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Track Listings
| 1. Don't Pay The Ferryman |
| 2. Living On The Island |
| 3. Crying And Laughing |
| 4. I'm Counting On You |
| 5. The Getaway |
| 6. Ship To Shore |
| 7. All The Love I Have Inside |
| 8. Borderline |
| 9. Where Peaceful Waters Flow |
| 10. The Revolution |
| 11. Light A Fire |
| 12. Liberty |
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Customer Reviews
The opening "Don't Pay The Ferryman" is a rousing and haunting track about a guy who hears voices telling him not to sell his soul to the devil. And the closing of the album is a trio of songs about the revolution. The songs in between are also great tracks especially the beautiful lament "Borderline" about a refugee in a war-torn country wanting to be with his sweetheart. This is Chris De Burgh on top form.
Rupert Hine, the keyboard player, uses an array of synthesizers and keyboards to great effect. Check out the sounds on "Crying And Laughing" of the aeroplane taking off and the footprints on the tarmac. An excellent album from a great storyteller.
Happily, the album opener (the eerie, thunderous "Don't Pay the Ferryman", also something new for de Burgh as it was his first single release) contains no such portents, instead captivating the listener instantly with a world of half-myth, all crashing keyboard and half-crazed vocals. This is de Burgh at his best. The next few tracks soften the mood without seeming self-conscious or slushy, and in many ways de Burgh reached his peak as a balladeer with "I'm Counting on You", a lullaby for his new-born baby daughter (who subsequently went on to become Miss World...) and, at the same time, a bittersweet rant about the state of the world.
The middle section of the album has more of a "pop" feel to it, with keyboard dominating. "The Getaway" manages to be a defiant protest song at the same time, but "Ship to Shore" is almost Stock/Aitken/Waterman. "Borderline" - the story of a refugee fleeing a country at war to be with his lover far away - is de Burgh at his tragic best, while "Where Peaceful Waters Flow" offers a prayer and a hope for something better. The theme of war is revisited for the epic song-cycle which closes the album - at times a nod in the direction of prog rock. Many of de Burgh's greatest songs are critiques of war; and while he may applaud the sentiments of the revolutionaries here, the picture of bleak devastation which closes the album clearly illustrates his belief (heard later in songs such as "Last Night" and "The Simple Truth") that the end can never justify the means. A sombre note to end on, perhaps; but one which made de Burgh's mark on the 1980s as a unique songwriter with plenty to say.
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