Glenn Hughes
Songs In The Key of Rock

Remembered by the more absent-minded only for his stint with Deep Purple in the mid-seventies, Glenn Hughes is actually the protagonist of a very long career, consisting of dozens of albums and tours, and has long since entered its fifth decade of activity. After the dissolution of the Purple in '76, in fact, he started a profitable series of collaborations that have always led to well-made records, most notably with Tony Iommi, both when it came to wielding the microphone for Black Sabbath and supporting him on his solo albums. Besides the thousands of projects he is involved in, The Voice of Rock has also had a nice solo career for years, with several works that have stood out for their quality. Having finally confronted the demons that pursued him for years, from the late nineties onwards Hughes has produced albums at a regular pace, proving to be one of the most prolific artists of his generation, as well as becoming a true guarantee of quality.

Among the most recent works, this "Songs In The Key Of Rock" certainly deserves a special mention, an album released in the now distant 2003, but which seems to have stood the test of time well, thanks to meticulously crafted tracks and very refined musical choices. Accompanied by musicians with long resumes like JJ Marsh and Gary Ferguson, Hughes offers fifty minutes of excellent hard rock, naturally contaminated with the usual funky, always his great love. The good Glenn, unfortunately among the few of his generation to have retained his voice in its fullness, has the ability to effortlessly switch from more hard rock and driven pieces to others more subdued, succeeding, both in the studio and live, in offering a masterful interpretation.

The opening "In My Blood" or "Standing On The Rock" have on their side a cohesive group dealing with substantial hard rock, while "Higher Places," dedicated to John Bonham, and "Written All Over Your Face," perhaps the highest points of the record, showcase all the abilities of a seasoned musician, capable of gracefully navigating across genres while maintaining an artistic integrity few can afford. On one hand, the record is noteworthy for its excellent production, with a bass in the spotlight that nevertheless doesn't overshadow the other instruments, while on the other hand, praise goes to the lyrics, filled with great inner serenity, almost suggesting the attainment of a new spirituality by Hughes after years of excess, as the CD cover itself seems to imply. A good performance, therefore, by another big name in rock who, after over thirty years of career, still manages to write albums that are both substantial and enjoyable. Recommended.