The Dream Academy - Life In A Northern Town (Blanco Y Negro)

Supposing it did exist, a dream academy would be a place to learn all there is to know about dreams. But there isn't one. Is there? Maybe the two boys and one girl in The Dream Academy know something, as the reason why this record is so damned good eludes me like a dream. It could be the haunting, almost-choral arrangement of this atmospheric song, or perhaps the lyrical content which triggers off a barrage of romantic images. Whatever makes it such a dream of a single, more please. (Adrian Tierney-Jones, No 1, March 9, 1985)

Everything But The Girl - Mine (Blanco Y Negro)

The subtle use of percussion and smoky tones of Tracey Thorn's voice turn this into another late-night affair. A haunting tale of a girl left holding the baby, this, like all their records, turns me all moody. (Linda Duff, Smash Hits, July 5, 1984)

It's brilliant, isn't it? I like all this jazz based stuff that's happening now because its good for people to get into that level of musicianship and also make it commercial at the same time. It's getting away from quick, cheap and nasty. It's a great song and she's got a really good voice and phrases the words really well. This is one of the best singles I've heard for a long time and it should be a big hit if they've finished their exams and want to do a bit of promotion. Single Of The Week. (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

Everything But The Girl - When All's Well (Blanco Y Negro)

Disappointingly, this smacks of 'playing safe'. When Tracey and Ben can write such perfect feeling songs as "Bittersweet", why release an insubstantial and lifeless song like this? It smacks of panic by someone - a vague attempt to emulate "Each And Everyone"'s success by putting out a song as close to it as possible but with none of its free-flowing jazzy life. EBTG have new songs far better than this and hopefully we'll be seeing them soon. (Eleanor Levy, Record Mirror, March 16, 1985)

I think Tracey Thorn sounds very similar to Siouxsie Sioux on this. It's more powerful than their usual style but still a very thoughtful record and could be the song to give them their breakthrough. (Marshall O'Leary, Smash Hits, March 14, 1985)

Apparently Ben Watt is a big Glenda Jackson fan which explains why there's a picture of her on this single sleeve. In case you were wondering, film fans, the shot is taken from The Triple Echo. A film in which Glenda's bedmate is an AWOL soldier who hides in her cottage masquerading as her sister whenever anyone comes by - an idea which backfires when Oliver Reed takes a fancy to him. Good film taste aside, this record has little going for it. Unlike 'Each And Every One' and Tracey's work with Paul Weller and Working Week, it's simply unremarkable. When all's well hopefully they'll release something else . . . (Adrian Tierney-Jones, No 1, March 9, 1985)

The Jesus And Mary Chain - Never Understand (Blanco Y Negro)

If my name was Gallup this one would shoot through the Top 40 like a laser gun through lard. Over a sublime racket of whistling guitars bobs a breezy melody curiously reminiscent of The Beach Boys. Its simplicity and individuality amid countless, cowardly records in the review pile striving to sound like each other is nothing short of exhilarating. Good vibrations. Single Of The Fortnight. (Andy Kershaw, Smash Hits, February 28, 1985)

The Jesus & Mary Chain re-invent the Ramones via the Beach Boys, a buzzsaw factory and several low-flying aircraft. It's a strangely compulsive record, but though it is hardly a classic - this is being championed by sections of the music press as the punk revival landmark of the century. Magic messiahs? Me thinks not. (Dylan Jones, Record Mirror, February 23, 1985)

The Jesus And Mary Chain - Happy When It Rains (blanco y negro)

Oh, I'm SO BORED with all these bands who should've been on the West Coast in 1967 supporting the Byrds! The JAMC trot out yet one more predictable single and try to make a happy record, but end up sounding wetter than this week's weather. Why is it so popular to sing about rain all of a sudden, too? (Nancy Culp, Record Mirror, August 8, 1987)

It's good to see something makes the Brothers Grimm smile! I listen to the first opening notes with breath a-baited. 'April Skies' was too successful for their liking; Mike Smith loved it. So their next single would not be so commercial. The world asked itself "Would they go back to their electric guitar bashing and drilling days?" 'Fraid not, they're still as brilliant as ever. Looks like Mike Smith will like this one too - something else for the Chain to moan about. (Anita Strymowicz, No 1, August 8, 1987)

The Monochrome Set - Wallflower (Blanco Y Negro)

Bid and the rest of his motley crew try to build on the limited success they had with "Jacob's Ladder" by pouring on the '60s influence. This ends up not a million miles from The Smiths. A hit? Could be, could be. (Paul Bursche, No 1, June 1, 1985)

Quite pleasant. The track did not offend my ears, but then again it didn't make me tap my feet. Even my girlfriend Lizzie, who liked the previous single, "Jacob's Ladder", could find nothing in this track to inspire her. However, if you like The Farmers Boys etc., this is a must. (Simon O'Brien, Smash Hits, May 22, 1985)

Sudden Sway - Sing Song (Blanco Y Negro)

A warning: Sudden Sway like to confuse. There is not one "Sing Song" but eight versions (not 'remixes') of a jaunty non-conformist pop air. Sudden Sway say that they want to give you - the record-buyer - the choice to buy as many "Sing Song"s as you like. Of course you might buy none but that would be your loss as "Sing Song" (whatever version you get) is mighty fine. Furthermore it's always a good sign when someone tries to buck the system. 4/5 (Adrian Tierney-Jones, No 1, March 15, 1986)