Power of Ten Review

Songs

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Lyrical Leanings
Copyright (c) 1993, Joe DeRouen
All rights reserved

[The following review originally appeared in the July 1st 1993 edition of the electronic magazine Sunlight Though The Shadows. It's reprinted here with full permission of the author.]

POWER OF TEN
Chris de Burgh
1992
A&M Records

POWER OF TEN, Chris deBurgh's first release of new material since 1988's FLYING COLOURS (he released a "best of" collection, SPARK TO A FLAME, and the live album HIGH ON EMOTION - LIVE IN DUBLIN in 1989 and 1990, respectively) marks a return to the styles and passions embodied in earlier works such as THE CRUSADER and AT THE END OF A PERFECT DAY. Filled with grace, style, and most importantly powerful lyrics and music, POWER OF TEN is a definite winner.

Opening with Where We Will Be Going, a beautiful song that takes us through a bit of history and beyond, the album gets better and better. Each song flows into the next, and it's smooth without being slick.

The album's first single release, Separate Tables, tells the tale of a broken love affair with the hint of hope and gentle wit. (At separate tables we sit down to write/The separate letters that never see the light/If only we could just agree/To read between the lines) It's a wistful, heartbreaking tale of love gone awry and lost chances.

Talk To Me, the album's 6th track, is an emotional, energetic foray into obsession and desperation. (I am the one, yes I know I am the one/I am the one for you now/I want you beside me/I dream of your body/I see you and me there forever) It's one that leaves you breathless and wanting for more.

The Connemara Coast, the 7th track, features a guest appearance by irish/celtic folk band The Chieftains. The Chieftains' Paddy Moloney arranged the piece, and deBurgh plays a beautiful acoustic guitar in this haunting love song.

Brother John, the CD's 8th track, returns to the world of religion with a twist recounted in Spanish Train (SPANISH TRAINS & OTHER STORIES) and The Devil's Eye (THE CRUSADER). Brother John tells the story of a priest that eventually gives in to temptation, and shows off deBurgh's strong sense of the ballad as well as his sense of humor.

The CD's last track, Making The Perfect Man, is the weakest of the set but also the most innovative. An energetic, modern version of Frankenstein's Monster, (So they called the doctor, the doctor said 'it's strange/He's got pistols on his fingers, he's got love on the brain/He's got a tongue good for lying and the legs to run away/He will fool all the people all the time some day!') it's certainly a break from his usual style of ballads and wistful love songs. It doesn't work on all levels, but it doesn't really have to.

About the only negative thing I can really say about POWER OF TEN is the fact that it was released in 1992 and STILL isn't available in the USA. Alas, deBurgh's music seem to be destined to remain strictly a European delicacy. Except for Lady In Red (INTO THE LIGHT), a 1986 mega-hit, and 1982's Don't Pay The Ferryman (THE GETAWAY), deBurgh's music has managed to elude the vast collective consciousness of most Americans. Perhaps that's part of what keeps it fresh and alive despite well over 10 albums. If you're a fan of deBurgh's (or think that you might like to give his music a listen) I'll urge you to pick up this CD. If you're American, that'll mean having to go to a bit of trouble, but it's definitely worth it.

My rating, on a scale of 1-10: 10