Faith Brothers - A Stranger On Home Ground (Siren)

Another contestant on 'Great White Hope' and a fine example to all the others. Sure, they have their Sixties and early Costello influences but, despite a dreadful production [by Paul Hardiman], they've still managed to inject enough fire to kick it firmly into the Eighties. It should cause a modest ripple in the charts - and deservedly so. (Mike Gardner, Record Mirror, June 22, 1985)

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)

The Ward Brothers - Why Do You Run (Siren)

A fifth rate bastard son of Bruce Springsteen's "Downbound Train", this song tries to give a passionate impression and fails miserably. (James Grant [Love And Money], Record Mirror, April 25, 1987)

Secession - The Magician (Siren)

The lyrics on this are a bit silly and the chorus has a Kate Bush section, but other than that, it's OK. (James Grant [Love And Money], Record Mirror, April 25, 1987)

It's Immaterial - Ed's Funky Diner (Siren)

One of those poor unfortunate Liver bands that seem to have gotten chewed about a bit. Still, a heartwarming and tuneful record that hints towards the type of thing that made the early Teardrops so lovable. Not half badd-o. (Nancy Culp, Record Mirror, October 26, 1985)

Shooting Party - Trick Of The Light (Siren)

Stranger things have happened ... To find myself listening to (and liking I hasten to add) this; a purely unadulterated cross-over from AOR (American Orientated Rock) to the more desirable realms of pop, was beyond my wildest ambitions. A memorable tune with searing guitars, cascading effects and
pleasing vocals make up the package. The B-side isn't bad either! It's surprising then, to discover that the pair responsible for its creation hail from deepest north London. Like I said, stranger things have happened ... (Anna Martin, No 1, October 26, 1985)

It's Immaterial - Space (Siren)

It's great to write a song about "Space" - it's an unusual subject and they've done it in a really novel way. It's almost sad at times - especially if you live in a built up city. The song's got that Talking Heads/David Byrne sound which I like. I think they're one of the best new English groups around because they've got intelligence and this is the best new song and the most original lyrics I've heard in a long time. (Gary Kemp, Smash Hits, October 8, 1986)

It's Immaterial never said they were going to conform to expectations and so the deliberately deadpan approach they adopt here is wilfulness personified. This is Itsy in funny peculiar and not funny ha ha mood, too slow and atmospheric to capitalise on "Driving" and never as charming as in "Ed's Funky Diner". Forgettable. 2/5 (Max Bell, No 1, October 18, 1986)

Fruits Of Passion - Everything (I Ever Wanted) (Siren)

Second time out for this snappy little tune by those swinging Scots, whose vocalist Sharon certainly knows how to belt out those songs with some feeling. Passionate vocals and a light, breezy, summery sound of twinkling guitars make this a catchy single that shows definite signs of promise. 3/5 (Anna Martin, No 1, August 23, 1986)

A re-recorded version of the bond's first single, it shows the Fruits have mastered the mechanics of good pop music. Sharon Dunleavy has a magnificent, belting voice, but it's only now that she's learning to bring out the more subtle shades. They deserve some success with this. (Stuart Bailie, Record Mirror, August 23, 1986)

It's Immaterial - Rope (Siren)

You're either very irritated or completely beguiled by It's Immaterial. Their songs reach out for that strangeness, that twitchiness that Talking Heads used to deal in. You either twitch along or leave the room. Here, they've re-invented a non-existent traditional folk melody, laced it with ghostly fiddling, and set it to a skipping drum machine. All pastel hues and shadowy word play, it makes for a nervily merry English voodoo pop. Stay with it, and twitch. (Roger Morton, Record Mirror, March 7, 1987)

Itsy (as we fans call them) have had an undeservedly hard time following up "Driving Away From Home". "Rope" could just be the one to do it, ridiculously catchy, hopelessly cheery, and it has a 79-year-old banjo player, one Tarrant Bailey Jr, rocking out. Not a lot of singles can say that! Probably their strength (all their songs are so different) is their weakness (nobody knows it's them). All the same, 'tis a harsh and cruel world that cannot find room for It's Immaterial. (John Aizlewood, No 1, February 28, 1987)