Poetry And Passion
Cut 1st April 1989

When The World Knows Your Name

When Ricky Ross let teacher Martin Kennedy hear his new album he found he had such a strong understanding It was like handing it over to a Shrink’. This is his review.

POWERFUL STUFF this, and a quite breathless start with Queen Of The New Year kicking us off to a toe tappin’ burst of Nashville joie de vivre (love is lovelier, as Sinatra says, the second time around). Wages Day and Real Gone Kid follow and propel us even further into a dizzying vortex of tempo blasting; live performances are going to add thunder to these new pieces, which raises the worrying question of whether Ricky Ross the musical pseudonym for Nigel Mansell.

‘Hold on!’ I hear you cry. ‘Where is all the lyricism of Born In A Storm, Ragman and Chocolate Girl?

Fear not, what follows is vintage Deacon Blue, Love And Regret is one of the best things penned to date, with a guitar solo that will tear your heart out, and Circus Lights is simply titanic. Side one ends with the gutsy, hard hitting This Changing Light. It is powerfully Lennonesque in tone, and even more brutal in the catharsis it declares. What about the rest? The second side has no less than seven tracks: the elusive Sad Loved Girl; the raunchy Fergus Sings The Blues; and the classy Silhouette. It goes on.

Conclusions? The mood is very different from Raintown. It has more the air of release than elegy, but is no less brilliant in composition. Deacon Blue have every inch the poetry of The Blue Nile, and bags more passion than Hue And Cry; and if the final track is anything to go by, they are about to transcend their urban boundaries is no mean manner. 10/10 Martin Kennedy