It’s been well known for a while that Molly Tuttle is one of the biggest and brightest talents among young artists in the Americana scene, but the couple of tracks that have been released ahead of her covers album shows how well she’s able to adapt her talents to other people’s material. We’ve already heard her interpretations of Grateful Dead and Neil Young songs, but here is something unexpected…and quite special.
In April 2020, adult pop heroes The 1957 Tail-Fin Fiasco made an unexpected return with their video single ‘Dream Pharma’. It had been almost eighteen months since the world heard from them, and the band themselves weren’t entirely sure they were going to make new music, but here they were.
Multi-instrumentalist Vincent Carr released one of the best DIY albums with ‘New Paeans’. Credited to Vincent Carr’s SUMIC, its lengthy multi-layered instrumentals gathered favourable comparisons to Mike Oldfield, while underscoring complex prog rock sounds with a love of pastoral British folk.
For this edition of the Real Gone Sessions, Vincent performs a previously unreleased piece entitled ‘Bamburgh Sands’, inspired by the village of Bamburgh in Northumberland. A simple tune, it carries the traces of Freddie Phillips musical scores that subconsciously influenced work on his earlier record ‘Rekindled’.
As we head into another week of isolation, Real Gone offers you another contribution to our new “Sessions” column. Denny Smith, head honcho of The Great Affairs has kindly performed a stripped down version of his solo track, ‘I Will’.
A number originally written for piano and transposed to guitar, it works well in a light acoustic take and Denny’s no frills approach also brings out the heart of the song.
It’s the middle of December and there’s a conflicting mood in the air. People are gearing up for Christmas so there’s a bustling feel to the city, yet at the same time, it’s the night after a General Election so any excitement is contrasted by the dread of another five years with a Conservative government increasing austerity measures and generally widening an already massive divide between rich and poor.
Taking his place at the mic stand on a sparsely decorated stage, the legendary Jim Bob seems aware of this mood. “I feel like I should say something…profound” he tells the audience, before even playing a note. Quite how profound a man could be while wearing a gold sparkly jacket and sunglasses on loan from The Banana Splits is anyone’s guess. “…Or we could have a sing-song”, he beams, before launching into a stripped down version of Carter’s ‘Is Wrestling Fixed?’, its opening lines greeted with a huge roar. It’s a great performance, but drawing more heavily from the whimsical than the energetic, its a less-than-obvious opener. Nevertheless, the front half of the audience is hugely receptive and even in the bar areas nearer to the back of the venue, bellowing voices are more than evident. Digging further into the Carter back catalogue, the fantastic Billy’s Smart Circus whips up the audience further into a shouting mass – this first dip into the fan favourite ’30 Something’ album boding well for the rest of the set.