The CD version of the album has 'The Saint' following 'The Invisible
Man'. Both the cassette and the CD contain, as their last tracks, the
'Come Inside (Feedback Max Remix)'.
INLAY CREDIT INFORMATION ***
All songs written by Alannah Currie and Tom Bailey except
QUEER Lyrics by Edith Sitbell (extracts from her poem 'waltz' c1924 Francis Sitwell)
All songs Point Music America Inc. ASCAP
Tom Bailey : Vocals, Keyboards, bina, Drums, Contra Bass, Guitars, Nagaswaram, Violin, Tabla
Alannah Currie : Vocals, Drums, Guitar, Percussion, Lyrics, Cello
Keith Fernley : More Guitars
Produced by Tom Bailey and Alannah Currie
Assisted by Keith Fernley
Mixing Assistant : Henry Binns
Recorded at the Sugar Shack, London
Mixed at RAK Studios, London
Photography : Mike Owen
Design : John Warwicker
Thanks to Gary Kurfirst, Gary Blackburn, Rupert Murton, Feedback Max,
Danny Duncan, Paula O'Neil, Miss Gloria and everyone at Red Eye,
everyone at Warners, Francis Sitwell, the slaves of Miro Jackson b. dali and
santa and the neighnours
c1991 Warner Bros. Records Inc.
ALBUM REVIEWS ***
September 21, 1991;
by Larry Flick
With "Queer" (Warner Bros.), the Thompson Twins continue to prove their
knack for combining tightly constructed pop hooks with tasty, funk-rooted
The first single "Come Inside", sets the mood nicely with its slow and
sleazy rhythms and sing-along chorus. From there, Twins Tom Bailey and
Alannah Currie take the listener on a fascinating journey, deftly swerving
from soft passages like the "Flower Girl" and "Flesh And Blood" into
aggressive workouts like the excellent title cut and "Groove On". Bailey's
voice is in peak form and the delightfully quirky Currey maintains a
stronger vocal presence than in the past.
Though not necessarily a hardcore club album on the surface, "Queer"
jams harder than most of the more obvious competition. There's plenty
here for jocks to investigate. Give it a shot.
The tense, erractic penmanship with which Queer's lyrics are scrawled in the CD
booklet suggests a change of creative heart (or an emotional upset of some severity), but the
album is a largely successful return to the Twins' bouncy appeal. There is a dark, edgy
undercurrent to Bailey's singing - like eau de Foetus, diluted to a safe concentration - and
in the arrangements of songs like ''Come Inside'' (proffered in two mixes), ''Groove On''
and ''The Saint,'' but the album's general tone is upbeat, atmospheric and clubby. (A
description that doesn't quite cover ''The Invisible Man,'' a sinuous crypto-Moroccan trance
novelty of greater import down the line.) While ''Strange Jane'' and ''Wind It Up'' revisit
the Bolanesque simplicity of Big Trash's lyric writing, the album's overall intelligence
level (and hook quotient) is pitched somewhat higher. The Thompson Twins had lost their
momentum for good, but at least they hadn't lost their dignity.
+ - Q
THE SINGLES COLLECTION
The Thompson Twins shocked everyone in 1982 when what had formerly been
a politicised punk/funk seven-piece re-emerged as a pared-down trio
peddling percussive pop. Ridiculous haircuts aside, Tom Bailey, Alannah
Currie and Joe Leeway did manage to come up with a few corkers. Their
first single In The Name of Love, a raw piece of synth- dance originally
conceived as throwaway fluff for the debut album has become one of their
most enduring hits. Love On Your Side, their anthem to geek love, was
quite fun too, as was their antiheroin disco track Don't Mess With
Doctor Dream. The Twins always had a credibility problem, however, a
factor worsened by the generally limp nature of the rest of their
material. Their version of the Beatles' Revolution, for instance, was
most ill-advised. - (** out of *****)
In the early to mid-80's the Thompson Twins (actually the English trio of
Tom Bailey, Alannah Currie and Joe Leeway hit commercial paydirt with a
string of decidedly artificial dance tracks - and the occasional ballad as well.
In this Greatest Hits compilation Currie, quoted in the record's liner
notes, recalls her band's desire to "spit in the face of rock 'n' roll,
which the three of us felt was a good thing." Whatever.
Whether the sterile synth pop brigades were any better than the repetitive
disco drone that preceded it in mass popularity is a question of personal
taste. Regardless, both genres shared the same unpretentious (read:
lightweight) approach to the song form and the Twins at any rate prided
themselves on creating what was then perceived as an innovative twist to
pop music at a time when synthesizer-heavy songs were still considered a
novelty. And this trio created immediate in-your-face dance music centred
on big repetitive choruses and juicy slabs of synthesizers -- the jabbing
"Lies," the repetitive "Love On Your Side" and "Doctor! Doctor!" draw you
helplessly. Resistance is futile.
The Thompson Twins' ballads could be every bit as contagious - on their
finest moment, "Lay Your Hands On Me" (with some majestic vocal help
courtesy of East Harlem's Hobo Choir) they achieved a moment of pop music
Still, as the Thompson Twins' career wound down, their songs lost steam,
becoming increasingly mired in blandness. By the time of 1987's Close To
The Bone Leeway was gone and the Twins were down to a duo. Battling
personal problems, their music suffered as a result. Gone were the joyous
punch of previous efforts, replace by bland dance numbers and dreary
ballads. All told, the Thompson Twins' best tunes made for a pleasant
listening experience but utterly lacked the ability to provide the
adrenaline rush the best music always provides. Their songs may have moved
the feet, but they rarely engaged the soul.