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Articles Home » 1990 Articles » Hughes, Bryan (Group) - 1990 Break The Rules
Hughes, Bryan (Group) - 1990 Break The Rules

ARTIST: Hughes, Bryan (Group)
ALBUM: Break The Rules
YEAR: 1990
CD REISSUE: 2001, Unidisc, UBK-4040


LINEUP: Bryan Hughes - vocals, guitars, drum programming * Dylan Haines - keyboards * Dave Edmead - keyboards

TRACK LISTING: 01 She's The Type * 02 Who's Gonna Love You * 03 It's Too Late * 04 Don't Go * 05 Yesterday Was Yesterday * 06 Heartache * 07 Rumours * 08 Give Me A Reason * 09 Swept Away * 10 Two Way Street

We last heard Bryan Hughes on the wonderful Beau Geste album from 1986. A fantastic slice of pompous AOR from the French Canadian side of the 'Maple-Leaf mayhem' history-books. Bryan returns a couple of years later with his own project, and the album 'Break The Rules'. In many ways it's easy to draw a comparison with his past works, but in all honesty, it's just a rung below the high class we heard before with BG. It is still a solid slice of AOR, albeit with a programmed feel this time around, which tends to make this sound slightly predictable. The guitar and keyboard interplay on this album are the highpoint, coming across like a mix between Greenway's 'Serious Business' and Aldo Nova's 'Twitch', with the obvious Beau Geste inflection factored in.

The Songs
Bryan gives us a taster of his AOR menu with the pleasant opener 'She's The Type', an urgent-style rocker with just the right amount of AOR ingredients to get the taste-buds going. 'Who's Gonna Love You' is equally effective, subtly so, while the third track 'It's Too Late' is lovely streamlined AOR following in the footsteps of the great Russ Ballard. We get a rehash of 'Don't Go' (also featured on Beau Geste) a good version yes. 'Heartache' is definitely worth a listen, it's got everything an AOR fan would want to hear in 3 minutes plus. 'Rumours' sounds slightly 'tinny' while 'Give Me A Reason' is the standard ballad, and unfortunately doesn't stick, nor does 'Swept Away', the song living up to it's title. They are saved on the closer, 'Two Way Street', a half decent affair that's play-by-numbers admittedly, but it gets a pass-mark.

In Summary
I still like this CD, though when unfairly pitched alongside the magnificence of the aforementioned Beau Geste, it pales into the distance. Where and what Bryan is up to now is anyone's guess.

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