Carol Kenyon - Warrior Woman (A&M)

At first it sounds like a Eurythmics rip-off session. I wish her all the luck in the world, she's a good singer, and I'd be interested to hear more of her material. She's trying to fit into as many bags as possible here, an interesting record but a bit disjointed. There's a lot of inventiveness in there, but she definitely needs a good backing group behind her. (Stewart Copeland, Record Mirror, January 28, 1984)

Carol Kenyon's blitzkrieg on Heaven 17's "Temptation" turned her into a star-in-waiting. By the sound of it, she's missed the bus. Andy Hill is a skillful producer for Bucks Fizz, but in his attempts to ape Trevor Horn he's made some pretty unlistenable records of late. "Warrior Woman" takes that to an extreme: quite simply, it's a dreadful racket. The fact that this "Warrior Woman" drivel was written by Carol Kenyon herself hardly promises better things in future either. Back to the session work. Estimated chart placing: 60. (Phil McNeill, No1, January 28, 1984)

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.

The Tempest - Didn't We Have A Nice Time? (And All My Friends Are Here) (Magnet)

First up, and what do we have here (apart from probably the longest title on record!?). 'Tis a chirpy third release from Glenn Tilbrook proteges The Tempest no less. A swift no nonsense knock-kneed, foot-stomping, toe-tapping little filler, complete with hum-worthy melody and catchy chorus (reminiscent of Dexy's circa "Come On Eileen" - dare I say). Weaving in and out with a searing momentum, singer Mike Sherrin unleashes a mystifying tale of death and doom - here cleverly shrouded in a country-fied combination of charm and humour - and comes up with a beauty. A hit? Perhaps. 5/5 (Anna Martin, No 1, May 10, 1986)

Thompson Twins - Doctor! Doctor! (Arista)

"Doctor! Doctor!" was made in Nassau, Bahamas, and the record has a transatlantic sheen. Whereas a year ago the Twins were gawky pop novices still shedding their hippie roots, now they speak the international language of Michael Jackson, Duran Duran and Hall & Oates as if it was their nature. Which I'm sure it is. Some people might say they've sold out, or that their slick pop lacks soul, but I'd rather hear trivial Thompsons than any of the worthies who inhabit the independent charts. After the addictive "Hold Me Now", "Doctor! Doctor!" returns to the electro-pop territory of "Love On Your Side", but with much more style and confidence. (Phil McNeill, No 1, January 28, 1984)

Their last single was my favourite record of December '83. They seem to have hit on a formula which will ensure their growing success for some time to come. In my opinion, not as good as "Hold Me Now". I wish they wouldn't feel obliged to dance about so much. (Martyn Ware, Smash Hits, January 19, 1984)

Again there's this amazing uniformity of keyboard sounds, they're all using the same gadgets. I can see the video now, a strange house, a woman disappearing into some doors that close mysteriously behind her, and there's got to be a rose somewhere. It gets better as you listen to it, though, but I don't think it's up to their two biggies. I have a lot of time for these guys, and the single's got a good chance with their name behind it, but the beginning is a bit standard. (Stewart Copeland, Record Mirror, January 28, 1984)

Echo and the Bunnymen - Never Stop (Korova)

From the joyous, jagged intro to the juddering close, a hit and no mistake. With a bit of cello, heartfelt vocals, some disco percussion, a name-check for Russian writer Maxim Gorky and what sounds like someone tapping out a tune on the ribs of a skeleton, this is probably the best Bunnymen single ever. Easier to dance to than philosophize about, which is all well and good. Is this what Mac meant about them finding their "lighter side"? Whatever, sheer bliss. (Dave Rimmer, Smash Hits, July 7, 1983)

A more direct and, dare I say it, safer Bunnymen. They have established a bridgehead in the top 20, so one can forgive them for marking time. This record is distinguished by Mr McCulloch's strong vocal; some lovely keyboard work and absolutely no references to obscure novelists. (Jim Reid, Record Mirror, July 9, 1983)

No don't, Mac. The truest of all rock groups continue their tradition of great singles. 'Never Stop' grabs you by the throat and doesn't put you down until you're pulsing with the feverish energy that's in all their recordings. This is going to make Top Of The Pops well worth watching. What will Mac do this time-strip off totally or just smash up the studio altogether? Don't stop watching! (Paul Bursche, No 1, July 9, 1983)

Echo And The Bunnymen - Lips Like Sugar (WEA)

Let's see now, we've had some sugar mice from Marillion and now the Bunnies are blowing some 'sugar kisses' our way. My, aren't we all in a soppy mood this week! This is a pleasantly soppy, girly love song, full of sugar'n'spice and all things nice, and for once there's less of the ol' whining from Mac. (Debbi Voller, No 1, July 25, 1987)

Sade - Is It A Crime (Epic)

After the almost boppy "Sweetest Taboo", Sade returns to her more familiar moody style. "Is It A Crime" is stirring stuff. Previewed at Live Aid, it gives Sade's most mournful vocals a chance to shine, alongside some dramatic brass. The mellow format Ms Adu works in could become limiting, but right now she's got the market in late night listening cornered. This won't harm her bank balance either. (Karen Swayne, No 1, January 11, 1986)

Can hardly blame old "shimmering" Sade herself for this, but I can no longer hear one of her records without it conjuring up a ghastly visions of supposedly sophisticated wine bars, young executives with car stereos and trendy parents having dinner parties. This one, which seems to go on absolutely forever, is no exception. (Dave Rimmer, Smash Hits, January 15, 1986)

Arcadia - The Promise (EMI)

Despite exceedingly danceworthy rhythm guitar and extra vocal bits by Sting, this isn't as exciting as "Election Day" and can at first sound a little drab. But it grows on you, believe me. And grows and grows. P.S. There may be a 12", although we didn't get one. This 12" may contain the version with an utterly corking keyboard solo by Herbie Hancock. I hope it does. (Dave Rimmer, Smash Hits, January 15, 1986)

Come on, admit it. . . by the time you'd seen/heard "Election Day" for the tenth time on the video jukebox, you'd, begrudgingly at first, grown quite accustomed to the first and long-awaited sampler from the Taylor/Rhodes/Le Bon collective. Well, in that case, you'll be pleased to discover that "The Promise" goes one better. Maintaining a more pleasurably seductive mood throughout, Simon indulges in aesthetic extravagance and somehow manages to stifle the urge to wail with impromptu vigour. As expected, the goods are immaculately packaged - for maximum enjoyment on consumption. A promising endeavour! Duran Duran take heed. (Anna Martin, No 1, January 18, 1986)

Hot from the desert that is So Red The Nose, it starts with what sounds alarmingly like a Thin Lizzy riff. Simon groans manfully, the bass boings sleepily into action before our Si launches himself into vocals that are truly painful to hearken unto. A predictable review for a predictable record. This is obviously what Duran Duran do in their sleep, so I pity their good lady wives. (Nancy Culp, Record Mirror, January 18, 1986)

Talk Talk - Life's What You Make It (EMI)

And here it is. . . the surprise bundle in this week's box of tricks. Talk Talk are one of those mystifying bands that revel in glorious success throughout Europe but fail to make any mark in the UK charts. Dismissed by many and ridiculed by others, TT sustain an unfathomed quality all of their own - one that requires further investigation. After an 18-month absence, "Life's What You Make It" offers a rare glimpse at the possibilities. Hopeful. (Anna Martin, No 1, January 18, 1986)

Reluctantly placed in the latter category simply because these young men don't seem to get off the starting blocks in this part of the world. A slow and smouldering song that grew on me after a while. I've a feeling I could take to it a bit more, minus the angst ridden vocals. A bit too laid back for Radio One, I trow. And what they say, still goes unfortunately. (Nancy Culp, Record Mirror, January 18, 1986)

China Crisis - You Did Cut Me (Virgin)

China Crisis have proved the most durable of the 'wimp rock' crew, mainly because of their talent for writing memorable melodies. They're still as wet as the weather though, but Garry Daly's breathy vocals lend a touch of distinction to whatever they do. Pleasant enough, but still nothing more than aural wallpaper. (Karen Swayne, No 1, August 31, 1985)

Another well-crafted technically exact pop tune, with definite chart potential. Some blousey sax for late night listening, with an undulating feel. You can't dislike it, but I find it all a bit insipid. As they say me ol' china - "just not my cup of tea". (Diane Cross, Record Mirror, August 31, 1985)

Yet another young British group make a boring, grown-up, American-style AOR ("Adult Oriented Rock") type record. China Crisis can be interesting when they try but here we find them plumbing the depths of cliché with the usual (for this sort of thing) slow sax solo and useless words like "A love incision/My inner vision". A sad business. (Dave Rimmer, Smash Hits, August 28, 1985)

China Crisis - Black Man Ray (Virgin)

I quite like this one. It's got a nice little melody to it. However, I don't like their image, which is as dismal as Julian Lennon. And unfortunately, it seems to rub off on their otherwise very pretty songs. (Marshall O'Leary, Smash Hits, March 14, 1985)

China Crisis are one of those semi-famous groups whose faces and songs you vaguely recognise but can never totally identify. The anonymity they unwillingly court is a drag, especially if their records aren't immediately catchy. However, 'Black Man Ray' produced by noted American musician Walter Becker, might help matters. It's sad, wistful air will appeal to audiences across the board, and China Crisis will remain in the shadows no longer. (Adrian Jones, No1, March 9, 1985)

Donald Fagen's old Steely Dan partner, Walter Becker, produces this soft rock effort - and it shows. Those soft harmonies and instrumental motifs show strong Steely Dan influences. Fortunately, like all Dan material, this easy-going opus grows with every play. (Mike Gardner, Record Mirror, March 9, 1985)

Thompson Twins - Lay Your Hands On Me (Arista)

WOW! A new single from THE TWINS! HEY! CRITICAL! FABEROONI! etc. The Thompson Twins find themselves in the almost enviable position of having invented their own clichés - and very marketable ones they are too. This perfectly constructed, sort of spiritual, swingalong cliché of a future hit is as pleasant (i.e. rather boring) and unassuming (i.e. rather bland) as its precursors. Pass the lentil bake, I feel a song coming on . . .  (Lesley White, Smash Hits, December 6, 1984)

This group get better all the time. They made the top five unexpectedly last Christmas with "Hold Me Now". This year, it'll be no surprise if they come out right on top. "Lay Your Hands On Me" is deceptively good. Is it Tom Bailey's ever-maturing singing, so deft and full of nuances. . Or the clever melody that tugs at so many pop memories. . . Or the lush production and the way the instruments seem to swell in and out of the mix.. Whatever it is that makes great pop, The Thompson Twins have got it. (Phil McNeill, No1, December 1, 1984)

Rod Stewart - Trouble (WEA)

Lovable old hack or LA creep? He annoys me a lot less since he's started wearing a suit instead of those cellulite-sausage lycra leggings, actually. "Some Guys", whilst unable to hold a candle to Robert Palmer's version, showed that of big nose still knew how to pick 'em. But this self-written slowie is undistinguished, to put it kindly. (Sunie, No1, November 24, 1984)

In which everyone-over-40's favourite Jack-the-lad takes a breather from the endless round of ditching old blondes, finding young ones and wearing scoop-neck t-shirts to reflect on the sorry fate of the ageing Romeo. A palatable miss-you-babyee effort, this, which merits some success. Trouble is, I remember Rod before he got a full time post at the Ministry Of Music - well 'ard, 'e was. (Lesley White, Smash Hits, December 6, 1984)

Five Star - Crazy (Tent)

Say hi to the New Edition! Five Star are a family of five black Brits, including three Crolla-clad girls with lightened hair and a pretty good Michael Jackson clone. Someone in the Five Star camp knows a hook when he hears one. They should give him a raise and sack their stylist. (Sunie, No1, November 24, 1984)

Paul Young - Everything Must Change (CBS)

A slow and stately self-penned ballad that's more like "Wherever I Lay My Hat" than anything else Paul has done. Takes its time to sink in, as good ballads often do. Should do the business. (Dave Rimmer, Smash Hits, November 22, 1984)

After the post-Frankie heavy metal soul of "Playhouse", Paul veers towards country on his first self-written release since the hits started coming. The country-style guitar freshens up his familiar bass 'n' synth sound, and the song's pretty creditable too. It gives away his '70s rock origins, but then he's never been at great pains to disguise those. I look forward to seeing him clutching his mikestand on TOTP as soon as poss - that much won't change. (Sunie, No1, November 24, 1984)

Virgin Dance - Are You Ready (For That Feeling) (Spartan)

Songs don't come easy to Virgin Dance. Like its predecessor "The Dream Is Over", "Are You Ready" is sketched painstakingly over a shimmering backdrop of guitars and heavenly choirs. Sheer single-minded excellence. One day they'll be as big as The Bunnymen. (Martin Townsend, No1, November 3, 1984)

A-ha - Take On Me (WEA)

Gold star too for A-ha, a Norwegian trio. "Take On Me" and "And You Tell Me" are fresher that a freezing gust up the fjord and highlight the singer's incredible vocal range. Essential purchases both. (Martin Townsend, No1, November 3, 1984)

Alphaville - Forever Young (WEA)

"Big In Japan" was a real horror. Sickeningly twee but a big enough hit to be played into infinity at tacky Continental discos or dragged out annually as a Radio 1 golden oldie: "Back in time with Alphaville . . . All of which makes "Forever Young" a real surprise. A stately and well-sung melody floating along on echoey church organ, it does everything but scream `follow up'. Big in the credibility stakes if not in the charts. (Martin Townsend, No1, November 3, 1984)

PH: It started off for me quite interesting, but then it went into something which was quite MOR. AM: They're from Munster, I met them three weeks ago in Cologne, I was doing an interview. They made me feel like Grandad, because they came up to me and said "Oh OMD, big heroes of ours, your first album was really important, made us want to make music." They're all our age, and one of them's 30, actually. That song started off sounding like Toto on synths, then got strange... it's a mega Euro-ballad. (Andy & Paul of OMD, Record Mirror, November 3, 1984)

ABC - How To Be A Millionaire (Phonogram)

ABC's Beauty Stab was, for me, one of the albums of '83. Precise, socially-aware lyrics beefed up into a heady rock mixture, - Here Martin Fry and Mark White - with two new members aboard - take the fashionable and logical next step. They throw their weight behind pounding electro rhythms in an ironic, scathing attack on money politics. Radical dance music of the first order. File next to "Fascist Groove Thang". (Martin Townsend, No1, November 3, 1984)

PH: There's a melody line in there which is very similar to Shannon's "Let The Music Play". It's the kind of fractured rhythm that you wish would settle down. AM: Sounded like a production in search of a song. I wanted to like that one, what have you done? (Andy & Paul of OMD, Record Mirror, November 3, 1984)

Why ABC should want to make a weak New York dance record is beyond me. Nevertheless, here we have Martin Fry crooning over a reasonable imitation of one of Shannon's backing tracks. There's no originality or feeling - ABC are just desperately apeing an already over-imitated sound. Obvious proof of a lack of material and a crisis of confidence and direction within their ranks. (Neil Tennant, Smash Hits, November 8, 1984)

Depeche Mode - Blasphemous Rumours/Somebody (Mute)

Depeche Mode are becoming a Very Important band indeed. Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality. "Somebody" gently unfurls the map of a modern relationship and explores every fold. The double A-side, "Blasphemous Rumours" weighs religion and reality with precision and feeling. Thought provoking stuff. (Martin Townsend, No1, November 3, 1984)

A double-A-sided single of two tracks from their Some Great Reward LP. "Somebody" gets my vote because it's so different from all their other singles. Martin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves. "Blasphemous Rumours", on the other hand, is a routine slab of gloom in which God is given a severe ticking off. (Neil Tennant, Smash Hits, November 8, 1984)

PH: I really like it, I like it a lot; it's got a great chorus line. It's a bit fractured, but then that's their style. It's a bit too fractured at times, you keep wanting to hear the chorus. AM: The strong thing is their melodies and that chorus as Paul said is a belter. I've got this feeling that Depeche Mode are going to do something really amazing and they're getting pretty close. PH: They're the only band this week that sound like they know what they're doing, the only band that've got two ideas to rub together. AM: Well, two pieces of metal to rub together, anyway! (Andy & Paul from OMD, Record Mirror, November 3, 1984)