Thompson Twins Albums (8)
What The Critics Say
On their follow-up to the commercial breakthrough Into the Gap, the Thompson Twins attempt to toughen up their sound, and the results are only partially successful. "Lay Your Hands on Me" is the most infectious number. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
By the time the Thompson Twins recorded Close to the Bone, they were reduced to the duo of Tom Bailey and Alannah Currie, and they had abandoned new wave synth-pop for light funk-inflected dance-pop. Most of Close to the Bone is too sterile and predictable to be truly enjoyable, yet there are a handful of tracks that serve as a reminder that the group can turn out well-constructed and catchy pop songs when they choose. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Thompson Twins' atmospheric and moody 1984 album Into the Gap was their commercial breakthrough in the United States, and remains a classic as far as '80s new wave pop is concerned. Nearly every song on this set differed from the others, with each track taking the listener on a different musical journey. The song that cemented Thompson Twins as a presence on American Top 40 radio was their earnest ballad (and biggest hit) "Hold Me Now," which years later still sounded as fresh and innocent as when it was first released. The album yielded a couple of other hits, including the feel-good, percussion- and harmonica-heavy "You Take Me Up" and the mysterious, melodramatic "Doctor! Doctor!" "The Gap," the album's final single (and a definite standout), heavily leans toward Middle Eastern influences (as does "Doctor! Doctor!") and ranks as the album's most unstoppable (and unusual) dance cut. Other tracks, including "Sister of Mercy" and "No Peace for the Wicked," rank almost as high as the singles. Thompson Twins were quiet visionaries, blending intelligent lyrics, Eastern sensibilities, and new wave pop to create a wholly unique and unforgettable listening experience and an album that ranks as one of the '80s' most unique. ~ Jose F. Promis, All Music Guide
What The Critics Say
With Queer, the Thompson Twins began incorporating current dance trends, particularly the dense, pyschedelic Manchester sound of the Happy Mondays. It is an ambitious effort, but it isn't entirely successful -- the group doesn't work the groove as effectively as the Madchester groups, nor do they come up with a catchy dance-pop tune. Instead, you can hear the group work to re-establish themselves as artists. Queer is an an admirable attempt, but that doesn't make it a good listen. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Big Trash was a successful attempt to add a stronger rhythmic sensibility to The Thompson Twins' sound, but the album failed to produce any hit bigger than the number 28 "Sugar Daddy," although there were several other strong numbers on the record. ~ Stephen Thomas Erlewine, All Music Guide
'Quick Step & Side Kick'
Release Date 1/1/1983
Tracks 10
Label Arista
See Album Tracklist and Review
What The Critics Say
Following up on the surprise success of the "Love on Your Side" single, the reconstituted Thompson Twins quickly regrouped to create an album to capitalize on their new, more direct sound. Quick Step & Side Kick is the Thompson Twins' most fully realized work, with a trio of dance-rock classics -- "Love Lies Bleeding," "Love on Your Side," and the big U.S. chart hit "Lies" -- that all hew close to the synth-bass-and-Latin-percussion groove of "In the Name of Love." Interestingly, however, the trio also branches out to explore a variety of sonic moods, most of them considerably darker than their cartoonish new look -- lead singer Tom Bailey now sported a waist-length red ponytail, and percussionist Alannah Currie had a mohawk and no eyebrows -- would suggest. The highlights of these were the simply gorgeous, ghostly ballad "If You Were Here" and yet another elegy for the late Judy Garland, the bitter "Judy Do." Although the follow-up Into the Gap was an even bigger chart success, Quick Step & Side Kick is the better, more consistent album. The somewhat delayed U.S. release of Quick Step & Side Kick shortened the nonsensical title to Side Kicks and scrambled the running order to some ill effect, pulling all of the dance-oriented material on side one and all of the more atmospheric, experimental songs on side two. This version of the album was eventually supplanted by a CD release that retained the title and superior sequencing of the original U.K. issue. ~ Stewart Mason, All Music Guide
What The Critics Say
The most important song on the Thompson Twins' first U.S. release was one of those brilliant accidents that make pop music an always-entertaining crapshoot. In The Name of Love is a re-released version of the band's first two British albums, A Product Of... and Set, and is filled with the skewed guitar pop that had become the band's early trademark. While the results occasionally suggest the likeable eccentricities of groups like Split Enz (especially on "Bouncing" and "Perfect Game"), the Twins -- then numbering six members, including leader Tom Bailey -- would undoubtedly have vanished without a trace if they'd kept on in that direction. And, in fact, the original lineup split soon after Set was released. But it was "In the Name of Love," recorded at the last minute as album filler, that led to the reformation of the band in its best-known incarnation (Bailey, Alannah Currie, and Joe Leeway) and ended up pointing the way to stardom. Trading jerky new wave rhythms for a sleek, synth-powered club groove, the Steve Lillywhite-produced "In the Name of Love" was a U.S. number one dance hit, made distinctive by its simple keyboard hook and loads of ethnic percussion. Unfortunately, it's by far and away the best thing on this album, and those not curious about the group's early days will probably do better seeking it out on a greatest-hits collection or '80s compilation. ~ Dan LeRoy, All Music Guide
