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The Road to Hell (Part 1)
The Road to Hell (Part 2)
You Must Be Evil
Texas
Looking For A Rainbow
Your Warm And Tender Love
Daytona
That's What They Always Say
I Just Wanna Be With You
Tell Me There's A Heaven
Chris Rea was massive in the late-80s and early-90s, often pigeonholed as the kind of musician enjoyed by people who couldn’t abide all those pesky gaps between Dire Straits and Bruce Springsteen releases. And that's unfair. After years of solid albums and steady touring, Rea genuinely hit a nerve with The Road To Hell, an album that fused his weather-beaten blues instincts with some serious songwriting smarts and a sharp-eyed sense of social unease.
The album opened with its title track in two parts: first a brooding, atmospheric crawl, then a tougher, radio-ready second act. It set the template for what followed: thoughtful, road-worn music that sounded genuinely lived in. Rea's voice, gravelly and conversational, was perfectly suited to tales of moral drift, alienation and late-night introspection. Tracks like Texas and Looking For A Rainbow lent into his love of American blues and open-road imagery, while Auberge's nocturnal groove pointed towards the more refined direction he'd take in the early 90s.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in October 1989
- Freedom - Neil Young
- Hup - The Wonder Stuff
- Liquidizer - Jesus Jones
- UAIOE - KMFDM
- Automatic - The Jesus and Mary Chain
- Book of Days - The Psychedelic Furs
- Save Yourself - McAuley Schenker Group
- Thrash Zone - D.R.I.
- Nothingface - Voivod
- Trouble Walkin' - Ace Frehley
- The Years of Decay - Overkill
- The Sensual World - Kate Bush
- Long Hard Look - Lou Gramm
- Def, Dumb & Blonde - Deborah Harry
- Scarlet and Other Stories - All About Eve
- Hot in the Shade - Kiss
- Simple Man - Charlie Daniels
- Pretty Hate Machine - Nine Inch Nails
- Storm Front - Billy Joel
- Follow the Blind - Blind Guardian
- Flying in a Blue Dream - Joe Satriani
- Rite Time - Can
- Built to Last - Grateful Dead
What they said...
"The Road To Hell is a compelling and thought-provoking record that showcases Chris Rea's ability to blend rock and blues with insightful social commentary. Each track contributes to the album's cohesive narrative, making it a standout in Rea's career and the blend of haunting introspections, biting critiques, and moments of tenderness ensures that The Road To Hell remains a significant and enduring piece of music history." (Subjective Sounds)
"The title only hints at the horror that lurks in this album's message. Texas, Looking For A Rainbow, and You Must Be Evil pick apart the atrocities of our society, while Daytona offers some much-needed tension release. A modern masterpiece. (AllMusic)
The Road to Hell is a magnificent achievement, and what's more, Rea followed it with more albums which were almost as good, like Auberge and Espresso Logic, becoming one of the few 80s acts who got better in the 90s, rather than worse. One might wonder what on earth Chris Rea was doing all those years before it, but whatever got him going, we can be grateful he recorded one of the greatest musical works of the 1980s. (Alltime Records)
What you said...
Greg Schwepe: The late Chris Rea is kind of an unknown commodity here in the U.S. For me, it wasn’t until his recent passing and the accompanying articles written that I really heard about him, and the significance (especially in the UK) of Driving Home For Christmas. So, as is often the case with albums selected for our group, I’m listening for the first time. This blank slate concept is perfect. Unlike reviewing something from an artist I know a lot about, here there’s no trying to compare to other releases, band lineups or musicians used on one release over another… just pure listening.
I listened all the way through the first time. Sprawling. Atmospheric. Cinematic. Enthralling. I listened a second time. Thought the same thing. And liked it so much I listened a third and fourth time. Stuck with me. I started anticipating certain tracks. Yeah, it kind of grew on me.
The Road To Hell Part 1, with its ambient, sound effects-laden section before the vocal kicks in, already had me. But when the sparse slide guitar comes in at about 4:08, oh, I was hooked. Then we get to The Road To Hell Part 2, and I’m pretty sure I hit the button to save this to my Spotify library right then and there.
As has happened many times since I joined this group, I had another “Wow, what have I been missing?” moment. Rea’s raspy vocal on You Must Be Evil continues this wandering adventure.
If you’re a fan of Mark Knopfler, J.J. Cale, or Robbie Robertson’s first solo album, you will find a lot here that you’ll like. The easy-going vibe just keeps you drawn in.
I do find it funny how many British artists seem to have an interest in the American West, cowboys, and the like. And we hear that in the track Texas. And with more slinky slide guitar.
I'm hoping Chris Rea ended up in heaven, and not The Road To Hell. 9 out of 10 on this one for me. A wonderful discovery for the new year.
Philip Qvist: A couple of weeks I did a review of this very album as part of a Review The Album Challenge with other Facebook Friends. This was my review of both the artist and the album at the time, with some minor changes.
It is time to review another album, and following the sad news of Chris Rea's death, there is only one album that I could review today, and that is his 1989 best-selling (and dare I say it, his masterpiece), The Road To Hell.
It has been the best part of two decades since I last played this record in full, but I still think that it remains his best, although On The Beach runs it pretty close.
The funny thing about Chris Rea is that I remember his songs getting constant airplay on South African radio stations throughout the 80s, and I believe his music was also quite popular in countries like Germany, Ireland and Australia, and yet he only managed to get a foothold on the British music scene during the latter part of the 80s. In fact, his 70s hit Fool (If You Think It's Over) was more popular in the US, while most Brits are more familiar with Elkie Brooks' cover of that number.
So what about the album? Well, it's clear that one Mr Rea was concerned about the state of the world, especially as he was the father of two young daughters at the time, and his songs reflect that, although Daytona is a homage to his love of motor racing. The Road To Hell Parts 1 & 2 state clearly where he thinks mankind is going, You Must Be Evil attacks TV News shows for their sensationalism, while Tell Me There's A Heaven tackles child abuse. Then there are other songs like Texas, which starts off quietly but builds up to a crescendo by the end, while Looking For A Rainbow is epic in its own right.
He may not be to everyone's musical taste, but there is no denying that he could churn out great songs. A great singer-songwriter and superb lead and slide guitarist, his death is a big loss to the music world. I give Road To Hell a 9.
RIP Chris Rea and thanks for all those great songs throughout the 80s and 90s
,John Davidson: Laid-back but soulful tunes that provide a glimmer of beauty in a troubled world.
Chris Rea may be most remembered for his Christmas song, but this album is a timely reminder that he was a fine singer-songwriter and a great guitarist.
In the mid to late 80s he was a constant feature on the UK equivalent of FM rock radio ( and equivalent TV) and the kind of mainstream crossover star that doesn't seem to happen these days.
There's a hint of Dire Straits and even Peter Gabriel at times, but Rea never really sounds like anyone else. Given the time frame, the production is remarkably free of 80s bloat. Yes, there are synths at times, and a suspicion that some of those drums might be programmed, but the hint of gospel in the backing singers hits the spot, and Rea's guitar work is so loose and fluid you can't help nod your head and smile.
Martin Cross: I always liked Chris Rea. Most of his catalogue is pretty good, with his voice and guitar being the highlight. This is par for the course. Road To Hell Part 2 and Heaven are probably my favourite tracks. It's a good album if you just want to sit back and chill. 6/10.
Mike Canoe: I always thought of Chris Rea, with his pleasantly gruff voice, as what Leonard Cohen would sound like if he was inspired by the blues instead of folk music. It's also easy to draw comparisons to both Mark Knopfler's storytelling and guitar playing.
Favourites include Looking for a Rainbow, You Must be Evil, and That's What They Always Say. Really, only the schmaltzy closing ballad, Tell Me There's a Heaven, takes me out of the album.
Rest in peace, Chris Rea. I may not have listened to you as often as I wanted, but I enjoyed your music when I did.
Chris Downie: Now that he's taken his final ride home for Christmas, debates will inevitably ensue about Chris Rea's musical legacy, and while the festival fun of his famous 'hit' will always come up in conversation, his real strength as a musician was in vaguely conceptual works like 1989's Road To Hell album. While some cite On The Beach as his finest hour and laud late-career highlights like God's Great Banana Skin, Road To Hell has a depth that really shines, despite frequently referencing darker themes of violence, hopelessness and despair.
The opening salvo of the two-part title track stands up extremely well as the atmospheric intro gives way to what was a late-80s radio staple, cursing the M25 motorway (non-UK residents, be thankful in their ignorance!) in all its glory. Across the board, there are many other gems to behold: the dynamic slowburner Texas and the epic Looking For a Rainbow, or the soulful rock of That's What They Always Say. There isn't a filler to be found, as even Daytona hits the mark. If there is to be a divisive talking point, it is the inclusion of Tell Me There's A Heaven as a sombre closer. A fine song in its own right, it does represent a real 'downer' for some.
While Auberge would prove to be another commercial success and a fine album on its own merits, Rea would never again hit such a creative high point, on an album that proved he belonged in the high echelons of singer-songwriters of his time, such as Phil Collins and Mark Knopfler. 8.5/10.
Gary Claydon: So, if the Knopfler brothers and Chris Rea had formed a 'supergroup', would they have called it Dire-Rea? No, I thought not. Anyway, enough of the very old, excruciatingly bad dad jokes.
Sometime in the early '80s, I was given a couple of free tickets to see Chris Rea in concert. He wasn't an artist who was on my radar at the time, and I suspect I was probably a bit 'sniffy' about his music in that post-punk, back-end of NWOBHM period. However, a gig is a gig and I'm always happy to try something new.
What I found myself watching was a consummate performer and an excellent blues and slide guitarist. I'm not going to pretend I became a massive fan as a result, but from then on I did have a soft spot for Rea and a much greater appreciation of his music. This was around the time of his Water Sign album, and I think it's fair to say that his best work was yet to come. This included The Road To Hell, which many of his fans regard as his best ever album.
It's hard not to like Chris Rea. As well as being a talented musician and songwriter, he was a massive petrolhead, and I shared his love of motor sport (I saw him race at Donington a couple of times). He wrote a screenplay based on his childhood that was turned into a film, La Passione, inspired by his boyhood hero, Wolfgang Von Trips.
For the film, Rea built a replica of the 1961 Ferrari 156 'sharknose' that was raced by Von Trips and that year's world champion Phil Hill. There is a nice video of him showing the car to a suitably impressed Hill at Goodwood.
Rea was also a principled and passionate man who battled serious, debilitating illness for much of his life. These are themes that Rea frequently visited in his songwriting.
Road To Hell isn't a particularly cheerful album, despite Rea's trademark easy, gravelly drawl and his wonderfully smooth, expressive guitar work. Here he openly voices his disillusionment with 80's Thatcherite Britain, with the media, the violence and the me, me, me generation. It must have come as a bit of a shock for his record company because this was something of a departure at the time, Rea having largely been previously perceived as a purveyor of easy-going, bluesy love songs. He even looked different. Gone were the blonde locks, replaced by darkly slicked back hair and beard.
The album takes almost as long as an M25 traffic snarl up to get into its stride, with the extended traffic and radio noise intro of the title track, but once it does, it's an easy, laid-back listen. It might not fill many dance floors, but it's an album that will raise plenty of smiles, despite its often gloomy subject matter.
In particular, the run of tracks from Texas through to That's What They Always Say highlight Rea at his best, particularly the guitar. Rea was always a master of touch and tone. Road To Hell is an excellent-sounding album, which is pretty much the case for most of Rea's work.
It's not perfect. I can live without the closing two tracks, with hit single Tell Me There's a Heaven being too saccharine for my tastes, in contrast to its subject matter (it's based on his daughter seeing TV news footage of a burning man). Overall, though, this is a fine album, and it's easy to forget just how popular Chris Rea was at the time, Road To Hell and Auberge giving him back-to-back no.1s in the UK album charts.
R.I.P. Chris.
Final score: 7.50 (52 votes cast, total score 390)
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