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.
Between the release of First Signal’s 2016 album ‘One Step Over The Line’ and 2019’s ‘Line of Fire’, the band’s core members kept themselves very busy. Vocalist Harry Hess recorded another album with his “day job” band, Harem Scarem (2017’s ‘United’); guitarist Michael Palace released his second band album with Palace – the appropriately named ‘Binary’ – and Daniel Flores returned to The Murder of My Sweet, releasing ‘Echoes of the Aftermath’ on Frontiers Records in 2017. In addition during those intervening three years, Flores and Palace scored themselves jobs as invaluable members of the Frontiers “house band”, lending their talents to releases by Toby Hitchcock, Find Me and Code Red. There’s almost been no time for them to sleep.
Jack Bruce is best known to most people as having been the bassist and vocalist with Cream, the sixties supergroup that imploded after just two and a half years. His solo works are often just as rewarding in listening terms and throughout the decade following Cream’s demise, Bruce released a string of albums that not only helped cement his legendary status, but also show how much broader his talents could be beyond the power trio format. 1969’s ‘Songs For A Tailor’ is a fantastic mix of rock, blues and jazz that belongs in any collection; 1970’s ‘Things We Like’ more than demonstrates Bruce’s affinity with harder jazz influences and 1977’s much overlooked ‘How’s Tricks’ offers a fine collection of rock-oriented songs teaming Jack with drummer Simon Phillips and keyboard player Tony Hymas – both important fixtures in Jeff Beck’s band during the following decade.
Here at Real Gone, we’ve been big fans of Marillion for longer than we’d care to remember. Unlike some fans, though, we accept that not everything the band has recorded resembles pure gold. Last year, we shared our “ten best” with you – an article that generated a lot of discussion. In the interest of balance and in the wake of the 2019 UK fan weekend, here are ten Marillion songs we think should have been consigned to the dustbin of history…
Combining the talents of singer-songwriter Stephen Smith and Bellyachers guitarist Brian Mello, The Morning Line are a jangling power pop/melodic alt-rock band heavily indebted to 90s sounds. They claim to appeal to fans of Ted Leo, Teenage Fanclub and a whole bunch of stuff in between and just one listen to their 2019 album ‘North’ is all it takes to realise that not only do they recycle a lot of influences with love, but every so often, they’re more than capable of hitting the listener with a very catchy chorus.