NME
"Far be it from us to patronise the young, but when your singer started in your band at 12, your nearest big city is York and you’re being played by Steve Lamacq before you’re old enough to drink, you have to wonder whether you’ve enough life experience. Thankfully, One Night Only have the sense to write about what they know. Trouble is, on too many tracks, especially ‘It’s Alright’, there’s a striving for the transcendent, tacked oddly on to the sort of everyday teenage drama that Arctic Monkeys tackle with more wit and precision. While there’s no knocking their musical chops there’s little individual voice. On ‘Just For Tonight’ the influence of labelmates The Killers is strong in the widescreen synths and smart-mouthed heartache while George Craig’s voice recalls Luke Kook. They may find their own sound; if not, that name might prove spookily accurate."
" The idea of The Coral indulging in a touch of frottage by rubbing up against the side of The Subways might not be everyone’s idea of a good time, but for One Night Only it’s almost as exciting as an eight-hour jamming session with The Kooks. ‘You And Me’ is pleasantly toe-tapping enough, but these young guns aren’t going to win any prizes for originality. Even the nice bit at the end where we get some sing-song banter between two band-members seems to have been lifted wholesale from about half a dozen Libertines records. Close, but no cigar."
When The Gramophone Rings
"The supercharged first single Say You Don’t Want It – the most downloaded Mp3 in this site’s history – showcases the albums wonderfully put together sound. 80’s reverb swathes everything in a stadium rock glow, synths weave in and out of Craig’s impassioned vocal delivery which (most importantly) drives us towards a chorus made of solid gold. As far as comeback singles go, it’s absolutely perfect."
Crack In The Road
"Let me not take anything away from the lead single though; it’s a future anthem in waiting, a catchy hook, meaningless but flowing lyrics and a chorus to charm the most vexatious heart. However the rest of the album is nothing worth shouting about, unless of course you are shouting to drown out this garbage that calls itself music, in which case you are forgiven. After an entire listen to this record, I can wholeheartedly say the only track that might ever feature again on my iPod is Say You Don’t Want It, even then, I’d be far more inclined to stick on Like You Do. Singalong with me now “I’m sinking deep, I’m going under…!”"
There Goes The Fear
"All of the tracks on One Night Only’s second album follow pretty much the same formula: pounding drums, thrashing guitars, synths and keyboards, with lead singer (and occasional Burberry model) George Craig’s vocals shifting between smooth and rough and tying it all together to create a slightly retro sound that is somehow also very current. But this isn’t to say the songs all sound the same. Far from it, the band’s infectious energy and the interesting melodies and rhythms keep the album exciting the entire way through.
Many of the tracks deal with the fame that the band has already acquired and are sure to have more of now that ‘One Night Only’ has hit the shelves. As their press release says, “it’s the story of chasing the end of the rainbow, what happens along the way and when you get there” and it conveys “…a feeling of being catapulted into something tremendously exciting and perhaps a little troubling”. Singing about fame and fortune can often come off as bragging (I’m looking at you, hip hop) but One Night Only approaches it from more of a “holy shit, look what’s happening!” point of view that is incredibly refreshing.
In the album opener and lead single, they sing “the big screens, the plastic-made dreams / say you don’t want it.” The subject of fame comes up again in the incredible ‘Forget My Name,’ which has an exuberant, barely-contained quality to it. They sing “caught up in all of the action / We’re in the middle of streets all painted gold / Have you seen the reaction lately / Of all the people we left back home?” They let go completely in the chorus, practically shouting it out: “On and on we keep on dreaming, / in the end you won’t forget my name.” This larger-than-life, anthem-y sound is present in of a lot of their songs, particularly ‘Chemistry,’ ‘Got It All Wrong’ and the incredible ‘Anything’.
If it was up to me to pick the second single from this album, I’d probably go for ‘All I Want,’ which finds itself at the halfway point in the album. It’s very synthy and retro, and pairs tinkly keyboards with a rough guitar riff and echoing vocals for a sound that’s just too much fun. The fantastic line “speak how you feel so the words sound real” from the second verse later becomes the refrain and will be incredible to sing along to live.
‘One Night Only’ is both playful and mature, and its energetic highs and sensuous lows are like a roller coaster ride you’ll want to take again and again.
9/10"
ContactMusic.com
"Already highly tipped as a band to watch in 2008, Helmsley's One Night Only is the latest outfit to benefit from Myspace exposure. Beginning as a tribute band in 2003, a support slot last year with The Pigeon Detectives did them no harm and they'll spend February on a nationwide tour.
Taken in small doses, One Night Only are a decent enough indie proposition with inoffensive melodies, but over the course of an album there is a rather uninspiring lack of variation on show. Jo Whiley-backed single 'Just For Tonight' is jolly, anthemic and will no doubt inspire a bit of a boogy, but it's far from exciting or groundbreaking. For those who do enjoy it, there's more in the shape of 'You And Me' and the slightly more rock and roll 'He's There'. Lowering the tempo, 'It's About Time' is a snapshot of the band, not bad but difficult to really enthuse over. It mixes piano and guitar well and the result is a sweet love song that would light up the day of Radio 2 listeners. Easily the stand out moment of this debut album is the highly enjoyable 'Start Over', from the drum-heavy intro and decent riff right through to an extended guitar solo that U2's The Edge could have produced. It all goes downhill from there though, with the backend of the record being something of a challenge to not reach for the skip button. 'Time' goes for the brooding indie that Snow Patrol have perfected but without the same effect and George Craig's Yorkshire accent comes through a little too harshly. By the time they've rounded things off with 'Sweet Sugar' - which starts like casual restaurant music - and 'Hide' the monotonous tone is overpowering and it's rare that anything above mediocre has registered. "