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)

The Freshies - Fasten Your Seatbelts (Stiff)

The good Mr. Sievey is at it again, this time doing a Yazoo by teaming up with Mancunian lady singer Barbara O'Donovan. Brilliantly and shamelessly conceived pop hit single, so well done it hardly matters that the song itself is a bit weak. (Johnny Black, Smash Hits, September 30, 1982)

Now down to a duo, the Freshies' pop vision has finally bottomed out at the level of Bucks Fizz. Where are the titles of yester-yore? Is this the man who wrote "(I Can't Get) "Bouncing Babies" By The Teardrop Explodes"? (Mark Cooper, Record Mirror, September 25, 1982)

Tears For Fears - Mad World (Mercury)

Ooh look. Here's another one. Gardner and Smith break into a tuneless chorus of Cat Stevens' "Matthew And Son" - and it does sound like it. (Simon Hills, Record Mirror, September 18, 1982)

It's only a matter of time before this tuneful electro-duo have a hit. This may not be the one, but it does grow on you and the occasional rapid-fire brass riff pushes it along nicely. (Johnny Black, Smash Hits, September 30, 1982)

Ultravox - Reap The Wild Wind (Chrysalis)

Perhaps it's because Midge Ure was brought up in a Glasgow tenement that he feels compelled to write such pompous music. Cue dry ice and huge banks of lights for this mass of swirling synthesizers wrapping pure commercial pop. Beatles men George Martin and Geoff Emerick produced this to make it sound like the pop equivalent of heavy metal's Rush. (Simon Hills, Record Mirror, September 18, 1982)

I feel I should like Ultravox but, like so much of their material, this is medium-paced with mediocre meaningless lyrics set to inconsequential standardised electronics. It starts, it goes on a bit, it fades out. Nothing happens. Maybe it will have a great video, though. (Johnny Black, Smash Hits, September 30, 1982)

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)