TENBy Wolf Grant
Want to start an argument on melodic rock? Then simply go onto one of the better known noticeboards and ask for opinions on Ten. For every fan that professes their admiration you will get those who decry their very existence. A very strange situation, especially seeing as how the band have won numerous polls and awards since their inception back in 1995, thus proving their popularity amongst the general melodic rock loving population.
Ten's
self-titled debut in 1996 still ranks as one of the best debuts
by a British hard rock band. An amazing collection of emotion
drenched melodic rock with Gary Hughes' evocative vocals and
Vinny Burns displaying some of the most tasteful guitar playing
heard in ages - just listen to the magic that is 'Loneliest Place
in the World'. A mere six months later came the follow up, 'The
Name of the Rose', which many fans still proclaim as Ten's finest
moment. And with this album Ten began to experience the main
problem that has dogged them ever since. Although all the songs
for the first two albums were recorded at the same time - the
eventual running orders being chosen by the band and record
company - the second album had a distinctly heavier vibe to it.
Songs such as the title track became firm fan favourites, and was
even voted 'Song of the Year' in Japan's Burrn! Magazine, a very
high accolade indeed. In fact, both the debut and 'NotR' appeared
in the Top 5 of their reader's Top 50 albums of the year, an
amazing feat when you consider the split vote, and one which has
never been equalled. This showed just how much the Japanese fans
had taken Ten into their hearts.
In 1997, third album 'The Robe' saw Ten display more of their
heavier side with songs such as 'Bright on the Blade' and
'Battlelines', and even at this early stage in their career, some
fans were yearning for a return to the more 'AOR friendly' sounds
of their debut. This despite the fact that 'The Robe' contained
two of Ten's best ever ballads, 'You're in My Heart' and
'Someday'.
1999
saw the Rafe McKenna (Giant, Bad Company, Foreigner) produced
'Spellbound' released, featuring a wonderful cover by renowned
Spanish artist Luis Royo. McKenna made a tougher, harder sounding
album, which along with the fantasy art cover helped Ten appeal
to the European metal crowd, as well as the usual AOR/MHR fans.
The Celtic influences were also a treat, giving Ten a distinctive
Thin Lizzy vibe at times, and giving us the firm fan favourite
'Red'. However, the album also succeeded in alienating some of
their older fans.
Personally, I can't understand why some people claim all Ten
albums are the same. That is so patently untrue, and to force the
point even further, the band made the very brave move of creating
a concept album as their fifth release in 2000, the futuristic
epic 'Babylon'. This album saw a mixture of all the styles from
previous Ten albums, and seemed to gain almost universal approval
from fans - walking away with the vote for best MHR album and
production in last year's Fireworks Poll - despite featuring
'Thunder in Heaven', an amazing track I consider to be the
heaviest song ever recorded by Ten.
As vocalist and main songwriter Gary Hughes explains, "I am
very happy indeed with the fans reaction to Babylon. It was a
very experimental album for Ten as a band and the fans adapted to
the adventure all consumingly." So having spent a long
period planning out such an album, would they ever be likely to
repeat the experince? "Who knows," replies Gary.
"Musically we are extremely flexible. I wouldn't rule
anything out at this stage regarding our future."
So after the success of Babylon, the band had to decide how to
plan the follow up. The market in Japan had crashed pretty badly
due to the economic problems being experienced in the country,
and most bands had lost a large percentage of their sales, many
not even being able to obtain a deal!
After 5 studio albums, it is still the first two Ten albums that
are the biggest sellers in Japan. Not surprisingly, it is
'Spellbound' that is the biggest seller in Europe. This left the
band in a bit of a quandary - do they target the more AOR loving
Japanese audience or the European audience, with their harder
tastes. An initial suggestion of recording a core version of the
next album, with different songs for the different markets, was
quickly discounted, with the final decision being made to try and
emulate the success of those early albums.
As to how this affected the writing process on 'Far Beyond the
World', Gary explains, "For the most part, in the same ways
as before, only this time we have gone for a more modern approach
to the material. It is important to justify yourselves in today's
market. No-one can make music that sounds like it belongs to the
eighties anymore. Not and survive."
Usually, the term 'modern approach' would set the alarm bells
ringing, conjuring up images of de-tuned guitars and miserable
looking musicians, but having listened to the album I would have
to say it's more a mixture of the most commercial parts of
'Babylon' with Gary's solo album 'Precious Ones' and also bits of
the debut. Definitely an album to please those looking for a
return to the more commercial sound of Ten. Gary does not deny
this. "We have always believed that Ten are one of the few
bands with the potential to 'cross over' musically. We believe if
we persist, that sooner or later its going to happen for us.
Also, the fans always liked the commercial side of Ten so why
should we disappoint them? With this album we have achieved a
successful blend of all the best elements of the Ten catalalogue
to date. We are happy that this is our best album so far,
commercially or otherwise."
But what about the fans of the harder songs? Will Ten ever be
writing songs like 'Thunder in Heaven' and 'Bright on the Blade'
again? As Hughes explains, "The beauty of Ten is that
musically there are no rules. Obviously, however hard you try you
can't please all the people all of the time, but I'm sure that
those fans who particularly enjoyed the two tracks you mention
will also enjoy 'Glimmer of Evil', 'High Tide' and 'Black
Shadows' on 'Far Beyond The World'."
The mix aspect of Ten albums has also been the source of much
debate. The legendary Mike Stone (Journey, Whitesnake, Y&T)
mixed the first three albums. However, for 'The Robe' it was
decided a change would be beneficial for the band, and Rafe
McKenna was brought in. Everyone was a massive fan of the Giant
albums, and this seemed an ideal choice. The vocals and guitars
were a lot drier on this album, McKenna not being a huge fan of
reverb, and the results certainly made Ten a harder sounding
animal. For 'Babylon', the mix was handled in-house at Now &
Then's Startracks studio. While some complained the mix had the
same muddy sound they heard on the Bob Catley solo albums, the
general consensus was definitely positive, the album winning best
production in our polls last year with more than double the
amount of votes than its nearest rival.
For 'Far Beyond the World', Gary and Vinny went to Germany to mix
the album with the famous Tommy Newton (Helloween, Crystal Ball).
The experience was certainly a positive one. " Tommy is one
of the best mix engineers in the world today," extols
Hughes. "He is a great guy who loves our material and
believes wholeheartedly in the band. He understands us incredibly
well which comes over audibly in his approach to the mixes. We
trusted Tommy 110% with our musical vision. We have become great
friends. In my opinion this is the best Ten album to date. With
Ten we have been very lucky to have already worked with some of
the best producers on the scene. Mike, Rafe and Tommy have all
brought something special to the Ten albums that they have been
involved with, and I certainly wouldn't hesitate to work with any
of them again."
Having used Luis Royo for the the last two album covers, a
connection the band were originally keen to keep to maintain a
theme for all their forth-coming albums, 'Far Beyond the World'
has opted instead for a much simpler design, created by guitarist
John Halliwell. A surprise for sure, but as Gary explains,
"We have done the 'Dungeons and Dragons' thing to death.
Everyone's doing it now. We felt that we wanted a more modern
looking product to compliment the modern approach to the
production. We wanted a simpler album sleeve this time. More
striking...simpler colours...a fresh approach. Few people realise
but John is a professional graphic artist. He approached the band
with his ideas for the sleeve. We really liked them and felt that
he had exactly captured what we were looking for, so that was
that."
And as
befitting the change of cover style, the lyrics are less of the
fantasy inspired words that instilled contempt in some listeners,
and more of the genuine emotional stories Gary is better loved
for. In his own words, "It is essentially an album of love
songs. Different perspectives, different moods."
Another change is the replacement of Dan Airey with ex-Hard
Rain/Bob Catley keyboardist Paul Hodson. Paul, of course, played
a double shift when Ten and Bob Catley toured earlier in the
year, so does this mean that Paul is now officially a member of
Ten? "Yes, Paul is the newest full time member of Ten,"
confirms Gary. "He is perfect for this band and he is one of
the nicest guys I know. He stepped in for Don when Don couldn't
do the European tour due to prior contractual obligations with
Uli Roth. It seemed only natural that Paul should participate on
the new album. Don is a good friend of mine and the consummate
professional. There is no bad feeling at all. In fact Don was
incredibly understanding and supportive of our decision. He is
the busiest man in the world and certainly one of the most
genuine."
And speaking of that tour, one of the few Ten have done in their
six year existence, and certainly the longest and most gruelling,
I wonder if it had been tough on the voice. "Not
really," Gary explains. "We did six shows and one day
off for 28 days or so. I paced myself and tried to look after my
voice. Bob and I were a great support for each other on tour. I
learned a lot from working with him."
Ah
yes, Bob Catley. Three fabulous albums into a successful solo
career, all of which Gary Hughes has written and produced.
However, with Gary busy for the next year on other projects, it
looks like the vocalist for the recently reformed Magnum will be
looking to other people to write for his next solo album,
tentatively looking at being recorded towards the end of next
year for an early 2002 release. Already the likes of Jim Peterik,
Kelly Keagy, Kip Winger and Russ Ballard have expressed a desire
to contribute to the album. A mouth watering prospect to be sure,
but will Hughes be working with Catley again? If that decision is
up to Hughes, it would certainly seem likely. "I sincerely
hope so. He is a great friend of mine and I am truly proud of the
music we have made together."
The project Gary will be working on for most of next year is the
oft spoken about King Arthur project, 'The Once and Future King'.
Having just finally completed writing for this mammoth
under-taking, it was discovered that the material would end up
having to be spread across three albums. That is one hell of a
work load! The project will entail various characters, none of
whom are confirmed with the exception of Bob Catley as Merlin.
And Hugo was approached a while back and expressed an interest in
the part of Lancelot.
Of course, as most fans will be well aware of, Gary and Hugo
collaborated on the former Valentine/Open Skyz singer's debut
solo CD, an album which has been hailed a masterpiece by many.
Hugo recorded and produced the follow-up, 'Time On Earth', by
himself in New York, and the lighter, more melancholy style was
not to everyone's liking. Gary would love to work with Hugo again
in the future, and already has an album full of material that he
thinks would be just perfect for his silky vocals. "It would
really be something don't you think?" smiles Hughes. "I
don't know how pro-active Hugo is in music today but I still rate
him as technically one of the best vocalists I have ever
recorded."
Of
course, if he had a free choice, there are also other people he'd
like to work with. "There are many great artists out there.
If I had to single any but I'd have to say as far as guitarists
are concerned, Neal Schon, Steve Lukather, Gary Moore and Brian
May. As for vocalists I'd have to single out Dave Coverdale, Brad
Delp, Anne Wilson and Ronnie James Dio."
Now there's some combinations I'd certainly love to see. But to
get back to my initial observation, why is it that some people
just can't resist having a pop at Ten? Why do the band attract
such negativity, as well as the plaudits?
"Probably for numerous reasons," reflects Hughes.
"We're not thrash metal but we're not soft rock. We are
difficult to pigeon hole. We follow no musical rules. We're not
American, we're English and proud of it. We are relatively
successful in a unsuccessful era for rock music. We don't fade
away, we evolve and adapt whilst retaining our musical integrity.
Love us or hate us we are true to what we do in an honest
fashion, for at the end of the day you can really only ever be
true to yourself."
And you can't say fairer than that!
This interview was reprinted
with permission from Fireworks Magazine.
