The 70s were an incredibly fertile time for music. The decade began with the earlier purveyors of hard rock and metal – Deep Purple, Black Sabbath et al – and ended in a similar fashion with bands like Iron Maiden and Saxon spearheading what had been dubbed the New Wave of Heavy Metal. Somewhere between the two metal-oriented goalposts, funk begat disco and progressive rock roamed the landscape like a giant self-indulgent behemoth; punk inspired a generation to create DIY sounds and the likes of ELO, David Essex, 10cc and Pilot were at the forefront of pop perfection. David Bowie and Marc Bolan bought androgyny into the mainstream and Roxy Music looked and sounded like they’d been dropped to earth by aliens. Looking back – maybe with some rose-tinted glasses – the 1970s seemed to be a time when new musical ground was being broken month after month.
In some ways, the idea of grunge as a musical umbrella was a myth; a media invention borne from a lazy journalistic need to pigeonhole everything. Most of the bands that broke through in the early 90s actually had little in common aside from a geographic locale: Nirvana’s Pixies and Wipers obsessions bore little resemblance to Soundgarden’s updating of Black Sabbath’s monolithic riffery, just as that had absolutely nothing in common with Mudhoney’s desire to be Iggy & The Stooges. Yet, they were often lumped together. Also primarily thought of as a “grunge band”, from their inception in the mid-80s right through to their quiet demise approximately fifteen years later, Screaming Trees honed retro sounds of yet a different kind. Here was a band that drew influence from heavy psychedelia. Like the other more popular Washington State bands, their only obvious link came from a love of khaki kecks and heavy plaid shirts.
Following Fall founder Mark E. Smith’s death in 2018, Cherry Red Records expanded and reissued the ‘50,000 Fall Fans…’ compilation, adding nineteen bonus tracks to bring it up to date, making it the most comprehensive Fall compilation ever. It was an ideal starting point for new listeners. News that there would be other Fall reissues in the future was met with keenness. The first of that reissue campaign – now dubbed “The Fall Sound” – goes right back to the beginning with expanded editions of 1978’s ‘Live At The Witch Trials’ and 1979’s ‘Dragnet’.
As is their tradition, Cherry Red Records and their many associated subsidiaries have dozens of fantastic box sets and reissues lined up for the year’s second and third quarters. As we move firmly into Spring, Real Gone picks a few essentials lurking just over the horizon.
If you were the kind of person that went to ska and punk gigs back in the late 90s, chances are you saw King Prawn. Chances are you saw the band a lot. There was a period when they seemed to support anyone and everyone. No matter how many times they appeared on a bill, though, they were always entertaining…and once seen, nobody could ever forget bassist Babar Luck’s distinctive presence.
The band split in 2003 but reformed nine years later without Luck. The idea of a King Prawn without him seemed odd at first, especially since he was such an integral part of the original band’s live show, but it was good to have them back. Showing off a more commercial side, King Prawn’s 2014 comeback single ‘Done Days’ was, in some ways, a lacklustre return to studio work, but five years on, the long-awaited full length ‘The Fabulous New Sounds of King Prawn’ is a marked improvement.