Madonna - Into The Groove (Sire)

Of course in pop, in showbiz, the star personality becomes far more important than the artifact ... the pop personality is the pop machine's ultimate product. Its very raison d'etre. Nobody knows this better than Madonna. Initially touted as NYC's disco queen, she's since unstintingly contrived at a direct hit on Kids From Fame All American Celebrity. As such her songs are now only fit to showcase her presumptious assumption of stardom - success with all the lipstick and midriff and none of the right moves. Her current single "Into The Groove" is formulaic in the extreme and, like her public persona, is hollow. (Jim Reid, Record Mirror, July 20, 1985)

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)

Wham! - Freedom (Epic)

Ever since I gave "Wake Me Up Before You Go Go" a less than rave review, Wham! have apparently been saying that I was "out to get them". Not true. As their past releases (and, indeed, "Careless Whisper") show, Wham! have a tremendous spark of talent. I just don't think they're using it very well. With records like this weedy, uninspiring Motown-derived effort, I reckon they're aiming far too low. Take some risks, boys. You can afford to. Still, although this sounds like The Truth on a wet afternoon, it will undoubtedly be a hit. Such is life. (Dave Rimmer, Smash Hits, September 13, 1984)

"I don't want your freedom/I don't want to play round/I don't want nobody babe/Part-time love just brings me down." The bad boys have changed their tune in more ways than one. Now it's the girl who wants the freedom to fool around, and George isn't too keen on the idea. Like 'Wake Me Up', 'Freedom' is unashamedly lightweight and catchy. It bounces and swings along in masterly fashion and after two hearings you'll be singing it in the street. OK, so it may not be the toughest, most essential dance record of the week, but it's a cleverly crafted pop song which blends Motown with The Four Seasons and a touch of Bay City Rollers (ask your mum) .. . (Karen Swayne, No 1, September 22, 1984)

Wham! - I'm Your Man (Epic)

I must say, I do like the cut of George Michael's jib. What usually happens once you've become the world's most famous rising pop star is you get complacent and start making useless records, or you go dotty and stop making records altogether. Not George. George cares about pop for too much to let himself become distracted just yet. He's passionate about pop and he's good at it too: not a great songwriter but a stylish "craftsman" and a marvellous singer. On "I'm Your Man" he comes on all breathy and slippery in a racy pumping romp that's a little bit Motown and quite a lot George McCrae. A dignified hit: G. Michael is a proper star. (Not entirely sure what Andrew does on this but, no doubt, he does it very well too). (Tom Hibbert, Smash Hits, November 6, 1986)

I don't own a crystal ball anymore but I suppose "I'm Your Man" will get to Number One. However, the first Wham! single this year doesn't have the snap, crackle and pop of "Go-Go" or the sheer cheek of "Freedom"'s Motown rip-off. To these ears it's a rather pale re-write of "Freedom" with a weedy sax. Perhaps George is working too hard. (Adrian Tierney-Jones, No 1, November 16, 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)

Billy Joel - Uptown Girl (CBS)

As a songwriter Billy Joel is sometimes looked on a touch disdainfully for his late-night smoochers. But with the respect now granted fellow-Americans Hall & Oates and the evident fascination of Spandau's Gary Kemp with this soulful American pop, perhaps he ain't such a bad guy after all. That said this is truly abysmal. (Paul Simper, No 1, October 1, 1983)

Doctor And The Medics - Spirit In The Sky (IRS)

Spirited and vibrant in mood and appearance - just like the Medics really - this colourfully animated sound gives you all you could possibly want or expect from a single (plus a free full-colour fold-out picture bag no less!). Soulful, haunting backing vocals quiver in joyous unison as the Norman Greenbaum classic is covered with sheer complimentary aplomb by the good doctor. To betaken twice daily - at least. 5/5 (Anna Martin, No 1, May 10, 1986)

Madonna - La Isla Bonita (Sire)

I've heard this a million times already. I like her and her music's always entertaining. I don't think she's made a bad record, but sometimes you have to be inspired by music and not just entertained. I quite like her records but if there were two record shops across the road and one of them was playing this, I'd go in the other one! I like it but it's not her best. (Owen Paul, No 1, March 28, 1987)

Presumably the last (but not least) single from the True Blue album, "La Isla Bonita" is as close to Abba as Madonna can get without learning a second language. Swaying palms and balmy harmonies. But would she share her desert island idyll with Oliver Reed and a jug of orange? (Paul Simper, No 1, March 7, 1987)

And another one from the multi-platinum True Blue LP. But it's not exactly special. It's got all the Madonna trademarks - a catchy disco synth-beat and the luscious pouting vocals - but it's not cheeky enough. It's not even suggestive. Madonna dreaming of being seduced on a tropical island, by Spanish lullabies!!?? It just isn't up to the gal's usual standard. (Jane Wilkes, Record Mirror, March 21, 1987)

Lionel Richie - Hello (Motown)

Lionel, weak with emotion, gives a right old tug to the heartstrings on this classic weepie tale of unrequited love. Your Mum's bound to make you turn it up when Top Of The Pops is on. (Peter Martin, Smash Hits, March 15, 1984)

Apart from sounding like a piece of incidental film music, this also sounds like a shrewd bit of formula writing with its eye on a number one, It's a shameless product of calculated timing and market-research, banking on the fact that the whole world loves a love song. The Motown ballads are renowned for their sex and soul. 'Hello' is just soppy mush from the Dean Friedman school of cheap sentiment. (Maureen Rice, No 1, March 3, 1984)

Madonna - True Blue (Sire)

There are a few like myself who are not, and have never been, smitten by the charms of Madonna. We have waited for two years for her to put a foot wrong and disappear into pop's legendary dumper. But she never does. And I'm forced to admit that she's certainly not dumper-bound with this one either. It's from the LP of the same name and has Madonna singing in a fantastically coy voice about true love, over one of those thumpa-thumpa-thumpa-thumpa rhythms. And just to prove that I've always been wrong about Madonna it'll be a huge hit. Bother. (William Shaw, Smash Hits, September 24, 1986)

Blondie had "Sunday Girl", Madonna has 'True Blue' - the perfect popsicle to sing your lungs out to. And then what? "True Blue II"? A glorious retirement? Or more filling of coffers? Whatever, Madonna will now be remembered as the girl who wrote a song so sweet it melts your brain. (Paul Simper, No 1, September 20, 1986)

Wham - Wake Me Up Before You Go Go (Epic)

At last Wham have come up with a song to match the freshness and appeal that first sent them hurtling chartwards with "Young Guns". This is unstoppable, hip-swinging, finger-clicking stuff from George and Andrew, sung with a justifiable swagger and bags of horns. Light the blue touch paper and watch it rocket to No.1. (Frank Hopkinson, No 1, May 19, 1984)

An absolutely dreadful comeback in which George and Andrew ditch everything they do well in favour of a feeble foray into Shakin' Stevens country. Sounds like Darts or some similarly weak '50s impersonators. Awful. My copy took one look at me, hung its head in shame and slunk off to hide under the bed, as well it might. (Dave Rimmer, Smash Hits, May 10, 1984)

I sympathise with the dynamic duo for having at last solved their contractual wrangles and weathered a considerable media backlash - they deserve to silence their critics by coming back with a bang! As a fan, I have to say this is more like a bubblegum pop ping! Nauseatingly catchy, to my mind, it's an overdose of hooks and catches. As a commercial product it will doubtless succeed, but have style, depth and panache been replaced by the lowest common denominator? (Pedro, Record Mirror, May 19, 1984)

Nicole - A Little Peace (CBS)

Quick as a flash, here's an English version of that dreadful ditty which won Eurovision. Nicole is a sort of sickly 17-year-old Bavarian singing nun who, if the words are anything to go by, just wants to be left alone. So why don't we do just that? Because no way is this song going to let us alone, that's why. Yeugh! But then I didn't even like Bardo. (Dave Rimmer, Smash Hits, May 13, 1982)

Paul Young - Wherever I Lay My Hat (CBS)

If fame and fortune smile on the deserving, Paul Young is headed for dizzy heights. Here's
a voice to shame even good singers like [Boy] George and Alf, while those [Spandau] Ballet boys aren't even in the same league. Truly gorgeous white-boy soul, and a cover version Marvin Gaye would be proud of. Move over, Tracie, you're behind me in the queue . . . (Maureen Rice, No 1, June 4, 1983)

The best British white soul singer I've ever heard. The power and emotion in his voice makes me feel so sure! The song is a traditional blues/soul melody in '60s style but the instrumentation sounds a lot like Japan. A duet with Alf should come soon. (Gary Kemp [Spandau Ballet], Smash Hits,May 26, 1983)

The story so far ... In the process of avoiding the lecherous advances of Tracie, Paul (27) dashes into the studio to polish off a single. Unfortunately dodgy production and arrangement smother his ooh so soulful voice. Will Paul find the tune he so desperately needs? Will Tracie find the boy she longs for? Folks, keep those eyes posted for 'Young Love' magazine. (Jim Reid, Record Mirror, May 26, 1983)

Madness - House Of Fun (Stiff)

With Thommo providing lusty impetus from the horn department and Barso weaving his customary keyboard magic, Suggs only has to knock out the lyric in the usual tongue-in-cheek fashion to make this slice of fairground reggae a worthy addition to the Madness catalogue and a definite hit. No fuss, no bother. (David Hepworth, Smash Hits, May 27, 1982)

Midge Ure - If I Was (Chrysalis)

I've never like the pompous rock approach that Ultravox indulge in for single after single. But surprise, surprise! I do like the simplicity of this, Midge's solo effort.
It's a song that soars along at a steady pace, very reflective and rhythmical.
Bland, but so much easier on the brain. (Debbi Voller, No 1, September 7, 1985)

Take the opening of Queen's "Radio Gaga" and the sound of Midge at his mighty organ and what do you have? Well, a hit obviously. But this is slightly less pretentious than recent Ultravox offerings so let's be grateful for that at least. (Andy Strickland, Record Mirror, September 7, 1985)

In which Midge wonders whether he'd stand more chance with some young lady if he was, well, a whole list of things. I usually find Mr Ure's taste in melodies a little too dramatic, but here it suits the song perfectly. Not bad at all. (Dave Rimmer, Smash Hits, August 28, 1985)

 

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)

Shakin' Stevens - Merry Christmas Everyone (Epic)

Shaky Seems to have been rocking around that old clock for quite a while now. But still he keeps 'em coming. Naturally enough, "Merry Christmas Everyone" is one of those characteristic Christmas songs that once heard is never remembered. Dreadful unto its dying chords, it's amazing the dross that Dave Edmunds (in the guise of producer) is prepared to associate himself with these days. Still, whatever I say won't prevent it from being a massive hit. Trying to ensure otherwise would be like trying to blow out a searchlight. Hopeless. (Mike Morris, No 1, December 14, 1985)

This one leaves me cold. Shaky's on thin ice here, as he skates through a precarious rocking rendition of Xmas tidings, complete with doo wops and sleigh bells. Someone definitely left the sixpence out of this one. (Diane Cross, Record Mirror, December 7, 1985)

A stunningly original concept! I can't help thinking that Shaky would sing "The Red Flag" if his record company thought it would make him a few more bob. The great Dave Edmunds produced this record - can't hear him though! (Captain Sensible, No 1, December 21, 1985)