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 They also 'forgot' to review "Sister of Mercy" in 1984, during the weeks when NO1 magazine was unpublished due to industrial action.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.

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)

Thompson Twins - Watching (Arista)

Nausea. It's the only word I can use to describe my feelings towards the Twins. Going to art school having a 'weird' haircut and (slightly) 'weird' clothes, a young mediocre finds the accountancy profession closed to him and promptly goes off to join a pop group. Pop! Get a producer get a video, get a stylist - get ahead. Unfortunately, such terribly smart business considerations don't allow for a spark of wit or soul in your music. But that's no problem; when your mediocrity and imagination match those of the music biz you're in clover. Processed. (Jim Reid, Record Mirror, July 9, 1983)

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)

David Cassidy - The Last Kiss (Arista)

What's that strange noise at the beginning? Did Rolf Harris sneak into the session? It takes a long time to take off but it's good at the end. I find the lyrics slightly doomy. I was never a fan of his but I loved the old songs. Nevertheless I like this song. (Hazell Dean, Record Mirror, March 2, 1985)

Whitney Houston - Someone For Me (Arista)

Ms Houston's paper credentials are strong. Daughter of Cissy, cousin to Dionne Warwick, songs provided by Kashif, Jermaine Jackson, Narada Michael Walden, blah blah blah .. . Houston's big voice threatens to set Freddie Washington's semi-ballad alight and justify the brou-ha, but Jermaine's anonymous backing sends the listener into deep slumber. Don't give up your modelling engagements yet, Whitney, honey. (Max Bell, No 1, March 30, 1985)

Haircut One Hundred - Love Plus One (Arista)

The band who'll have us all slipping into chunky knits and brogues before you can say Captain Mark Phillips. This is a fine follow-up to "Favourite Shirt" which, as soon as people become friends with the sound, will be an even bigger hit. It's a nifty mover with plenty of interesting details. And who could resist a lyric like "Where does it lead from here?/Is it down to the lake I fear?" They've been watching too many late-night thrillers. (Ian Birch, Smash Hits, January 7, 1982)

Shriekback - Mercy Dash (Arista)

Shriekback are one of those alternative dance bands you hear about. The alternative in this case being anything rather than wasting your time trying to hop about to this record. Perhaps Shriekback are challenging our ideas, restructuring our notion of the dance, drawing us up to a new aesthetic plain. Perhaps they just make dance records you can't dance to. (Paul Simper, No 1, November 17, 1984)

A murky but quite appealing muddle of sound that, with a more interesting voice intoning the rather wiggy lyrics, could have been a really good record. As it is, I can't see it doing much. (Dave Rimmer, Smash Hits, November 22, 1984)

Thompson Twins - Love On Your Side (Arista)

Try as they will, The Thompsons can't quite fit through the golden door, Like "Lies", this is all intelligence and no flair. The chorus shows an indecent desire to be in the charts, the verses betray a desperate desire to remain witty and aloof. Full marks for hard work but where's the flair? (Mark Cooper, Record Mirror, January 22, 1983)

Care - My Boyish Days (Drink To Me) (Arista)

Care are a combination of the talents of Paul Simpson (once of The Wild Swans) and Ian Broudie (formerly of the Original Mirrors and producer of Echo and The Bunnymen). Their name comes a little too close to The Cure for comfort and is perhaps a trifle precious. Mind you, calling a duo Tears For Fears seems to have worked and I suppose that 'Care' will do. This ditty tinkles along prettily but doesn't give the voice or the lyrics the assurance they deserve. Promising but too close to forgettable. (Mark Cooper, No 1, July 16, 1983)

The Liverpool mafia strikes again. Ex-Original Mirror person and Bunnymen and Wah! producer Ian Broudie knocks out a sultry number that goes down nicely with the lazy, hazy days of summer and a cool glass of Pimms No 1. (Mike Gardner, Record Mirror, July 16, 1983)

Good grief, is there anyone from Liverpool who's not in a band these days? Formed by ex-Wild Swan and Teardrop Explodes founder-member Paul Simpson and ex-Original Mirror Ian Broudie, they ought to have come up with a better name than Care. Mind you, it's as vapid and forgettable as this record. Disappointing. (Deborah Steels, Smash Hits, July 21, 1983)

Thompson Twins - You Take Me Up (Arista)

This has more hooks than your average angling club, but the melody doesn't really cut it. The rhythm sounds like the sort of song the slaves would have sung in the old days on the American railroads - and that's what Tom intends as he tells us how his girl makes him forget about his mundane lifestyle and job I understand, Tom. Being rich must be such a pain. (Paul Bursche, No 1, March 24, 1984)

There's something fantastically annoying about Thompson Twins' records. They always
sound as if they should have been left in the oven a few minutes longer. The songs never quite set; the production's of ten underdone; the vocals are half baked. This is no exception despite a jaunty harmonica that gives the number a decidedly folksy feel. None of what I've said, of course, will stop it being a monster hit. (Ian Birch, Smash Hits, March 29, 1984)

Thompson Twins - Sister Of Mercy (Arista)

Odious Airfix popsters return with their usual reworking of past commercial glories. All wrapped up in the usual big production job which fills any gaps. What an awful group they are. This will be a huge hit, You'll write to complain about me and none of us will be any the wiser. (Andy Strickland, Record Mirror, June 30, 1984)

Whitney Houston - I Wanna Dance With Somebody (Who Loves Me) (Arista)

I don't like the photograph on the cover. She's very beautiful, but so over made up. I don't like this song at all, it takes a real dive after the intro and it's even worse than Pepsi and Shirlie. It's so predictable I can sing the chorus before she gets to it, her A&R man should be taken out and strung up. Whitney's got a great voice, but it's so wasted on this kind of thing. The most disappointing single of the week. The worst actual song. (Johnny Logan, No 1, May 30, 1987)

No surprises here as the Great Whitney Houston announces her return from a long lay-off with her usual brilliant singing and a tune that is less immediately gripping than "How Will I Know" but which gets better with every play. Welcome back, ma'am! (Barry McIlheney, Smash Hits, May 20, 1987)

Thompson Twins - King For A Day (Arista)

The act of desperate men ... Rumoured to be the strongest track on their latest elpee and, as I've no wish to enter the arena with Alannah and lose my kneecaps, let this odious noise speak for itself. (Nancy Culp, Record Mirror, October 26, 1985)

Latin Quarter - Toulouse (Arista)

I'm amazed that this band haven't been snapped up by a major record company yet. They've a whole batch of very tasty songs just waiting to be heard. Their lyrics actually mean something ("Toulouse" is about the exploitation of workers in France), while their sharp pop tunes are haunting without being obvious. (Paul Bursche, No 1, February 16, 1985)

Latin Quarter - I Together (Arista)

Stroll on, Latin Quarter graduate with first class honours from the Starship School of Rock. For once
they've let their po-faces drop and churned out this fine little belter of a single that should chart honourably. The lyrics are still probably about big bad Ronnie Reagan and the state of the world, but it's a stonking fine tune nonetheless. (Robin Smith, Record Mirror, June 27, 1987)

Latin Quarter - Nomzamo (One People One Cause) (Arista)

I don't give a damn about how worthy this lot are. The tune is putrid, and I baulk at political pontificating. Far too insipid to do anything for the cause, however admirable. (Nancy Culp, Record Mirror, April 11, 1987)

I've heard this a number of times and it's definitely difficult to get into. South Africa's obviously an in-thing to write about but Latin Quarter always manage to come up with interesting songs in their own right. It won't get played on every radio show, but when you hear it you'll definitely be turning up the volume button and will want to hear it again. Possibly a minor hit. (Simon Mayo, No 1, April 11, 1987)

Thompson Twins - We Are Detective (Arista)

A jokey throwaway from the Twins that tangoes away from their recent slabs of dance riffs. More lies and disguises in the lyrics and the first time they've traded on their name. Another third single and a minor hit. (Mark Cooper, Record Mirror, April 16, 1983)

Nick Heyward - Laura (Arista)

If you go out with some one called Laura and it's her birthday then buy this for her. If your girlfriend isn't called Laura then don't. As with all his records it's well produced, well played and will go into the charts (and on Top Of The Pops). So If you like Nick, don't listen to me. (Simon O'Brien, Smash Hits, May 22, 1985)

Guitars, bass and vocals all merge together to make a pleasant sort of sound, and as usual, Nick has no trouble whatsoever in picking out a tune. "Laura" is a departure from his recent, funkier efforts (like "Warning Sign"). Its also one of his best. Sold in a package with some of the best Haircut tracks this is unmissable. May his wackiness remain forever untarnished... (Paul Bursche, No 1, June 1, 1985)

The guitar reminds me of Paul McCartney's version of the Crossroads theme. It's a nice pop song. It's Radio One material. If the weather's nice, I'm outside and hear it, it would be good. (Leee John [Imagination], Record Mirror, June 8, 1985)

Shriekback - Nemesis (Arista)

Shriekback have been knocking around on the periphery of rock for a good few years without achieving the success their talent deserves. They're interesting without being pretentious or obscure, and some of their rhythms are fab. Despite the gloomy name and dark lyrics "Nemesis" is fiercely cheerful. A dark comedy with a real dance beat. (Paul Bursche, No 1, June 1, 1985)

A very raucous record. Very hard to define this one - they don't quite sound like anything. It's sort of a footstomper with lyrics all about cannibals and the dead. Very jolly! (Simon O'Brien, Smash Hits, May 22, 1985)