George Michael - Faith (Epic)

Gosh! This kicks off brilliantly in a Songs Of Praise kind of fashion with ominous swirling church organs giving the idea that George might be back to his brilliant best, but then - alas! - it plummets rapidly into a squiffy Country and Western style jaunt with jangly guitars by the dozen. And all the while there's Georgie rasping and wheezing, Bee Gees style, about sexy bodies and other pervy nonsense. I think George Michael has got far too smutty of late and I really don't like it one little bit. (Lola Borg, Smash Hits, October 7, 1987)

George Michael - Father Figure (Epic)

'I will be your father figure, I have had enough of crying, I will be the one who loves you till the end of time. . .' Once again, George unveils a blinding talent for wonderful sentiment and swoony lovesome lyrics, all elegantly swathed in pristine "epic" production and the usual echoey voice-oice which trails-ails off almost every note-ote...It's in a similar "vein" (though not nearly as good) as "A Different Corner", it's perfect Radio Two fodder, and it will doubtless be a top ten hit. It is also hugely unexciting. (Sue Dando, Smash Hits, December 30, 1987)

Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

Men At Work - Everything I Need (Epic)

I'm not proud. I like "Down Under" if only because it opened the door for a lot more interesting Aussie bands in Britain and America. Men At Work have changed since then and acquired a touch of the Dire Straits. The humour is gone. This is where Men At Work get their UB40s. (Mike Gardner, Record Mirror, June 22, 1985)

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)

Bardo - Hang On To Your Heart (Epic)

Bardo do what comes naturally and warble a ditty that could easily come seventh in the next Eurovision Song Contest. (Fred Dellar, Smash Hits, February 3, 1983)

Sounds like Jack and Jill tumbling all over the place. This is merely a variation on that old "One Step Further" theme, all bright eyes and slyly patting each other's bums. But since David and Thereze aren't speaking to each other, this might capture their old share of the market. God knows it's time Bardo started to justify their investment. (Robin Smith, Record Mirror, February 5, 1983)

Men At Work - Down Under (Epic)

Superbly crafted reworking of The Boomtown Rats' "House On Fire" rhythm topped off with hippy flutes and sung by an Australian so indebted to Sting he even nicks his fake Jamaican accent. Comes complete with a neat little storyline, custom-made for a video, that affectionately lampoons the homeland and indulges in all manner of tortuous rhymes ("language" and "sandwich" being one of the better ones). It's great. (Ian Birch, Smash Hits, January 6, 1983)

The best Australians stay at home and make great films. The second best come to London and become witty media people. The worst Australians bow to the buck and become second rate West coast rock bands. I rest my case. (Jim Reid, Record Mirror, January 8, 1983)

Altered Images - See Those Eyes (Epic)

As usual David Band's cover is almost worth £1.20 on its own - and it needs to be, as the record is a disappointment. Rushent's production, Clare's candy-floss vocals and a competent performance from the band can't disguise the thinness of the song. No doubt it will make the Top 20 but Altered Images should do better than that. Now if the title had the word 'happy' in it... (Tim De Lisle, Smash Hits, March 18, 1982)

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)

Owen Paul - One World (Epic)

1986's Nik Kershaw, Owen Paul's recent success continues to elude me... Is it due to the boyishly cute looks (he reminds me of a cross between Pat and Damon Grant from Brookside!), the way he casually cocks his guitar to one side when he dances or the blatantly twee lyrics he enthusiastically sings? I'm none the wiser. This single merely echoes the previous two, in that it's equally irritatingly catchy and looks destined to receive a mega bout of radio airplay, and with it possible chart success. However, it really is high time the real Nik Kershaw stepped forward. (Anna Martin, No 1, November 1, 1986)

Men At Work - Down Under (Epic)

Superbly crafted reworking of The Boomtown Rats' "House On Fire" rhythm topped off with hippy flutes and sung by an Australian so indebted to Sting he even nicks his fake Jamaican accent. Comes complete with a neat little storyline, custom-made for a video, that affectionately lampoons the homeland and indulges in all manner of tortuous rhymes ("language" and "sandwich" being one of the better ones). It's great. (Ian Birch, Smash Hits, January 6, 1983)

Shakin' Stevens - Blue Christmas (Epic)

Time to don armour plated vest and crash helmet in anticipation of all those Shaky fans threatening death and misfortunes after we make heartfelt, considered comments about old chubby chops. As always, the only wonderful thing about a Shaky record is the cosmetic job on the single sleeve. (Robin Smith, Record Mirror, December 11, 1982)

Wham! - Last Christmas (Epic)

And the public gets what the public wants . . . The mega-duo celebrate a mega-golden year with another mega-hit - no doubt about that. Well, it is Christmas and George finds himself in the clutches of a young-love crisis while Andrew looks on sympathetically and the Whamettes swoon. For all musicologists out there note the close similarity to Peaches & Herb's cream-curdling duet, "Reunited". (Lesley White, Smash Hits, December 6, 1984)

Predictable schmaltzy seasonal love story from Pinky and Perky. This must be the tenth song in the last six months to have lifted the chord structure of Peaches And Herb's "Reunited". Obviously a hit, but I'd rather listen to the Queen's speech myself. (Andy Strickland, Record Mirror, December 8, 1984)

Laudable B-Sides: Now considered something of a Christmas staple, "Last Christmas" was originally released as a double A side single, with "Everything She Wants" on the flip. After Christmas, Epic simply put the same single in a new sleeve and reversed the order, causing "Everything She Wants" to become the next big hit for the group. Incidentally, the much more obscure extended mix of "Last Christmas" was known as the "Pudding Mix".

The Stranglers - European Female (Epic)

Lilting melodic stuff given soft but firm propulsion by a foursome who've always shown scant regard for females of any nationality. They've somehow mastered the subtle art of appearing all sweetness and light while somehow remaining distinctly untrustworthy. A hit? I fear not. (Ian Birch, Smash Hits, January 6, 1983)

Shakin' Stevens - Because I Love You (Epic)

Remember last year? [Yuletide number one "Merry Christmas Everyone"] Not a whisper from Shaky for twelve months, word gets around there's only 50 shopping days to Christmas, and before you can say 'Elvis died ten years ago' up pops Shaky with a little jiver guaranteed to grace many a Christmas list. Well, apart from the fact that you can't jive to this monotonous ballad and there are no sleigh bells in the background... 1/5 (Mark Booker, No 1, October 25, 1986)

Roaring Boys - House Of Stone (Epic)

When they first appeared earlier this year, perfectly made up with not a hair out of place, the Roaring Boys came in for some stick. Touted as the next DD rumours flew of huge advance payments etc etc. "We're serious musicians," they pouted. Maybe. But this single will do nothing to add to their credibility. Dull, instantly forgettable, and going absolutely nowhere. Don't spend it all at once lads. (Anne Lambert, No 1, June 15, 1985)

Y'know I actually feel quite sorry for those lovable old empty-heads the Roaring Boys. Imagine having all that money and all those people telling you how very talented and good looking you are when in fact - yeah, hilarious isn't it - you're not. In fact an uglier bunch of derivative old also-rans you'd be hard pressed to find. "House Of Stone" treads the well-worn path of sub-Roxy moodiness with all the content, all the right noises but not one whiff of the style or personality. (Graham K Smith, Record Mirror, June 15, 1985)

Teena Marie - Love Me Down Easy (Epic)

A song about peeling off rose petals, eating white chocolate and drinking champagne in bed! Utter decadence but very appealing coming from Ms Marie's 'pout' mouth. Less of the Prince than there was in "Lips 2 Find U", more of the real Teena. Anyone who has ever spotted Ms Marie in her, er, day job will know what this means. A lusty ditty. 3/5 (Max Bell, No 1, October 18, 1986)

Sade - The Sweetest Taboo (Epic)

If 1985 is the year of Madonna then, in Britain, 1984 was Sade's patch. Having reaped maximum mileage from the excellent Diamond Life set, Ms. Adu's long awaited follow up 45 sounds safe. It's a fair helping of more of the same. Not really taboo, more a love song addressed directly to its subject and wrapped around a light jazz arrangement in which all the ingredients fall into place on second or third listening. You can't expect Sade to suddenly metamorphose into Miriam Makeba (famous South African jazz singer) or someone, but her music tends to conjure up a being somewhere-else feeling. Still, what would the hairdressing profession have done without her? (Max Bell, No 1, October 12, 1985)

The habitual, luxuriant warble over a snappy backing. Doesn't appear to have much of a hook, though. Ambles along aimlessly and evidently gets lost at the crossroads. Ah well, it's easy on the ears. (Lesley O'Toole, Record Mirror, October 5, 1985)

Roaring Boys - Every Second Of The Day (Epic)

Epic Records set their stylists loose on a group of former Cambridge crowd-pleasers called The Models, hire a haulage firm to deliver the advance and call the conspiracy Roaring Boys. Ignore the propaganda promise that these lads are going to be massive ("They'd better be. We've spent enough on them"). Resist the alluring fringes, dreamy eyes, soft pouts and sucked-in cheeks on the sleeve photo. Be honest with yourself. Hear it and admit it . . this is an unremarkable record. (Andy Kershaw, Smash Hits, February 28, 1985)

Let's keep cynicism at bay here. Any band that's inspired so much music biz hype as Cambridge's six Roaring Boys must have something going for them. But although the band - who include Kirsty MacColl's brother Neill - are reasonable looking this debut single is simply duff. Lots of huffing and puffing and being desperately young and energetic but not a spark of wit, wisdom or plain old excitement to be found. A very roar deal. (Martin Townsend, No 1, February 23, 1985)

Reputedly signed for a six figure sum with lots of nines in it, a lot is expected from the Roaring Boys. But frankly, on this debut they tread water to the extent of almost drowning. What is so special about the Roaring Boys? We wait and see ...  (Dylan Jones, Record Mirror, February 23, 1985)