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inside story: TEN
Ten, led by the multi-talented Gary Hughes, are swiftly approaching their 20th anniversary and are subsequently in the middle of a creative patch that is more purple than Prince's underwear drawer! A mere six months after the release of their highly lauded 'Albion' opus the band are releasing the follow up, 'Isla De Muerta', in a one-two combination very reminiscent of their first two releases, 'X' and 'Name of the Rose'. Gary Hughes spoke to Dave Crompton...
How are things in the Ten camp at this present moment in time?
Things couldn't be better to be honest. The new guys have settled in really well and the whole band are enjoying this current period of productivity. We've been "busy bees" on the recording front as you know, and we are about to embark upon another European live trip, this time to Athens. The general vibe in Ten is very pro-active as we gear up for our imminent 20th anniversary celebrations.
Has 'Isla De Muerta' satisfied your expectations?
Totally. I began developing a 26 song batch for 'Albion'; it was not unlike back in '96 when we found ourselves with enough material for 'X' and 'The Name of the Rose'. Looking at the variety of material we decided there and then this would be two albums. It was also decided that both albums would follow in quick succession and that no apologies would be made for the fact that both were developed from the same batch of songs. We were confident that the material was strong enough to stand being divided and still make for two powerful but diverse albums. Deciding which songs would go on which album was the hardest part. In the end we decided to make sure that we kept songs of the same ilk away from each other. The result was how you hear it. We felt that 'Albion' was a strong offering and we hope that the fans see 'Isla de Muerta' as being equally so.
with the best of Ten's discography, so did this place greater pressure on you to maintain those standards? Or, did the fact that these songs were "'Albion' born", pardon the pun, make things much easier for you?
I knew I had kept enough in reserve to make 'Isla de Muerta' a strong follow up, and with the new line-up settling in, the only pressure was to make sure that we did the material justice. We took slightly longer to develop the second album simply because we set the bar so high for ourselves with 'Albion'. I conferred a great deal with Dennis Ward on 'Isla...' to make sure that I was providing him with everything he needed come the mix. Dennis has been on board mixing Ten now since 'Stormwarning'. He knows how the band sound and he mixes to his own parameters. I always value his input in the closing stages as he is the one with fresh ears to the project. Sometime it is possible to be too close or precious with the material the closer it gets to fruition. He is my sounding board and is the consummate professional.
I must highlight 'Tell Me What To Do', 'Acquiesce', 'The Dragon And St George' and 'Angel Of Darkness'; I just love the vibrancy, hooks and choruses. Do you have personal favourites?
At this stage I love them all. I tend to play the mastered mixes a lot after completion. Then, invariably, I begin work on something else and consequently stop listening to them for a while. I'm proud of all the songs on the album and think it's a very diverse and mature blend of material. I like to think that there is something for everyone on 'Isla de Muerta'.
I must also mention 'Revolution'. Like 'Right Now' off 'Heresy & Creed' it is quite a departure from the "norm". Do you enjoy pushing the stylistic boundaries?
Is it that obvious? (laughs) Yes, I do. 'Revolution' is a departure of sorts. It's slightly "industrial" in sections with drum loops and such. The French Revolution is such a great subject matter to explore. I have tried to evoke imagery of the riots in the streets, Robespierre reaping the aristocracy for Madame guillotine. For a lyricist it's richly colourful and dramatic stuff with which to squeak a nib. Generally I like to make at least one track veer laterally on each album; it keeps us slightly unpredictable and adds some small essences and flavours to the armoury.
Have you already decided which songs will make the live shows?
The live set lists are always picked through a combination of "must plays" and fan request. I think it's important to give people what they want to hear and not necessarily what you want to play yourselves. We have in the past found ourselves adapting our set list to take into account the differing tastes in different territories. I remember touring in Germany years ago, we had done five or maybe six shows in different cities and were about to play the last show there. We were in Munich as it happens, when a fan asked, "Why aren't you playing 'Wildest Dreams' on this tour?" We looked at each other in bewilderment as he proceeded to inform us that it had been a single there and of all our singles released in Germany this song had charted highest! We'd basically played the whole tour unaware that we were leaving our highest charting single out of the live show. Sometimes it pays to listen to the fans.
Has your writing/recording process changed at all since returning with 'Stormwarning'?
I've probably become more pedantic with regard to detail but the process has been the same since I began writing. The new songs were written in the age old way as far as I am concerned; I really only write one way. Melody on chord comes first and lyrics much later. In this way I get a better feel for the song as a musical piece before I have to commit to a subject matter for the lyrics. The new line-up has worked brilliantly so far in enabling me to envisage melody and countermelody for certain sections. Dann Rosingana and Steve Grocott also work together to adapt some breath-taking dual guitar pieces between them; bringing two guitar players with such differing styles was always going to bring more versatility to the band. The core of Ten has been the same for many years now, and that core of John Halliwell (guitar), Steve McKenna (bass), Max Yates (drums) and Darrel Treece-Birch (keys) means that I have been able to experiment with guitars and guitarists, knowing that the backdrop always remains water tight and solid.
Do the band ever question your decisions/direction?
Not really. It's never arisen. I think they trust the fact that after 12 studio albums for Ten I can write a ditty or two. Ten have always endured, partly because of the musicians that have graced our ranks but also partly because I have steered us through changing times whilst maintaining the same musical flavour and integrity. I'm not Mozart but I know how to write a Ten album and we would be foolhardy to change the formula at this stage of the game. Ten have carried the torch, forgive the pun, through a difficult period in Melodic Rock history. The nineties and noughties were not an easy time for a band who would have been more at home in the late eighties. Many bands of our ilk simply fell by the wayside. We managed somehow to sustain the consistency of our output and continue against the odds. We can't change the formula now. I think that as long as Ten continue to produce albums of a high quality we will have something to offer the scene in general. Too many bands stay beyond their sell by date and I think you are only as strong as your last album. Too many bands live on past glories, which is a shame as it cheats the fans and tarnishes the legend.
It really does appear that this line-up are totally in sync and producing the best musicianship of their careers.
Thank you. I think so. The band seem more relaxed generally. My long term partners in crime John Halliwell and Steve McKenna are as solid as ever and playing more confidently and effortlessly with every year that passes. Darrel Treece-Birch, or "The Doc" as I prefer to call him, has refined his creation of sounds to an art form, his playing is in a different league and his capacity within the band is such that it feels to me like he's always been around. Max Yates has matured from being the baby of the band to being its backbone. His creative input on the drums for Ten has increased dramatically and the backdrop for Ten's live sound has never been more concrete. Dann and Steve G, as I mentioned earlier, have been the icing on the cake. It's certainly coming more naturally for Ten nowadays. I think I can speak for the band when I say that there was a time when we worried too much about the "nay-sayers". Ten have always been a "marmite" band for many. I never understood why. There have been many occasions in my career when I have wondered what some people wanted of me. On the whole, British audiences tend to stand back and say "impress me", but they seem even harder when it comes to British bands. All one can do is to remain true to oneself. We're making music we're proud of and are ever grateful to the loyal fans who continue appreciate it. The difference is that we don't lose sleep anymore over those who don't.
As part of the 20th anniversary celebrations I believe an EP is on the horizon?
Rocktopia are planning 'The Dragon and Saint George EP' for later in the year, to coincide with our 20th anniversary. Aside from the title track the EP will feature another track from 'Isla..' and three exclusive unreleased tracks. Gaetano de Falco has been commissioned once again to complete the artwork for the EP which will be on CD and 12" picture disc vinyl. With Ten being British it's quite fitting that this subject matter can be used to mark our 20th anniversary. For the song itself I've stuck to the legend and not the myriad of romanticised versions out there and the artwork will depict that. George is our patron saint and we're proud to be British.
I assume your relationship with Rocktopia Records is developing well?
Very well indeed, and a complete breath of fresh air. We had been with Frontiers in Europe since the demise of Now And Then records. I've known Bruce (Mee) for many years as a family friend as well as a business associate and so entering into another business relationship with him was always going to feel natural. I have known Kieran (Dargan) for slightly less time but like Ten themselves, Kieran has been instrumental in perpetuating this genre of music with Firefest, steering the genre through the nineties and noughties; a particularly difficult, almost cult status period of time for Melodic Rock music as a whole. We are all three kindred spirits, equally passionate about the music we love. They leave me to create unhindered, and I leave them to do business with the product. It's an arrangement that allows me total freedom as a songwriter and artist. This creative freedom has yielded two albums and has given me a new found drive and conviction. Rocktopia believe in the band and have put their money behind us. Who can ask for more?
Can you tell me about your work with Serpentine, and indeed the forthcoming debut album from Karen King?
The Serpentine guys were a blast to work with. It was nice to put my producer hat on again. Musically, I co-wrote with Chris (Gould) and Gareth (David Noon) from the band, lyrically I was allowed total freedom. Adam Payne is their new vocalist; a great guy with a great voice. The band played out of their skins and the album 'Circle of Knives' will, I think, surprise many people who considered them a lightweight unit. This album is much darker.
The Karen King debut will be the first album of songs I have written for another artist since the three albums I wrote for Bob Catley. Karen has a great voice and the collection of material we're working on is very strong indeed. Style wise it sits somewhere between Heart, Roxette and Benatar. Karen sounds great and looks great, so with the song material we have people can expect an extremely high quality debut album.
At The Gods in 2000, you boldly said your creative reservoir would never dry up. Is that still the case?
I still write more than I can ever use. I have digital mp3s of song ideas going back to '94/'95, a chorus here, a verse and a bridge there. Over the years they number into the thousands. The 26 song batch for 'Albion' and 'Isla...' came from a shortlist of over 40 songs. At least it makes sure that the ones that make it through are strong. Nearly 30 years on and I still feel humbled that people might find my music moving and inspired.
Will there be a live album, DVD, or both in the foreseeable future?
Rocktopia have lots in store to mark our anniversary. A great many things are being discussed, including live shows in support of the event which should hopefully yield a double live CD. So it's a case of watch this space on that. I'm also working on 11 original acoustic tracks for Ten as we have never made a dedicated acoustic album to date. I think it would be nice to have an album of acoustic songs where the mood isn't interrupted. A backdrop for that night in with a bottle of wine...
Can we dare wish for any future collaboration with Bob Catley?
Never say never. I enjoyed my time working with Bob. We made three great albums together and he knows I can write for his voice. The problem is that he's in Magnum mode currently, and I'm in Ten mode. Whether time will allow me another foray into Bob's solo album legacy remains to be seen. It will take a while to write another truly great Bob album, especially when we raised the bar so high with the first three. Either way I still think of him fondly. He's a gent and we had a laugh together.
Are Japan and the US realistic touring destinations?
Japan looks like happening again early next year to coincide with the 20th anniversary of the release of 'X' over there. The US has, thus far, eluded us. Ten will play anywhere there's an audience. Promoters enquiring over live dates know the cost of bringing bands like Ten abroad. No-one's prepared to lose money to do it and no one likes to work for nothing. Ten are a seven piece which makes things even harder financially. That said, we have a tour management team headed by Jason Thanos who will talk to anyone about live dates. We just have to be realistic about what's possible on the budget. I truly hope you guys enjoy 'Isla de Muerta' and I hope you'll all come out to see us later in the year for a 20th anniversary celebration.
This article was used with kind permission and co-operation from FIREWORKS MAGAZINE
Buy the current issue
Current issue: #70:
Things couldn't be better to be honest. The new guys have settled in really well and the whole band are enjoying this current period of productivity. We've been "busy bees" on the recording front as you know, and we are about to embark upon another European live trip, this time to Athens. The general vibe in Ten is very pro-active as we gear up for our imminent 20th anniversary celebrations.
Has 'Isla De Muerta' satisfied your expectations?
Totally. I began developing a 26 song batch for 'Albion'; it was not unlike back in '96 when we found ourselves with enough material for 'X' and 'The Name of the Rose'. Looking at the variety of material we decided there and then this would be two albums. It was also decided that both albums would follow in quick succession and that no apologies would be made for the fact that both were developed from the same batch of songs. We were confident that the material was strong enough to stand being divided and still make for two powerful but diverse albums. Deciding which songs would go on which album was the hardest part. In the end we decided to make sure that we kept songs of the same ilk away from each other. The result was how you hear it. We felt that 'Albion' was a strong offering and we hope that the fans see 'Isla de Muerta' as being equally so.
with the best of Ten's discography, so did this place greater pressure on you to maintain those standards? Or, did the fact that these songs were "'Albion' born", pardon the pun, make things much easier for you?
I knew I had kept enough in reserve to make 'Isla de Muerta' a strong follow up, and with the new line-up settling in, the only pressure was to make sure that we did the material justice. We took slightly longer to develop the second album simply because we set the bar so high for ourselves with 'Albion'. I conferred a great deal with Dennis Ward on 'Isla...' to make sure that I was providing him with everything he needed come the mix. Dennis has been on board mixing Ten now since 'Stormwarning'. He knows how the band sound and he mixes to his own parameters. I always value his input in the closing stages as he is the one with fresh ears to the project. Sometime it is possible to be too close or precious with the material the closer it gets to fruition. He is my sounding board and is the consummate professional.
I must highlight 'Tell Me What To Do', 'Acquiesce', 'The Dragon And St George' and 'Angel Of Darkness'; I just love the vibrancy, hooks and choruses. Do you have personal favourites?
At this stage I love them all. I tend to play the mastered mixes a lot after completion. Then, invariably, I begin work on something else and consequently stop listening to them for a while. I'm proud of all the songs on the album and think it's a very diverse and mature blend of material. I like to think that there is something for everyone on 'Isla de Muerta'.
I must also mention 'Revolution'. Like 'Right Now' off 'Heresy & Creed' it is quite a departure from the "norm". Do you enjoy pushing the stylistic boundaries?
Is it that obvious? (laughs) Yes, I do. 'Revolution' is a departure of sorts. It's slightly "industrial" in sections with drum loops and such. The French Revolution is such a great subject matter to explore. I have tried to evoke imagery of the riots in the streets, Robespierre reaping the aristocracy for Madame guillotine. For a lyricist it's richly colourful and dramatic stuff with which to squeak a nib. Generally I like to make at least one track veer laterally on each album; it keeps us slightly unpredictable and adds some small essences and flavours to the armoury.
Have you already decided which songs will make the live shows?
The live set lists are always picked through a combination of "must plays" and fan request. I think it's important to give people what they want to hear and not necessarily what you want to play yourselves. We have in the past found ourselves adapting our set list to take into account the differing tastes in different territories. I remember touring in Germany years ago, we had done five or maybe six shows in different cities and were about to play the last show there. We were in Munich as it happens, when a fan asked, "Why aren't you playing 'Wildest Dreams' on this tour?" We looked at each other in bewilderment as he proceeded to inform us that it had been a single there and of all our singles released in Germany this song had charted highest! We'd basically played the whole tour unaware that we were leaving our highest charting single out of the live show. Sometimes it pays to listen to the fans.
Has your writing/recording process changed at all since returning with 'Stormwarning'?
I've probably become more pedantic with regard to detail but the process has been the same since I began writing. The new songs were written in the age old way as far as I am concerned; I really only write one way. Melody on chord comes first and lyrics much later. In this way I get a better feel for the song as a musical piece before I have to commit to a subject matter for the lyrics. The new line-up has worked brilliantly so far in enabling me to envisage melody and countermelody for certain sections. Dann Rosingana and Steve Grocott also work together to adapt some breath-taking dual guitar pieces between them; bringing two guitar players with such differing styles was always going to bring more versatility to the band. The core of Ten has been the same for many years now, and that core of John Halliwell (guitar), Steve McKenna (bass), Max Yates (drums) and Darrel Treece-Birch (keys) means that I have been able to experiment with guitars and guitarists, knowing that the backdrop always remains water tight and solid.
Do the band ever question your decisions/direction?
Not really. It's never arisen. I think they trust the fact that after 12 studio albums for Ten I can write a ditty or two. Ten have always endured, partly because of the musicians that have graced our ranks but also partly because I have steered us through changing times whilst maintaining the same musical flavour and integrity. I'm not Mozart but I know how to write a Ten album and we would be foolhardy to change the formula at this stage of the game. Ten have carried the torch, forgive the pun, through a difficult period in Melodic Rock history. The nineties and noughties were not an easy time for a band who would have been more at home in the late eighties. Many bands of our ilk simply fell by the wayside. We managed somehow to sustain the consistency of our output and continue against the odds. We can't change the formula now. I think that as long as Ten continue to produce albums of a high quality we will have something to offer the scene in general. Too many bands stay beyond their sell by date and I think you are only as strong as your last album. Too many bands live on past glories, which is a shame as it cheats the fans and tarnishes the legend.
It really does appear that this line-up are totally in sync and producing the best musicianship of their careers.
Thank you. I think so. The band seem more relaxed generally. My long term partners in crime John Halliwell and Steve McKenna are as solid as ever and playing more confidently and effortlessly with every year that passes. Darrel Treece-Birch, or "The Doc" as I prefer to call him, has refined his creation of sounds to an art form, his playing is in a different league and his capacity within the band is such that it feels to me like he's always been around. Max Yates has matured from being the baby of the band to being its backbone. His creative input on the drums for Ten has increased dramatically and the backdrop for Ten's live sound has never been more concrete. Dann and Steve G, as I mentioned earlier, have been the icing on the cake. It's certainly coming more naturally for Ten nowadays. I think I can speak for the band when I say that there was a time when we worried too much about the "nay-sayers". Ten have always been a "marmite" band for many. I never understood why. There have been many occasions in my career when I have wondered what some people wanted of me. On the whole, British audiences tend to stand back and say "impress me", but they seem even harder when it comes to British bands. All one can do is to remain true to oneself. We're making music we're proud of and are ever grateful to the loyal fans who continue appreciate it. The difference is that we don't lose sleep anymore over those who don't.
As part of the 20th anniversary celebrations I believe an EP is on the horizon?
Rocktopia are planning 'The Dragon and Saint George EP' for later in the year, to coincide with our 20th anniversary. Aside from the title track the EP will feature another track from 'Isla..' and three exclusive unreleased tracks. Gaetano de Falco has been commissioned once again to complete the artwork for the EP which will be on CD and 12" picture disc vinyl. With Ten being British it's quite fitting that this subject matter can be used to mark our 20th anniversary. For the song itself I've stuck to the legend and not the myriad of romanticised versions out there and the artwork will depict that. George is our patron saint and we're proud to be British.
I assume your relationship with Rocktopia Records is developing well?
Very well indeed, and a complete breath of fresh air. We had been with Frontiers in Europe since the demise of Now And Then records. I've known Bruce (Mee) for many years as a family friend as well as a business associate and so entering into another business relationship with him was always going to feel natural. I have known Kieran (Dargan) for slightly less time but like Ten themselves, Kieran has been instrumental in perpetuating this genre of music with Firefest, steering the genre through the nineties and noughties; a particularly difficult, almost cult status period of time for Melodic Rock music as a whole. We are all three kindred spirits, equally passionate about the music we love. They leave me to create unhindered, and I leave them to do business with the product. It's an arrangement that allows me total freedom as a songwriter and artist. This creative freedom has yielded two albums and has given me a new found drive and conviction. Rocktopia believe in the band and have put their money behind us. Who can ask for more?
Can you tell me about your work with Serpentine, and indeed the forthcoming debut album from Karen King?
The Serpentine guys were a blast to work with. It was nice to put my producer hat on again. Musically, I co-wrote with Chris (Gould) and Gareth (David Noon) from the band, lyrically I was allowed total freedom. Adam Payne is their new vocalist; a great guy with a great voice. The band played out of their skins and the album 'Circle of Knives' will, I think, surprise many people who considered them a lightweight unit. This album is much darker.
The Karen King debut will be the first album of songs I have written for another artist since the three albums I wrote for Bob Catley. Karen has a great voice and the collection of material we're working on is very strong indeed. Style wise it sits somewhere between Heart, Roxette and Benatar. Karen sounds great and looks great, so with the song material we have people can expect an extremely high quality debut album.
At The Gods in 2000, you boldly said your creative reservoir would never dry up. Is that still the case?
I still write more than I can ever use. I have digital mp3s of song ideas going back to '94/'95, a chorus here, a verse and a bridge there. Over the years they number into the thousands. The 26 song batch for 'Albion' and 'Isla...' came from a shortlist of over 40 songs. At least it makes sure that the ones that make it through are strong. Nearly 30 years on and I still feel humbled that people might find my music moving and inspired.
Will there be a live album, DVD, or both in the foreseeable future?
Rocktopia have lots in store to mark our anniversary. A great many things are being discussed, including live shows in support of the event which should hopefully yield a double live CD. So it's a case of watch this space on that. I'm also working on 11 original acoustic tracks for Ten as we have never made a dedicated acoustic album to date. I think it would be nice to have an album of acoustic songs where the mood isn't interrupted. A backdrop for that night in with a bottle of wine...
Can we dare wish for any future collaboration with Bob Catley?
Never say never. I enjoyed my time working with Bob. We made three great albums together and he knows I can write for his voice. The problem is that he's in Magnum mode currently, and I'm in Ten mode. Whether time will allow me another foray into Bob's solo album legacy remains to be seen. It will take a while to write another truly great Bob album, especially when we raised the bar so high with the first three. Either way I still think of him fondly. He's a gent and we had a laugh together.
Are Japan and the US realistic touring destinations?
Japan looks like happening again early next year to coincide with the 20th anniversary of the release of 'X' over there. The US has, thus far, eluded us. Ten will play anywhere there's an audience. Promoters enquiring over live dates know the cost of bringing bands like Ten abroad. No-one's prepared to lose money to do it and no one likes to work for nothing. Ten are a seven piece which makes things even harder financially. That said, we have a tour management team headed by Jason Thanos who will talk to anyone about live dates. We just have to be realistic about what's possible on the budget. I truly hope you guys enjoy 'Isla de Muerta' and I hope you'll all come out to see us later in the year for a 20th anniversary celebration.
This article was used with kind permission and co-operation from FIREWORKS MAGAZINE
Buy the current issue
Current issue: #70:
