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)

Blancmange - The Day Before You Came (London)

The beginning is great but then .... It sounds almost comical and I like Neil Arthur's sense of humour, but it sounds a bit stupid in the music. It's an Abba song but it doesn't sound like one. I don't like the vocal but obviously it'll be a hit. Strange! (Andy Taylor [Duran Duran], Record Mirror, July 14, 1984)

A dismal re-working of the old Abba hit, this also sound uncannily like the Thompson Twins. Bongos and banjos work at a furious pace in the background, but it's Neil Arthur's voice which spoils the whole package. For some reason he sounds as if he's singing with a hot potato in his mouth. Strange. (Linda Duff, Smash Hits, July 5, 1984)

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)

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)

George Michael - Father Figure (Epic)

'I will be your father figure, I have had enough of crying, I will be the one who loves you till the end of time. . .' Once again, George unveils a blinding talent for wonderful sentiment and swoony lovesome lyrics, all elegantly swathed in pristine "epic" production and the usual echoey voice-oice which trails-ails off almost every note-ote...It's in a similar "vein" (though not nearly as good) as "A Different Corner", it's perfect Radio Two fodder, and it will doubtless be a top ten hit. It is also hugely unexciting. (Sue Dando, Smash Hits, December 30, 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)