The Woodentops - Move Me (Rough Trade)

It's got an attractive earthy sound - there's a lot of back-garden instruments in there. Sounds like Tyrannosaurus Rex. It's good. The singer's called Rolo? Good name. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Sheila E - The Glamorous Life (WEA)

Lyrically it seems to be in line with Madonna's "Material Girl". It's not an outstanding song but her work as a percussionist with Prince is enough for her to be taken seriously. Hopefully there'll be better things to come in the future. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

A re-release of Ms Escovedo's cutesy-pie debut single; while it's a pleasant enough experience not even Prince's purple production reins can flesh out the bare minimum of a song here. (Mike Gardner, Record Mirror, April 20, 1985)

This is Sheila Escovedo's debut single, re-released after the success of "The Belle Of St Mark". Not much of a song, but performed enthusiastically by Ms E and her troupe, it doesn't sound so much like a Prince song as most records by Prince proteges do. A bigger hit than her last effort. (Stuart Husband, No 1, April 20, 1985)

Big Heat - Watch Me Catch Fire (A&M)

The "Sexual Healing" drumbox pre-empts a rather disappointing track, of which the most outstanding feature is Elvis Costello (who produced it) doing backing vocals. It's soul music, I suppose. Soul music by design though, not by feel. Do I like soul music? I like good music - Talking Heads, The Specials, The Blue Nile. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Unfortunate Timing: The Bradford City stadium fire on May 11, 1985, which killed 56 people, led to several singles mentioning 'fire' in the title being withdrawn from radio airplay.

Freddie Mercury - I Was Born To Love You (CBS)

Jesus! I just think this is 'a happy sound' which is really depressing. Looking at the cover, I don't think much care was taken over this record; it was just taken off the album without much thought. You should try really hard to make sure that a single has its own identity - the cover, the video, generally how it's presented and promoted. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Freddie's second solo single (after the dismal 'Love Kills') finds him in jubilant mood. "I've got this wonderful feeling coming through!"he squeals. I can't say I shared his enthusiasm. But then, songs that sound like old ELO out-takes are hardly the stuff of which legends are made. Still, this'll no doubt be a hit. Rock on, Fred! (Stuart Husband, No 1, April 20, 1985)

By anybody else this over dramatic piece of Hi-NRG would die a natural death after two weeks on the local dancefloor. Unfortunately Freddie has tailored it for the Benidorm discos and it will be the soundtrack to throwing up your excesses of Sangria and Watney's on the Costa Packet this summer. (Mike Gardner, Record Mirror, April 20, 1985)

Vikki - Love Is (PRT)

Hang out the flags and festoon the houses with bunting, for here is. . . our entry for this year's Eurovision Song Contest! The enigmatic Vikki beat off all competition with this energetic little number, which is well up to the standard of previous entries. So, Vikki joins the golden list of previous greats. . . Coco, Brotherhood Of Man, Lynsey De Paul and Mike Moran, Bardo. . . and who's to say she won't emulate, nay, improve on their hallowed achievements? (Stuart Husband, No 1, April 20, 1985)

The thing about people who write songs for the Eurovision Song Contest is that if they were any good, they wouldn't need to do it. It's a second-rate competition - if a song's any good it makes it in the charts in its own right. I don't think we stand any chance of winning with this anyway. She looks dodgy. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Yes, it's Eurovision Song Contest time and our spirited effort contains the usual Sixties motifs and the requisite Eurodisco beat. Aren't you glad you paid your £12 on the TV licence fee? (Mike Gardner, Record Mirror, April 20, 1985)

Two People - This Is The Shirt (Polydor)

It seemed to be evolving at quite a nice pace and then the tempo change came as quite a surprise - it's really uncomfortable. "This is the shirt/ Which she wore/When it was good good good" - that's an excellent lyric, certainly unorthodox. I haven't heard someone romanticising about an article of clothing for a long time. I think they're probably capable of producing better records. - the guy can sing. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

Apparently The Next Great Thing to come out of Liverpool. Two People are, unsurprisingly, two people plus guitars and a stack of energy. Not too sure what's the great significance of the shirt, but it's not a bad record. (Paul Simper, No 1, May 18, 1985)

Liverpool duo Two People should be proper pop stars by now because they should have gone to at least number 12 with "This Is The Shirt" when it was originally released two years ago. Now it's been revamped and re-released and it's still v. fab and an obvious single of the fortnight and ... and then along came Prince. (Barry McIlheney, Smash Hits, March 11, 1987)

By the looks of the sleeve, it's the one they threw up in. A strong tune but goodness me, it sounds like a million other groups of this ilk. (Nancy Culp, Record Mirror, April 11, 1987)

Excellent! It's got a fantastic change of pace after the first minute. The title's great as well. I think what they're singing about is a shirt that reminds them of a lost love one which is a terrific comparison because like music, clothes hold a lot of memories for some people. The production's got lots of interesting things to listen out for especially the piano. They almost made it with their last single "Heaven". I'm certainly going to be playing this - very original. (Simon Mayo, No 1, April 11, 1987)

The Style Council - Walls Come Tumbling Down (Polydor)

Paul Weller is nothing but consistent. With "Walls Come Tumbling Down" he's thought long and hard over the political content of the lyric and come up with a classic opening line. . . 'You don't have to take this crap'. The tune is catchy 60s power pop, lots of organ, lots of brass and a pounding beat that'll see the single speeding up the charts. But when you have songwriters of Billy Bragg's eloquence, the message Weller puts across - though extremely worthy - seems crude and bludgeoning. Style Council is not an apt name. (Frank Hopkinson, No 1, April 27, 1985)

"Walls come tumbling down"? Sounds like a line from a Tears For Fears song! I like it. The effect on his voice makes him sound like John Lennon. I think Paul's a nice lad, but maybe he should smile a bit more often. Good refrain though, and the girl's vocals are excellent - the juxtaposition between his and her vocals make the record. Generally I like them as a band but there's always been something missing in their records. Objectivity, I think. The fuel's definitely there but it doesn't feel like there's anybody stoking the fire. (Roland Orzabal [Tears For Fears], Smash Hits, April 24, 1985)

The Dukes of Stratosphear - The Mole From The Ministry (Virgin)

The best record without a doubt. You can sing The Beatles' "I Am The Walrus" along to it. It's really good. Obviously someone spends the majority of his time listening to their Sergeant Pepper LP. You say it's actually by XTC? Really? They've definitely been studying The Beatles! It's the only single of the lot with a sense of humour. Single Of The Fortnight. (Roland Orzabal, Smash Hits, April 24, 1985)

XTC poke their tongues into their cheeks before taking a magical mystery tour into "I Am The Walrus" - land. Not bad. (Mike Gardner, Record Mirror, April 20, 1985)