With the album’s reduced commercial clout and declining role in music consumption, a dilemma crops up for all long-established bands involved in the endeavour of making a new LP record. Put simply, why bother? Why toil for four years on a body of work that distils 100 song ideas into ten tracks, spending a fortune in the process, only to see it flash across the charts and then evaporate into the mesh of 100 million songs? It’s an existential question for Ricky Ross of Deacon Blue, who told me:

“It’s sort of madness really, when all the good songs and books have already been written. Who wants to hear what’s in my head or what we’ve created as a band? Does anyone even sit down and listen to an album now? But I think of it in the same way as poets, novelists and filmmakers. It’s still worth doing if you feel you can do it well”. 

Arguably, new albums have been especially challenging for Deacon Blue in part because the band made one of the most accomplished debuts ever, 1987’s Raintown. With its themes of growing up in Glasgow, work, money, expectations and dreams, Raintown is as universal a concept as any record and yet it is fundamentally a musical tribute to Glasgow that most Scots are really proud of. It set a high bar for Deacon Blue, and yet the band went on to have acute commercial success with the four albums that followed between 1989 and 1994, rounding the period off with a Greatest Hits compilation (remember them!) Our Town, in 1994. The band then split, and you can’t say they didn’t quit while they were ahead. They each went on to have their own multi-media career ventures, acting, writing and presenting, effectively avoiding the inevitable mid-career slump of many of their contemporaries. 

Alas, they came back together in 1999 and the second act has been a classic post limelight affair. A string of lower key albums placed them firmly in the ‘for fans only’ vortex of music careers - perfectly sustainable and yet largely forgotten by the mainstream. It hasn’t stopped the band hitting creative highs with albums though, notably 2014’s A New House  and the outstanding City of Love in 2020. But when the journey continues, where do you go next? 

The answer seems to be ‘full circle, then forward’. New album The Great Western Road arrives on a momentous anniversary for Deacon Blue, it is 40 years since songwriter and frontman Ricky Ross and drummer Dougie Vipond created the group’s first incarnation. With the opening title track set in Glasgow, it’s more than a nod to their debut (indeed, the title track echoes Raintown’s opener Born In A Storm, a ‘Gershwin meets Glasgow’ classic). The band reunited with Raintown recording engineer Matt Butler and so were clearly ready to revisit their origins. But as the new album unfolds, so does the metaphor of the band stretching out further and further. The result is a bunch of songs that reflect the sense of expectation of their early work with reflection, perspective and a contented resignation. Classic country songs How We Remember It and Curve of the Line are particular highlights of a mature, grown up pop record. 

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