New Order - Blue Monday (Factory)

It had to happen. New Order have dumped moody, repetitive guitars in favour of moody, repetitive synths and a drum kit with a pronounced stutter. After the first twenty minutes or so, it starts to cause tense, nervous headache... (David Hepworth, Smash Hits, March 17, 1983)

Talk Talk - My Foolish Friend (EMI)

Oh, the pain of being a member of Talk Talk! The starched shirts, the meaningful expressions, the dry ice, the anguish, the adenoids, not to mention the snide reviews! (David Hepworth, Smash Hits, March 17, 1983)

The Style Council - Speak Like A Child (Polydor)

The world waits with bated breath. The pubs are emptied and the streets are deserted as people scurry home to see if Paul Weller's quarter of a million deal with Polydor has paid off. And yes, the voice of a nation is set to cut it again. What I like is the fact that the bitterness has gone - there was nothing worse than Weller launching his tirades against art and society. Weller relaxes and coughs up a rich little number with his big toe in the past and his eye well and truly on the future. Weller's new baby is bawling lustily. May it grow to be strong. (Robin Smith, Record Mirror, March 5, 1983)

Or "speak like a child", as Paul Weller's curious vocal dialect has it. His first post-Jam effort makes a refreshing change from the choppiness of songs like "Town Called Malice", coasting along on the back of Mick Talbot's soul organ and sounding like the work of a man getting back to his own element. (David Hepworth, Smash Hits, March 17, 1983)

Ultravox - Visions In Blue (Chrysalis)

I blew the dust off the stylus, changed the turntable speed and got the bloke in from next door to check my wiring. But no use. This still sounded awfully dirge-like. Mind you, that's what I said about "Ghosts" by Japan. (David Hepworth, Smash Hits, March 17, 1983)

Ah yes, I can see it all now. The train pulls into the station through billowing fog and a young girl looks over her shoulder as Midge Ure twitches his moustache. I've been unmercifully unkind to Ultravox in the past, but I always liked "Vienna" and this has the same ring of confidence and enterprising style. All is forgiven, this should be huge. (Robin Smith, Record Mirror, March 5, 1983)

New Order - Temptation (Factory)

I can spot a New Order single a mile off. Just keep an eye out for an expensive-looking sleeve that doesn't say New Order anywhere on it and you're halfway there. (We were thinking of doing a New Order poster magazine at one time - it was going to be baked inside a cake and only available to residents of The Channel Islands, but it never came together . . .) Anyway, this is a change for the better; animated, perky even. Spring would seem to be in the Mancunian air because this is that rarest of items, a New Orders love song, featuring the lines 'up, down, turn around, please don't let me hit the ground' and other phrases which could be said to express happiness. With my own ears I heard it. (David Hepworth, Smash Hits, May 27, 1982)

Siouxsie And The Banshees - Fireworks (Polydor)

Starts with an orchestra tuning up and ends with the sound of some fairly expensive rockets going off. In between you get the usual swirling Siouxsie sound, long on repetition but short on tune, eminently suitable for haunting houses etc. Probably recorded in a bell tower. Quite likeable really. (David Hepworth, Smash Hits, May 27, 1982)

Toyah - Brave New World (Safari)

What can I say? She seems such a nice girl when she's on the box or talking in these pages. You can't help but admire her energy and utter professionalism. But as soon as she sings I get this awful feeling that she's somehow, er, exaggerating. All her songs have to be about some grand matter and sung with talent competition gusto. Knock 'em in the aisles, sock 'em in the back row of the balcony, grab 'em and shake 'em. My first instinct is to duck. That said, this is relatively restrained and should get on fewer nerves than the likes of "It's A Mystery". (David Hepworth, Smash Hits, May 27, 1982)

Echo And The Bunnymen - The Back Of Love (Korova)

There was a time when the suggestion that The Bunnymen might actually have a hit would have been greeted with snorts of derision. Nowadays I'm not so sure. Mac sounds like he's fed up of loitering in the backwaters of hipness and brings forth an impassioned vocal that complements the urgent guitars and thundering drums of his colleagues. Cutting loose and cutting deep as well. (David Hepworth, Smash Hits, May 27, 1982)

UB40 - Love Is All Is All Right (DEP International)

Another neatly-wrapped parcel of political wisdom, delivered with the usual adenoidal preachiness, this makes its way at snail's pace towards the obligatory timid dub section. Why anyone should buy this rather than a Bob Marley, Burning Spear or Aswad record is entirely beyond me and you can write all the angry letters you like, I still won't understand. (David Hepworth, Smash Hits, May 27, 1982)

Classix Nouveaux - Because You're Young (Liberty)

Bryan Ferry has a lot to answer for. If it hadn't been for early Roxy Music then half the young singers in the country wouldn't feel free to deliver songs from behind clenched teeth. Sal is much smitten with this technique; his Adam's Apple travels up and down like a lift operator but the mouth is never actually open. Consequently he can render a fairly healthy song like this one annoyingly affected. (David Hepworth, Smash Hits, May 27, 1982)

Jane Aire - I Close My Eyes And Count To Ten (Stiff)

When Martin Fry delivered his singles reviews the other week, I said to him, "Mark my words, young Fry, afore this year is out we shall have a Dusty Springfield revival on our hands." And at that instant the earth shook and a great darkness did come over Carnaby Street and a mighty voice did speak: "Funny you should say that. Here's the new Jane Aire single; a pretty wretched, ham-fisted rendering of Dusty's finest hour, full-to-bursting of modern bonks and thunks and entirely lacking in the required sensitivity." (David Hepworth, Smash Hits, May 27, 1982)

INXS - The One Thing (Mercury)

Listening to this makes you realise how few new groups have any simple old fashioned energy. This is not the greatest song in the world but INXS go for it as if it were their one and only chance of making a record, selling it with enormous zest and lots of concise instrumental fills (there's even a guitar riff in there, but I wouldn't spread it about). "The One Thing" doesn't really sound like anyone else at all, which is recommendation enough these days. Single Of The Fortnight. (David Hepworth, Smash Hits, September 15, 1983)

Freur - Runaway (CBS)

The boys with the silly rune for a name have an immaculately produced single but no real song to hang it on. It's just a riff padded out with none of the flair of their "Doot Doot" hit. (Mike Gardner, Record Mirror, September 3, 1983)

So they've finally abandoned the profoundly dumb ploy of being The Band With A Squiggle Instead Of A Name. Now maybe a few people will listen to their music instead of dismissing them out of hand (as I previously did). They're not a bad group in a mannered kind of way and this has a strong folksy kind of tune. But their haircuts are an offence against decent folk everywhere. (David Hepworth, Smash Hits, September 15, 1983)

Sheena Easton - Telefone (Long Distance Love Affair) (EMI)

Sheena ought to get together with Kenny Rodgers for another heartbreak session in his log cabin. She isn't quite as soppy as him, to give her her due, but it's an ordinary sort of song, and sounds like it was written by a computer. It'll probably do well with people who are pining and whining over faded holiday romances. (Jessi McGuire, Record Mirror, September 10, 1983)

I used to be a sucker for a good telephone song but the magic is gone. I've had enough of pop stars trying to get us to believe that they sit up all night waiting for the thing to ring when eny fule knos they're far too busy having their pictures taken at the Camden Palace. What we need is an injection of realism. I'm working on a few numbers. One's called "'I've Just Had My Bill For The First Quarter And I'm Sure There's Been A Mistake". It's off a concept album called "Why Do Trimphones Always Slide Off The Table?" I've got high hopes for the whole project. (David Hepworth, Smash Hits, September 15, 1983)

UB40 - So Here I Am (DEP International)

So here I am, dutifully listening to their new effort, optimistically noting the fact that they've got out of that reggae rut and started to bounce just a little. But still that sleepy feeling starts to creep over me and, without knowing it, I'm reaching far the alarm clock and starting to brush my teeth and . . . sorry about that, I was very nearly off just then. (David Hepworth, Smash Hits, September 2, 1982)

Culture Club - Do You Really Want To Hurt Me (Virgin)

For a minute I thought this was an old Dennis Brown single wrongly labelled. Gentle, confident reggae track with a proper vocal on a fine, if moist-eyed, composition. A hit, quite possibly. (David Hepworth, Smash Hits, September 2, 1982)

The The - This Is The Day (Epic)

Imagine a Depeche Mode backing track with added accordion. Imagine one of those very English voices that sound as if they ought to be presenting Newsbeat. That's Matt Johnson. Ten years ago he would have made a tidy living serenading sentimental female persons in one of those clubs where they put candles in empty Rosé bottles. These days he has to shoot for the charts and he's yet to come up with a mustard-cutting hook line. I look forward to his album but meanwhile I'd suggest he did something about that name before it's too late. (David Hepworth, Smash Hits, September 15, 1983)

Why none of The The's singles have never been hits I'll never understand. This is another beauty. Matt Johnson's deep, clear vocals and the sweet synths add up to a mixture that completely overwhelms the senses. It's dreamy and psychedelic. Buy it, God dammit! (Debbi Voller, No 1, September 10, 1983)

ABC - All Of My Heart (Phonogram)

Ever since The Lexicon Of Love made its appearance, it's been obvious that this particular tune was its pride and joy and a natural monster hit. A stately arrangement full of elegant flourishes and studded with truly memorable detail encases Fry's courtly vocal and simply compels you to play it again and again. This record is going to number one. Not least because I have money on it. (David Hepworth, Smash Hits, September 2, 1982)

Aztec Camera - Pillar To Post (Rough Trade)

Great hook, great lyrics and great production do not make a hit single when the voice is weaker than a Tony Blackburn joke. When nice Scots boys can sing, they'll have hits. (Simon Hills, Record Mirror, September 18, 1982)

Appealing song, with more than a slight debt to 60s beat music, strong in the chorus but inclined to limp a little in the verse. (David Hepworth, Smash Hits, September 2, 1982)

Sally Oldfield - Broken Mona Lisa (Bronze)

As the windshield wipers saw back and forth through the motorway night, today's young executive seeks a little in-car entertainment. Flicking the switch on his stereo radio he finds Radio Two and discovers Sally Oldfield has gone all smooth and Shakatak. Easing his firm's car into the outside lane he makes a mental note to check out her album. (David Hepworth, Smash Hits, September 2, 1982)