I get the idea…in itself it’s not a bad proposition – three of the scene’s leading male vocalists all appearing intertwined through a dozen new melodic rock tunes. But there are issues from the outset here. Bland songs, sterile production, no real plan to work their voices together and an unfortunate lack of emotional urgency that music of this style should carry.

Fronting up for this latest Frontiers ‘project’ is Kent Hilli – one of the most melodic and popular vocalists around right now, who is in real danger of spreading himself way too thin (Perfect Plan, Giant, Solo Album and TBA fourth project pending); Robbie LaBlanc – the powerhouse singer left powerless with a bland mix of songs; and Toby Hitchcock, the star of Pride Of Lions, who is yet to find consistency outside of that vehicle.

The concept has worked brilliantly when a two pronged approach is used such as with Russell Allen and Jorn Lande, but those albums had the bonus of Magnus Karlsson at the helm, providing some killer songs and intuitive mixing of the vocalists.

With Tenors, it is Alessandro Del Vecchio, the Frontiers songwriter/producer/mixer/multi-instrument playing machine, responsible here for writing, production, mixing, mastering, bass, additional keyboards, guitars, and backing vocals.

On top of some completely twee lyrics, none of the voices are given any room to breathe. There’s no comradery or sense of a unified mission between the singers. There’s no natural chemistry – just three voices recorded in different studios, singing songs they didn’t write, mixed together at ADV central.

The mid-album Silent Cries is the only song that stands out as anywhere near memorable.

The idea of three singing together as “tenors” should be to create a wall of vocals, rich harmonies, not just three guys singing one line each at a time. It’s way too disjointed. And to be frank, its just plain dull. Lifeless and repetitive and all too familiar to those following along with the endless Frontiers projects.

This is Gary Hughes’ sixteenth album under the Ten moniker. 16! I’ve been a fan since the debut, having first heard it when Now & Then’s Mark Ashton sent me an advance to review in the early days of this site. Over the years members have come and gone, with Gary the one constant, and the sound has varied also – moving from melodic rock/AOR through to hard rock and even melodic metal on occasion.

This time it’s a bit of everything – there’s some heavier numbers, but also a ton of memorable AOR friendly songs – the most of any Ten album in the last several years. And I’m happy to report that the quality of these songs is as good as ever. I love what I’m hearing and this album stands out as one of the band’s better ones in a long rich history of great music. Nice to hear Gary singing in that warm AOR tone so familiar with the debut back in 1996.

Essential for Ten fans and well worthy for recent era fence sitters.

How do you follow up a career defining masterpiece, that itself was an album that followed any number of critically acclaimed records before that?

Take your time…

So Threshold did just that. Some five years since the perfect ‘Legend Of The Shires’, the band resists the temptation to record a sequel to that epic record by just doing what they do best – delivering another brilliant progressive hard rock record filled with hard hitting, memorable songs.

Threshold have always had their sound and this album continues to deliver exactly what fans would expect, but with the usual subtle changes that help each album the band delivers, carry its own identity.

This time around the mood is a little darker, the songs a little heavier and the harmonies buried a little deeper into the songs. As is always required, multiple listens over several days is needed to fully appreciate any new work from Threshold and this album reveals itself beautifully.

The formula of four heavy rockers and a mid-album epic is repeated in the second half of the album, ending with the second epic Defence Condition.

I think the intensity drops off over the last couple of tracks before the closer, but there’s no filler here at all.

The first half of the album is near perfect in anyone’s language, the overall result will satisfy all Threshold fans. Its another brilliant record. Awesome, but not quite another masterpiece.

Toby Hitchcock is one of the voices of the last decade or so. Since his Pride Of Lions debut, his powerful tenor has been front and centre for some of the genre’s best anthems and most epic ballads. Any Toby Hitchcock is good Toby Hitchcock. And for the most part, this album is no different. Songs are delivered by the who’s who of the AOR scene, with at least another 4-5 classic songs here – Queen Untouchable, Promise Me, No Surrender and This Is Our World. Man, the guy can sing. 

I like that a lot of the album is uptempo and flows at a pretty hectic pace. I don’t think this is as strong as Toby’s Erik Martensson-helmed debut. Even though this album is also a Swedish production, the differences are quite stark. Reckoning sounds firmly planted in the 80s, with the keyboards and production style a more distinct European in flavour.

The songs are enjoyable but not to the same level as the debut or Pride Of Lions. There is one issue that desperately needs to be addressed. The keyboards. We need to talk about the keyboards. As has been the case with all Daniel Flores productions, the keyboards dominate. They are the highest element in the mix, aside from vocals and there are just way too many layers of them. There is no letup in the sonic bombardment. There needs to be more space for the rest of the instrumentation to breathe. Even during guitar solos the keyboards still dominate.

I like Daniel a lot – very talented and sweet guy – but there must be an intervention. The keyboards are simply overbearing, and the production style is becoming very repetitive. Find Me (all 3), the second First Signal album, the Palace debut, Cry Of Dawn and now Toby Hitchcock – largely all sound the same.

So moving forward I hope some individual personality can be infused into these projects. And that's the main essence of what's missing here - its own personality. That said, there’s still plenty to enjoy and Toby’s vocals are powerful, emotional and totally immersive. Fans of Find Me, Daniel’s other AOR work and 80s keyboard melodic rock will enjoy.

You’d have to be almost dead not to get caught up in the infectious fun that is Tokyo Motor Fist. The name might conjure up thoughts of an ancient form of Japanese bondage, but at least they didn’t name themselves Trixter Danger.

Yes, the most talented Steve Brown (Trixter, Guitar) and the always flamboyant Ted Poley (Danger Danger, vocals) team with the rhythm section of Greg Smith (Ted Nugent, Rainbow, Alice Cooper) and Chuck Burgi (Rainbow, Blue Oyster Cult, Joe Lynn Turner) for what amounts to a meeting of the New Jersey chapter of the Melodic Rock Mafia, to create an infectious slice of classic 80s melodic rock that you just have to rock along with. While the album may not have the polish of a major 80s budget, it does pass the crankability test and shines when at maximum volume.

Following his great recent solo album, Ted Poley again delivers a powerhouse vocal while Steve Brown provides the backbone of the sound, his soulful guitar playing filling the air between hooks and choruses. The album is also a tribute to his songwriting prowess.For the most part this delivers exactly what you’d expect – a mix of modern day Trixter’s smart melodic rock and Danger Danger’s hands in the air party anthems. Look no further than the opening salvo of Pickin' Up The Pieces, Love Me Insane, Gimme Your Good Lovin Shameless and Black And Blue to deliver plus the moody feel good ballads Love, Get You Off My Mind and Don’t Let Me Go work to balance the record and provide breathing space between the rockers.

You're My Revolution brings out the double kick drums for a rousing tempo boost, but its Put Me To Shame and Done To Me where Steve Brown’s connection to Def Leppard seems to get dialled up. For a minute I thought I was listening to Sweden’s Leppard loving Grand Design.

How could fans of the two principle artists not be happy with this? It delivers exactly what you might have been hoping for, perhaps exceeding expectations with the strong hooks and great performances.No complaints here and given the positive fan reaction so far, one would have to think that this will develop further just as the ‘other’ D2 side project The Definants has.

This is one of only a few albums I’ve played recently and immediately thought – winner!

It only took one listen to know this is an album that deserves a lot of attention, the subsequent listens only confirmed that high praise was in order.

Tao features Karen Fell (vocals), Chris Gould (ex-Serpentine)(guitars) and Dave Rosingana (bass) and additional musicians Darrel Treece-Birch (Ten)(keyboards) and Brian Webster (drums).

The album is written and produced by Ten mastermind Gary Hughes.

This album hits several different marks. First the female lead vocals are just perfect for the energy and delivery of these songs, they are highly engaging and pure ear candy. Second factor is the man himself, Gary Hughes. This album is a return to his best AOR songwriting, mirroring the debut Ten album and his own solo releases. Just brilliant songs carried by Karen Fell in a way classic AOR albums used to be. Plus its not just AOR, this thing rocks in places, just like Ten do at various times.

To class this album as Ten with female vocals would be simplistic, but every bit true.

A powerful production, a band feel and some highly engaging songs make this one an essential purchase for fans of Ten and female fronted melodic rock.

I only got the digital audio for this one, but I need to get the CD pronto.