The Marquee London
Record Mirror March 1987

Never let it be said that Deacon Blue slot neatly into pop's pigeon-hole-orientated scheme of things.Deacon Blue may be the sort of band described in the Marquees terse listings sheets as 'rocky pop'. but such a tag suggests unwholesome connotations of second rate U2  clones.Nothing could be further from the truth.

Gaunt"faced frontman Ricky Ross looks intent on transporting every punter present into his own visionary  world. A world of songs like 'Dignity', the forthcoming single, which condenses the wry tale of into three mind-numbing minutes. 'Dignity' is a song so passionate that over exposure can only detract from its ephemeral spell.

Passion is another Deacon Blue attribute - passion strictly not to be confused with brand pedalled by the likes of Big Country. We are talking gut emotion here.Ricky Ross wears his heart on his sleeve and reveals an outlook verging on feminism. 'Chocolate  Girl' is for all women who've ever been f**ked about by men haven't we all, but whatever happened to sex 'n' drugs'n' rock'n'roll?

'When Will You Make My Telephone Ring?' was un- cannily female in sentiment (but then Ross is evidently a die-hard romantic), and a soaring ballad-that-wasn't (model: Frankie's 'The Power Of Love'). The sort of evocative swooner one wouldn't expect of Deacon Blue if you didn't know them better.

But still the diversity flowed... Just Like Boys' is the token Hipsway number, and Deacon Blue will loathe me for saying it; a (no doubt unintended) concession to that uniquely Glaswegian pop groove. Conversely, 'Raintown' pays Glasgow an intended tribute and a picturesque one at that - particularly enhanced by the radiant-voiced female backing singer.All essential elements present and correct. Lesley O'Toole