Ultravox - Visions In Blue (Chrysalis)

I blew the dust off the stylus, changed the turntable speed and got the bloke in from next door to check my wiring. But no use. This still sounded awfully dirge-like. Mind you, that's what I said about "Ghosts" by Japan. (David Hepworth, Smash Hits, March 17, 1983)

Ah yes, I can see it all now. The train pulls into the station through billowing fog and a young girl looks over her shoulder as Midge Ure twitches his moustache. I've been unmercifully unkind to Ultravox in the past, but I always liked "Vienna" and this has the same ring of confidence and enterprising style. All is forgiven, this should be huge. (Robin Smith, Record Mirror, March 5, 1983)

Debbie Harry - Rush Rush (Chrysalis)

Oh Debbie, oh Debbie, oh Debbie! What happened to those wonderful days when you were such a worldwide star and you had the world (including me) at your fingertips? The rawness that gave Debbie Harry her incredible appeal has been chucked out of the window for some electronic gimmickry. I prefer the old days. (Limahl, Smash Hits, February 16, 1984)

Midge Ure - That Certain Smile (Chrysalis)

I've always been fascinated by the paradox of Midge Ure. He makes grandiose, swirling high pop with allusions to quality and distinction, but its success is rooted more in hard graft perspiration than cool inspiration, He's a workman who tosses out nee-symphonic ditties with the industry and efficiency of a factory. The product is always functional, adequately pleasing in design and has built-in obsolescence. While most bands unconsciously aspire to this plateau, despite mouthing, to the contrary, Midge has turned this reliability into an art form. (Mike Gardner, Record Mirror, November 9, 1985)

It's the plush, grandiose pop sound of "If I Was" once again, only more so - which can mean only four things... 1) "That Certain Smile" will be a very big hit; 2) You'll be quite fond of it for a couple of days; 3) By the time it being played on the radio every six minutes you'll be sick to death of it; 4) If he does those stupid theatrical hand wiggles in the video again you'll scream and scream and hurl the TV set out of the window and it'll land on top of a police car and you'll be sent to prison for a very long time. Bad luck. (Tom Hibbert, Smash Hits, November 6, 1985)

Private Lives - Because You're Young (Chrysalis).

No, it's not the blissful Bowie song from Scary Monsters though, now you come to mention it, the saxophone introduction is a bit like "Young Americans". Hitmaker-producer Martin Rushent struggles bravely to make a good pop record out of a weak song, but that Genetic Sound can't be found. (Neil Tennant, Smash Hits, March 4, 1982)

Hoodoo Gurus - Good Times (Chrysalis)

Aren't the Aussies doing well this year? Castlemaine XXXX, Foster's, Pat Cash, and Craig Johnston have all become household names, while musically the continent seems to have come out of the doldrums with the likes of Mental As Anything, the wonderful Go-Betweens and the longer-established Hoodoo Gurus. This, the umpteenth single from the Gurus, features The Bangles on (brilliant) backing vocals and (brilliant) instruments. A cheery affair, with a dynamic melody, "Good Times" is, of course, brilliant. (Fiona Looney, No 1, August 1, 1987)

Billy Idol - Sweet Sixteen (Chrysalis)

Bit too mild for me. My kind of mellow's a bit more romantic than Billy Idol. I like reggae or slow soul for relaxing to. I wouldn't buy this type of record though I expect lots of young girls will. I don't think he really knows what he's doing here. He used to be a rocker, didn't he? I wish him well, but it's just not my cuppa tea. (Neidet Salih, No 1, June 20, 1987)

What a sad tale this song tells. Sir Billiam is so bonkers about his 16 year old girlie that he builds a room for her to keep a rocking chair in (i.e. he envisages the relationship lasting quite some time), only to find that the ungrateful little vixen has scarpered with someone else. It's very weepsome, with a lolloping rhythm and a complete absence of the usual Idol rawk'n'roll screech-guitar; in fact, you can easily imagine a knicker-garlanded Tom Jones grimacing his way through a tortured version of "Sweet Sixteen" in cabaret. Could Billy Idol be the Tom Jones of the 21st century? It's not bloody impossible, as the great Welshman himself might say...  (Vici MacDonald, Smash Hits, June 3, 1987)

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)

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)

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)

Ultravox - We Came To Dance (Chrysalis)

Ultravox write some OK tunes, but invariably team them up with the most pompous words in the world. Here, Midge intones the usual meaningless blather in his mournful tones. Doesn't he ever feel like singing something normal, about getting up, feeding the cat, hanging out with Mick Karn and so on? (Sunie, No 1, May 21, 1983)

Ultravox - All Fall Down (Chrysalis)

Ultravox's music has always verged on the pompous, and when they move into Celtic territory (previous explorers including Dexy's, Big Country and The Pogues) the result is as overblown as you might expect. Midge croons impassionedly over a slow, military-style snare beat, but the resulting product [also featuring The Chieftains] has remarkably little spirit. Suitable background music for a Selina Scott special on the Scottish highlands, but little else. (Karen Swayne, No 1, November 15, 1986)

Whatever happened to the "Ultra" bit? Probably got lost around the same time as Midge Ure decided he was fed up with being a pop star and wanted to be a serious human being instead, just like David Dimbleby or Sir Bob Geldof. This is always a big mistake and poor wee Midge has to sing lines like "Look in the mirror and what do you see, an American, Russian, a soldier or me", and make them sound important, but naturally it doesn't work and just sounds ridiculous instead. It's obviously meant to be a major comment on the stupidity of war, which is all very well and good, and can best be compared with, er, Rolf Harris' "Two Little Boys". (Barry McIlheney, Smash Hits, November 5, 1986)

Debbie Harry - Free To Fall (Chrysalis)

Debbie Harry always means a missed heartbeat and a place in the Top Ten to the more discerning record buyer. "Free To Fall" is mellow and deeply attractive; nice sorrowful tune, cooing backing vocals, and the bit at the end where it gets all choral. The prettiest 40(ish!)-year-old this side of Jan Leeming and maturing with great grace and dignity. This is better than almost anything Blondie ever did. (John Aizlewood, No 1, February 28, 1987)

Billy Idol - Dancing With Myself (Chrysalis)

Some of us will remember this song as being one of Billy's punk pop band Gen. X's better moments. A surprisingly good song with hummable bits and a nice punky riff. Billy's solo version sticks pretty close to the original, through seems tamer somehow - but perhaps nostalgia is colouring my memory. Shame there's no Billy pic on the cover; his bleached-up good looks always make me smile. (Sunie, No 1, October 15, 1983)

Spandau Ballet - Only When You Leave (Chrysalis)

Just as well I've already heard this a couple of times, since the review copy fell out of its sleeve in two pieces. They don't make 'em like they used to - or rather they do, since this long overdue offering sounds exactly like something from True. Nowt wrong With that, of course, and it's great to have the lads back. But we'll have to wait a little longer to see what Spandau's '84 model is made of. (Sunie, No 1, June 9, 1984)

Tony Hadley's singing has improved to such an extent that the time when his surname was always preceded by the nickname "Foghorn" is becoming a dim memory. He gives a warm, restrained performance on this funky and rockin' number which also displays Gary Kemp's talents as a scratchy rhythm guitarist. (Neil Tennant, Smash Hits, June 7, 1984)

The Adventures - Send My Heart (Chrysalis)

A big "uplifting" song with hymn-like "aaahs" in the chorus and jangling guitars while the group work hard to live up to the beautiful hand-tinted photo of them on the cover. Record sleeve of the fortnight and possibly a hit. (Neil Tennant, Smash Hits, November 8, 1984)

The Adventures try ever so hard to construct classic and mature pop songs to make up for their anonymous image. However, "Send My Heart" sounds like A Flock Of Silly Haircuts' last single and is about as classic as their bri-nylon shirts. Hummable yes, adventurous no. (Adrian Tierney-Jones, No 1, November 10, 1984)

Intaferon - Get Out Of London (Chrysalis)

Totally chaotic, finger popping record with interesting electronics and confusing acoustic guitar coming through the left speaker unexpectedly - but there again, this record is full of little tricks like that. There's always something going on in the background that doesn't quite fit so you're never bored. (Jessi McGuire, Record Mirror, September 10, 1983)

This has the burning spirit of punk in its frantic urgent rush to get somewhere quick. It also has the stamp of a craftsman at work, so it's no surprise to find good old Martin Rushent at the helm.  (Debbi Voller, No 1, September 10, 1983)

Spandau Ballet - Instinction (Chrysalis)

Or how wizard producer Trevor Horn saved the Spans from the dumper. The band's last few singles were justifiable flops. They junked toe-tapping tunes in favour of self-conscious whimpers. But Horn has put them back on course. He's turned this track (originally on the Diamond LP) inside out and added all those magical ingredients like synthesised drum cracks and chattering percussion. The real follow-up to "Chant No. 1". (Ian Birch, Smash Hits, April 15, 1982)

Ultravox - Dancing With Tears In My Eyes (Chrysalis)

Once upon a time Ultravox had some bright ideas. Now they just seem to be re-running them rather badly. 'Weeping for a memory/Of a life gone by,' goes part of the chorus, appropriately enough. It's also, tears in your eyes or not, damned difficult to dance to. (Dave Rimmer, Smash Hits, May 10, 1984)

Typical Ultravox - a synthesis of synths and screeching from Midge. Interesting cover though. (Jennet Dainty, Record Mirror, May 12, 1984)

Ultravox - The Same Old Story (Chrysalis)

Ultravox sound as if they're just becoming a backing band for Midge Ure. It's a Phil Collins and Genesis situation really, where one member is under a much bigger spotlight than the others. With its imported brass section and female chorus this could easily have been a track off a Midge solo album. But Ultravox fans will buy it in their droves, and I'm probably in for a lot of hate mail. Aargh, it's so tough at the top. (Robin Smith, Record Mirror, September 20, 1986)

Well, they said it. To hear the ever-anxious Midge complaining about someone else being "so predictable" seems not unlike the pot calling the kettle black. Take away the trendy, loud girl singers and punctuating brass "riffs" and , this sounds particularly dull and ponderous, even by Ultravox's lead-booted standards. (Ian Cranna, Smash Hits, September 10, 1986)

Artificial bustle and brass. If life was kind Ultravox would now be Phil Collins or Simple Minds, but nay, they're still Ultravox - struggling in the potbelly between rock and pop. The "Same Old Story" is obviously just that - an ordinary rock song accompanied, no doubt, by a preposterous video. Welcome. 2/5 (Paul Simper, No 1, September 20, 1986)

The Bible - Graceland (Chrysalis)

A duo who haven't so much burst up on the scene as they have crept up and said 'sorry to bother you'. This debut single is very sweet and a little bit catchy, unfortunately, there's hundreds of other singles around just like it, which doesn't auger well for its chances. 3/5 (Pat Thomas, No 1, August 16, 1986)