Very few musicians of his generation keep as busy as Glenn Hughes. Even those who are still active generally keep a more manageable schedule, but at 74, Hughes is either on tour or in the studio continuously. Albums with his voice and bass playing are still being released every year and a half or so, most recently Black Country Communion’s fifth album, and yet, ‘Chosen’ is his first solo album in nine years. The rock ‘n’ soul hybrid of Hughes’ solo albums is by far my favorite of the styles he employs, and ‘Chosen’ is one of his better takes on the style.

Though primarily known as an incredible singer – and he still sings like a man half his age – Hughes does so many things well on his solo albums, it would feel wrong to completely gloss over his massive, groovy bass playing and his consistently excellent songwriting skills. Some of the heavier riffs on ‘Chosen’ would not have sounded out of place in Black Country Communion, but the way the songs develop is fairly unique to Hughes’ solo work, and largely in service of his voice. Even the hardest-rocking songs tend to culminate in cool melodic ideas or a particularly strong chorus.

Opening track ‘Voice in My Head’ strangely is the least interesting track on the album. It’s fine for what it is, but the following ‘My Alibi’ is a much better – and more dynamic – take on the heavy funk thing that has become one of Hughes’ trademarks. Another great example of this is ‘Black Cat Moan’, which effortlessly moves from a jumpy, but still very powerful riff to a more open, almost longing chorus. ‘In the Golden’ is carried by a huge Sabbath-meets-Zeppelin riff, which is offset against a chorus built on a gorgeous vocal harmony and subtle soft-loud dynamics in its verses.

However, ‘Chosen’ might be at its best during its more introspective moments. There aren’t any full-on ballads, though ‘Come and Go’ is borderline, but the title track completely blew me away with its absolutely gorgeous, melancholic chorus, which is elevated due to being surrounded by surprisingly subdued verses. Closing track ‘Into the Fade’ is another highlight. It starts out as a relatively straightforward rocker with an uncharacteristically understated vocal performance by Hughes, and while the chorus continues to rock in an earthy nineties sort of fashion, there is an almost dreamy quality to how Hughes tackles the vocal harmonies. Excellent stuff.

While ‘Chosen’ is just short of Hughes’ incredible run from ‘Songs in the Key of Rock’ (2003) through ‘Music for the Divine’ (2006), it is the closest he has come since, and that would include everything he did with all bands he was a part of in that time. There is just something irresistible about the blend of hard rock riffs, beefed-up funk rhythms and soulful melodies he has been exploring on his solo work since the mid-nineties. Genuinely some of the best vocals, bass playing, and songwriting skills you will hear on any rock album nowadays. And his band mates accompany him perfectly.

Recommended tracks: ‘Chosen’, ‘Into the Fade’, ‘Black Cat Moan’