Pet Shop Boys - Rent (Parlophone)

You can always rely on the Pet Shop Boys to write a good tune - even though half the time they (the tunes) vaguely sound as though they once belonged to someone else. This moody slice of tragi-disco with its swirly trumpets and ping-pong-y Kraftwerk type bits is possibly even more lump-in-throat making than the wondrous "It's A Sin". The LP version is possible more dark and brooding, and this has a weedy voice-over by Neil at the beginning, but this is more than made up for by a chorus of "I love you - you pay my rent". I still think they look a bit silly in all that squeaky rubber and leather they've been wearing lately but this is fabness itself. (Lola Borg, Smash Hits, October 7, 1987)

Pet Shop Boys - What Have I Done To Deserve This? (Parlophone)

The brilliant thing about the Pet Shop Boys is that they get is everything right - memorable tunes, perfect production, intelligent lyrics, excellent sleeves, loads of style and a self-deprecating sense of humour - a very rare combination. So, having decided to do a duet with a soulful chicklet, they've naturally got the best - '60s songstress and living legend Dusty Springfield. Her voice is still as thrilling as it was in her "prime"; if there were any justice in the world, a mere trill of it would be enough to make the likes of Whitney Houston crawl into a hole and weep with shame. This isn't their absolutely best-ever song, though; that has to be "Paninaro", the most perfect synth-pop thing ever invented. (Vici McDonald, Smash Hits, August 12, 1987)

Thomas Dolby - I Scare Myself (Parlophone)

Thomas Dolby, man or maniac? Nobody's been able to make up their minds about this oddball. Having Magnus Pyke in an early video did nothing to help his cause, but the superb 'Hyperactive' did much to lay the ghost. 'I Scare Myself' is a real gem. Snazzy and light, it swings along with Tom tinkling away on piano. This should give him a really big hit at last - and there's not a single synth in sight. (Paul Bursche, No 1, March 24, 1984)

Master Dolby leaves the lab, stops his quest for the perfect eighties synthesis of man and machine (so far a no-score draw), and delivers his most warming 45 to date. To do so he's made a nearly inch perfect copy of the Dan Hicks original, but nevertheless "I Scare Myself" is so hot with swooning acoustic guitars and delicately muted brass that I'll forgive him for that. (Jim Reid, Record Mirror, March 24, 1984)

Clipped off his fine album The Flat Earth, this is something RATHER special. Written by the extremely eccentric songwriter Dan Hicks (ideal for Tom really), it's a stunning song performed with delicate restraint and sung in a way that brings tears to the eyes of grown men (and women). Touches of The Wild West and today's technology have created a haunting atmosphere. Fab. Single of the fortnight. (Ian Birch, Smash Hits, March 29, 1984)

The Power Station - Some Like It Hot (Parlophone)

A very strong first record from The Power Station, including Smash Hits readers' most fanciable man, John Taylor. It has a recognisable chorus and a rousing guitar solo from Andy Taylor– and I especially like the twangy acoustic guitar in the background. A hit. (Marshall O'Leary, Smash Hits, March 14, 1985)

If you live in a cave, hard luck. It must be cold. It must also mean you'll think The Power Station are just Another Group. You'll not know that some Duran chaps, a brace of Chics and super-cool crooner Robert Palmer have undertaken a musical project. With 'Some Like It Hot', they seem more intent on showing us that The Power Station will not be like Duran Duran, as opposed to producing anything memorable. Despite Palmer singing his socks off and a muscular rhythmic workout courtesy of John Taylor and Tony Thompson, it's little more than some of pop's sophisticates jamming. (Adrian Tierney-Jones, No 1, March 9, 1985)

The Armoury Show - Glory Of Love (Parlophone)

Richard Jobson has certainly progressed since his days with the Skids. You can understand at least half he's singing on this record, although he does deliver a good few heathen chants for old times, so you still feel you're among friends. Not as good as it should be, but they're getting there. (Eleanor Levy, Record Mirror, June 29, 1985)

The Armoury Show are a powerful team (Richard Jobson and John McGeogh) so heaven only knows why this band aren't having massive hits. Their first two singles had enough fury and passion for the whole top hundred but obviously they're falling on deaf ears. Having said that though, the recorded "Glory Of Love" doesn't quite match up to their live version -a case of the wrong producer for the right song. (Debbi Voller, No 1, July 6, 1985)

Pet Shop Boys - West End Girls (Parlophone)

The Pet Shop Boys (alias Mutt and Tibbs, no doubt) released "West End Girls" some time ago, but claim that second time around it's re-recorded. Which could be another way of saying that they've only got one good song and this is it and please will you buy it. Well if it worked for King with "Love and Pride", it should work for "West End Girls" which, with its sad, reflective air set to subdued sub-disco, is miles better. (Adrian Tierney-Jones, No 1, November 16, 1985)

For some reason, this sprightly amble through the studied lowlife of a city triggers off the fragrance of William DeVaughn's "Be Thankful For What You Got" and something else that'll come to me when I least need it. (Mike Gardner, Record Mirror, November 9, 1985)

A tumble through Soho in the seedy wee, wee hours accompanied by the kind of jaundiced horns that are more often found on soundtracks of films about Hollywood actresses hitting the bottle and cracking up with mascara running down their faces (Valley Of The Dolls springs to mind). Set against this, the electronic bleats and the demi-rap (Grandmaster Flash And The Furious Five's "The Message" without the baseball bat) create an atmosphere of danceteria sleaze that's almost sinister. Brrr. (Tom Hibbert, Smash Hits, November 6, 1985)

The Armoury Show - Castles In Spain (Parlophone)

Having already extolled the virtues of the band's new LP, any further words of praise are icing on the cake. Possibly the strongest track on the album and I can't see any reason why this racy little stomper shouldn't be top 20 by, oh, next week? (Nancy Culp, Record Mirror, October 26, 1985)

Originally released back in July '84, it's been bunged out again in the hope that it'll be a hit this time round. In an unfortunate piece of timing, however, it's up against new singles by Simple Minds and Echo And The Bunnymen, and as it's so wildly derivative of both, "Castles In Spain" may not fare much better now. Still, if you like sweeping guitars and emotive vocals (courtesy of ex-Skidsman Richard Jobson) you'll like this. (Karen Swayne, No 1, October 19, 1985)

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)

Pet Shop Boys - Suburbia (Parlophone)

A bit of a glum song with Neil Tennant singing about how miserable it is to live in what he calls a
'suburban hell'. I must confess that I find all this stuff about 'broken glass' and 'bus shelters' a tiny bit boring, lyrically speaking, but it's got a lovely mournful one-finger piano tune which isn't half bad at all. And it has dogs barking on it. (William Shaw, Smash Hits, September 24, 1986)

Limahl - Love In Your Eyes (Parlophone)

He's back. Back! With a moving imitation of a piece of pink tissue paper (i.e. his singing is gigantically wispy) and a completely weedy pop song. Hip hip hooray! "Love In Your Eyes" is, of course, awesomely exquisite: swoonsome, tunesome, frighteningly wholesome, covered in fluff and without an ounce of malice. Better even than "Never Ending Story", Limahl's last blub-soaked imperishable, it's a work of intense drippiness. "Sublime". "Soppy". Totally brilliant. Single Of The Fortnight. (Tom Hibbert, Smash Hits, April 23, 1986)

Note: The late, great Tom Hibbert was notorious for his sarcastic reviews, very much in evidence here. I was also saddened to read that he suffered from a debilitating medical condition for the last fourteen years of his life, and so wrote nothing from the age of 45. Such a shame.

Silent Running - Young Hearts (Parlophone)

This band do seem to have their off days. The last time I saw them play the singer bust his zip and had to change his stage leathers for casual day-wear maroon strides. Hours later, the drummer stepped out of a first-floor window and ended up breaking his arm. And now they've released a record which sounds like either U2 or Simple Minds. At times it could almost be Jim Kerr singing. I prefer the real thing, myself. (Linda Duff, Smash Hits, July 5, 1984)

Latest in a long line of 'when we were young' ditties. When I was young, pop didn't take itself too seriously and the only people making records like this were over 30. (Andy Strickland, Record Mirror, June 30, 1984)

Pet Shop Boys - Love Comes Quickly (Parlophone)

This has a good chorus and it's very catchy - a good follow-up to "West End Girls". I hope they have a crappy looking video again because I liked that - Jonathan King slagged it off as cheap and horrible, the most appalling video ever made, but I thought it was simple, straight to the point, and I really liked the moody guy in it. It's funny reviewing a single sung by someone who used to interview us - I should be getting my own back. The runner-up single of the fortnight, I suppose. (Dave Gahan [Depeche Mode], Smash Hits, February 26, 1986)

If this is the best they can do fame is going to go as quickly as love comes. A weak follow-up to a Number One single, this is high on Giorgio Moroder atmosphere, but has weedy vocals so soft you have to strain to hear the words. Suffice to say that if this had been their first single nobody would have made such an almighty effort to find out what the real meaning of the name Pet Shop Boys is. (Pat Thomas, No 1, March 1, 1986)

Eyes bright and tails wagging, the Pet Shop Boys trot away from the haunting mystery of "West End Girls" and produce a tender swirling epic topped with a delicate vocal refrain. Not as instant as "West End Girls", but very smooth and powerful. It's starting to occupy a bigger place in my heart than even Chaka Khan's "Ain't Nobody". Single Of The Week. (Robin Smith, Record Mirror, March 1, 1986)

Scary Thieves - The Waiting Game (Parlophone)

With a tour supporting Nik Kershaw already under their collective belts and a sleeve designed by No.1 reader Beverly Hollanders, the future looks good for Scary Thieves. Their sound is rich and textured, but somehow the song doesn't seem right. Something a little more uptempo next time, maybe? (Dave Ling, No 1, April 6, 1985)

Paul McCartney - Take It Away (Parlophone)

What's amazing about Macca is that he makes everything sound so effortless. He probably knocked this one out while boiling the milk for the family's cocoa. The song bounces along, picking up en route honeyed harmonies, quick-fire guitar and snappy brass. Watch it streak into the top five. (Ian Birch, Smash Hits, July 8, 1982)

With A Little Help From My Friends: Ringo Starr played drums on this one.

Scarlet Party - Eyes Of Ice (Parlophone)

The ability to simultaneously mimic David Bowie and John Lennon in one breath should at least earn them a guest slot on The Mike Yarwood Show but, otherwise, it's not my party. Can I go home now? (Johnny Black, Smash Hits, March 3, 1983)

The Armoury Show - Love In Anger (Parlophone)

[Richard] Jobson looks like Kermit the frog on the sleeve, which conceals a rather tender ballad. Shame the AS haven't done what they were capable of chart-wise, but then again, open-hearted angst isn't exactly commercial, is it? Very fine nevertheless, with its finger on my heartbeat definitely. Pardon me while I wallow.... (Nancy Culp, Record Mirror, January 31, 1987)

I've always had a soft spot for Richard Jobson - can't think why. Perhaps it's because he's a bit of a Renaissance man, writing books and poetry, acting and singing with a modicum of success. The Armoury Show have been on ice recently while their leader was off on some secret cultural mission to China (strange boy). Now they're back with quite a nice little debut for a new label. I don't know if it's strong enough to take them back into the charts, but you can expect to hear a lot from them this year. (Pat Thomas, No 1, January 31, 1987)

Pet Shop Boys - It's A Sin (Parlophone)

An enormous clap of thunder, horns winking in the distance and then an absolutely huge slab of European disco drama in which Neil Tennant, sounding oddly like Princess Stephanie (and there's absolutely nothing wrong with that), sings 'When I look back upon my life/It's always with a sense of shame'. the tune is impossibly grand but, um, haven't we heard it somewhere before? We have. It's Cat Stevens antiquated chestnut "Wild World" almost to the note - and a very nice tune that was too. This is going to be such a massive hit - an undoubted Number One in at least 500 European countries - that it might well blow your hat off. (Tom Hibbert, Smash Hits, June 17, 1987)

Sounds a bit like that "It's Raining Men" song by the Weather Girls! I think the video will have a lot to do with whether or not this record makes it - they definitely seem strong on image (two picture sleeves for the price of one!). There's a strong beat there but it gets you going in places and then suddenly dies down a bit, like a Frankie Goes To Hollywood song.Just when it was getting exciting as well! They're not the sort of band whose records I'd buy, anyway, though I might dance to them in a club. (Neidet Salih, No 1, June 20, 1987)

Belouis Some - Jerusalem (Parlophone)

And did those feet in ancient time... dance to some better tunes than this one? Yes, probably. It's smooth 'n' moody, a tinge on the pretentious side and sounds as though he's recruited David Bowie on vocals and Sooty on xylophone. And as for the lyrics - what on earth is he going on about? "You paint your face like it's Jerusalem," indeed! (Lola Borg, Smash Hits, July 2, 1986)

Mr Some has tried for a big pop song here. One of those epic musclebound ballads, awash with splendid synthesised atmospherics, which rises to a swollen-hearted chorus and makes you think of...it all! He wants to be as dramatic as David Bowie, and as subtly supple as Japan, all at the same time. As an idea, it's wonderful. As a record, it plods. (Roger Morton, Record Mirror, July 26, 1986)

My gawd, a Belouis Some single that hasn't previously been put out! Yippee!
"Jerusalem" sees a drop in pace after his last couple of re-releases.
Unfortunately this strategy blows up in his face as this rather laboured song just forces home how average a vocalist our Nev really is.
I wouldn't bother putting it out a second time either, Parlophone. (Dave Ling, No 1, July 26, 1986)