Thompson Twins - Hold Me Now (Arista)

Lacking the quirky ingenuity which the Quick Step album made their hallmark, this is, nevertheless, a real grower with Tom removing his goggles and coming on all dewy-eyed and sloppy. (Mark Steels, Smash Hits, November 10, 1983)

The Twins bounce back with something that is far more thoughtful than any of their recent disco fodder. "Hold Me Now" is a well-paced ballad with the accent on melody and hypnotic percussive effects rather than those automaton riffs. If Tom Bailey could sing with the same kind of convincing emotion that they conjure up in the tune the Twins might make a record that outlasts its chart life. (Max Bell, No 1, November 12, 1983)

It's certainly been an interesting exercise watching the ol' TTs, observing the transition from New Wave Hippies to colourful pop wonder-kids. Like many combos before them the accusation of selling out has been flung at them numerous times and it always makes me laugh when I hear that about anybody, as if the world really cares! Bailey's Gang are well and truly in the ring now, boxing clever and delivering some short sharp singles. For me however, they're covered in pretty emulsion and at the end of the 12 rounds, lose the match. (Gary Crowley, Record Mirror, November 12, 1983)

Conspiracy Theory: It's interesting that Smash Hits reviewed this one, the first single from the immense Into The Gap album. You would think that the Twins' bright, tuneful, garishly colourful image and sound would be tailor made for Smash Hits readers. Yet they suspiciously neglected to review "Lies", "Love On Your Side", "We Are Detective", and "Watching" - all four singles from the previous album Quick Step & Side Kick. They also 'forgot' to review "Sister of Mercy" in 1984, during the weeks when NO1 magazine was unpublished due to industrial action. In contrast Record Mirror reviewed all of them, and NO1 was equally supportive.

Freur - Matters Of The Heart (CBS)

If your name looks like a worm and is pronounced like the sound of someone being a little unwell ("freur"), you should have no chance, but this is a suede-skinned, juicy peach of a record. A blissfully romantic song, graced by an arresting vocal and an arrangement that hugs like loving arms at a windy bus-stop. The best electro-ballad since "Vienna". (Mark Steels, Smash Hits, June 9, 1983)

Those silly sods from Splottland are back. once more the sub-Sylvian drone erodes my little brain cells. (Robin Smith, Record Mirror, June 18, 1983)

Frankie Goes To Hollywood - Relax (ZTT)

The sound of leather boys at pleasure, Frankie's debut single takes the boystown style out of safe hands and into a hard and dangerous night. Despite the title, the boys huff and puff like crazy, making their particular disco sound like a factory. A dark and dubious record that pumps up more steam than a posse of pistons. Let it whip, Frankie. (Mark Cooper, No 1, November 5, 1983)

Naughty lyrics that will shock the powers that be at BBC. Which is a shame as this Trevor Horn-produced powerhouse dance record screams out to be heard. In the sterile, germ free world of disco this is one contagious disease which should be caught. (Mark Steels, Smash Hits, November 10, 1983)

Bob Dylan - Union Sundown (CBS)

Powered by Mark (Dire Straits) Knopfler's guitar this is a bitter attack on American unions and a vast improvement on his recent work. Exciting and controversial, sadly, a rarity these days. (Mark Steels, Smash Hits, November 10, 1983)

Simple Minds - Waterfront (Virgin)

'Come in, come out of the rain. . .' and shelter in the company of the best record of the week. The Minds have always been masters at producing fragile yet muscular music and here the formula is repeated but with even more power. "Waterfront" is haunting, breathtaking, stunning, evocative and beautiful. And all at the same time. A glittering prize. (Paul Bursche, No 1, November 19, 1983)

Built round a shuddering backbeat shot through with guitar chords that will take your head off and overlaid with those haunting keyboard lines. "Waterfront" is remarkable even by Simple Minds' own high standards.Jim Kerr's vocal is one of rare beauty and measured passion. An iron fist in a velvet glove. Single Of The Fortnight. (Mark Steels, Smash Hits, November 10, 1983)

Simple Minds in personality crisis - Shock-horror probe! Scottish songsters suffering from acute Heavy-Metal-Syndrome! Millions mourn as Jim Kerr and his merry men try recreating the brilliant wall-of-sound of "Celebrate", but lose it somewhere in the mix. It's a definite grower though - just don't stand too close to the speaker. (Eleanor Levy, Record Mirror, November 19, 1983)

The Smiths - This Charming Man (Rough Trade)

This should have seen them move from 'one to watch out for' to 'this week's thing' but the gorgeous melody and unusual. sensitive lyrics are all but shot down in flames by a horribly ham-fisted production job. One day. (Mark Steels, Smash Hits, November 10, 1983)

Raw but gentle rock that pulsates yet gets slowed down by the clear and haunting melody in Johnny Marr's unique voice. It has that slight off-key quality that makes Siouxsie's voice so brilliant. A strong single with a style unto itself. (Debbi Voller, No 1, October 29, 1983)

Morrissey is the man of the moment, a handsome devil,with his finger in other people's pies and a lyrical twist ejaculating unforgettable one liners in a sensual celebration. He is touched and touching - a beautiful pivot for the pure pop jangle of Johnny Marr's trembling strings and the plop 'n crash of those other rigorous Smiths - a winner, a grinner. (Graham K Smith, Record Mirror, November 5, 1983)

Jimmy The Hoover - Tantalise (Innervision)

Go for the shades and the beany hat - summer's here! Sunny African rhythms, flamenco guitars and it's "hey, senorita, you playa the frisbee?" Exhilarating stuff and the rousing chorus of "wo-wo-ee-yeh-yeh" is easy enough for even me to remember. ("Extra gold star for really silly name" - Reg the Spin-drier). (Mark Steels, Smash Hits, June 9, 1983)

... Or, the United Nations play flamenco. The five members of Jimmy The Hoover come from different parts of the globe and very different cultures, but the feel of this record is pure Hispanic. It's a lovely single - pretty, poppy, sweet and fresh. Not as tropical as The Kid, but a million miles from the likes of Modern Romance. (Maureen Rice, No 1, June 4, 1983)

The Truth - Confusion (Hits Us Every Time) (WEA)

Someone's been listening to early Jam, but this sub-standard mod-stomp will never get a place in the history books. Very dull and dated debut from former Nine Below Zero leader Dennis Greaves' new band. (Karen Swayne, No 1, May 28, 1983)

Darlings of the Mod Revival Revivalists and no wonder. Dennis Greaves' band crackles along with great aplomb, breathing '80s technique into a '60s format, satisfying both the demand for quality and desire for sincerity in one go. Fabulous. (Mark Steels, Smash Hits, June 9, 1983) 

Dead Or Alive - Misty Circles (Epic)

Dead or alive? On the evidence of this, a pretty close thing. Despite the bejewelled conk, Pete Burns could be the next Boy George (very pretty, spaghetti hair-do, lashings of lipstick) if only he'd learn to sing rather than how..ow..owl. Electro disco from a real Diamond Dog. (Mark Steels, Smash Hits, June 9, 1983)

Trivia note: an unsuccessful single in its own right, "Misty Circles" later turned up a couple of years later as the B-Side to the No 1 hit "You Spin Me Round (Like A Record)".

Julian Cope - Sunshine Playroom (Phonogram)

'Ultimately butch', 'a devil of sophistication', 'a man for all seasons', all this and more, is the enigma of Julian Cope. As everyone knows 'ol Copey's been away, getting his head/act together and no doubt trying to find where he's coming from, and more important, going to. This piece of platter is very strange to say the least. Disjointed beyond belief, but nonetheless weird and quite wonderful at the same time. Amazing, in a funny way. (Gary Crowley, Record Mirror, November 12, 1983)

Unless you have fond memories of The Moody Blues' "Question" or Queen's "Bohemian Rhapsody", Cope's three part epic shouldn't seem familiar. It fuses an urgent rock song, a pleading ballad and a harmony chorus, tosses in the theme tune from Hawaii Five-0 and then wraps itself up in the lush string arrangements of Paul Buckmaster (who applies the same magic touch to the new Nick Heyward album). The work of a genius and absolutely wonderful. (Mark Steels, Smash Hits, November 10, 1983)

Tom Robinson - Listen To The Radio (Atmospherics) (Panic)

As someone who finds great solace in the radio on that long and lonely drive back from clubland in the early hours, I feel that Tom's captured the mood perfectly in this poignant and not-a-little sad song. (Mark Steels, Smash Hits, November 10, 1983)

Uncle Tom has changed dramatically from a leader of men to a solitary soul. Here he takes a jazzy stroll through late night Berlin and has the chart sense to mention radios once he gets to the chorus. Funny that such a decadent city should succeed in reviving so many of our jaded stars. First Bowie, now Tom. Is Berlin a health spa? I think we should be told. (Mark Cooper, No 1, November 5, 1983)

Records that boast radio in the title are usually quite desperate affairs. Seeing as most DJs are stupid and totally clueless, the play a 'radio' record automatically and no doubt enliven us all with some inane comment. Tom Robinson knows this and cannot be trusted for pandering. I'll say no more. (Gary Crowley, Record Mirror, November 12, 1983)

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