On Chris de Burgh's debut album, his gentle, beguiling vocal style is introduced, which instantly trademarks him as a genuine master of the soft ballad. de Burgh's engaging dominance of words and lyrics carries both his love songs and his simple light rock tunes to a higher level, thanks to the attention and care given to each of his pieces. As an inaugural album, the songs hold well as they are delicately cushioned by his voice, but are substantially thin where melody or appealing choruses are concerned. Both "Windy Night" and "Watching the World" draw the most attention, bringing de Burgh's silkiness to the focal point.

Chris de Burgh's storytelling prowess comes into fruition on Spanish Train and Other Stories as he carefully grasps the listener's attention with his soft-spoken candor. With songs that are reminiscent of tales told to a young child by his bedside, de Burgh captivates his audience with his serene anecdotes that are enhanced by the music that envelops him. The opening "Spanish Train" is a mysterious yarn about a poker game between God and the Devil, where the victor inherits the soul of a dying train engineer. de Burgh's vocal escalation from serene to flamboyant makes this one of his best songs, as does the marvelous twist at the end of the story.

Three CDs, plus a fourth stuffed with rarities, sum up a career that both deserves far greater critical acclaim than it has ever been granted, and which has gone out of its way to discourage that from ever happening. An admittedly well-loved cult throughout his first decade of recording, Chris De Burgh exploded worldwide following the success of "The Lady in Red" and that, unfortunately, remains most peoples' sole perception of him; "unfortunately" because, at his best (which is more often than not), De Burgh both writes and performs with an extraordinary passion, and a musical ambition that travels way beyond that one song's parameters.

Power of Ten is the tenth studio album by the rock artist Chris de Burgh. It was released in 1992 on A&M Records. The album includes such great tracks as Heart of Darkness, The Connemara Coast, Shine On. The booklet has few photographs with De Burgh.

At the End of a Perfect Day is a title that is all too apropos, since the music that fills the album is comprised of mellow ballads that are both relaxing and serene. The songs are typical of his soothing style, sung in de Burgh's suave demeanor making their simplistic makeup sound that much better. Without the narrative allure found in Spanish Train, de Burgh uses his haunting voice to enhance these average-sounding pieces, resulting in only a couple of mediocre standouts. The charming "Broken Wings has de Burgh's lonely voice fluttering amidst lyrics about his lost love.

1980's Eastern Wind sports a quicker pace that demonstrates that de Burgh can sing songs outside of ballads. It was this album that helped him gain worldwide recognition, thanks in part to it's huge success in the Scandinavian countries (especially Norway). Although the album does include some slower love songs, the overall appeal of Eastern Wind contains some musical jaunts as opposed to his usual collection of tranquil pieces. The lovely "Sailor" is fine proof that de Burgh can contour his voice at will.

Chris de Burgh's storytelling prowess comes into fruition on Spanish Train and Other Stories as he carefully grasps the listener's attention with his soft-spoken candor. With songs that are reminiscent of tales told to a young child by his bedside, de Burgh captivates his audience with his serene anecdotes that are enhanced by the music that envelops him. The opening "Spanish Train" is a mysterious yarn about a poker game between God and the Devil, where the victor inherits the soul of a dying train engineer. de Burgh's vocal escalation from serene to flamboyant makes this one of his best songs, as does the marvelous twist at the end of the story. "A Spaceman Came Travelling" has de Burgh blanketing his wispy voice in a tale about the birth of Jesus, only his version substitutes the Star of Bethlehem for an alien visitor who has arrived to reveal a startling message…

On Chris de Burgh's debut album, his gentle, beguiling vocal style is introduced, which instantly trademarks him as a genuine master of the soft ballad. de Burgh's engaging dominance of words and lyrics carries both his love songs and his simple light rock tunes to a higher level, thanks to the attention and care given to each of his pieces. As an inaugural album, the songs hold well as they are delicately cushioned by his voice, but are substantially thin where melody or appealing choruses are concerned. Both "Windy Night" and "Watching the World" draw the most attention, bringing de Burgh's silkiness to the focal point. "Satin Green Shutters" beautifully illustrates his knack for sounding sincere and charismatic within the boundaries of a love song…

Beautiful Dreams holds interest mainly because Chris de Burgh is backed by a full orchestra, which adds brilliant depth to his material, presenting his romantically based ballads in an entirely new fashion. While the strings and woodwinds that accompany de Burgh showcase their splendor on "Say Goodbye to It All" and "Snows of New York" better than any other of the album's 13 tracks, there is still a certain posh grandeur that is carried on all of them, which is bolstered by the band's luxurious sound. "Missing You" and "In Love Forever" gain illustriousness through the lavish backdrop of violins, which ease in to de Burgh's graceful lyrics, and the familiar "Lady in Red" sounds full-bodied and even more enchanting with a thicker curtain of instruments behind it.

The Getaway gave Chris de Burgh his first charted single with "Don't Pay the Ferryman," which peaked at number 34 in 1983. A feverishly fast-paced tune, it contained vibrant keyboards and had de Burgh powerfully barking out the chorus in one of his most intense offerings. As his most spirited single up to that point, it proved that he could easily dish out a charging rock song that still harbored his enchanting brand of lyrics and mystery. Other songs carry this surging flow as well, like the flighty tempo of "The Getaway," kept together by its pop/rock stride, or the determination aching from de Burgh's voice throughout "Ship to Shore," which proves he can muster up some energy with barely any effort.

At the End of a Perfect Day is a title that is all too apropos, since the music that fills the album is comprised of mellow ballads that are both relaxing and serene. The songs are typical of his soothing style, sung in de Burgh's suave demeanor making their simplistic makeup sound that much better. Without the narrative allure found in Spanish Train, de Burgh uses his haunting voice to enhance these average-sounding pieces, resulting in only a couple of mediocre standouts. The charming "Broken Wings has de Burgh's lonely voice fluttering amidst lyrics about his lost love. While the words may seem a little honeyed, his sedating air throughout the song's entirety is front and center.

Once again combining softened elegance with his gentlemanly approach to the simple love song, Chris de Burgh remains true to form on Quiet Revolution with polished ballads and morning-friendly, mid-tempo material. de Burgh's style hasn't strayed since "The Lady in Red" peaked at number three in 1987, and from that point on he has tried to emulate the same success with his romantic formula of ballroom-type love songs and delicate lyrics. Although Quiet Revolution offers up a handful of these, some of the other tracks exhibit punchy melodies that still display de Burgh's heartfelt voice.