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 They also 'forgot' to review "Sister of Mercy" in 1984, during the weeks when NO1 magazine was unpublished due to industrial action.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

New Order - Blue Monday (Factory)

It had to happen. New Order have dumped moody, repetitive guitars in favour of moody, repetitive synths and a drum kit with a pronounced stutter. After the first twenty minutes or so, it starts to cause tense, nervous headache... (David Hepworth, Smash Hits, March 17, 1983)

Talk Talk - My Foolish Friend (EMI)

Oh, the pain of being a member of Talk Talk! The starched shirts, the meaningful expressions, the dry ice, the anguish, the adenoids, not to mention the snide reviews! (David Hepworth, Smash Hits, March 17, 1983)

Missing Persons - Words (Capitol)

This year's flash American import and, of course, they're the hottest band on the LA club scene. They're going to play a showcase date in London, of course, and appear on The Tube. Fronted by an ex Playboy bunny who sounds more sickly than a lemon popsicle, I reckon they'll go down like their predecessors the Motels, but, with the charts in a strange mood at the moment, I could be kind and say that you never know. (Robin Smith, Record Mirror, March 5, 1983)

The Style Council - Speak Like A Child (Polydor)

The world waits with bated breath. The pubs are emptied and the streets are deserted as people scurry home to see if Paul Weller's quarter of a million deal with Polydor has paid off. And yes, the voice of a nation is set to cut it again. What I like is the fact that the bitterness has gone - there was nothing worse than Weller launching his tirades against art and society. Weller relaxes and coughs up a rich little number with his big toe in the past and his eye well and truly on the future. Weller's new baby is bawling lustily. May it grow to be strong. (Robin Smith, Record Mirror, March 5, 1983)

Or "speak like a child", as Paul Weller's curious vocal dialect has it. His first post-Jam effort makes a refreshing change from the choppiness of songs like "Town Called Malice", coasting along on the back of Mick Talbot's soul organ and sounding like the work of a man getting back to his own element. (David Hepworth, Smash Hits, March 17, 1983)

Ultravox - Visions In Blue (Chrysalis)

I blew the dust off the stylus, changed the turntable speed and got the bloke in from next door to check my wiring. But no use. This still sounded awfully dirge-like. Mind you, that's what I said about "Ghosts" by Japan. (David Hepworth, Smash Hits, March 17, 1983)

Ah yes, I can see it all now. The train pulls into the station through billowing fog and a young girl looks over her shoulder as Midge Ure twitches his moustache. I've been unmercifully unkind to Ultravox in the past, but I always liked "Vienna" and this has the same ring of confidence and enterprising style. All is forgiven, this should be huge. (Robin Smith, Record Mirror, March 5, 1983)

The Comsat Angels - Island Heart (Jive)

The last time I did the singles I thought the Comsats had a hit on their hands with "Will You Stay Tonight". I was wrong and I'm keeping my mouth shut about this one. Enough to say that they always produce great melodies and intriguing tinkly bits in their music. This one has a lovely feeling of escape and freedom. Buy this tomorrow. (Eleanor Levy, Record Mirror, November 19, 1983)

Big Country - Chance (Mercury)

Stuart Adamson owes more than a little to New Joisey's own Bruce Springsteen, but this time he borrows voice, harmonies and tune. But where Springsteen would muck it all up with a surfeit of sax frenzy and over-enthusiastic vocals, Stuart and friends, with their clanking guitars, remain persuasively restrained, saving a power chord-driven chorus for a final treat. Single Of The Fortnight. (Tom Hibbert, Smash Hits, September 1, 1983)

See You In Vegas - Work (Red Rhino)

Deceptively pleasant little pop ditty, this. See You In Vegas are a band with a 'radical' message delivered with humour and a lot of style. The music's not bad either. (Eleanor Levy, Record Mirror, August 20, 1983)

Howard Jones - New Song (WEA)

Candifloss synthi-pop. Producer Colin Thurston, man at the controls of Duran Duran and Kajagoogoo, spins out lots of sweetness and light. About as substantial as the fluffy pink stuff on a stick. (Lynn Hanna, No 1, August 20, 1983)

Another in the long line of pretty-boy popsters, Howard is apparently rather big in High Wycombe. This first offering is produced by the same man as Duran Duran and Kajagoogoo and will probably be MASSIVE. It's squeaky clean disco pop with lots of whoops and woos in the background. You can't fault it. (Eleanor Levy, Record Mirror, August 20, 1983)

Missed A Sitter: Smash Hits failed to review 'New Song' which reached number 3 in the pop charts.

Chris Rea - I Can Hear Your Heart Beat (Magnet)

He's tried to have a hit more times than I've had hot dinners. This all rather sounds like Dire Straits meeting Bob Seger. A fairly traditional rock song, but poor old Rea can't quite Pull it off. (Robin Smith, Record Mirror, June 18, 1983)

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)

Blue Zoo - Loved One's An Angel (Magnet)

Regent's Park and Whipsnade could do better. A feeble joke that. Almost as feeble as this record. Only Magnet Records' seeming ability to gain an above-average amount of air-play prevents me from totally writing it off. (Fred Dellar, Smash Hits, February 3, 1983)

Bonk! - I'm Not Unusual (Ensign)

You know what time of year it is when the Singles Page starts filling up with David Bowie impersonators called Bonk: wingeing about how their girlfriends think they're a bit kooky but that's really because they don't understand them. His real name's probably Lance or Norman or something. [Actually, it's Barry] (Ian Birch, Smash Hits, January 6, 1983)

Virginia Astley - Love's A Lonely Place To Be (Why Fi)

A sad tale of love grown old with a watercolour vocal from Miss Astley and a pretty arrangement of classical tinge. One for Mary Hopkin lovers. (Mark Cooper, Record Mirror, January 22, 1983)

A Ravishing Beauty indulges in more than a modicum of the pretty-pretties. But tinkling bells and a twinkling belle do not a substantial pop record make! (Fred Dellar, Smash Hits, February 3, 1983)

Echo And The Bunnymen - The Cutter (Korova)

Dark vocals, dramatic chords and the kind of "Eastern" riff that sent Blancmange scurrying off to Egypt to film a video make this an intriguing but inscrutable single. "Spare us the cutter," implores the chorus. Certainly boys, but, er, what is it? (Dave Rimmer, Smash Hits, January 20, 1983)

Men Without Hats - Living In China (Statik)

Set the synthesiser controls for the heart of the sun, as Ivan and his band embark on a headlong dash through the perils of living in China. Too frantic to dance to and too frenetic to pick out a melody, "Living In China" is a track off their debut album Rhythm Of Youth which was recorded at least two years ago. Unfortunately it shows. (Frank Hopkinson, No 1, February 4, 1984)

According to their press handout this incredibly silly Canadian group featured Margaret Trudeau on their last single and the defecting Chinese tennis star Hu Na on this one. I reckon they could hire Jesus Christ, Lassie and the Dagenham Girl Pipers and still not get a hit. (Max Bell, No 1, June 18, 1983)

Heaven 17 - Come Live With Me (Virgin)

George [Michael]: Some people said that Carol Kenyon's singing was only reason that "Temptation" got to Number Two. I would agree with them. This is not as original and it's really a return to the "clever" Heaven 17. Andrew [Ridgley]: Even more of a dirge than "Temptation". They've definitely gone way downhill since Penthouse And Pavement. That was energetic and lively; this is dross. (Wham!, Smash Hits, June 23, 1983)

What an extraordinary choice of single, After the sublime "Temptation" this begging letter from an older man to a younger girl seems far too reflective and lyrically top-heavy to strike a common chord. The B-side, a re-recorded "Let's All Make A Bomb", still sounds good. (Max Bell, No 1, June 18, 1983)

Despite the last hit, despite all the talk, here at last is the single that proves that Glenn and the boys aren't really in the big League at all. It's a fine idea (as usual) but one that gets lost entirely with some incredibly clumsy phrasing and unnecessary frippery. A miss is as good as a smile and Heaven 17 make me laugh. (John Shearlaw, Record Mirror, June 18, 1983)