After 15 albums with his band Ten plus acting as a song writer for artists like Bob Catley (Magnum) and Serpentine and seven albums and one E.P as a solo artist, lead singer and main-songwriter for Ten, Gary Hughes decided last year that it was time for yet another solo album which became Waterside, his first since 2007. To my ears, that record was a half-arsed release – none of the songs really stood out and the production screamed budget, something that surprised me because of Hughes’ solid reputation as a song writer. I haven’t really followed Ten throughout the years, my first encounter with the band was with their 2015 album Isla De Muerta because I was handed a promo. I really liked that record. Still do.
The two following albums, Gothica (2017) and Illuminati (2018) were solid efforts too albeit not exactly as good as Isla De Muerta. That said, I still haven’t listened to the early Ten releases, something that I just might have to get around to as many reactions to my reviews of those albums were that Ten was a better band in the their earlier years. Be that as it may, now four years since their last effort, Ten is releasing a new record and my hope is that Hughes’ latest solo release hasn’t rubbed off on it and that we’ll be treated with an album as good – hopefully better – as the last three releases.
Opener “Fearless” is a mid-paced rocker that screams classic Ten albeit with a crunchy, Zep-like riff. After a piano intro the song gets into a chunkier groove with some Classic Rock influences but with the chorus coming in, the song takes a more Melodic Rock structure that we’re used to from Ten. It’s a convincing opener with a direct chorus-hook – good one. “Chapter And Psalm” is more of a pop-rocker with smooth melodies and a big AOR vibe. However, the dramatic piano throws in some melancholy to the atmosphere which creates a dynamic vibe to the song. The chorus is really strong too and gives a “future single” vibe to the track. I like it.
Leading single “Hurricane” starts out as a slow and darkening piano-ballad, quite low-key and held-back with a saddening atmosphere. As the song goes on it takes on a bigger power ballad approach, quite bombastic. It holds an 80’s touch where a band like Journey comes to mind at times as an influence. The chorus is infectious and direct and grabs a holds right away. Could/should be a hit. Very good indeed. Also on a slower note “Strangers on A Distant Shore” comes with a rawer Classic Rock outlook where led Zeppelin meets late 80’s Whitesnake. Crunchy riffage and a stompy rhythm. More contrasts comes with the big chorus which speeds up the pace and turns somewhat lighter with a big Melodic Rock hook. Good one.
On a more rough-edged note “The Dream That Fell To Earth” brings on some more crunchy riffing where classic Hard Rock lies in the bottom with its tough beat and guitar driven outlook. It also flirts with proggier moments and some pompy keyboards which contrasts fine with the darker atmosphere and the heavier approach. But as usual the chorus comes with the hooky and smoother melodies. It’s a good tune but doesn’t really go all the way for me. Latest single “The Miracle Of Life” changes path into straight on AOR with big pop-hooks and a big keyboard sound. It’s glossy, polished and somewhat sugary but the melodies are delicate and the chorus sticks like glue so I turn both my thumbs up for this one.
“Immaculate Friends” is an upbeat pop-rocker with a pomp-laden keyboard arrangement that brings on a slight Magnum influence. It’s a straight forward number with classic Ten sounding melodies and another chorus with an intense hook that brings on some immediate catchiness. Good stuff. “Anything You Want” is more of a straight on pop-song, quite Beatles-esque with a prominent piano, big keyboards and smooth vocal-lines that throws a clear nod towards 80’s AOR. It’s a really catchy tune and even though it holds 80’s touches it never gets cheesy or saccharine – and the choir really lifts the chorus. Very good.
“Follow Me Into The Fire” takes a heavier approach with its fat, bouncy rhythms, the raunchy classic Hard Rock riffings and the roaring organ. It’s a bit slower in pace and at seven minutes the song goes for a bigger progressive twist yet it’s not even close any Dream Theater vibes. It’s quite live-friendly and even though the smoother vocal melodies takes some off the edge off, it never succumbs to any pop-smoothness. Good one. The closing track “The Longest Time” is a big ballad both pompous and symphonic with a large soundscape. It’s slightly bluesy, it holds a lead break that comes across as almost folky and the chorus takes the song into power ballad territory with the AOR-ish vocal arrangements. A good closer.
While this might come across as just another Ten album, it’s fair to say that it’s in the same league as the last couple of records, only slightly better but not quite as good as Isla De Muerta but way better than Hughes’ latest solo album. There are no bad songs on this record to be found but too few that stands out as killers either. Unfortunately the thing that holds Ten back the most is Hughes’ limited voice – the songs, especially the choruses, just won’t take off, they doesn’t lift much because of Hughes lying in the same register most of the time. I know it’s his band, he’s the main song writer and his voice might just identify the band’s sound but I can’t shake the feeling of the songs going to a higher level with a voice with a broader range singing them. Still song-wise, I find this album an enjoyable one.
6/10
More Ten reviews:
Isla De Muerta
Gothica
Illuminati
Tracklist:
1. Fearless
2. Chapter And Psalm
3. Hurricane
4. Strangers On A Distant Shore
5. The Dream That Fell To Earth
6. The Miracle Of Life
7. Immaculate Friends
8. Anything You Want
9. Follow Me Into The Fire
10. The Longest Time
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