Yazoo - Nobody's Diary (Mute)

One of the true great voices since Neanderthal man discovered that crooning was more effective than a bash over the head, though not as much fun. Alf packs a punch that sends you reeling for the respirator and the bottle of Dr Collis-Brownes. More restrained than some of the stuff that's gone before, this song is a sneaker and grabber that goes for the jugular. (Simon Tebbutt, Record Mirror, May 14, 1983)

You don't need me to tell you what the new Yazoo single sounds like. It sounds like all the rest, and yet, it doesn't! Somehow they keep coming up with enough hit variations on their theme. Can't fail. (Debbi Voller, No 1, May 14, 1983)

A sad love-gone-sour song written by Alf. Strong on emotion and weak on melody but the combination of ringing synths and bluesy singing is still a winner. (Neil Tennant, Smash Hits, May 12, 1983)

Strasse - A Stairway To You (RCA)

Produced by the mighty Midge Ure, this is very rock 'n' roll despite the synth snaps and pretty boy veneer. It's also very modern despite being a rock song - which is just saying the same the thing backwards, but it fills a gap when you can't think of anything else. (Simon Tebbutt, Record Mirror, May 14, 1983)

Karen O'Connor - Girl In The Uniform' (Legacy)

Karen's voice has a touch of Debbie Harry about it, and that can't be a bad thing. It's one heavy record; drums pounding, sirens roaring and all! One to listen out for. (Debbi Voller, No 1, May 14, 1983)

Passe, cheri, passe. Here's Karen tarting up last year's fantasy fetish when everyone in the know is dressing up in souwesters and storm hats and filling their wellies with jellied eels. Karen will be doing a song about it next year. (Simon Tebbutt, Record Mirror, May 14, 1983)

Phil Collins - Why Can't It Wait 'Till Morning (Virgin)

Tut tut, Phil - not another track from the album? Hardly worth buying, was it? Anyway, this is soft and sloppy like a badly set blancmange and should smack of tasteful elegance and cocktails on the patio, but is really just music to brighten up those dreary coffee mornings with 'er from Number 14. (Simon Tebbutt, Record Mirror, May 14, 1983)

I actually like his voice but this track doesn't come close to anything on Face Value. By the way, the art director who created the 'amazing' cliched photo on the cover needs shooting. (Gary Kemp, Smash Hits, May 26, 1983)

Robert Marlow - The Face Of Dorian Gray (Reset Records)

Mr. Marlow is another member of the Basildon mafia, here given his first sniff of the big time on Vince Clarke's new label. The poppy synths carry Vince's trademark but the song, a brief synopsis of an Oscar Wilde novel, lacks that certain something – a strong melody. Still, a useful plot summary if you ever have to study the book. (Mark Cooper, No 1, July 16, 1983)

This is the sort of stuff I expected to hear from Vince Clarke after he left Depeche Mode, rather than the gems he produced with Alf. Pretentious words, clever clever sounds and a catchy tune make up the first release on Vince's new label and it sounds as though he played all the instruments as well (he did co-produce it). RM has got a bland voice and the song is probably a Yazoo reject. (Peter Martin, Smash Hits, August 4, 1983)

Oh dear, how many things has good old Oscar's tribute to youth inspired so far? Well, here's another one and the plink plonk of the synth is about the only new ingredient. That Paris grave must be in perpetual turmoil. (Simon Tebbutt, Record Mirror, July 30, 1983)