Chris De Burgh -

Chris De Burgh (born Oct. 15, 1948) is an Irish singer/songwriter who launched his five-decade career with the 1975 A&M albums Far Beyond These Castle Walls and Spanish Train and Other Stories. His songs combine lyrical storytelling with arrangements steeped in folk, art pop, and lavish orchestration.

Stateside, De Burgh achieved his biggest successes with the singles “Don’t Pay the Ferryman” (1982) and “High on Emotion” (1984), the latter from his Rupert Hine-produced Man on the Line album. Three years later, he set AC airwaves alight with “The Lady in Red.”

Background

He was born Christopher John Davison on October 15, 1948, in Venado Tuerto, Argentina, one of two sons borne to Colonel Charles John Davison, MBE, a British diplomat, and Maeve Emily (née de Burgh), an Irish secretary. The family moved around between Malta, Nigeria, and Zaire due to Colonel Davison’s farming interests and diplomatic work. Emily’s father, Sir Eric de Burgh, was Chief of the General Staff in India during WWII.

In the early 1960s, the Davison’s moved into Bargy Castle, a 15th century Norman fortress in County Wexford, Ireland, purchased by Sir Eric for use as a hotel. As a teenager, Chris sang for Castle patrons.

Chris attended Marlborough College in Wiltshire, England, a year below fellow pupil Nick Drake. He auditioned for Drake’s jazz band, Perfumed Gardeners, but was deemed too pop-oriented. Chris later graduated from Trinity College Dublin with a Master of Arts degree in French, English and History.

At the outset of his performing career, Chris adopted his mother’s maiden name, De Burgh.

Far Beyond These Castle Walls

Chris de Burgh released his debut studio album, Far Beyond These Castle Walls, in 1974 on A&M.

Far Beyond These Castle Walls presents ten originals that veer between melodramatic folk balladry and lavish orchestral passages. De Burgh employs guitarist Ray Glynn, bassist Brian Odgers, contrabassist Chris Laurence, drummer Barry De Souza, percussionist Lennox Laington, and keyboardist Ronnie Leahy, mandolinist Ray Jackson, and pedal steel player B.J. Cole. Blue Mink vocalist Madeleine Bell and Pink Floyd sessionist Liza Strike add harmonies along with Joy Yates, Ken Freeman, and Phillip Goodhand-Tait.

Castle Walls features brass arrangements by Chris Hughes and orchestration by Del Newman (“Hold On,” “Satin Green Shutters”) and Richard Hewson (“The Key,” “Turning Round”). “Hold On” arches through a high, sharp lead and orchestral swell. “Watching the World” bounds through a loose verse and theatrical vocal. “Satin Green Shutters” lingers over graceful strings and a cooed choir.

A1. “Hold On” (4:02)
A2. “The Key” (4:06)
A3. “Windy Night” (4:54)
A4. “Sin City” (4:36)
A5. “New Moon” (4:56)

B1. “Watching The World” (3:31)
B2. “Lonesome Cowboy” (4:21)
B3. “Satin Green Shutters” (5:02)
B4. “Turning Round” (6:22)
B5. “Goodnight” (2:06)

Sessions occurred in summer 1974 at Ramport Studios and AIR Studios in London. Robin Geoffrey Cable produced and engineered the album. Mark Dodson and Mike Stavrou assisted at the sessions. Mixdown took place at AIR Studios and Trident Studios in London.

The title refers to Bargy Castle, which appears on the back sleeve. Fabio Nicoli directed the sleeve art. Nick Marshall designed the package. Dave Morse photographed the images. The front sleeve places handwritten white artist text and small uppercase title text above a black field; a tall window on the right encloses a seated figure in warm light. The back sleeve shows Bargy Castle at the end of a gravel drive, with a man and dog in the foreground.

A&M lifted “Hold On” as a February 1975 UK single (b/w “Sin City”). “Flying,” retitled from “Turning Round,” followed in July 1975 (b/w “Watching The World”). Outside Britain, the song became the first South American success tied to the album.

Spanish Train and Other Stories

Chris de Burgh released his second studio album, Spanish Train and Other Stories, in November 1975 on A&M.

Spanish Train and Other Stories contains ten originals and centers on narrative ballads and piano-led love songs with occasional sci-fi imagery and Dixieland arrangements. The album features returning sidemen De Souza, Laington, Glynn, Freeman, Goodhand-Tait, and Laurence; joined by bassist Tony Reeves (electric, standup) and keyboardist Tony Hymas. Hentschel adds ARP synthesizer and synthesizer arrangement to “A Spaceman Came Travelling.” Saxophonists Mick Eves and Chris Mercer join on “The Painter.” Hewson returns on “Spanish Train” and “Just Another Poor Boy.”

“Spanish Train” stages its card-game narrative over brass-and-string punctuation. “Lonely Sky” glides from a piano lead into a raised chorus. “Patricia the Stripper” prances through a 1920s-styled narrative and comic vocal turns. “A Spaceman Came Travelling” hovers on string-synth color and a high choral refrain. “I’m Going Home” lopes through a syncopated backbeat and broad chorus. “The Painter” darkens the verse with a suspense-marked vocal. “Old Friend” settles into a slower, close-set vocal line. “The Tower” climbs through over-the-top vocal address. “Just Another Poor Boy” turns through two key shifts between the verse and chorus.

A1. “Spanish Train” (5:00)
A2. “Lonely Sky” (3:52)
A3. “This Song For You” (4:14)
A4. “Patricia The Stripper” (3:30)
A5. “A Spaceman Came Travelling” (5:10)

B1. “I’m Going Home” (3:34)
B2. “The Painter” (4:20)
B3. “Old Friend” (3:40)
B4. “The Tower” (5:22)
B5. “Just Another Poor Boy” (4:46)

Sessions occurred at Ramport Studios and Scorpio, where Robin Geoffrey Cable produced and engineered the album. Dodson returns alongside assistant engineers Ian Major and John Kelly. Mixdowns took place at Scorpio and AIR Studios in London. Robert Kirby arranged choir, ocarina, recorder, strings, and brass across “Lonely Sky,” “The Tower,” “This Song For You,” and “Old Friend.”

Bill Imhoff drew the front and back illustrations. Clive Arrowsmith photographed the inside images. Nicoli returned as art director, and Junie Osaki designed the sleeve. The North American sleeve shows a distant train below a red-black sky with gold title lettering. European A&M copies used a white-on-black title treatment. South African LP issues appeared as Lonely Sky and Other Stories after A&M removed “Spanish Train” during the ban dispute.

A&M lifted “Lonely Sky” as a February 1976 UK single (b/w “This Song For You”). “Patricia The Stripper” followed in April 1976 (b/w “Old Friend”). “A Spaceman Came Travelling” became a November 1976 UK single (b/w “Just Another Poor Boy”). In March 1978, “Spanish Train” reappeared as a UK single (b/w “Perfect Day”).

Spanish Train and Other Stories reached No. 64 on RPM Top Albums in Canada and No. 78 on the Official Albums Chart in Britain.

“A Spaceman Came Travelling” inspired a 1978 cover by Austrian symphonic-rockers Eela Craig.

At the End of a Perfect Day

Chris de Burgh released his third studio album, At the End of a Perfect Day, in August 1977 on A&M.

At the End of a Perfect Day presents ten originals that veer between acoustic balladry, piano-led passages, brass accents, and the Latin-styled “Brazil.” De Burgh employs saxophonist Jimmy Jewell, brass player John Mumford, bassist Dave Markee, percussionist Morris Pert, guitarists Alun Davies and Bryn Haworth, pianist Paul Hart, and drummers Gerry Conway, Dave Mattacks, and Barry Morgan.

The Spiteri Band appears on “Brazil,” with guitarist and pianist Jorge Spiteri, guitarist and flutist Joseito Romero, bassist José Manuel Arria, and drummer and percussionist Bernardo Ball. Markee adds backing vocals with Paul Samwell-Smith and Sue Lynch. Brian Rogers arranges strings on “I Will” and “Discovery” and adds the horn arrangement on “Discovery.” Newman returns with string arrangements on “In a Country Churchyard” and “If You Really Love Her, Let Her Go.”

“I Will” hushes through a meditative verse and shadowed vocal placement. “Summer Rain” brightens the pace through brass punctuation and a freer refrain. “Brazil” sways through a Rio-tinted pulse and group replies. “Perfect Day” settles into a hymnlike close with piano and choir-textured vocal support.

A1. “Broken Wings” (3:04)
A2. “Round and Around” (3:05)
A3. “I Will” (3:30)
A4. “Summer Rain” (4:00)
A5. “Discovery” (2:53)

B1. “Brazil” (3:13)
B2. “In a Country Churchyard” (3:55)
B3. “A Rainy Night in Paris” (3:20)
B4. “If You Really Love Her, Let Her Go” (3:59)
B5. “Perfect Day” (4:00)

Sessions occurred in 1977 at Morgan Studios in London. Samwell-Smith produced the album, with Mike Bobak engineering and Nick Cook assisting.

Fabio Nicoli directed the sleeve art. Nick Marshall designed the package with photography by Roger Stowell and liner notes by Bob Garcia. The cover places yellow artist lettering above a staged bathroom scene inside a black border; the image shows a figure in a bathtub, orange wall tile, a towel rail, a sink crowded with bottles, scattered objects on carpet, and a small de Burgh portrait on the tiled wall.

A&M lifted “Summer Rain” as a July 1977 Canadian single (b/w “A Rainy Night in Paris”). “Broken Wings” became an October 1977 UK single (b/w “I Will”). “Perfect Day” appeared as a 1977 South African single (b/w “Brazil”). In 1978, “In a Country Churchyard” followed in South Africa (b/w “A Rainy Night in Paris”).

At the End of a Perfect Day reached No. 94 on RPM Top Albums in Canada.

Crusader

Chris de Burgh released his fourth studio album, Crusader, in January 1979 on A&M.

Crusader contains twelve originals and moves from electric band pieces and piano ballads to the four-part title suite, recorded with alumni of Pilot, Cockney Rebel, and Curved Air. De Burgh employs French horn player David Cripps, harpist Skaila Kanga, bassist David Paton, drummer/percussionist Stuart Elliott, electric guitarist Ian Bairnson, harpsichordist Francis Monkman, and keyboardist Mike Moran. Laurence returns on string bass. Olive Simpson adds harmony vocals on “It’s Such a Long Way Home.” APP arranger Andrew Powell plays acoustic piano on “Just in Time,” “Old Fashioned People,” “Crusader,” and “You and Me.”

“Carry On” charges through a raised chorus and broad title chant. “I Had the Love in My Eyes” lingers on a close-set vocal and softened refrain. “Something Else Again” glows through a softened romantic line and harmony support. “The Girl with April in Her Eyes” hushes into a harp-lit intro and falsetto-marked vocal. “Just in Time” presses a warning text through heightened vocal address. “Carry On (Reprise)” compresses the opening chant into a brief return.

“The Devil’s Eye” careens through a macabre rush and dark narrative drive. “It’s Such a Long Way Home” recedes into a softer vocal address. “Old-Fashioned People” settles into a mild sentimental refrain. “Crusader” climbs through a four-part suite with narration, orchestra, and heightened drama.

A1. “Carry On” (3:47)
A2. “I Had the Love in My Eyes” (3:29)
A3. “Something Else Again” (4:25)
A4. “The Girl With April in Her Eyes” (4:55)
A5. “Just in Time” (5:11)
A6. “Carry On” (reprise) (0:32)

B1. “The Devil’s Eye” (4:13)
B2. “It’s Such a Long Way Home” (3:31)
B3. “Old Fashioned People” (3:27)
B4. “Quiet Moments” (1:38)
B5. “Crusader” (8:48)
B6. “You and Me” (1:12)

Sessions occurred in late 1978 at AIR Studios in London, with additional recording at Abbey Road Studios in London and Super Bear Studios in Nice. Powell produced Crusader and conducted the orchestra and choir. Jon Kelly engineered the album with assistants Tim Cuthbertson and Nigel Walker.

Michael Ross directed the art. David Tyrell designed the sleeve with photography by Rod Shone and illustration by Jon Wolstenholme. The cover centers a close-up of a crusader helmet; a white cross-shaped visor divides the image and frames a pair of eyes against a dark metallic field, with white title and artist lettering across the top.

A&M lifted “I Had the Love in My Eyes” as a February 1979 UK single (b/w “Just in Time”). “The Devil’s Eye” followed in April 1979 (b/w “It’s Such a Long Way Home”). In May 1979, “Carry On” appeared as a Canadian and US single (b/w “The Girl With April in Her Eyes”).

Crusader reached No. 62 on the Kent Music Report in Australia, No. 67 on RPM Top Albums in Canada, and No. 72 on the Official Albums Chart in Britain.

Eastern Wind

Chris de Burgh released his fifth studio album, Eastern Wind, in July 1980 on A&M.

Eastern Wind contains ten originals and frames band-centered arrangements with saxophone breaks, stacked backing vocals, and mid-tempo ballads. De Burgh employs guitarist Tim Wynveen, bassist Al Marnie, drummer/percussionist Jeff Phillips. and keyboardists Glenn Morrow and Erik Robertson. Supertramp reedist John Helliwell and Colosseum vet Dick Heckstall-Smith make guest appearances. Canadian singer Lisa Dal Bello appears as a backing vocalist along with Colina Phillips and Sharon Lee Williams.

“The Traveller” glides through polished keyboard color and a raised vocal line. “The Record Company Bash” jabs through offbeat accents and backing-vocal replies. “Wall of Silence” swells once into a harder chorus. “Flying Home” brightens through group replies and roadbound vocal phrasing. “Shadows and Lights” darkens the verse with night-scene delivery and clipped percussion. “Sailor” hushes the vocal against piano-and-organ support. “Some Things Never Change” lopes through a warmer backbeat and backing-vocal lift. “Eastern Wind” settles into a longer, soft-lit title refrain.

A1. “The Traveller” (4:11)
A2. “The Record Company Bash” (3:54)
A3. “Tonight” (3:28)
A4. “Wall of Silence” (3:48)
A5. “Flying Home” (3:59)

B1. “Shadows and Lights” (3:11)
B2. “Sailor” (4:15)
B3. “Some Things Never Change” (3:14)
B4. “Tourist Attraction” (3:09)
B5. “Eastern Wind” (5:17)

Sessions occurred at Manta Sound Studios in Toronto. David Anderle produced the album, with Kenny Thomson as assistant producer, Hayward Parrott engineering, and David Taylor assisting.

Ross handled art direction and photography. Allan Manham provided the illustration. The cover shows a golden field with a single green tree under dark blue storm clouds; a tipped bucket sits at the lower right, and white title and artist lettering sits across the top.

A&M lifted “Shadows and Lights” as an August 1980 UK single (b/w “Wall of Silence”). “The Traveller” followed in October 1980 (b/w “Eastern Wind”). In 1981, “Sailor” appeared as a UK single (b/w “Lonely Sky”) and as a Canadian single (b/w “Some Things Never Change”).

Eastern Wind reached No. 1 on VG-lista in Norway and No. 26 on RPM Top Albums in Canada.

The Getaway

Chris de Burgh released his sixth studio album, The Getaway, in October 1982 on A&M.

The Getaway contains twelve originals and frames story-ballads, electric band settings, saxophone breaks, synthesizer programming, and orchestral color. The album uses cellist Nigel Warren-Green, pianist David Caddick, bassist John Giblin, drummer Steve Negus, saxophonists Anthony Thistlethwaite and Stephen W. Tayler, and guitarists Phil Palmer and Tim Wynveen. Producer Rupert Hine adds synthesizers, percussion, backing vocals, programming, and orchestral arrangements. Actor Anthony Head provides the spoken voice on “Don’t Pay the Ferryman.” Diane Davison, Miriam Stockley, and Sue Wilkinson add backing vocals.

“Don’t Pay the Ferryman” surges through a cinematic opening riff, spoken bridge, and warning refrain. “Living on the Island” lopes through island-lit accents and a saxophone break. “Crying and Laughing” pleads through a close-set vocal and broad synth-colored refrain. “I’m Counting on You” tightens the vocal around a bitter chorus. “The Getaway” strides through a brighter, quicker pulse and raised title chant.

“Ship to Shore” glides through a light, quick refrain. “All the Love I Have Inside” sways through a Mediterranean-tinged turn and softened vocal line. “Borderline” carries its war-marked narrative through piano shading and a restrained chorus. “Where Peaceful Waters Flow” shimmers through an acoustic figure, choral support, and flute-colored refrain. “The Revolution” opens the closing suite with an acoustic intro. “Light a Fire” ascends into a synthesized old-world figure and heightened vocal. “Liberty” recedes into orchestral closure.

A1. “Don’t Pay the Ferryman” (3:46)
A2. “Living on the Island” (3:29)
A3. “Crying and Laughing” (4:31)
A4. “I’m Counting on You” (4:25)
A5. “The Getaway” (3:50)

B1. “Ship to Shore” (3:47)
B2. “All the Love I Have Inside” (3:16)
B3. “Borderline” (4:35)
B4. “Where Peaceful Waters Flow” (3:52)
B5. “The Revolution” (1:44)
B6. “Light a Fire” (2:06)
B7. “Liberty” (5:00)

Tayler engineered the album at Farmyard Studios in Little Chalfont, Buckinghamshire, where Hine produced The Getaway in sequence Waving Not Drowning and titles by The Fixx (Shuttered Room) and Saga (Worlds Apart).

Michael Ross directed the art and photographed the back cover. Syd Brak illustrated the front cover. Andrew Ellis created the typography, and Fin Costello photographed the printed inner bag. The front sleeve splits a storm-dark sea and a pale shoreline with a white running figure across the division. The back sleeve places a pale shoreline beside a black credit panel with a blue-tinted portrait.

A&M lifted “Don’t Pay the Ferryman” as an October 1982 UK single (b/w “All the Love I Have Inside”), and the title reached No. 48 on the Official Singles Chart. In January 1983, “Don’t Pay the Ferryman” reappeared as a US single (b/w “All the Love I Have Inside”) and reached No. 34 on the Billboard Hot 100. “The Getaway” followed as a December 1982 UK single (b/w “Living on the Island”), then “Ship to Shore” as a February 1983 UK single (b/w “Crying and Laughing”).

The Getaway reached No. 1 on German Albums, No. 9 on RPM Top Albums in Canada, No. 30 on the Official Albums Chart in Britain, and No. 43 on the Billboard 200.

Man on the Line

Chris de Burgh released his seventh studio album, Man on the Line, in May 1984 on A&M.

Man on the Line contains ten originals and uses synthesizer-led settings, electric guitar figures, piano ballads, orchestral passages, and extended closing material. Rupert Hine returns along with Palmer, Giblin, and Phillips. Grand pianist Howard Jones appears on “The Head and the Heart,” and drummer Trevor Morais plays on “The Sound of a Gun.” Guest vocalist Tina Turner appears on “The Sound of a Gun.” The touring-band credits retain Morrow, Kojima, McBride, Marnie, and Phillips.

“The Sound of a Gun” shadows its war text with whispering female chorus replies. “Taking It to the Top” brightens into a more open vocal reach. “The Head and the Heart” hushes into a close-set ballad contour. “High on Emotion” surges on repeated title chants and raised chorus entries. “Moonlight and Vodka” steadies the vocal line around a heartfelt refrain. “Transmission Ends” recedes into a longer closing coda.

A1. “The Ecstasy of Flight (I Love the Night)” (4:00)
A2. “Sight and Touch” (3:17)
A3. “Taking It to the Top” (4:00)
A4. “The Head and the Heart” (3:59)
A5. “The Sound of a Gun” (4:30)

B1. “High on Emotion” (4:22)
B2. “Much More than This” (2:57)
B3. “Man on the Line” (4:24)
B4. “Moonlight and Vodka” (3:39)
B5. “Transmission Ends” (5:56)

Stephen Tayler engineered the sessions at Farmyard, where Hine produced Man on the Line in sequence with the third Fixx album (Phantoms) and parts of Private Dancer, which made Tina Turner a global superstar.

Brian Griffin photographed the sleeve. Ross directed the art with assistant art director Dave Margereson. Simon Adamczewski and Jerry Williams designed the package. The cover shows de Burgh in a black tuxedo with a red telephone receiver. White beams extend from the handset across a gray field, while a red coiled cord runs behind the figure. The title appears near a thin waveform line at the upper left.

A&M lifted “High on Emotion” as an April 1984 UK single (b/w “Much More than This”), and the title reached No. 44 on both the Official Singles Chart and the Billboard Hot 100. “I Love the Night” followed as a July 1984 UK single (b/w “Moonlight and Vodka”) and reached No. 80 on the Official Singles Chart. “Sight and Touch” became a February 1985 UK single (b/w “Taking It to the Top”).

Man on the Line reached No. 1 on German Albums and Schweizer Hitparade, No. 6 on VG-lista in Norway, No. 9 on Austrian Albums, No. 11 on the Official Albums Chart in Britain, and No. 12 on Sverigetopplistan in Sweden.

Into the Light

Chris de Burgh released his eighth studio album, Into the Light, in June 1986 on A&M.

Into the Light contains twelve originals and frames electric band pieces, piano-centered ballads, saxophone breaks, synthesizer parts, and multi-part narrative material. The album retains Morrow, Palmer, Giblin, Marnie, Phillips, Kojima, and McBride from earlier De Burgh sessions. New credits add saxophonist Gary Barnacle, bassist Pino Palladino, drummers Tony Beard and Peter Van Hooke, and keyboardists Nick Glennie-Smith and Andy Richards. Carol Kenyon adds vocals on “The Spirit of Man.”

“Fire on the Water” charges through a hard-edged refrain and raised vocal line. “The Lady in Red” hushes into a quiet, close-set ballad with affectionate words to the subject. “Say Goodbye to It All” pleads through a war-marked narrative and broad chorus. “Fatal Hesitation” tightens the vocal around a restrained romantic refrain. “The Leader” starts the closing sequence with martial address. “The Vision” segues into the second section. “What About Me?” closes the sequence with a final question.

A1. “Last Night” (6:07)
A2. “Fire on the Water” (4:28)
A3. “The Ballroom of Romance” (4:26)
A4. “The Lady in Red” (4:16)
A5. “Say Goodbye to It All” (5:23)

B1. “The Spirit of Man” (4:40)
B2. “Fatal Hesitation” (4:16)
B3. “One Word (Straight to the Heart)” (4:30)
B4. “For Rosanna” (3:39)
B5. “The Leader” (2:16)
B6. “The Vision” (3:13)
B7. “What About Me?” (3:03)

Sessions occurred at Marcus Recording Studios in London and The Manor in Oxford. Paul Hardiman produced, engineered, and mixed the album. Dick Beetham and Steve Chase assisted at the sessions.

Ross and John Warwicker directed and designed the sleeve. Margereson receives the art-dictator credit. Richard Haughton photographed the package, and Mike Doud painted the cover. The front sleeve places black serif artist and title lettering above a black cube on a white field; green, blue, yellow, red, pink, and purple brushstrokes rise from the cube. The back sleeve shows a suited de Burgh below a blue sky panel, with the tracklist printed in two columns below the image.

A&M lifted “Fire on the Water” as a March 1986 UK single (b/w “The Vision”), and the title reached No. 88 on the Official Singles Chart. “The Lady in Red” followed in June 1986 (b/w “Say Goodbye to It All”) and reached No. 1 on the Official Singles Chart. In July 1986, “The Lady in Red” appeared as a US single (b/w “The Vision”) and reached No. 3 on the Billboard Hot 100. “Fatal Hesitation” became a September 1986 UK single (b/w “The Ecstasy of Flight (I Love the Night)”) and reached No. 44 on the Official Singles Chart.

Into the Light reached No. 1 on Irish Albums and VG-lista in Norway, No. 2 on German Albums, Schweizer Hitparade, and the Official Albums Chart in Britain, and No. 25 on the Billboard 200.

Flying Colours

Chris de Burgh released his ninth studio album, Flying Colours, in October 1988 on A&M.

Flying Colours contains twelve originals on the LP and centers on piano ballads, electric band arrangements, saxophone lines, and large-scale vocal refrains. The album retains Palmer, Richards, and Van Hooke from recent sessions. New credits add saxophonist Chris White and keyboardist Adrian Lee. CD issues place “The Simple Truth (A Child Is Born)” between “Suddenly Love” and “Missing You.”

“Leather on My Shoes” flows through a smoother mid-paced verse and easy refrain. “Don’t Look Back” hardens into one of the brisker numbers, with sharper propulsion than the surrounding songs. “Just a Word Away” softens into a paternal address. “The Risen Lord” lifts its religious narrative into a declarative refrain. “The Last Time I Cried” concludes with livelier motion and a spoken eulogy behind the vocal.

A1. “Sailing Away” (4:58)
A2. “Carry Me (Like a Fire in Your Heart)” (4:24)
A3. “Tender Hands” (4:29)
A4. “A Night on the River” (3:48)
A5. “Leather on My Shoes” (4:41)
A6. “Suddenly Love” (3:12)

B1. “Missing You” (4:07)
B2. “I’m Not Scared Anymore” (4:46)
B3. “Don’t Look Back” (2:55)
B4. “Just a Word Away” (3:17)
B5. “The Risen Lord” (3:40)
B6. “The Last Time I Cried” (5:32)

Sessions occurred at Powerplay Studios in Zürich. De Burgh and Paul Hardiman produced the album. Hardiman engineered and mixed the sessions. Arnie Acosta mastered the album at A&M Mastering Studios in Hollywood.

Ross directed and designed the sleeve. Paul Cox photographed the package, and Romas Foord provided the illustration. The cover places red artist lettering above a blue rectangular image with a white diagonal streak and pale horizon bands. The title appears below the image in red lowercase text.

A&M lifted “Missing You” as an October 1988 UK single (b/w “The Risen Lord”), and the title reached No. 3 on the Official Singles Chart. “Tender Hands (Remix)” followed in December 1988 (b/w “A Night on the River”) and reached No. 43. “Sailing Away” became a February 1989 UK single (b/w “The Head and the Heart”) and reached No. 78.

Flying Colours reached No. 1 on Irish Albums and the Official Albums Chart in Britain, No. 2 on German Albums and Schweizer Hitparade, No. 10 on VG-lista in Norway, and No. 16 on Dutch Albums.

Discography: