In 2021, Real Gone celebrated its twelfth year online. It’s hard to believe we’ve endured for so long, but that’s down to you – our enthusiastic and still growing audience – coming back every week to explore the more “cult” aspects of a new release schedule as well as continuing to enjoy our occasional dips back into music’s past.
Having long established a house style, our approach remained the same as the past few years: the site has mixed in depth pieces on new albums with occasional “archive pieces”, full length videos, and other bits of musical news and streams. That’s got us through another tricky twelve month stretch. That makes it sound like a prison sentence, but even with the ongoing pandemic hovering over all of us, it’s been far from bad.
Since the label’s launch in the late noughties, Grapefruit Records has worked tirelessly to bring top quality reissues to fans of cult 60s and 70s sounds. Thanks to their archive digging skills, previously unaffordable vinyl albums by Skip Bifferty and Picadilly Line were no longer an extortionately priced mystery; Jeff Lynne’s early years with The Idle Race were reappraised, and dark psych combo Zior reached the ears of many people for the first time.
For all of their well loved archive releases, it’s a trilogy of psych themed box sets featuring hits, misses and rarities from 1967 (‘Lets Go Down And Blow Our Minds’), 1968 (‘Looking At The Pictures In The Sky’) and 1969 (‘Try A Little Sunshine’) that best advertises the label’s eye and ear for great reissues. With that in mind, it seems only natural that the label would raid the archives of psychedelia’s peak years for their hundredth release, and ‘Think I’m Going Weird’ is Grapefruit’s biggest and most adventurous release to date. With over 120 tracks spread across five discs, a larger format book sharing a wealth of important historical detail and rare photographs (with no obvious overlap from the previous 60s psych sets) this British take on ‘Nuggets’ is something of a jewel in the label’s crown.
‘Heaven & Earth’, the twenty first studio album from Yes, seemed to spend most of its natural life lurking under a cloud of negativity. The last recording to feature founding member Chris Squire and the first to feature vocalist Jon Davison, it was criticised for “not being proggy enough”, “sounding like a lightweight Yes tribute band” and worse. None of the criticism was especially warranted. ‘Heaven & Earth’ featured some lovely sounds; tunes that featured lots of Yes hallmarks blending with a few poppy flourishes to create an almost spiritual and reflective piece.
It’s a great time to be a Yes fan. Barely a week after the band announced the release of a brand new album (‘The Quest’, due in October), guitarist Steve Howe has confirmed the release of a new volume of ‘Homebrew’, his ongoing series of archive releases.
‘Homebrew 7’ will be released via Cargo Records on July 30th, and will present fans with twenty one unreleased tracks which, as before, range from short instrumental sketches to complete songs. Often a fascinating look into Howe’s working practices, previous releases have given fans the early versions of GTR’s ‘Sketches In The Sun’ and the quirky ‘Bumpy Ride’, later to become an important part of the ‘Fly From Here’ suite. ‘Homebrew 7’ is said to not feature anything that has been issued in a different guise before, nor will it feature stuff that’ll be reworked in future, making it potentially the most vital ‘Homebrew’ to date.
A full press release and track listing can be explored below.
The 1991 Yes album ‘Union’ is one that very much splits opinion. Rick Wakeman famously nicknamed it ‘Onion’ as it made him cry whenever he heard it, and even from a fan perspective, it never really connected with a strong audience. Those who liked the poppier route Yes had taken in the 80s found musical kinship in the more commercial tracks – like the lead single ‘Lift Me Up’ and Billy Sherwood’s excellent ‘The More We Live – Let Go’ – but didn’t really like the proggier aspects, while the proggy fans welcomed the return of Steve Howe and a few more adventurous bits but still had no time for the pop aspects still present. It was a case of “too many cooks” – the album took in too much variation and enlisted five different producers – and in an attempt to please everyone, almost ended up pleasing no-one.