Echo and the Bunnymen - Never Stop (Korova)

From the joyous, jagged intro to the juddering close, a hit and no mistake. With a bit of cello, heartfelt vocals, some disco percussion, a name-check for Russian writer Maxim Gorky and what sounds like someone tapping out a tune on the ribs of a skeleton, this is probably the best Bunnymen single ever. Easier to dance to than philosophize about, which is all well and good. Is this what Mac meant about them finding their "lighter side"? Whatever, sheer bliss. (Dave Rimmer, Smash Hits, July 7, 1983)

A more direct and, dare I say it, safer Bunnymen. They have established a bridgehead in the top 20, so one can forgive them for marking time. This record is distinguished by Mr McCulloch's strong vocal; some lovely keyboard work and absolutely no references to obscure novelists. (Jim Reid, Record Mirror, July 9, 1983)

No don't, Mac. The truest of all rock groups continue their tradition of great singles. 'Never Stop' grabs you by the throat and doesn't put you down until you're pulsing with the feverish energy that's in all their recordings. This is going to make Top Of The Pops well worth watching. What will Mac do this time-strip off totally or just smash up the studio altogether? Don't stop watching! (Paul Bursche, No 1, July 9, 1983)

Thomas Dolby - I Scare Myself (Parlophone)

Thomas Dolby, man or maniac? Nobody's been able to make up their minds about this oddball. Having Magnus Pyke in an early video did nothing to help his cause, but the superb 'Hyperactive' did much to lay the ghost. 'I Scare Myself' is a real gem. Snazzy and light, it swings along with Tom tinkling away on piano. This should give him a really big hit at last - and there's not a single synth in sight. (Paul Bursche, No 1, March 24, 1984)

Master Dolby leaves the lab, stops his quest for the perfect eighties synthesis of man and machine (so far a no-score draw), and delivers his most warming 45 to date. To do so he's made a nearly inch perfect copy of the Dan Hicks original, but nevertheless "I Scare Myself" is so hot with swooning acoustic guitars and delicately muted brass that I'll forgive him for that. (Jim Reid, Record Mirror, March 24, 1984)

Clipped off his fine album The Flat Earth, this is something RATHER special. Written by the extremely eccentric songwriter Dan Hicks (ideal for Tom really), it's a stunning song performed with delicate restraint and sung in a way that brings tears to the eyes of grown men (and women). Touches of The Wild West and today's technology have created a haunting atmosphere. Fab. Single of the fortnight. (Ian Birch, Smash Hits, March 29, 1984)

Thompson Twins - You Take Me Up (Arista)

This has more hooks than your average angling club, but the melody doesn't really cut it. The rhythm sounds like the sort of song the slaves would have sung in the old days on the American railroads - and that's what Tom intends as he tells us how his girl makes him forget about his mundane lifestyle and job I understand, Tom. Being rich must be such a pain. (Paul Bursche, No 1, March 24, 1984)

There's something fantastically annoying about Thompson Twins' records. They always
sound as if they should have been left in the oven a few minutes longer. The songs never quite set; the production's of ten underdone; the vocals are half baked. This is no exception despite a jaunty harmonica that gives the number a decidedly folksy feel. None of what I've said, of course, will stop it being a monster hit. (Ian Birch, Smash Hits, March 29, 1984)

Paul Haig - The Only Truth (Crepuscule)

Despite last year's excellent electronic sorties, Paul Haig songs have always lacked a certain something. Like Heaven 17 there's a certain human-ness missing - it's all a little too sharply cut. But getting in an outside agency, in the shape of New Order's Barney Albrecht, has lifted "The Only Truth" into the world of the living. And what is "The Only Truth"? 'The words of the song.' Ah, thanks Paul! (Paul Bursche, No 1, October 6, 1984)

Two People - Rescue Me (Polydor)

Wet, dreamy pop didn't exactly catch on last year, as The Lotus Eaters will testify. Perhaps it brings out that spiteful streak in all of us that despises anything so blatantly soft. That said, this is a gem. It sets out to be nothing more than an admirably crafted, lovingly performed pop song. And succeeds. There's hope for the dreamers yet. Single of the week. (Paul Bursche, No 1, February 16, 1985)

Big Self - Ghost Shirts (Reekus)

Starts off like Joy Division, has the pumping, big noise of a ZTT release . . . and still doesn't work. "Ghost Shirts" is about someone who's had it up to here with his girlfriend and now her insults just go straight through him. A good idea, but the song gets lost in its own smugness. (Paul Bursche, No 1, March 24, 1984)

Feargal Sharkey - Listen To Your Father (Zarjazz)

As Madness' own pop matures into a deeper, at times mournful, reflection on folk and their funny ways, so the first release on their own label spins an altogether different story. A Carl Smythe tune, "Listen To Your Father" is the 4-4 stomp of early Madness without the winning melody and hook lines. Sharkey's voice isn't well served by the brassy jolting action. The Ulsterman deserves a more restrained treatment than this methinks. (Jim Reid, Record Mirror, October 6, 1984)

Although written by Madness, this song wasn't really considered suitable for the boys to record. So Feargal has the honour of singing it for the first ever release on Madness' own label. It's not a brilliant song but its sheer stomping, foot-tapping brightness almost guarantees Fergy a hit. (Paul Bursche, No 1, October 6, 1984)

This man has got one of the best voices around - yearning, plaintive and woefully sweet. I'm not ashamed to admit that, when performing The Undertones' perfect pop songs, he could bring a tear to my eye. What, then, is he doing on this foul pub-rock thingy? It sounds as if Chas 'N' Dave are in there somewhere. A terrible waste! I had to go and play a few Undertones records to console myself after listening to this. (Vici MacDonald, Smash Hits, September 27, 1984)


Note: Madness were obviously fans of cult UK comic 2000 A.D. Not only did they name their label after a made up word (roughly equivalent to 'awesome') from the comic but they also released a side single in 1985 under the name Fink Brothers celebrating 2000 A.D. law legend Judge Dredd, called "Mutants In Mega City One".

Bryan Ferry - Don't Stop The Dance (EG)

Legend has it that the word "languid" was put in dictionaries all over the world purely in anticipation of the coming of Roxy Music and Bryan Ferry. Disappointing though the Boys And Girls LP was, the previous single "Slave To Love" and this one stand out. Welcome rocky islands in a quicksand swamp. (Paul Bursche, No 1, August 24, 1985)

Freeze Frame - Today, Tomorrow (RCA)

Hmmm. Just been doing a bit of totting up here only to arrive at the frightening discovery that if you count all the people who have been in Liverpool bands you arrive at a figure not far off the population of China. Freeze Frame continue on from China Crisis, Lotus Eaters, etc. But though this is a sweet little song, past experience shows the public reluctant to latch on to nice, melodic rock like this. Ask the Lotus Eaters or Pale Fountains. Full marks, though, for use of a comma in the title. (Paul Bursche, No 1, August 24, 1985)

Red Box - Lean On Me (WEA)

A catchy little number that won't set the world on fire but should leave it smouldering nicely round the edges. Not as interesting as their previous singles 'Chenko' or 'Saskatchewan' perhaps, but 'Lean On Me' should ensure them a healthier chart placing. (Paul Bursche, No 1, August 24, 1985)

Dream Academy - Love Parade (WEA)

By 'eck, about time too! After becoming instant media personalities after the success of their last platter and actually managing to be seen at more parties than Paul Simper it's refreshing to see Dream Academy actually out and about earning their crusts again. And it s a corker. Lots of heavy breathing from Kate while Nick gets on with the job in hand. Very Prefab Sprout this, but with a firmer commercial touch. Luscious. (Paul Bursche, No 1, August 24, 1985)

The Pretenders - 2000 Miles (WEA)

The first Christmas song of 1983 is a beautiful but sad affair - and is really a mourning for those Pretenders no longer with us. Superb, gentle guitar work and Chrissie's haunting voice add up to a song that should outlast the Xmas rush. Great, but again, mainly sad. (Paul Bursche, No 1, November 19, 1983)

Toyah - The Vow (Safari)

Half of this song is actually pretty as Toyah proves that she can really sing on this folksy little ballad. But you just know it's going to build up into a great big epic, and as it does so all pretensions of being nice or even good disappear. Oh Toyah, promises, promises. (Paul Bursche, No 1, November 19, 1983)

Jules - Friends (Tasty)

This sounds like a blueprint for an ITV sit-corn about a divorced couple who live near each other and ". . .cross the road when you see me coming. Don't worry, 'cos I've stopped running." Light, bubbly and very funny offering from a former Wilsation. Could be a surprise hit. (Paul Bursche, No 1, November 19, 1983)

Note: Jules would go on to have a respected musical career under her proper name, Julia Fordham.

Limahl - The Never Ending Story (EMI)

So twee it hurts! This is really just a cheap, over-dressed fairy story - and one that, as the title suggests, never seems to come to an end. Limahl only sings half of this anyway. The more demanding bits are handled by a mysterious girl. Limahl is a major talent. He once told me so himself. But this is just a joke, surely? (Paul Bursche, No 1, October 6, 1984)

Giorgio Moroder's certainly had a busy summer and seems to be making an onslaught on the charts from every direction, as writer, producer and performer. With a little vocal help from friends, Beth Anderson (vocals), Giorgio and legendary photographer Brian Aris (hi, Brian) who snapped the sleeve picture, it should be another hit for the ex-Kajagoogoo anagram.

The Smiths - Shakespeare's Sister (Rough Trade)

I carefully removed the Pat Phoenix cover, placed the shiny platter onto the turntable, and then walked to my chair. By the time I'd reached it, 129 seconds later, the record had finished. "Shakespeare's Sister" finds our lads in boisterous mood wth young Marr jangling on the guitar as if his life depended on it. 'Shakespeare's Sister' was a Virginia Woolf essay on what would have happened if the great Bard had been a Bardess, blah blah, different way of looking at women, etc, etc. Her essay lasted longer than 129 seconds, though. (Paul Bursche, No 1, March 23, 1985)

Ooooh, shut up! Stop moaning. Don't they go on? Morrissey does not sing, he groans. He should have been drowned at birth. Rubbish. (Marshall O'Leary, Smash Hits, March 14, 1985)

IF MEAT is murder, "Shakespeare's Sister" is death by strangulation. A bruising, unfocused rush that mistakes energy for Eater live in Stockport cemetery. One wonders if such an ill conceived move would have been considered by a record company less enamoured of their one major act. A dumb record and a poor way to end such a fine singles run. (Jim Reid, Record Mirror, March 23, 1985)

Blancmange - That's Love, That It Is (London)

Thankfully we are calm enough now to evaluate this record with some sense of hygiene. I like the song. So do the panel. The production, however, is a little bit 'standard contemporary'. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

The dynamic duo return with a belter of a song which should quickly re-establish them at the top of the synthetic tree just in time for Christmas. With Tears For Fears also about to charge back into the scene, we can safely assume that we've seen the last of those nasty guitar bands for a while. (Paul Bursche, No 1, November 19, 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)

Howard Jones - What Is Love? (WEA)

So you thought "New Song" was good? Well just wait until you hear this gem. It's all about love, about when you love someone but still doubt them - and it's spot on. The bouncy synths are still there and Howard is definitely carving out a niche of his own. We need this sort of warm and happy music. (Paul Bursche, No 1, November 19, 1983)

I've always thought Howard was a far-sighted, intelligent man ever since he said he liked my single on Roundtable. This is a well-produced song that sounds great loud. On the back of the sleeve one is invited to send off for Howard's magazine "Risk", the title of which I hope bears no relation to his thoughts on the chances of his single. (Jools Holland and The Panel, Smash Hits, November 24, 1983)

It's obvious from seeing Howard Jones play that "New Song" was more the exception than the rule in the High Wycombe Wonder's repertoire. "What Is Love?" is a lot smoother, more melodic and much less immediate, but is sure to feature on many an 'Our Tune' and 'First Love' in the future. That doesn't make it a great record through, and for all Howard's emotion and sincerity it only left me cold. (Eleanor Levy, Record Mirror, November 19, 1983)

Note: The B-Side is the wildly poppy multi-ethnic tour de force "It Just Doesn't Matter".

Simple Minds - Waterfront (Virgin)

'Come in, come out of the rain. . .' and shelter in the company of the best record of the week. The Minds have always been masters at producing fragile yet muscular music and here the formula is repeated but with even more power. "Waterfront" is haunting, breathtaking, stunning, evocative and beautiful. And all at the same time. A glittering prize. (Paul Bursche, No 1, November 19, 1983)

Built round a shuddering backbeat shot through with guitar chords that will take your head off and overlaid with those haunting keyboard lines. "Waterfront" is remarkable even by Simple Minds' own high standards.Jim Kerr's vocal is one of rare beauty and measured passion. An iron fist in a velvet glove. Single Of The Fortnight. (Mark Steels, Smash Hits, November 10, 1983)

Simple Minds in personality crisis - Shock-horror probe! Scottish songsters suffering from acute Heavy-Metal-Syndrome! Millions mourn as Jim Kerr and his merry men try recreating the brilliant wall-of-sound of "Celebrate", but lose it somewhere in the mix. It's a definite grower though - just don't stand too close to the speaker. (Eleanor Levy, Record Mirror, November 19, 1983)