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The radio fed masses have zero idea. The fact that this has only gotten 2 reviews is a sad, typical statement in itself.
The energy of fuzz-guitar rockers such as "Going Out Again" and "Turning On Blue" is intense. Keene deserves such highly acclaimed company.Note: Hidden tracks (#13) on CD's just aren't cute anymore. If Keene had two brothers, they might well be Bill Lloyd and Matthew Sweet.
The band can rock hard, lay down jangling guitar harmonies (Your Heart Beats Alone, Good Thing Going, Before The Lights Go Down), and add convincing touches of country (If You're Getting Married Tonight).I'm enthusiastic with Keene's lyrical wit and craftsmanship, but if I had to pick one "less than superb" attribute, it would have to be Keene's voice - he comes off as whining and effeminate. And what's the story on the cardboard CD box - there goes another tree. Still, Ten Years After is an worthwhile addition to my collection of albums by the Records and the dB's.
Ten Years After contains thirteen numbers fitting nicely between melodic Pop and energetic Rock - all driven by Tommy Keene's guitar work. Whether attacking the guitar with vigor (Compromise), or gently strumming the strings (Silent Town), his playing is arousing. Give me a clear polyvinyl chloride compound as God intended.
Ten Years After isn't interchangeable with the albums of Lloyd or Sweet, but fairly close. Keene weaves catchy lyrics and hum-along melodies (Today And Tomorrow, On The Runway) into well-crafted Pop jingles.
There's a resemblance to Gin Blossoms (who have cited him as an influence and did tour together). It's a pity, because in a perfect world Tommy Keene's power pop would have propelled him to superstar status by now. If Matthew Sweet is the prince of power pop, then Tommy Keene is its overlooked king. Songs such as the reflective "If You're Getting Married Tonight", the jet propelled rock of "Turning On Blue", prove that there are more than several ways to "power pop". But alas, because he favors straight ahead melodies and minumum trappings, he has fallen by the wayside more than a few times. Still, this album offers of what I mentioned above--and of course, the melancholic adult viewpoint we have known him for all these years, plus his weedy, though not unpleasant tenor that colours each of these tracks with the full bodied emotion they deserve and which a less interested perfomer would screw up.
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