Thompson Twins - Hold Me Now (Arista)

Lacking the quirky ingenuity which the Quick Step album made their hallmark, this is, nevertheless, a real grower with Tom removing his goggles and coming on all dewy-eyed and sloppy. (Mark Steels, Smash Hits, November 10, 1983)

The Twins bounce back with something that is far more thoughtful than any of their recent disco fodder. "Hold Me Now" is a well-paced ballad with the accent on melody and hypnotic percussive effects rather than those automaton riffs. If Tom Bailey could sing with the same kind of convincing emotion that they conjure up in the tune the Twins might make a record that outlasts its chart life. (Max Bell, No 1, November 12, 1983)

It's certainly been an interesting exercise watching the ol' TTs, observing the transition from New Wave Hippies to colourful pop wonder-kids. Like many combos before them the accusation of selling out has been flung at them numerous times and it always makes me laugh when I hear that about anybody, as if the world really cares! Bailey's Gang are well and truly in the ring now, boxing clever and delivering some short sharp singles. For me however, they're covered in pretty emulsion and at the end of the 12 rounds, lose the match. (Gary Crowley, Record Mirror, November 12, 1983)

Conspiracy Theory: It's interesting that Smash Hits reviewed this one, the first single from the immense Into The Gap album. You would think that the Twins' bright, tuneful, garishly colourful image and sound would be tailor made for Smash Hits readers. Yet they suspiciously neglected to review "Lies", "Love On Your Side", "We Are Detective", and "Watching" - all four singles from the previous album Quick Step & Side Kick. They also 'forgot' to review "Sister of Mercy" in 1984, during the weeks when NO1 magazine was unpublished due to industrial action. In contrast Record Mirror reviewed all of them, and NO1 was equally supportive.

Bucks Fizz - You And Your Heart So Blue (RCA)

I must say I always detested Bucks Fizz. Those medallion men! And those girls! Yucksville. Their records have always exemplified the worst traits of British pop kitsche. This is no exception. Now, it seems, they can't stand each others' guts either. What colour law suit do you want! (Max Bell, No 1, June 22, 1985)

Bucks Fizz have again proved that fact is always better than fiction, having read The Sun last week. Could the Dallas scriptwriters have made up a better tale of sex and high flying wheeling and dealing? Could The Godfather makers have made up a gorier tale of alleged 'family' treachery,and squalid break ups? This release is a spirited version of the sort of thing Smokie used to knock out in their sleep. It's not a patch on the B-side - "Now Those Days Are Gone" - a quality song and more than a little apt to boot. (Mike Gardner, Record Mirror, June 22, 1985)

Suzanne Vega - Tom's Diner (A&M)

Hmm, not sure if it's a good idea to promote an artist by putting out acapella songs about cafes on 112th Street and Broadway in Britain just yet. If you like Vega, and I do in measured doses, then you'll be able to pretend to enjoy this without dying of terminal embarrassment but otherwise it defines twee in naked single format. While we're on the subject of new folk, and we're not, Jennifer Warnes' version of Leonard Cohen's 'First We Take Manhattan' (reviewed last week) is tremendous, as Mike Gatting would say. By comparison this is like doing the quick crossword in the Evening Standard. Not very stimulating. (Max Bell, No 1, July 18, 1987)

T: I can't believe she's released this, I mean it's such an odd choice.
A: Yeah, I agree, I like Suzanne Vega but this one doesn't do her a lot of favours.
J: What is she playing at? Halfway through I thought nothing was going to happen - and I was right!
(All About Eve, Record Mirror, July 18, 1987)

Pete Wylie - If I Love You (Siren)

Pete Wylie can be a contrary son of a gun on occasions: "If I Love You" isn't one of them. After the poor showing of "Diamond Girl" he returns to the more straightforward melodic pitch of "Sinful" with a considered semi ballad that starts off sounding like Freddie Mercury and then gravitates more towards a modern street wise Bob Dylan. Wylie's problem, if that's the way you look at it, is that he isn't firmly established enough in the public ear and eye to guarantee success with his slightly maverick songs. (Max Bell, No 1, July 18, 1987)

Men Without Hats - Living In China (Statik)

Set the synthesiser controls for the heart of the sun, as Ivan and his band embark on a headlong dash through the perils of living in China. Too frantic to dance to and too frenetic to pick out a melody, "Living In China" is a track off their debut album Rhythm Of Youth which was recorded at least two years ago. Unfortunately it shows. (Frank Hopkinson, No 1, February 4, 1984)

According to their press handout this incredibly silly Canadian group featured Margaret Trudeau on their last single and the defecting Chinese tennis star Hu Na on this one. I reckon they could hire Jesus Christ, Lassie and the Dagenham Girl Pipers and still not get a hit. (Max Bell, No 1, June 18, 1983)

The Toy Dolls - She Goes To Finos (Volume)

More Geordie jokiness from the intensely irritating Toy Dolls whose heavyhanded sense of humour and cod punk doesn't extend far beyond wearing out the welcome of banal rifling and silly voices. Anyone who likes this must have had their pilot light blown out at a very early age. (Max Bell, No 1, March 30, 1985)

Whitney Houston - Someone For Me (Arista)

Ms Houston's paper credentials are strong. Daughter of Cissy, cousin to Dionne Warwick, songs provided by Kashif, Jermaine Jackson, Narada Michael Walden, blah blah blah .. . Houston's big voice threatens to set Freddie Washington's semi-ballad alight and justify the brou-ha, but Jermaine's anonymous backing sends the listener into deep slumber. Don't give up your modelling engagements yet, Whitney, honey. (Max Bell, No 1, March 30, 1985)

Heaven 17 - Come Live With Me (Virgin)

George [Michael]: Some people said that Carol Kenyon's singing was only reason that "Temptation" got to Number Two. I would agree with them. This is not as original and it's really a return to the "clever" Heaven 17. Andrew [Ridgley]: Even more of a dirge than "Temptation". They've definitely gone way downhill since Penthouse And Pavement. That was energetic and lively; this is dross. (Wham!, Smash Hits, June 23, 1983)

What an extraordinary choice of single, After the sublime "Temptation" this begging letter from an older man to a younger girl seems far too reflective and lyrically top-heavy to strike a common chord. The B-side, a re-recorded "Let's All Make A Bomb", still sounds good. (Max Bell, No 1, June 18, 1983)

Despite the last hit, despite all the talk, here at last is the single that proves that Glenn and the boys aren't really in the big League at all. It's a fine idea (as usual) but one that gets lost entirely with some incredibly clumsy phrasing and unnecessary frippery. A miss is as good as a smile and Heaven 17 make me laugh. (John Shearlaw, Record Mirror, June 18, 1983)

Men At Work - It's A Mistake (Epic)

Everyone is being perfectly beastly to the Men from down under, and with their reliance on plagiarism it's easy to see why. This is another of their bloodless, jokey songs, this time about power-crazed generals pressing the button and killing us all. Ho ho. At least they don't sound like the Police here and so won't have another hit. A blessing in disguise really. (Max Bell, No 1, June 18, 1983)

Certainly is, if you're still going for the millionth rewrite of "Down Under" This time the cargo from Cargo is merely excess baggage. "This year's Police" are the real Police - Men At Work have just become redundant. (John Shearlaw, Record Mirror, June 18, 1983)

The Chameleons - A Person Isn't Safe Anywhere These Days (Statik)

Not Lori and the Chameleons but a Manchester skinchange. This morbid ditty takes its own title at face value and proceeds to unleash the kind of down mood that could have the entire nation slashing its wrists were it to be played on daytime radio. (Max Bell, No 1, June 18, 1983)

Talking Heads - Slippery People (EMI)

David Byrne's got bigger and better suits than Yohji Yamamoto, but never mind the width - what about the quality? Well, the Heam,' musical accomplishments continue ,) surpass even their sartorial achievements, and this two-headed blast of pure dance-floor intelligentzia is living proof of that. Since their first LP in 1977, they've been a constant source of mature moods and homely madness, never ever missing a single beat. Lifted from their forthcoming celluloid venture Stop Making Sense (filmed on their last tour), the sound quality is beyond excellence, whilst the puns are pure fun: get ahead - get a Talking Head. (Dylan Jones, Record Mirror, October 20, 1984)

More live meandering from David Byrne and a cast of thousands. Typically Headsy without expunging the memory of their late '70s peak, 'Slippery People' jerks along on Fenders, funk and Steve Scale's subtle percussion. The Squawking Teds pioneered this style so long ago it now fails to sound new. Very average. (Max Bell, No 1, October 20, 1984)

Andy Summers - Love Is The Strangest Way (MCA)

Summers' distinctive Police guitar style is bound to appeal to the influential daytime jocks and A-list planners. Whether his lethargic non-singing voice will draw in the punters is debatable, particularly as this song stays on one level throughout and that level is boring. True, musos have had hits before but if Andy Summers was destined to be a front man how come Sting got the job? Besides the title doesn't make sense. (Max Bell, No 1, July 18, 1987)

Wet Wet Wet - Sweet Little Mystery (Phonogram)

The Wet ones won't need to wish they're too lucky with this as it's so patently commercial their growing horde of fans are bound to give the Glaswegians a big lift to the top. Shades of the Blow Monkeys and even Culture Club tend to make it sound very familiar but as safe pop goes it isn't too awful. At least you can ignore it. (Max Bell, No 1, July 18, 1987)

This is a perfectly breezy pop tune that starts with some finger clicking and soulsome groans, then smooths into an unforgettably inane chorus about love taking a tumble or some such nonsense. What spoils Wet Wet Wet songs however, is that just to hear them conjures up the alarming image of singer Marty's rather strange "dancing" which involves him flapping his arms like a deranged budgie dressed in Shakin' Stevens denim cast-offs and with that daft grin that quite spoils his anguished wails over love's woes. Shame really. (Lola Borg, Smash Hits, July 1, 1987)

Friends Again - Sunkissed (Phonogram)

Very pleasant indeed as John Peel would say. Friends Again (Scots lads) opt for a different class of pop music to the norm. Theirs is based on sultry vocal arrangements, Doobies styled acoustic guitars and a killer tune with a sting in the tail. More stylish than fashionable, it deserves a wide hearing. "Sunkissed" is produced by Bob Sargeant too so it sounds immaculate. (Max Bell, No 1, August 13, 1983)

Doesn't have the bite or exuberance of Aztec Camera whose shadow this walks in. It's all here, the lightly strummed acoustic guitar, the rattlesnake percussive effects, the doo-doo-de-doo chorus. It just isn't very interesting. (Johnny Black, Smash Hits, August 18, 1983)

UB40 - Red Red Wine (DEP International)

Very neatly reggaed version of a heartbender by Neil Diamond from the days when he was a songwriter. Spine-shivering synthesiser plays sparing little lines that help drive it along. Deserves to be a hit. (Johnny Black, Smash Hits, August 18, 1983)

UB40 have always struck me as being a modern equivalent of Eddy Grant's Equals. They specialise in airy pop reggae that can scintillate you live and lull you into a false sense of security on record. This is very clever, lashings of memorable harmonies and a lilting tune. It's the acceptable face of schmaltz - but then Neil Diamond, who wrote it, knows a thing or two about the wiles of the public taste button. Could even be a hit if UB40 split up soon (just joshing, lads). (Max Bell, No 1, August 13, 1983)

Joe Jackson - Cosmopolitan (A&M)

Joe's Night And Day was one of the revelations of last year, a pure distillation of black and white sophistication. This, the theme from the up-and-coming Mike's Murder movie, continues to explore Joe's fascination with wee small hours pop jazz. Jackson makes the most of his vocal strengths and leaves plenty of space for his fine group to toughen up the rhythm. Bound to break through in America again where Joe is now a celebrity. (Max Bell, No 1, August 13, 1983)

Much as I admire Joe's technique, craftsmanship and piano playing, I rarely like his records. Somehow they seem smugly cynical and this is no exception, with his voice too mid-Atlantic and the arrangement too contrived for success. (Johnny Black, Smash Hits, August 18, 1983)

Madness - Wings Of A Dove (Stiff)

The one we've all been waiting for, yes? The new improved Maddy Boys soar off on a delightful tangent, crossing over their Camden Town roots to accommodate Afro horns, a Pentecostal church choir and some delirious Trini steel drums. They said this was going to be uplifting and it is - religious even. How the Born Again Soul Boys have prospered. Good old Madness, they'll be socking it to the Yanks when this is number one at home. (Max Bell, No 1, August 13, 1983)

With their loony ranks swollen by a steel band and a gospel choir, the "chasps" (as they call themselves on the sleeve) charge along regardless and a good time is had by all. Bags of jollity and, no matter what they throw into the mix, the end result is always distinctively Madness. Can't help but like it. Best Of The Bunch though it's definitely not one of their most memorable songs. (Johnny Black, Smash Hits, August 18, 1983)

Annabel Lamb - Riders On The Storm (A&M)

It takes some nerve to try to tackle The Doors' classic tale of murderous isolation, but Annabel Lamb manages to do the song justice. Ray Manzarek, The Doors' original keyboard player, helps out to give the song its authentic melody. The Lamb girl singer, who looks like a replicant, can't be far away from success anymore. Memorably chilling. (Max Bell, No 1, August 13, 1983)

Surprisingly, the metronomic dancebeat actually enhances this neatly understated, perfectly '80s update of a Doors classic. Much better than I would have expected, it apparently features Doors' keyboardist Ray Manzarek who has subtly altered his original contribution to suit this version. (Johnny Black, Smash Hits, August 18, 1983)

Samantha Fox - I Surrender (To The Spirit Of The Night) (Jive)

T: Apart from the bloke they shoved in at the end to do harmonies this is actually quite good. Can I keep it?
A: Sounds like a hit to me. Very good, her voice seems to have improved a lot recently. She could become quite famous, and if she does, I might let her be my friend.
J: She's starting to sound like Kim Wilde, isn't she? This is really good. If they'd put some medley guitars in with the backing I think it would be brilliant. (All About Eve, Record Mirror, July 18, 1987)

Sam Fox's achievement, if you can call it anything so grand, is to have become the first Brit to crack the formula for producing totally drossy Euro synth pop. This is about on a par with a Europe record i.e. it's nauseating and utterly daft. A gormless charmless sound from a big galoot. Will it be a hit? Do bears poop in the woods? (Max Bell, No 1, July 18, 1987)

Sam Fox has got this pop lark off to a fine art. However brainless the press may attempt to portray her, there's no denying she knows a good tune when she hears one. This, like all her other songs, sounds instantly familiar after the first spin and actually turns out to be a loosely disguised version of the 1978 disco classic "Let's All Chant" by the Michael Zager Band. Still, it's been Sam Fox-ed up with thundering drums, growling guitar solos and plenty of woh-oh-ohs. "I Surrender" sounds like a huge hit and just goes to prove that nothing, short of a nuclear war, is going to stop her now. (Ro Newton, Smash Hits, July 29, 1987)

Paul Haig - Heaven Help You Now (Operation Afterglow)

Paul Haig once said that he was quite happy making records that satisfied his own standards and public approval was just a bonus. Haig's attitude is honest but he could do with the added luxury of a hit. "Heaven Help You Now" isn't one of his strongest moments. It lacks the dramatic punch of "Big Blue World" which should have been monstrous, and concentrates instead on a slick rock momentum and Haig's own super butch delivery. (Max Bell, No 1, October 12, 1985)

The opening twiddly bits sounded familiar and I thought, ah yes, an ex-Associate at work here. In fact, Alan Rankine produced it. Curiously charming and likeable. Trouble is, it only re-emphasised to me how much I miss that magic Mackenzie/Rankine partnership of yore ... maybe one day, eh boys? (Nancy Culp, Record Mirror, October 26, 1985)