Customer Reviews

Man on the Line

5 star:		(19)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I think DeBurgh was trying too hard with this release. The success of Don't Pay the Ferryman -- in my opinion -- seemed to convince him that his strength was in a powerful song, and he tried to recreate DPTF's energy here, as there were several songs that seemed very commercial, and were engineered more for pop appeal than art. That said, this is still another deeply personal recording for DeBurgh, perhaps more so than others. I could be nuts, but I have always believed that he and his wife, "Na" were going through a rough spot in their relationship, and that boiled over into this music. The title song, Man on the Line, is revealing in that it is about a woman receiving mysterious phone calls from a strange man. "There's a man on the line, and he is wasting our time, he calls me day after day, he's got nothing to say, and in the dead of the night, when I turn off the light, the telephone rings, it's him again. He must be totally crazy, he must be out of his mind, to be in love with a lady, ah when that lady is mine, he's whispering your name...whispering your name" (Forgive me if the words aren't exact, I did it from memory -- you get the idea.)

As on all of his albums, DeBurgh has one song that stands out far above the rest, and on this album it is The Head and the Heart. I have never, and likely will never, hear a song that better characterizes a person torn between love and logic. The head is saying "it's time to let her go," but the heart yearns that "I don't want to let her go". Even now, remembering the haunting vocal and melody, I shiver. It's played out in the theater of his mind and soul, and even someone with a heart as cold as an Antarctic bath would be touched.

Edit 8/12/07: Over the past two years (since the iPod entered my home) I've found that I listen to this recording all the way through more than DeBurgh's other recordings. I couldn't be more surprised. If I were rating the CD today, it would get a 4.5 from me, rounded up to a 5. The "high energy" music is still appealing to me, some fourteen years or so after its release.

After massive critical acclaim for "Don't Pay The Ferryman" and "The Getaway" album, Chris released another near-miss with this album. As previously suggested, it is likely that a rough patch in his relationship caused his feelings to boil over onto this album. "High On Emotion", despite its optimistic lyrics, has a thundering, biting, sniping, almost 'angry' edge to it. Up until then, this was probably the most uncharacteristic recording that he had ever committed to vinyl - like with "Don't Pay The Ferryman", how "High On Emotion" failed to break into the UK Top 40 is a mystery! In the 1990s, it enjoyed a new lease of life when used heavily to promote the Driving Rock compilation, but on initial release, was largely ignored by radio.

The title track is another example of Chris' ability to move away from the ballad wizadry with which he made his name, and saw him taking on a harder, more rocky sound.

This was one of the three oustanding albums that Chris made in his early career between 1973 and 1983 (the others being "Spanish Train and Other Stories" (1975) and "The Getaway" (1981).

Of course, after this album again failed to break him into the commercial mainstream, we all know what happened next - he would disappear for three years, return to take the world by storm with "The Lady In Red" in 1986, and lose his way for the remainder of the decade, before dramatically returning to form with 1992's "Power of Ten" album.

Whatever the critics may say about their disdain for Chris De Burgh, you can't deny that before the success of "The Lady In Red", he DID make some truly excellent records.

My dad bought this CD in Europe and it's one of his all time favorite cds. Recently I've become very fond of it myself. It's up-beat, but not abusive to the ears like many of the "up-beat" bands today. DeBurgh is very smooth lyrically and musically.

I love to listen to Chris, but I'm not entirely sure the price is worth it if you are not already a fan of his music. My dad says that he has a very European style of music. I find DeBurgh very refreshing for ears when they become weary of American music.

"Man on the Line" is one of the most overlooked releases in Chris de Burgh's back catalogue, which is both understandable and unwarranted.

Understandable because "Man on the Line" is a blatant and failed attempt to move into the mainstream and expand on the modest US success of "The Getaway" in 1983 (that album reached #43; "Don't Pay the Ferryman" reached #34 on the Billboard singles chart, and "Ship to Shore" reached #71). Producer Rupert Hine pulled out all the stops for "Man on the Line," recruiting his other clients to appear the album. Howard Jones plays keyboards on "The Head and the Heart"; Tina Turner does a vocal on "The Sound of the Gun." Fully half of "Man on the Line" is in the same exact vein as "Don't Pay the Ferryman," and thus represents a deviation in de Burgh's repertoire, which has featured adult-contemporary synth-based pop and period-oriented storytelling material, despite an odd rock song here and there. Nevertheless "Man on the Line" failed to perform, reaching only #69 on the album chart. "High on Emotion" missed cracking the Top 40, peaking at #44.

Unwarranted because, with the exception of the very generic "Taking It To The Top," these are actually solid rock numbers with some teeth, featuring driving beats, sharp horn lines, and bright production that nevertheless doesn't overwhelm the songs. (This is something that has tended to happen with his later material, where the songwriting remains strong but the instrumentation seems less personal, somehow.) There's actually some anger here; it's not all frothy romance. And, one of de Burgh's very best ballads is nestled in the middle of the record, a quiet piano-and-vocals number called "The Head and the Heart." "Much More Than This" is almost as worthy, and while his trademark storytelling is weaker than usual on "Sight and Touch" and "Moonlight and Vodka," the songs nevertheless hold their own.

"Man on the Line" isn't the place to start in De Burgh's back catalogue, but if you like "The Getaway," you'll probably like this.

The first time I heard this album was in 1984 or 1985. I fell in love with it immediately. Then I tried to find a similiar work from CDB but I couldn't. This is a unique piece of work. Impeccable! the arrangements, the melodies, the lyrics, guest musicians... ART! With Man on Line I learned that I could love specific albums without really loving an artist. CDB has The Getaway which comes close to this album, but not quite. There are maybe 3 o 4 more songs that I like, like Separate Tables, Sailing Away, Suddenly Love and Lady in Red, but nothing like MOTL. All the songs are perfect! No fillers, nothing out of place. It's a shame that this is just a Chris de Burgh's eccentricity! But I still thank him for having composed such a piece of art, also Chris is a terrific original perfectly tuned high pitched singer. Thanks Chris. This became Christmas music for me!

I've listened to other CDB records and this is not only the best for me by far, but it's the one that will always be in my top ten list of records ever, right beside The Beatles' Revolver and Peter Gabriel's So and Lennon's Double Fantasy (without Yoko's songs). Each song is a gem! I generally edit even my favorite albums, but this is one of those that I just play straight. It is simple brilliant from head to toes. Not a single flaw. The Getaway is fabulous, but this one is definetely superior!!!

"Man on the Line" is one of the most overlooked releases in Chris de Burgh's back catalogue, which is both understandable and unwarranted.

Understandable because "Man on the Line" is a blatant and failed attempt to move into the mainstream and expand on the modest US success of "The Getaway" in 1983 (that album reached #43; "Don't Pay the Ferryman" reached #34 on the Billboard singles chart, and "Ship to Shore" reached #71). Producer Rupert Hine pulled out all the stops for "Man on the Line," recruiting his other clients to appear the album. Howard Jones plays keyboards on "The Head and the Heart"; Tina Turner does a vocal on "The Sound of the Gun." Fully half of "Man on the Line" is in the same exact vein as "Don't Pay the Ferryman," and thus represents a deviation in de Burgh's repertoire, which has featured adult-contemporary synth-based pop and period-oriented storytelling material, despite an odd rock song here and there. Nevertheless "Man on the Line" failed to perform, reaching only #69 on the album chart. "High on Emotion" missed cracking the Top 40, peaking at #44.

Unwarranted because, with the exception of the very generic "Taking It To The Top," these are actually solid rock numbers with some teeth, featuring driving beats, sharp horn lines, and bright production that nevertheless doesn't overwhelm the songs. (This is something that has tended to happen with his later material, where the songwriting remains strong but the instrumentation seems less personal, somehow.) There's actually some anger here; it's not all frothy romance. And, one of de Burgh's very best ballads is nestled in the middle of the record, a quiet piano-and-vocals number called "The Head and the Heart." "Much More Than This" is almost as worthy, and while his trademark storytelling is weaker than usual on "Sight and Touch" and "Moonlight and Vodka," the songs nevertheless hold their own.

"Man on the Line" isn't the place to start in De Burgh's back catalogue, but if you like "The Getaway," you'll probably like this.

CDB had his limelight with 'Lady in Red', however if you want to get a great collection of what he is all about, this CD is IT.

Thanks to our exchange student from 89 (Hurkan, we love ya!), me and my better half were introduced to this fascinating musician, and still think of him when we listen to the early CDB like this. He has some great even earlier stuff (Spanish Train), however this CD brings his intensity with pop sensibility into one very cohesive CD.

Although CDB is somewhat 'passe' these days, this very strong offering will make you a convert. The 'best of' CD available does have some great selections from this, however I only count 1 myself - and this CD is packed with great songs. CDB is not an 'adult contemporary' staple - he has created some great stuff, all very evident on this CD!!

"Man on the Line" is one of the most overlooked releases in Chris de Burgh's back catalogue, which is both understandable and unwarranted.

Understandable because "Man on the Line" is a blatant and failed attempt to move into the mainstream and expand on the modest US success of "The Getaway" in 1983 (that album reached #43; "Don't Pay the Ferryman" reached #34 on the Billboard singles chart, and "Ship to Shore" reached #71). Producer Rupert Hine pulled out all the stops for "Man on the Line," recruiting his other clients to appear the album. Howard Jones plays keyboards on "The Head and the Heart"; Tina Turner does a vocal on "The Sound of the Gun." Fully half of "Man on the Line" is in the same exact vein as "Don't Pay the Ferryman," and thus represents a deviation in de Burgh's repertoire, which has featured adult-contemporary synth-based pop and period-oriented storytelling material, despite an odd rock song here and there. Nevertheless "Man on the Line" failed to perform, reaching only #69 on the album chart. "High on Emotion" missed cracking the Top 40, peaking at #44.

Unwarranted because, with the exception of the very generic "Taking It To The Top," these are actually solid rock numbers with some teeth, featuring driving beats, sharp horn lines, and bright production that nevertheless doesn't overwhelm the songs. (This is something that has tended to happen with his later material, where the songwriting remains strong but the instrumentation seems less personal, somehow.) There's actually some anger here; it's not all frothy romance. And, one of de Burgh's very best ballads is nestled in the middle of the record, a quiet piano-and-vocals number called "The Head and the Heart." "Much More Than This" is almost as worthy, and while his trademark storytelling is weaker than usual on "Sight and Touch" and "Moonlight and Vodka," the songs nevertheless hold their own.

"Man on the Line" isn't the place to start in De Burgh's back catalogue, but if you like "The Getaway," you'll probably like this.

I bought this album on LP - never mind how many years ago, bought it again on cassette tape, bought it again on CD. It's a 'hidden treasures' type of album, with 'Transmission Ends' and 'Moonlight and Vodka' being my all - time favourite de Burgh songs. The latter is one of the most intensely 'visual' songs ever written, and the utter weariness in the singer's voice puts a whole new slant on the espionage business - more 'spy who came in from the cold' than James Bond.