Spandau Ballet - Through The Barricades (CBS)

After the initial rocking rowdiness of "Fight For Ourselves" the Spands have toned down a notch or two and produced a cool, calculatingly dreamy ballad. Here Tone's distinctive vocals tremble seductively as he finally gets to sing the type of irritating song mums and aunties will be turning the radio up for. In the background there's a smooth, sexy wailing sax, in the foreground, an alluringly gently-strummed guitar, both of which compliment big Tone's big voice a treat. Unadventurous but highly polished, this is very much a classic Spands release - a safe and a sure-fire hit. Just watch this glide effortlessly into the Top 40. (Anna Martin, No 1, November 1, 1986)

Here come Spandau Ballet sounding about as "profound" as Nick Berry and dressed with about as much style as Wicksey. And what a preposterous name for a song - even The Banned's Harry "Trotsky", who uses phrases like "selling out to the establishment", would hesitate before calling a song "Through The Barricades". What has happened to Spandau Ballet? I can remember when they used to make brilliant records like "Chant No. I ", wear dead smart gear and say things like: 'We want this band to be the most contemporary statement possible.' This is all about the troubles in Northern Ireland with references to being 'born on different sides of life' (Protestant and Catholic?) and 'making love on wasteland' all tinged with a vaguely Gaelic, acoustic feel. I'm sure it's all very sincere and significant - I just can't stand it. (Simon Mills, Smash Hits, October 22, 1986)

Spandau Ballet - Only When You Leave (Chrysalis)

Just as well I've already heard this a couple of times, since the review copy fell out of its sleeve in two pieces. They don't make 'em like they used to - or rather they do, since this long overdue offering sounds exactly like something from True. Nowt wrong With that, of course, and it's great to have the lads back. But we'll have to wait a little longer to see what Spandau's '84 model is made of. (Sunie, No 1, June 9, 1984)

Tony Hadley's singing has improved to such an extent that the time when his surname was always preceded by the nickname "Foghorn" is becoming a dim memory. He gives a warm, restrained performance on this funky and rockin' number which also displays Gary Kemp's talents as a scratchy rhythm guitarist. (Neil Tennant, Smash Hits, June 7, 1984)

Spandau Ballet - Instinction (Chrysalis)

Or how wizard producer Trevor Horn saved the Spans from the dumper. The band's last few singles were justifiable flops. They junked toe-tapping tunes in favour of self-conscious whimpers. But Horn has put them back on course. He's turned this track (originally on the Diamond LP) inside out and added all those magical ingredients like synthesised drum cracks and chattering percussion. The real follow-up to "Chant No. 1". (Ian Birch, Smash Hits, April 15, 1982)

Spandau Ballet - Gold (Chrysalis)

In a week when most have forgotten about simple things like melodies, beats, style, feeling and simple entertainment, along come Gary Kemp and the lads to show how it can be done. Remixed but hardly remodelled from the True album, they can start to make room for that gold disc right now. (Mike Gardner, Record Mirror, August 6, 1983)

Make no mistake this is not a Number One. Bereft of the magic of "True", this works hard to be special and it shows. Consolidating Gary Kemp's chances of soundtracking James Bond films, "Gold" is elaborately classy and eminently tasteful...like the rest of the True LP, which you've probably already got. Still, you could always buy this for the nice David Band poster bag. (Peter Martin, Smash Hits, August 4, 1983)

Has Cubby Broccoli been told about this record? Someone nudge him, quick - Mrs Kemp's boy Gal has written the best Bond film song for donkey's years. It's big, bold and dramatic, with big Tone Basseying away like a good 'un. Smashing. PS - if they've got any sense they'll ditch the ludicrous Roger Moore and cast Steve Norman as 007 in the next one. (Sunie, No 1, August 6, 1983)