Gary Hughes


TEN – Something Wicked This Way Comes (Album Review, 2023)

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Gary Hughes

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.


Gary Hughes (2003)

Gary Hughes: 3 years of work comes to fruition.


Gary Hughes talks in detail about the origins behind Once And Future King, and the research and planning needed to bring such a big project to completion.

Hi Gary, Congratulations on the new album/project. When did you decide that you just had to write an epic tale based around the legend of King Arthur?
It's something that I've always wanted to do and it's something that I began years and years ago. With regard to the subject matter it's something that I was into as a child.
It was very much a part of British history in school.
What I liked about it is that so much of it is grey area. As a Legend, so much is down to interpretation and I liked the idea of something that I could add a little bit of myself into. The flexibility of interpretation.
Obviously there are certain historical facts and timescales that you have to deal with but there is so much grey area that leaves scope for your own version. I researched it for at least three to four years. I was reading nothing else in my spare time.
I honed as much as I could from various sources such as the Mallory Poem and the Geoffrey of Monmouth version of the Arthurian legends which is probably the earliest. Various other documentation from various authors, things like the Bernard Cornwell novels Excalibur, Winter King, Enemy of God and various things like that which I thought were probably as close to my interpretation as I could get.
I tried to avoid the Hollywood-isms and tried to concentrate on Arthur the battle lord trying to unite the tribes which is what it was all about. I'm pretty pleased with the way it came out. One thing that was really worrying me was that I didn't want to do this one thing and look back on it and think that I could have done it better.
If you do this type of subject matter you never return to it again, so if you're going to do it, lets do it as best as we can and the most concise. You can't ignore how Arthur was born and the legend was conceived, you can't ignore the preceding information so I had to do that in the booklet really which is something that the listener can read before the first track kicks in. Musically the concept starts at Arthur's Kingmaking after excepting Excalibur at Dragon Island, the Druids haven. I had to really narrow it down because it could have been eight albums long.

Why does this story lend itself so well to being portrayed in a rock opera?
Because it is universal and understandable around the world. It has been said that the Arthurian Myth is "a quintessentially English myth." I don't fully agree with this statement. The myths themselves are not "English" at all but are British in origin with many later additions. Certainly the tales may have become quintessentially English (i.e. slightly eccentric, tea on the lawn, cricket on the green etc). Every culture has it s own hero tales that seem to have sprung from a spark of truth, and Arthur's story, like a Christmas tree, seems to have had various baubles hung upon it over time until it has become the whimsical Hollywood favourite it is today.
The Once & Future King title was chosen for a number of reasons it is a familiar part of the legend, it is used in a great number of the tellings and retellings of the story, and at least one source tells us that it is quoted on Arthur's tomb Hic Iacet Arturus Rex Quondam Rexque Futuris (Here lies Arthur The Once & Future King).
Overall though, its grandeur makes it perfect foil for rock opera. The version of my telling does not show Arthur as the Christian hero in shining plate armour with wistful damsels and horses in coloured decoration.
Arthur in my tale is the Arthur that the majority of experts now agree he was a post Roman pagan war band leader, in the Dark Ages, pledged to save his beloved country from invasion and injustice. The shining plat is stiffened leather, canvas and wood; the knights in shining armour are well disciplined, but rough professional warriors of a British war band the gleaming spires of Camelot are the ramparts of hill forts and the crumbling remains of a Britain slowly descending into the Dark Ages after the exodus of the Roman legions. I am not positioning against the other versions, indeed, a number of the more magical / mythical elements have been retained from a story telling position (it's entertainment after all!) just that I have gone with the latest factual information available and embroidered it a little. You will find most of your favourite characters remain in the tale, though perhaps not in the traditional way irrelevant lists of many knights and various players in sub plots have been omitted to tell Arthur s story. Had I included everyone, we'd have needed a very large boxed set and a lot more time!

When planning such a big project - where do you start?
With a blank notepad and a large bottle of whiskey!
I sat with a friend of mine Lee Brimilow, who is somewhat of an authority on Arthuriana,
and patched together what we felt were the truths behind the legend.
The historical timeframes etc… Characters and where they were pivotal to the plot.
Then it was the songs and for me the music comes first always.

And that's how it develops?
Melody on chord… After that each lyric had to tell a small part of the story.
Several bottles of whiskey and three years later you have yourself a rock opera.
I read specific books any and all specific books/films/places/music that have stood out amongst the Arthurian texts available. These helped to inspire my perception of the myth.
Books: Morte D Arthur, TH White - "Once & Future King"; Alastair Moffat "Arthur & The Lost Kingdoms"; Bernard Cornwell Warlord Trilogy; Stephen Lawhead Pendragon Cycle; Marion Zimmer Bradley "Mists Of Avalon"; Paul White "King Arthur, Man Or Myth?"; Adrian Gilbert "The Holy Kingdom" an as yet unfinished work by my friend Lee Brimilow and many more.
Films: "Excalibur", "Mists Of Avalon", Arthur Of The Britains documentary.
Places: too many to quote them all, but Tintagel, Pendragon Castle (Cumbria), Glastonbury Tor, various stone circles, Cadbury Hill fort, ancient Bath.




You have a lot of great vocalists on the two albums - some obvious choices, some not. How did you decide who you wanted to involve and did anyone help this process?
I tried wherever possible, to go for different sounding textural voices for the different characters. I tried to make it so that no two characters sounded alike, basically because with so much information circulating round, the last thing I wanted was for people to have to have the booklet in front of them to know when a different character was entering & so it was important that they were all different as well.
When you do something like that with ten different singers, the scheduling is a nightmare. Some people could come and sing, some couldn't; some could sing but they had to do it now, and they had to do it in their own country because they couldn't afford the time to fly over. So I was mailing tapes to some people, slotting some people in, I was doing some stuff here in Arena (my own studio), trying to be as omnipresent as possible, but when you re only one person, you can't be in two places at the same time.
As far as the choice of singers goes, I have a lot to thank Mark and Bruce for at Now And Then in that department.
I got them both over really early on to hear the roughs for the project and we chewed it over between us who would be good for each part. Occasionally when a singer didn't work out they were always helpful with new suggestions.
My friend Arjen Lucassen was also invaluable to me in that department. He introduced me to Irene, Lana and Damien.

Just how difficult is shaping lyrics around a pre-existing story?
It's actually much easier than when your creating the story from scratch.
You know what each character has to say and the point in the story where they have to say it.
I believe that the Arthurian tales have held their places in peoples hearts because they are, after all else, tales of the great achievements of ordinary men they are tales of a man and his vision of a fine place to live, of bravery, glory and defeat, of high achievement and betrayal, of love, honour, grief and loss.
All these things are contemporary, and the hero tales of Arthur show us that, though we may not live in his times, or have his goals, enemies and trials, we all undergo the same trials in our daily lives to a degree. These trials and emotions will be relevant until the end of time. From that point of view, what the lyrics had to say was pretty much mapped out.


I really love the way the album flows, but found that it was easy to listen to any given song on its own. Was this a conscious decision on your behalf?
I'm very pleased you picked up on that.
It was a very conscious effort to make each song `stand alone' in its own right.
From a radio or performance standpoint where you might only play selected tracks it is imperative that the songs make sense when extracted from the albums.

I think it's actually a very commercial slice of melodic hard rock - not the sometimes difficult to access kind of concept album. Again, was this a conscious decision and are you happy with the results?
Yes it was a very conscious decision.
I had to try to make it as universally acceptable as possible.
In effect, you alienate a large percentage of the listening public if you make it inaccessible to them whether it be because you make it too extreme or just simply build too much of a pre conception about what they think it might be like, even before they've listened to a note of it.

Do you have a favourite track or vocal performance by one of the guests?
I would have to say that one of the most outstanding things about the whole album is the performance of newcomer Irene Jansen. Her performance on the song "Shapeshifter" from the first CD is nothing short of breathtaking. However, all the vocalists performed fantastically and did incredible justice to the songs.

I have to say that I think your duet with Lana Lane is great and I think the Danny Vaughn sung Avalon is a melodic masterpiece!
Thank you very much. I am particularly proud of our duet. It is a beautiful melody and Lana has an incredible warmth to her voice.
Danny sang the backside off Avalon and is the nicest guy you could wish to meet.
His performance takes me back to his Tyketto days. Pure commercial rock.
He has one of the strongest voices in the business and harmonizes really well over himself on the song.
I am very pleased with the way the songs worked out.

Do you have a list of favourite rock opera's/concept albums that you used as a measuring stick to how you would like to do this?
Not really. My only pre-conception was that I wanted the singers to be tonally and texturally different.
I wanted it to be obvious that we were listening to another character even without the booklet or sleeve notes in front of us.
I really liked `Operation Mindcrime', `The Wall', `War of The Worlds' but I think in latter years some concept type rock operas have been guilty of including too many similar sounding voices to my taste.
It can all become a blur. Almost like fifty minutes of the same song.
It's just my humble opinion but I think that some potentially good ideas have been spoilt through this.

You obvious decided it would be better to release the albums as individual releases, in two parts - what prompted that decision?
I felt that a high priced double album would be too expensive for the fans in one installment. Some fans struggle to raise the money for one album at a time, let alone two or a double.
I felt it was fairer to spread the releases out a little to give people breathing space. Also it is a complex subject matter to digest. Two single albums also allows them to fully understand Part One before being presented with Part Two.

I must also add that the artwork and overall packaging is wonderful. Tell us about how that came to be...
I have known [artist] Chris Achilleos for about five years now, since Ten approached him for a potential cover for Spellbound. We have, over the years, become great friends and he is a great historian himself who loves this subject matter. I was amazed when he offered to do the artworks. He had a bad experience after his Lovehunter cover and for years he has had a policy of not working with bands anymore.
He did it as a friend. The man after all is an illustrative God. He has surpassed even my greatest expectations with these two covers.
He is a true gentleman and surely one of the world's greatest exponents of fantasy artwork. All Chris's originals are large scale.
It is amazing to know that although we are looking at small CD sleeves, the original artworks are close to eight feet wide and five feet tall! The detail and colour are truly something to behold.

Sean Harris is also sounding fabulous. As with the debut (and now classic) Hugo album, why are you able to bring out such vocal performances in people? Are you a fussy bugger in the studio?
Extremely fussy.
But it has to be said that in Sean's case, he really did his own thing.
He came in to the studio and sang all day until it was done.
He lived with some rough mixes with my guide vocals on there for a few weeks.
I can only guess, but I would say by the way he sang in the studio, he probably put more preparation into his performances than anyone else.
He is a true professional and a thoroughly nice guy.

I have heard whispers of a desire to play the rock opera live - do you think that could be a possibility and how would that work? Any great desires for the story to be performed?
I think that Once And Future King is made for the stage, however, the practicalities of putting on a full blown show is another matter entirely.
I'd like to think it might be possible, but the only thing that could prevent it being put on would be the cost & another question mark is whether we'd get the original cast all together schedule wise at the same time.
If somebody was prepared to film it and make a DVD, then there's a good chance that the actual money would be accrued, but it would have to be thought out very carefully I think.
I'm certainly not ruling it out though, I would quite like to see it performed on stage, but in the current climate it's quite hard to even contemplate something like that when it would be so costly to put on.

There always seems to be something going on with Gary Hughes, so what's currently underway? A new Ten album?
Yes indeed. Next up is the new Ten studio album. We are in the middle of recording pre-production for it as we speak. We built up a great camaraderie in the band touring last year and everyone is looking forward to making this new album. If the material is anything to go by I recon that the next Ten album could be the strongest to date.
It will also be the first Ten album to feature Chris (Francis).
He is a mind-blowing player as is evident on the Once and Future King albums and the musical potential for the band is now limitless.
He has integrated exceptionally well into his role, creating his own space and in turn giving John Halliwell more freedom and a more integral role in the bands sound, live and in the studio.
After that it will be editing our live DVD/CD. Containing footage from the Gods appearance last year and our open air Summer rocks performance in Budapest.
There will hopefully be bonus footage from our shows with Asia and our last tour of Japan. Lots of backstage and interview footage edited in as well.
After that it will be a Japanese and European tour in support of the new studio album.

Might there be another rock ballad style Gary Hughes solo album sometime?
I hope so.
I would like to take the time to do another one and I am accumulating material of that type all the time.
I was looking round recently, thinking of possibly getting involved with another project in the same way I did with the Bob Catley solo albums, but maybe I'll just put more time into another Precious Ones type of album. I'm not entirely sure yet. One thing is for sure, whatever I decide to do I'll give it my 100%.

What CDs are currently on your playlist?
Evanescence, Metalica, Busted & Invertigo!

Anything you would like to add Gary?
I have enjoyed making these two albums. I sincerely hope that everyone enjoys them and enjoys them for what they are.
We are living in the PS2 computer age. To my mind if someone is going to buy a CD rather than the new Tomb Raider game, the CD has to be more thought provoking and inspiring than just twelve songs on a silver disc. Something, somewhere has to stir the embers of the imagination.
In any event I hope that I have gone some way to achieving this.
I can promise that a new Ten studio album will be completed this year for release early next year, and a live DVD/CD, complete with a more extensive promotional tour in Europe should see the light of day at some point in the foreseeable future. New albums. More cities. More shows. See you there.

And will there be a future concept album from the pen of Gary Hughes?
I should think there will have to be at some point.
I enjoyed this one immensely and although there were times when I could have gladly burned the master tapes, I am very proud of the finished product.

Thanks for taking the time to chat Gary!
Totally my pleasure as always Andrew. Take care…







Gary Hughes (2004)

Gary Hughes: Return To Intensity.

Gary Hughes talks about the new album and the chosen path of an indie artist, plus his now open to the public studio.

G'Day Gary, thanks for taking the time out to chat today. The new Ten album Return To Evermore is out now, having just been released.
How would you compare this Ten album to any other in your career?

This album was probably the most pleasurable of my career.
There's a real sense of desire and purpose in the Ten camp again and it has been a pleasure to work on the album with a air of freshness and hunger in the ranks again.
The general moral in the band is better than at anytime I can remember.

I said in my review that you are always busy and it didn't occur to me that it had been 2 years since the last Ten album!
We all know how you have spent this time - has it been satisfying for yourself?

Yes, very much so.
I was very pleased with the outcome of the Arthurian albums. They were a mammoth task and all in all I feel that they are very complete in the global sense of the phrase.
It would have been easy to make the project 6 albums long given the amount of material involved but as a condensed effort I felt it was as complete as I could make it.

To the new album first of all - Intensity Records - why your own label, and why now?
We felt it was finally time to go it alone.
We have made a considerable amount of money for Frontiers and other labels over the years, and we felt that it was long since time we made that money for ourselves.
Considering the scale of the albums we have sold we have never seen any royalty down the line after initial advance scenarios.
Also, input from the label, such as tour support, advances and development money had completely dried up in recent years as was proved when we self financed every single live date after releasing the last album Far Beyond The World.
There was no real reason to stay with a label that wasn't bringing anything to the table that we couldn't do ourselves.
We will probably sell less CDs in this way but in the end at least we'll see the money.
It felt like, in 6 albums, all we did was make the labels money.
We just thought it was about time we took control ourselves.

Musically the album heralds back to the sound of the debut and the earlier Ten records after the heavier feel of the last couple of albums. Was this a conscious decision?
Not really. I just try to make an album of the strongest songs we have at any one given time. This was simply the new batch and we are very pleased with the result.

Was it important fans were delivered an album that touched on the original aspects of the band's sound - the lush AOR textures and the epic styled rock tracks?
I think it was more important that Ten made an album that sounded like Ten.
Sure, we've tried different tones and textures over the years but have remained quintessentially Ten.
Once again we have made an album of songs we like and we are very pleased with the reaction to the album so far.

Tearing My Heart Out is an interesting track - it's the first time I have heard Ten really divert from the classic rock sound to a more modern feel. Is that something you were just playing with, or a hint of the future to come?
We are always looking to expand and experiment with themes.
We did set out to go for a more modern guitar sound on that track but again, it was just a song that felt different, but might widen the base of Ten's sound. In the same way that we have played around with eastern styles and Celtic styles in the past.

Tell us a little about the recording process - what goes first for you traditionally and what gets added last etc?
First comes the guide tracks. Usually acoustic guitar and vocals, sometimes piano and voice. We lay that to click track and beyond this point it's a multi-layering process musically and vocally.
Beyond that, the order at which things are recorded is usually down to availability.
Although surprisingly, drums have, on more than one occasion, been the last thing to be recorded on a Ten album.

I'm a big fan of the layering effect used throughout this and other records you have worked on - the guitars and especially the vocals too. How hard is that to get right?
Very. I owe a lot to the time I spent watching the late great Mike Stone on this.
I would say that the times I spent recording vocals and backing voices with him, rate amongst the most enjoyable times in my career. Balancing such things is a real art form. It has as much to do with shared frequencies as it does with a simple technical balance. I'm still learning even now.

I've asked this of other artists, but I'm interesting in your take on it - how hard is it to act as the producer as well as the artist/writer? How do you balance the two?
It's easy because at the end of the day, as the writer you already know how you see the track. It's just a case of creating audibly what you already hear in your head.

Ever considered being produced by someone else? (Not that you need to be, just curious!)
Definitely. The problem has always been having the money to do it. I guess I'm the cheapest option around at the moment.

It's amazing to look at, but you now have a considerable catalogue of music to your name. Considering the time between the debut Ten album and today - that's quite a feat - even more so looking at the quality of the output. What do you put your abilities, or knack of being able to work so quickly down to?
I think that having a musical education has certainly helped me.
The clarity of thought on a musical level definitely helps speed things up.
Also, once I start something I can't rest till it's finished.
The rest is down to a small amount of natural ability and greater degree of virtual insanity ;-)

Why don't some other artists - some with far more money and resources - have as good a work ethic? As I type now, some bands have recorded 2 albums in the time you have been a part of 10!
Thankyou for your kind words.
I think everyone works at their own speed. Some people just need or desire it more than others and like myself; I still do it for the creative buzz.
It's the best reason of all for it sure as hell isn't making me a millionaire.

Touching on the producer thing again - you have worked with a couple of artists before and created some definite highlights of the genre in the process. You have now opened your studio to the public with the aim of working as a producer for others. Anyone come to mind that you'd like to work with, or are there already some plans in place you can tell us about?
Yes. Arena Studios is now open to the public.
I really enjoy writing for other voices.
I would quite like to get involved with another Bob Catley type project.
One that can begin at grass roots level and see how far it can climb.
I loved writing for Bob and the artists on my concept so a writing project for someone else would be good.

The Once And Future King project was hugely ambitious - are you happy (looking back now) with the outcome and the overall result?
Very happy. There are always going to be things, in retrospect, that could have been different, but on the whole I'm more than happy with the result.

I was particularity impressed with the Danny Vaughn track - I'd like to see you two working together again - any chance?
I'd love to work with Danny again. He was certainly one of the most professional singers on the Aurturian concept, in the way that he communicates and conducts himself. I think there was some talk of a Tyketto reunion thing but I'd work with him again at the drop of a hat.

And the heavier more intense tracks also came out great - DC Cooper and Doogie White...not to mention Sean Harris. Do you see yourself dabbling in the heavier end of the scale again?
Yeah. Why not. DC's track on the Arthurian concept is one of my favourites.
Sean Harris sang out of his skin for me and I think he surprised a few people who had kind of written him off.
He's a great guy and a totally unique vocalist.
In actual fact, Doogie is the only vocalist on the concept not to have received his copies of it from me.
So if you're reading this `Doog', I need your address and your new phone number!

And from heavy to soft - I remain a huge fan of the Precious Ones album - any chance of a sequel to that Gary?
I'd love to do another album of that style. I have amassed plenty of strong material for it too. It's really just a matter of time and scheduling.

Are there any live Ten dates planned in support of this album at this stage?
Oh yes.
Our tour manager is talking to promoters in Europe at the moment about a possible new year outing that should include the UK and Japan also.

Anything else you have in mind that you would like to tackle in the future?
I have two concept ideas in the pipeline at the moment.
I don't know which one will go ahead but I should begin production on one of them early in the new year.

Anything you would care to add, or say to the fans reading?
Just a big thank you to you and for your continued support of Ten.
Also a big thank you must go to the Ten fans around the world who have stuck with us over the years.
We hope you enjoy the new album and we look forward to seeing you all on tour in the new year.

Thanks Gary, all the best.

Purchase the new Ten album via or at your favourite online retailer now.



TEN Back Again With 'Illuminati' Due Nov 9

Friday, November 9, 2018
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Hot on the heels of last year’s “Gothica”, UK hard rock stalwarts TEN are returning with a new album, “Illuminati”! 
The album promises to be one of the hallmarks of their 22+ years career, where fans will easily spot all the trademark textures and flavours they have come to expect from TEN, with a consistent and solid spark of creativity throughout. “Illuminati” continues to build upon the rich legacy that the great British rockers have established in their 20+ year career. Listen NOW to the first track from the album “Jericho”!
“Illuminati” is said to be an elite, secret organization of world leaders, business authorities, innovators, artists, and other influential members of the global society. A coalition that unites influencers of all political, religious, and geographical backgrounds to further the prosperity of the human species as a whole. The album “Illuminati” brings the band’s atmospheres and sounds and weaves them into a reel of mysteries, esoteric tales, and elaborate spells, evoking embers that spark the imagination courtesy of the classic songwriting of vocalist Gary Hughes.
Following the success of the recent string of albums, from “Albion” to “Gothica”, Hughes is joined once again by guitarists Dann Rosingana, Steve Grocott and John Halliwell along with bass player Steve McKenna, keyboard maestro Darrel Treece-Birch, and drummer Max Yates. On their fourth outing as a collective unit, the musicians in TEN have raised the bar even higher than they had previously. The album is full of stunning guitar work over a rich keyboard, bass, and drum tapestry with Hughes’ rich vocals once again bringing the nuances of the intricate lyrics to life.
“Illuminati” was produced by Gary Hughes and mixed and mastered by Dennis Ward. TEN’s longstanding professional association with Dennis has been ongoing since he mixed their 2011 album, “Stormwarning” and has always guaranteed albums with stunning sound and production.
1. Be As You Are Forever
2. Shield Wall
3. The Esoteric Ocean
4. Jericho
5. Rosetta Stone 
6. Illuminati
7. Heaven And The Holier-Than-Thou
8. Exile
9. Mephistopheles
10. Of Battles Lost And Won
Produced by: Gary Hughes
Gary Hughes (Vocals) 
Dann Rosingana (Lead Guitars)
Steve Grocott (Lead Guitars) 
John Halliwell (Rhythm Guitars) 
Darrel Treece-Birch (Keyboards)
Steve McKenna (Bass)
Max Yates (Drums)
Connect with TEN:

TEN Announces New Album "Gothica", Out July 7

Thursday, July 6, 2017
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British melodic hard rock band TEN has announced they will release their new album, "Gothica" on July 7.
The highly anticipated new album promises to be one of their strongest collection of songs to date. It is full of all the trademark textures and flavors we have come to expect from TEN, arguably one of the best and most consistent melodic hard rock bands in the genre. “Gothica” renews TEN’s longstanding association with the Frontiers label and proudly displays all the hallmarks of classic TEN albums and will surely continue to build upon the rich legacy that the great British rockers have forged over a career spanning 22 years and counting.
“Gothica” emerges as their darkest album to date. Embracing history, romance and erotic horror in equal measure as it does, the title proves to be a fitting name. As listeners, we are transported from the darker side of human nature to the nocturnal supernatural, a dramatic realm of nightmares and the forbidden. “Gothica” is cinematic in every sense of the word. A web of musically elaborate spells, evoking embers that spark the imagination courtesy of the classic song writing of vocalist Gary Hughes.
Of the album, Gary says, "I am extremely pleased with the collection of songs on "Gothica" as they feel like they belong together. The band are firing on all cylinders once again and it is a gift to the army of fans everywhere who have relentlessly supported us over the years. It is ironically fitting that our 13th studio album should be a little more sinister, at the same time retaining all the commercial traits usually associated with a Ten album."
Following their success on the recent albums “Albion” and “Isla De Muerta”, Hughes is joined once again by guitarists Dann Rosingana, Steve Grocott and John Halliwell along with bass player Steve McKenna, keyboard maestro Darrel Treece-Birch, and drummer Max Yates. On their third outing as a collective unit, the musicians in TEN have raised the bar even higher than they had previously. The album is full of stunning guitar work over a rich keyboard, bass, and drum tapestry with Hughes’ vocals once again bringing the nuances of the intricate lyrics to life.
“Gothica” was produced by Gary Hughes and mixed and mastered by Dennis Ward. TEN’s longstanding professional association with Dennis has been ongoing since he mixed their 2011 album, “Stormwarning”.
Additionally, the album features stunning original artwork by Stan W. Decker, depicting a beautiful enchantress reading incantations from a book whilst summoning shadowy characters from its pages. Stan has cleverly illustrated the piece in order to portray the characters emerging from the books pages as the actual characters from the songs on the album. The atmospheric sleeve photography is once again provided by the remarkably talented Adrian Ashworth.
Frontiers is proud to be working with the legendary TEN again and looks forward to sharing this stunning new album with the band's fans around the globe!
1. The Grail
2. Jekyll And Hyde
3. Travellers
4. Man For All Seasons
5. In My Dreams
6. The Wild King Of Winter
7. Paragon
8. Welcome To The Freak Show
9. La Luna Dra-cu-la
10. Into Darkness
Gary Hughes - Vocals, Backing Vocals, Guitar, Bass and Programming
Dann Rosingana – Guitar
Steve Grocott – Guitar
John Halliwell – Guitar
Steve McKenna - Bass Guitar
Darrel Treece-Birch – Keyboards
Max Yates - Drums and Percussion
Additional Backing Vocals – Karen Fell

TEN Return to the 'Battlefield' June 17 with Compilation Release

Friday, June 17, 2016
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TEN signed to Rocktopia Records back in 2014, in a similar fashion to their one-two release of their much lauded debut and follow-up 'Name of the Rose' in a 6 month period back in 1996, 'Albion' and 'Isla De Muerta' were released in November 2014 and May 2015 respectively. Both albums gained highly positive reviews with Gaetano Di Falco's wonderful art making striking covers.

2015 also saw the release of the 'Dragon And Saint George' EP which contained 3 exclusive bonus tracks.

With 'Albion' now completely sold out it seemed a great idea to collect all the Ten songs from their Rocktopia Records period - including all the Japanese bonus tracks and exclusive EP tracks - onto one Limited Edition double CD release (500 copies only) and sell for the price of a single CD.

As well as Ten fans, hard rock fans who have not previously bought their albums should hopefully be tempted to check them out with such a Value For Money release.

This new collection is titled 'Battlefield' and once again has a wonderful exclusive cover by Gaetano Di Falco.

Release date - June 17, 2016

TEN Sign New Album Deal With Frontiers

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Frontiers Music Srl is excited to announce the newly signed partnership with the band TEN for the release of a new studio album in 2017. In addition, the label acquired the band's full catalogue and will plan special releases in both physical and digital formats.

In April 1998, Frontiers Records released it first international release ever, that was from TEN and the album was the band's official live album, 'Never Say Goodbye'. That release paved the way for more successful releases, both for the label and the band.

TEN was also the very first band for Frontiers to make a dent in the national album charts. That happened with the band's fourth studio album, 'Spellbound' which landed at #100 on the official album charts in Germany.

That record remains the band's most successful release and part of a catalog including classy Melodic Hard Rock masterpieces such as 'The Name of The Rose', 'Babylon' and the awesome debut album, 'X'. With a sound rooted in traditional British Hard Rock (think Whitesnake, Rainbow and UFO) and elements of American Arena Rock, TEN are now stronger than ever. As proof of this, the band's latest lyric video for "The Dragon And Saint George" will be showcased at SXSW Film, Interactive media and Music Festival at Austin, TX on the 18th and 19th of March - enjoy the video here:

Singer and songwriter Gary Hughes says: 'We are proud to return to Frontiers for a multi album deal that will secure both future and past legacies. It is a particularly poignant return, in that it brings Ten home to the label which began 20 years ago, releasing the Ten double live album 'Never Say Goodbye'. The new studio album, that is to be recorded this year, promises to bear all the commercial trade marks of classic Ten with plenty of power too. In addition, Frontiers plans to reissue the entire Ten anthology in a 14 disc box set to be entitle 'Opera Omnia' , the Latin phrase for Complete Works. Ten are returning home in many ways and the future longevity of the band and it's songs, is preserved for this new chapter in the bands ever evolving history'.

Get ready for the return of TEN!


TEN - The Dragon And Saint George EP (Review)

information persons: 
Friday, September 4, 2015
The new EP from Ten isn’t just a single track excuse to promote the current album – it’s a definite companion piece to the Isla De Muerta opus.
Featuring exclusive artwork from Gaetano Di Falco, the EP has three previously unreleased tracks. And what good tracks they are too.
The excellent album track The Dragon And Saint George is followed by an epic sounding Muskateers: Soldiers of the King - classic ‘pomp a-la-Ten’, while The Prodigal Saviour is an uptempo melodic rock ride as is the early AOR Ten sounding Is There Anyone With Sense.
The EP also includes the European bonus track 'We Can Be As One' in case you don’t have that. Well worth it of course. Simply put, more classic Ten.

TEN 'The Dragon And Saint George' EP 12" Picture Disc Out Now

Release Year: 
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Arriving 2 weeks earlier than expected, Ten's awesome picture disc for the 'Dragon & Saint George' EP is now in stock. Featuring superb artwork from Gaetano Di Falco and no less than SEVEN songs, three of which are unreleased and a fourth, the Japanese bonus track from 'Albion', is available outside Japan for the first time.
Receiving many glowing reviews, this is Ten at their irrepressible best, from historical epics like 'Musketeers - Soldiers of the King' to the currently pertinent political entreaty 'Is There Anyone With Sense?'

Limited to 350 copies world-wide, we have less than 100 copies in stock. Sure to increase in value due to its scarcity value. Order at for the perfect additional Christmas prezzy - or just treat yourself!  Signed copies of Isla De Muerta CD still available, as are red vinyl copies of 'Albion' (2 disc set). All available at  

SERPENTINE - Circle Of Knives (Review)

information persons: 
Produced By: 
Gary Hughes
Running Time: 
Release Date: 
Musical Style: 
Melodic Rock
AOR Heaven
Release Year: 
Monday, May 4, 2015
In continuing on with catching up with some of 2015’s highest profile releases, British melodic rockers Serpentine returned some months ago with their third album and first to feature new vocalist Adam Payne.
Payne’s a terrific find – his voice is perfectly suited to Serpentine’s musical adjustment for this album. Payne has a deeper, more natural voice for the style of music, which is now heavily under the influence of enlisted producer and co-writer for this album – Ten’s Gary Hughes.
Hughes’ influence is evident from the get go.
Serpentine have always been classic British melodic rock, but now they have a strong connection to the popular sound Ten had in their early days as well as the Hughes produced and written Bob Catley solo albums.
In the vein of the much loved Ten debut, Serpentine have delivered a 10 track monster of a record. There’s 50 minutes of inspired guitar/keyboard driven AOR here, infused with that uptempo moody Ten sound.
Season of the Witch rocks harder than the band has done to date; while La Tragedienne moves as quickly as the swathe of keyboards directs, along with a great chorus; the hard edged, but the moody Forever is a 6 minute epic that is straight out of Bob Catley’s The Tower.
The Hardest Fall features one of the best choruses as it moves swiftly, delivering some brilliant British AOR bathed in keyboards and a strong guitar lead; Bleed is another ultra-moody track I could hear Gary Hughes singing; and Where Does Your Heart Beat Now is a cool more laid back track.
The faster and more urgent Bound By The Strings of Discord sees the band fired up and rocking, with Payne delivering a particularly good vocal; the 6 minute Circle Of Knives is another track that is pure Gary Hughes and again doesn’t forget to deliver a good chorus.
Such A Long Way Down builds vocal intensity throughout the song to good effect and the last track Suicide Days closes out a very consistent and enjoyable record.

If there was an album I’d recommend fans of Gary Hughes purchase, it would be this hands down. Classic Ten and the best of the first two Serpentine records combine to take the band in a brand new direction.
If you haven’t checked this out and the description appeals, then do so as a matter of importance!



Pre-Order TEN 'The Dragon And Saint George' EP 12" Picture Disc

Release Year: 
News Feed
The first week in December sees the release of the first ever Ten picture disc, with the stunning 'The Gragon And Saint George EP' in glorious 12' vinyl.
At first the 4 month manufacturing turnaround seemed a big disappointment but then we realised this would allow us to use the 'Albion' Japanese bonus track for this release, so not only are the awesome THREE unreleased tracks featured on here ('Musketeers ' Soldiers of the King', 'Is There Anyone With Sense?' and 'The Prodigal Saviour'), we also have 'Good God In Heaven What Hell Is This', making this a stunning seven song collection.

Restricted to a very limited 350 copies, this glorious picture disc will be available for £10.99 plus postage, with pre-orders being taken now at All orders will be sent out as soon as stock arrives and will be the PERFECT stocking filler for this Christmas.


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