While most fans will cite the Records' debut album, Shades in Bed (aka The Records in the U.S.), as their finest full-length platter, others still stand by their sophomore album, Crashes, as their defining moment. So, where does that leave this, their third and final album? Music on Both Sides is an album that takes a few steps away from the tried and tested Records sound while remaining a pure pop treat that continues to deliver surprises over a quarter of a century later. Losing Jude Cole after touring to promote Crashes, the remaining three Records (guitarist John Wicks, drummer Will Birch, and bassist Phil Brown) reconvened and decided that a change was in order: they wanted to bring in a frontman and not just another singing guitar player. Enter Chris Gent, a vocalist with a more gutsy approach than Wicks or Cole but who was still able to connect with the melodic side of the songs (penned by Wicks and Birch). Also jumping on board was guitarist Dave Whelan, making the Records a quintet for the first time in their short but illustrious career. Produced by Birch, Music on Both Sides is a hook-filled platter that will appeal to anyone with an ear for a good tune and stripped-down '60s, '70s, and '80s pop. While there are some minor stabs at updating their sound (some synth noodling here and there), Music on Both Sides strips away the reverb-heavy production of their debut, bypasses the jangle of their sophomore album, and goes straight for the gusto, keeping the production sparse and concentrating on the songs. "Selfish Love," "Keeping Up with Jones," "Not So Much the Time," "Imitation Jewellery," and "Heather and Hell" are top-notch pop songs and some of the best in the Wicks/Birch canon. While not exactly out of step with what was going when the album was released in 1982, the Records operated on instinct and were still one of the most consistent pop bands in the U.K. Too bad they never made it further than this.