich, called A Book Of Dreams. Donald Sutherland played Reich's father, Wilhelm, in the video.

Belouis Some - Target Practice (EMI)

We get a lot of letters about these people and I still can't pronounce their name. This has a strange rather wordy lyric which, even though I've listened to it ten times, will not be understood. Apart from the singer's clever take-off of Mr Bowie's singing style, this is completely unremarkable. (Linda Duff, Smash Hits, July 5, 1984)

Oh God! Another one of those bloody Bowie imitators. Come on music persons, can't you see how stupid this is all getting. Oh, for an original thought and an interesting sound. Re-cycle immediately. (Andy Strickland, Record Mirror, June 30, 1984)

Samantha Fox - Hold On Tight (Jive)

Firstly, can I say that this review is in no way influenced by the death threats I received after reviewing Sammy's LP recently. OK, on with the review. Oh yeah, great. It doesn't sound a bit like Pinky and Perky meets Shakin' Stevens and don't you just love people who keep their talent up their T-shirts? Yeah, of course you do, don't we all? There, will that be OK? (Andy Strickland, Record Mirror, August 30, 1986)

Lamentable. Sam Fox wearing lace gloves, on a motorbike, singing a sort of naffo naffo "Crazy Little Thing Called Love". Perhaps the Frankie idea of canines on Kawasakis singing "Rage Hard" isn't so ludicrous after all. (Paul Simper, No 1, August 30, 1986)

A Sam Fox record without (brackets in the title)! I've always wanted to review one of her records, shame it had to be this one. After the brilliant heavy rock piss-take that was "Do Ya Do Ya Do Ya", this one falls a title flat (Are we talking about the same Sam Fox? - Ed). A standard country rockin' affair which leaves the listener in no doubt that whatever attributes Ms Fox might possess, a singing voice isn't one of them. (Pat Thomas, No 1, September 6, 1986)

Samantha, dear, dearest, sweetums. There is only one Shakin' Stevens and it is not you. Your attempt to try a spot of rock'n'roll here is little short of an absolute disgrace. Your voice is unpleasantly squeaky, and posing as a Bonnie Tyler motorcycle vixen on the record sleeve is not going to make things any better. I never ever want to hear this record again. (William Shaw, Smash Hits, September 24, 1986)

Toyah - World In Action (Portrait)

Whereas "Don't Fall In Love (I Said)" tootled along all chorus and no song, Toyah's produced a more structured effort for her follow up single. "World In Action" has all the Wilcox hallmarks we've grown to know and use the sick bag for: references to world destruction, chantable chorus, sung like a little girl, etc, etc. Making its debut is the synthesizer from China Crisis' "King In A Catholic Style". That's not to say it's original. No need for a signature. (Frank Hopkinson, No 1, September 14, 1985)

I've never been able to take Toyah seriously since she wrote the classic line 'crawling down the alleyway being very loud', and "World In Action" is another of her 'I'm on the side of ver kids on ver street' type songs, this time about nuclear war. The sentiments are admirable, the song is terrible. (Steve Bush, Smash Hits, September 11, 1985)

Toyah continues her dalliance with the nuclear age with the most pertinent of questions. 'Where will you go when the sirens blow?' Fourth form poetry from one who should know better by now. Toyah, your siren's blown. (Andy Strickland, Record Mirror, September 7, 1985)