Salad were one of the most underrated indie bands of the nineties. With one foot in the noisy indie camp – leading to more than one support slot with Carter USM – and the other within the Britpop family, their quirky lyrical concerns and melodic vocal phrases gave them the potential to be huge. Although the band never really rose above cult status, those who liked them absolutely adored them.
In November 2019, Real Gone reached its ten year anniversary of being online. To celebrate, we shared thoughts on ten albums we loved from that decade. That list came with two strict rules beyond becoming favourites: each year had to be represented by one album and each album had to in some way have helped our site to become more established.
As we reach the end of the year, it’s time to look back more broadly on some of our favourite albums of the ’10s; albums that have kept us listening for pleasure long after the reviews and coverage have been completed. If you’re a regular visitor to Real Gone, lots of these names will be familiar by now, but we hope this time for looking back helps to reconnect with a couple of old favourites, or find you a new one somewhere along the way. [Full reviews & streams can be found by clicking on the individual titles.]
It’s a Saturday night nearing the end of March 2018. A crowd has gathered outside the Shepherd’s Bush Empire. The night’s star turn is Jim Bob, one time of Carter The Unstoppable Sex Machine, here to play an acoustic solo set to a sell out crowd. Figures stroll up and down in the cold. A typical Saturday night pre-gig scene, you might think… It’s the norm on these occasions to wander past those with flyers and not make eye contact, but tonight, something is different. A flame haired woman is dishing out glossy pieces of paper and yelling “SALAD IS BACK ON THE MENU!” in a way that’s impossible to merely shrug off.
It may have been snobbery due to Marijne van der Vlugt’s previous career as an MTV VJ, but the critics weren’t always so kind to Salad back in the 90s. Those who liked them, however – whether from a journalistic perspective or merely a fan – genuinely loved them. Between 1993-97, the band released a string of enjoyable EPs and two albums, but it was in the live setting where the band really shone, as anyone who saw them on a couple of Carter USM tours in 1994-95 will attest.