Pepsi And Shirlie - Goodbye Stranger (Polydor)

Far be it from me to grudge Thingmy And Wotsit their moment in the sun after so many years thankless labouring as Wham! stage props but this bright, brassy and breathless piece of frantic froth is not what you would call a "good" record. It will however - cruel but true - be played to death by Radio One because (a) they're girls and (b) they're the next best thing to Wham! for the moment (this does sound rather like them). (Ian Cranna, Smash Hits, May 6, 1987)

Simply Red - Infidelity (Elektra)

The second single to be taken off the Men & Women LP, "Infidelity" finds Mick Hucknall in great voice, singing about how "a man can't be trusted" and how infidelity is "my middle name". Surely this can't be Mick singing about himself in real life, can it? Can it? (hem hem)... (Ian Cranna, Smash Hits, May 6, 1987)

Happy go lucky, summery sound from Simply Red; this written by Mick Hucknall and soul legend, Lamont Dozier. Hucknall's voice is as spectacular as ever and this funky, snappy song will have you tapping your toes before you can say 'top notch'! (Debbi Voller, No 1, May 16, 1987)

Rose Of Avalanche - Too Many Castles In The Sky (Fire)

They do say that, on a murky night in Leeds the ghosts of the '70s prowl and you can hear squealing guitars, a low-slung, sleazy beat and a ghostly singer a-sneerin'. They're right! Eat your hearts out, The Cult - this is how it's done. (Ian Cranna, Smash Hits, May 7, 1986)

Voice Of The Beehive - Just A City (Food/London)

This crew - two Californian girls and three British blokes - actually manage to capture the true adventurous spirit of the '60s and blend it with the spangling guitars and dense choruses of prime period Cocteau Twins. The song itself sways and swirls attractively enough BUT! flip over the 12 inch and they get stuck right into - corky o'rorky! - a biting pop version of rock dinosaurs Led Zeppelin's elderly reggae spoof "D'Yer Maker" (Jamaica - geddit?)!! The result, played (relatively) straight, turns into a completely bur-rrrilliant teenage "don't go" love song and would be a HUGE hit, so utterly utterly catchy is it. 'B'-side of the century (at least) and almost Single Of The Fortnight... (Ian Cranna, Smash Hits, May 8, 1987)

Pet Shop Boys - Opportunities (Parlophone)

Pet Shop Boys' excellent debut single "West End Girls" deserved to be a big hit for them, but never mind, this one's got to be HUGE! Singer Neil Tennant used to write articles for a certain rival pop mag that we never mention, but it's obvious that he should've been devoting his time and talents to his own music a long time ago, as this is such a superbly crafted disco hit. Single of the week! (Debbi Voller, No 1, July 6, 1985)

I really don't understand what all the fuss is about with this track, with its clank and bustle up front instead of a tune and its dubious invitations to commit some unspecified crime. Nor why, with the altogether wonderful "Why Don't We Live Together?" a natural pop hit, the record company should choose to release this battle-scarred warhorse again. Average stuff but still an awful lot better than some things I could mention. (Ian Cranna, Smash Hits, May 7, 1986)

Danny Wilson - Davy (Virgin)

Danny Wilson is in fact three men, and here they are proclaiming their love for a fourth man. Well, that's Dundee for you. Actually this is really very good indeed, a fine thoughtful pop song in which "Danny" wishes his beloved pal all the best for his adventure down to London and promises not to laugh at him in the street if it all goes horribly wrong (as these things tend to do). Quite poignant in fact, with a nice understated backing. (Ian Cranna, Smash Hits, May 8, 1987)

UB40 - Watchdogs (DEP International)

Whatever the magic formula is for turning out good records which all sound remarkably similar without ever becoming boring or unduly repetitive, UB40 have definitely found it. This is another slab of big, bold, brassy reggae whose cheerful, chattering style belie some sharply sneering lyrics about the moral guardians of the nation. And, er, that's about it! (Ian Cranna, Smash Hits, May 8, 1987)

The Rainmakers - Downstream (Mercury)

More weird tales from rural mid-America - this time taking a raft down the Mississippi River with dead author Mark Twain (Huckleberry Finn etc), meeting characters like v. ancient rock 'n' roller Chuck Berry and deceased president Harry Truman, and exchanging words of "wisdom" with them. Pleasingly no-nonsense modern rock 'n' roll that gets it just about right and splendid guitar-playing that makes you wonder why people ever bother with a synthesiser. (Ian Cranna, Smash Hits, May 8, 1987)

Playing in all good Mexican restaurants now - come The Rainmakers with their quirky brand of countrified rock; a witty ditty with some heavy guitar action, and doubtless another hit for them. (Debbi Voller, No 1, May 16, 1987)

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)

Black - Hey Presto (Eternal)

Now this is much more like it. Lots of genuine attack on a good song with a bit of depth but one which loses its way and lacks the killer chorus which brings a hit. Extra points for a good bit of dramatic piano. (Ian Cranna, Smash Hits, May 24, 1984)

Psychedelic Furs - The Ghost In You (CBS)

"Here Come Cowboys" would have been a better choice for a single, summing up (as it does) popular feeling about Reagan etc, but perhaps it doesn't matter as all the Furs' songs sound virtually identical anyway and seldom like singles. Still, I always was a sucker for Catholic guilt and a good beat. (Ian Cranna, Smash Hits, May 24, 1984)

Julian Cope - World Shut Your Mouth (Island)

Chop my right leg off and feed it to Ozzy Osbourne, I never thought the day would come when I'd like anything by the eccentric Copey. But what a splendid piece of listenable trash this is. Cope belting his way through a song that knocks down even the strongest walls of apathy. One hell of a rousing theme, I just hope it gets the airplay it so justly deserves. Single Of The Week. (Robin Smith, Record Mirror, September 20, 1986)

One of the great lovable English Eccentrics of pop returns with an uncharacteristically crude crash-bang-wallop affair complete with kerranging guitar and a totally out of place '60s solo. It is, however, the proud possessor of a real tune wot you can hum, and the words - about flying in the face of fashion and telling the world what it can do - might have been written for the reclusive one himself. A splendidly individual effort. (Ian Cranna, Smash Hits, September 10, 1986)

A fair stomper. Julian Cope used to front Teardrop Explodes before he went off on some artistic quest or other. Now, suitably enlightened, he returns after a few false starts with a typically loud declaration to a groovy rock and roll beat. Perhaps this time the world will kindly open his ears. 3/5 (Paul Simper, No 1, September 20, 1986)

Note: Another Top Of The Pops performance I remember from thirty years ago - especially that microphone...

A-ha - I've Been Losing You (Warner Bros)

As someone who previously couldn't have cared less either way about A-ha, it came as something of
a shock to find this is actually a very good record. Sounding tougher and meaner than before, there's: (a) a good lyric about losing your way, given a typically soaring vocal by Morten (sounding oddly like Bono in places); b) a slightly used but dead catchy hook that pleads, rather touchingly, "tell me things I could find useful"; c) a very nifty false ending - all of which give it a bite missing in previous efforts. A lot of people will have to reshuffle their prejudices ... (Ian Cranna, Smash Hits, September 10, 1986)

More music to chat up au-pairs to, this the first of no doubt several singles to betaken from the forthcoming album Scoundrel Days. Last time we tuned in Morten was hunting high and low, now he's losing someone - probably girlfriend Bunty. But hold that sleigh team back Marts, and don't go throw yourself into the nearest fjord - I know where she is! She's prancing around in Billy Idol's new video. Easily the worst effort so far and I predict that it won't even go Top 40 (Ha-Ha). 2/5 (Frank Gillespie, No 1, October 4, 1986)

Pete Shelley - On Your Own (Mercury)

Oo-er.. Pete Shelley swaps his usual easy nonchalance for a vaguely menacing electronic growl on this rather sad and lonely little song which contrasts the satisfaction of being in control with the uncertainties of being alone. Rather unsettling and rather good. (Ian Cranna, Smash Hits, May 7, 1986)

Shelley has left guitar rock behind and seems to favour a moody version of New York disco that's typically minimalist but very weak. (Mike Gardner, Record Mirror, May 17, 1986)

Sandie Shaw - Are You Ready To Be Heartbroken? (Polydor)

It may not be her 60th birthday, but Sandie Shaw - the barefoot, be-fringed '60s songstress - is quite simply one of the best pop people ever invented. This bright and brash version of an old Lloyd Cole song ('Looking like a born again / Living like a heretic') sounds not unlike the Pretenders with its spangling guitars and quavering vocal, and is also quite simply wonderful. Bravo, ma'am! (Ian Cranna, Smash Hits, May 7, 1986)

Hipsway - Ask The Lord (A New Version) (Mercury)

Amazing how much better records sound when the band are famous. This is a "new version" - remarkably similar to the old version, actually - of Hipsway's earliest single, a naggingly catchy, busy little chugger which begins with an Eastern call to prayer, has Graham "Skin" Skinner observing that money doesn't bring happiness (crackling with originality, this) in the middle and ends with him asking the Lord why not. The Lord's reply (if any) is not recorded. (Ian Cranna, Smash Hits, May 7, 1986)

OK. So we know what a good single this is. But, does that really justify its re-release (even if the cover itself is pretty snazzy)? What makes it worse is the fact that there are some exceedingly lush tunes on their self-titled debut LP eagerly beckoning release - namely "Forbidden" and "Long White Car". Hands up (and no cheating!) those of you out there that can 'really' distinguish an original recording from its newly remixed twin? Not many I'll bet. A worthy song all the same. 3/5 (Anna Martin, No 1, May 10, 1986)

Win - Shampoo Tears (London)

Engaging themselves in producing a frothy little follow-up to their 100th re-release of "You've Got The Power" (which should have been a hit, but wasn't), these bubbly Scotsmen continue to sparkle with yet another addictive vinyl performance. Here, la la las swirl mesmerizingly between a chugging bass-line and pleasing vocals, and lathers up into a snappy pop song. Their recent support on the Fine Young Cannibals tour could only have done them good, and assuming that the timing is right, Win could yet come up grasping the trump card. (Anna Martin, No 1, May 10, 1986)

Win have been lurking about for a while now without actually achieving anything, but this should change all that - a massive, thunderous beat coupled with an outrageously catchy singalong "hook". The only drawback is the muttered (but unmistakeably anti-American) oblique lyrics about star-striped fears causing shampoo tears, but this Scottish lot will get there sooner rather than later. (Ian Cranna, Smash Hits, May 7, 1986) 

Try, Try Again: Championed right across the music press, Win released and re-released several singles and an album over a couple of years, and yet never caught a chart break. A nominee for the unluckiest band in pop.

Mancrab - Fish For Life (10)

Written by Tears For Fears keyboard player Ian Stanley with the help of Roland Orzabal, this is the sort of record the self-conscious Spandau Ballet would give their right arms to make - natural, uplifting lyrics set to a kind of swinging semi-funk arrangement with bags of unforced energy. More of this sort of thing please. (Ian Cranna, Smash Hits, September 10, 1986)

You can watch the video here.

Tracie - (I Love You) When You Sleep (Respond)

Tracie has a nice voice but still not much clue about using it. Here she skips untroubled through an Elvis Costello song (written for her) when some of that much talked about (and much devalued) Soul is called for. If the record company really are delaying the album for a hit then they're in for a long wait. (Ian Cranna, Smash Hits, May 24, 1984)

As Tracie's last single "Soul's On Fire" turned out to be a bit of a damp squib, this is quite an important release for the Chelmsford singer. There should be no problem getting this one into the charts though - it's a gentle, simple, almost lullaby-like song penned by Elvis Costello. Her voice has improved greatly over the past year, and the tremulous quality is used to great effect in a way that puts me in mind of Mary Hopkins. Ah, those were the days. (Karen Swayne, No 1, May 26, 1984)

Howard Jones - Pearl In the Shell (WEA)

The fourth and weakest single to be taken from the Human's Lib LP, "Pearl In The Shell" is an album track that had no idea it was going to be made into a single until the record company tapped it on the shoulder. Mine came enclosed in a fold-up poster instead of a sleeve. But what do you do with the record when you put the sleeve on the wall? Could it be a insidious plot by WEA to make you keep playing it? (Frank Hopkinson, No 1, May 19, 1984)

I tend to think of Howie as a puppy dog (mongrel, I think) - something so bright-eyed and trusting that you can't bring yourself to smack him when he messes the living room with poop like this. Poor little fella - only doing what nature tells him etc. This time it's a brassier, more aggressive sound with the usual irritatingly catchy chorus and twiddly synth bits. Mind you, next time it's definitely the rolled-up newspaper... (Ian Cranna, Smash Hits, May 24, 1984)