The delays seemed interminable, and the rumour mill was grinding at a frenetic rate. Word on the streets was that the new Hugo album was experiencing numerous difficulties, and the end result might not be what we had desperately hoped. But here we are in early 2000 and 'Time On Earth' has been received with almost universal acclaim. The delays were due as much to personal tragedy, as explained later, as to his label's desire to inject a little more power into the proceedings. This follow up to 1997's classic debut is admittedly a more mellow, personal affair, but the strength of the songs and the magic of that voice still maintain that stamp of quality which has become synonymous with the man himself.

Hugo is in an upbeat mood when I catch him on the phone, and I begin by asking him what decided him on a career in music.

"I grew up in a pretty musical family. It was a matter of finding out what I really loved to do. My brother had a drum set, so I started out on drums. When he went to school I'd get behind the kit and play them. I then ended up playing in bands, but eventually I just wanted to be up front, because I was singing so much from behind the drums anyway. From that point on - my early teens - I started listening to the Journey stuff, and Foreigner. I listened to really good singers and I wanted to know how they managed to sing that way. Some were raspy, others just yelling, but you have a guy like Steve Perry who could sing, and soar, and make these beautiful notes. So I wound up going to singing lessons for a good four years or so, just trying to work out how singers achieved their techniques. Eventually I started applying what I learned to my own singing - that's what it's all about. From that point on, just realising where I wanted to be."

Which for many people, would be the perfect Steve Perry clone. A comparison Hugo must be pretty weary with by now.

"He's a big influence to me in the sense that when growing up, he was one of those guys whose style interested me, and I wanted to know how he did it. I do get this a lot and honestly, it's just one of those things. It's really what the world is made up of - you listen to something and think "Boy, that's amazing. I'd love to do that" and when you hear great singers performing really good songs, that's what you try to emulate. So if it sounds like a Steve Perry thing, then that's a great compliment to me in that sense, because if they told me I sounded like AC/DC I'd be in trouble!"

Many people think that Hugo hates being compared to Perry and tries to hide or deny such influences. But the truth is, at his last Gods performance, he had fully intended to do a cover of "Wheel In The Sky" until problems with the backing band played havoc with rehearsals; Not exactly the actions of a man trying to distance himself from such comparisons. So on now to Valentine and Open Skyz… Two great bands (well, really only one band with a name change and a slight line-up alteration) which never progressed beyond a debut album. What happened?

"Honestly, it was a whole bunch of political stuff - the politics of record companies. We got signed to Columbia with Valentine originally. The president, who signed us, left. A new guy came in and it was "Hey, what I do is Mariah Carey and New Kids on the Block - not rock and roll, so take your album and leave!" So we left and ended up going to Giant, but unfortunately they were too small at that point in terms of what they wanted, and they were more concentrating on their dance music. You always end up a victim of politics - the bullshit which you hear about but dread happening. And when it does, it's devastating. You do an album. You believe you have what it takes but some asshole in a suit says "No". It's the worst."

So what does he see is the difference between being in a band and being a solo artist?

"I guess the big difference is not having to write a song around a band. Probably the difficult part is when I'm recording, like with 'Time On Earth' which I did here in New York. I have so many friends that are musicians and if one couldn't make it I'd figure "Alright, I'll play the drums", and I ended up playing the drums on half the album. But it's definitely easier than having a band when all the musicians want to hear their own instrument more prominent. I don't think I'd ever join another band. At the end of everything, when I write songs they are so personal and so close to me that I'm the only one who knows how they should sound. I can't imagine being in a band again as it's so much easier without it."

After Open Skyz broke up, Hugo found himself on the solo career path, hooking up with Now & Then to record his legendary debut. How did that association come about?

"I'd just finished up with Open Skyz and we were doing our own thing. I got the phone call from Mark Ashton telling me that there was still a buzz about Valentine in Europe. So it was just a matter of getting me over to England and sorting out the songs. So I went over and recorded the first one. It was exciting at that point because I'd probably still be hanging around waiting for America to get its shit together."

After that glorious debut, everyone was waiting for the follow up. And waiting. And waiting...

"This one took a very long time. The debut came out in '97 and between then and now my mom had got sick with cancer and she died. It was a very, very hard time for me and the last thing I could do was leave the country to record an album, so I made the decision to make it here in New York. So now I'm in New York and my mom is dying at home. I'm at work here and then I have to go over to my studio to record - it just took so, so long to do. I was really torn. I mean, I'd be by my mom's side and she would say, "It's okay. You've got to go and record. You have people waiting for you. Go!" And it was just so difficult. If you've ever lost someone close like that, you know. It's the most horrible time in your life. So this album was a long time coming and I couldn't have cared if it had been a year, or two or five. But it's out now and it's a good album, and it sounds good, so I just hope the people understand the time it took, and I apologize. But at least it's here and I'll keep on going from here on in."

Many people have postulated that the lack of bite on this album is due to the absence of Ten main man Gary Hughes who co-produced the debut. So why wasn't Gary involved this time around?

"Basically just the distance. If I had been in England it would have been different and I would have seen Gary every day and it would have been a co-production thing, I'm sure. He's a great guy to work with, and he's a singer too! I'd be in the vocal booth and I could look through and see him. I'd ask, "How was that? Should I try it again?" and he'd say "No, that was good" or "I think you've a better one in you". So he's a really good pair of ears to have. I didn't have him this time but I had a friend of mine, Tom Nissan, who owned the studio I recorded at, and it was the same kind of thing. I don't know if me and Gary will ever work together again - just because of the distance. I don't see myself going to England again for anything more than a couple of nights."

But Vinny Burns still appears on the album.

"Yeah, that was pretty cool actually. I know Vinny well from the first album - we spent a lot of time together. And while I recorded here and the album was done, we decided to put a little heavier guitar on it. I sent my tapes over to England and we made a decision over the phone to do it. I had no objection to having Vinny do it, as opposed to me getting the tapes back and me finding the right guitarist... I mean, Vinny's a great player, so it was just a case of him taking a few weeks and finishing up the tracks. And he did a really great job."

The Triumph classic 'Magic Power' is covered on the new album, a choice which surprised a few people. Why that song?

"It's just one of those songs that when I was growing up in High School I would play in cover bands. I thought 'What the Hell, I might as well make a tribute to one of those bands." It was either that or a Led Zepplin song, and I don't feel like singing Zep stuff (laughs). It's one of those original songs that just kick your ass and I figured I'd just do it. It sounds pretty good, even though Rik Emmett's voice is so strange - very high. I figured people can appreciate it but not many people can really do that kind of voice."

Hugo's memorable stints at the Gods still stick in the mind. The man appeared visibly touched as the football-like chants of "Huuuuuuuugoooooooo" reverberated around the hall. So, any plans to appear at the next one?

"(Sigh)... I don't know because the last two times I played the Gods, each time I get there and the band has fallen apart. There was no keyboard player so we had to get this guy from this band, and such stuff. So if I came to Europe, and I hope to God it happens with this album, it's gonna be my own band from over here - it's gonna be big because at the end of the day I owe it to the people and the press. As far as touring, I hope so. So much depends on album sales because it all takes money to do. So will I? I'm so willing to do it. Is it feasible financially? It's down to album sales. I think it's gonna rely on a package of Ten, Hugo and a few other bands, then that would be a good tour. We could reach a lot of people and have a great night of rock and roll!"

Now wouldn't that be a gig to die for?!! That pesky rumor mill has already been whispering about a possible 'Gods' tour, visiting several European countries, later on in the year. Whether Hugo will be involved is uncertain, but let's hope it is not so long before he finds his way back over. And let us also hope that it is not another two and a half years before he delivers his next slice of manna.