Thompson Twins - Albums Collection 1983-1991 (6CD)

The Thompson Twins – who were neither a duo nor related, but simply named after the Tin Tin cartoon – were one of the more popular synth pop groups of the early MTV era, scoring a handful of hits before fading away into lite-funk obscurity. While many of their contemporaries indulged in stylish variations on Roxy Music or robotic electronic funk, the Thompson Twins were more pop-oriented, even when they strayed into dance-pop. Despite their success – "Hold Me Now," "Lay Your Hands on Me," "King for a Day" all reached the U.S. Top Ten – the group was unable to successfully expand their synth pop sound and, consequently, their audience had virtually disappeared by the late '80s.

Founding member Tom Bailey was attending a teacher's college in Cheshire, England and harboring dreams of becoming a classical pianist when he met Joe Leeway, a fledgling actor, in 1977. The pair hit it off, yet Leeway wasn't part of the original incarnation of the Thompson Twins, which featured Bailey (vocals, keyboards), guitarist Pete Dodd, guitarist John Roog, and drummer Chris Bell. During the late '70s and early '80s, the band released a handful of independent singles and became fixtures on the burgeoning New Romantic scene in London before signing with Arista Records in 1981. That year, they released their debut album, A Product Of…, to little attention.

Not long after the release of A Product Of…, Bailey added his girlfriend Alannah Currie (percussion, saxophone, vocals), Joe Leeway (percussion, vocal), and former Soft Boys bassist Matthew Seligman to the group. The Thompson Twins recorded one album in this seven-piece incarnation, 1982's Set, which was released in America as In the Name of Love. The record was a bomb, and following its release, the group was trimmed to a trio – Bailey, Currie, and Leeway. The revamped Thompson Twins released Quick Step and Side Kick in 1983, and the album became a major hit in the U.K., climbing all the way to number two, as the singles "Love on Your Side" and "We Are Detective" reached the Top Ten. In America, the record was released under the truncated title Side Kicks and earned a cult following.

The Thompson Twins had their American commercial breakthrough in 1984 with Into the Gap. "Hold Me Now," the first single from the album, became a bigger hit in the U.S. than it did in the U.K., peaking at number three; it reached number four in England. Into the Gap also featured the hits "Doctor Doctor" and "You Take Me Up," and the Thompson Twins quickly followed the record in 1985 with Here's to Future Days. "Lay Your Hands on Me" became an American Top Ten hit, as did "King for a Day," but none of the singles from the record became major hits in the U.K., signaling that the group's popularity was beginning to decline. Leeway left the group in 1986, and the Thompson Twins remained a duo, releasing Close to the Bone the following year. Bailey and Currie made their romance public in 1988, when the couple had a child. That same year, they released the remix album The Best of Thompson Twins: Greatest Mixes, which was generally ignored.

By the late '80s, the Thompson Twins' audience had decreased substantially. Big Trash, their 1989 debut for Warner, produced the minor U.S. hit "Sugar Daddy," but it was overlooked in England. In 1991, they released Queer, which was ignored in both the U.S. and the U.K. In 1994, Bailey and Currie decided to form a new band, Babble, in order to explore newer electronic musics such as ambient. Working with programmer Keith Fernley, Babble released The Stone in 1994 on Reprise to little notice.

Stephen Thomas Erlewine, Allmusic.com

Side Kicks is the American version of the Thompson Twins' third album, Quick Step & Side Kick, featuring the same songs in a different sequencing. The record was the first the group recorded as a trio and, not coincidentally, it finds them discovering their signature dance-inflected synth-pop sound. The singles "Love on Your Side" and "In the Name of Love" are the high points, but it's surprising how many of the remaining songs are enjoyable, cleverly crafted and catchy synth-pop gems.

Stephen Thomas Erlewine, Allmusic.com

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, Allmusic.com

On their follow-up to the commercial breakthrough Into the Gap, The Thompson Twins attempt to toughen up their sound, but the results are only partially successful. In fact, the most infectious number, "Lay Your Hands on Me," sounds like it could have been an outtake from the previous album.

Stephen Thomas Erlewine, Allmusic.com

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, Allmusic.com

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, Allmusic.com

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, Allmusic.com