The Big Picture
NME October 1990

SO ONE-TIME amiable Steely Sprout copyists incessantly re- release Raintown until fame and fortune finally relents and pays a visit. A typical story, although. having accepted the opportunity to earn some riches, no one really expected Deacon Blue to turn round, change their colours like a chameleon in a kaleidoscope and perfect this ridiculous pub soulboy pot pourri. I held out hope. I wanted ‘Dignity’ and ‘Chocolate Girl’ to restore a modicum of faith in Ricky Ross’ seemingly global ambitions. No such luck. Here, Deacon Blue prove precisely what is so abhorrent about soul’, whereby the ‘soulful’ artist, incapable of performing accurate run-throughs of supremely adequate material, is driven to bizarre innovation, stretching three-minute tunes into nine minute epics. Hence, instead of singing the pleasantly endearing Raintown’, Ross splutters and gasps though the 50th chorus like a fish in a desert. Like Fields Of The Nephilim, Deacon Blue haven’t got the faintest idea about where to draw the line, when to call it a day and let the bloody songs survive for another ‘concert’. Ultimately, this is earnest, honest, good time crap. Simon Williams