Bringing together the disparate words of reggae and indie on their 2015 release ‘Indie Reggae Revolution’, Leeds ten piece collective The Ship-Tones bring the world some of the best mash-ups and re-imaginings since Mark Ronson dropped ‘Version’ to almost unanimous critical praise in 2007. Taking some classic sounding reggae sounds (mostly rooted in the 70s and 80s), the band rebuild a few familiar tunes from the ground up, with largely enjoyable results.
Monthly Archives: July 2015
The Yes studio albums poll
In June 2015 the world lost one of its finest musicians. Mr. Chris Squire, founder and only constant member of Yes was not only one of the best bass players in progressive and classic rock circles, but one of the finest bassists, period. Perhaps only second to Jack Bruce in terms of huge influence, Squire’s playing was always near the pinnacle of brilliance.
He could be simple, complex, lyrical…and sometimes all within the confines of the same passage of music. It may sound cliched, but Squire was a man who knew how it felt to be one with his instrument of choice, someone able to really make their bass speak.
At Real Gone, we’ve always been huge fans of Yes – in most, if not all incarnations – and it’s unlikely a week passes without at least one Yes album being spun.
Watch Bluetones man Mark Morriss cover Sisters of Mercy!
At the end of July 2015, singer-songwriter Mark Morriss releases his second solo album ‘The Taste of Mark Morriss’.
On the LP, the sometime Bluetones frontman covers tunes from a range of eras and influences including REM, Scott Walker, Madonna and Weezer.
THE V – Now Or Never
Veronica “The V” Freeman will be familar to some as the vocalist with power metallers Benedictum, a US/Euro outfit who often favour bombast over decent songs. Her first solo release, 2015’s ‘Now Or Never’ (released via Frontiers Records, home of the previous two Benedictum discs) retains a fair amount of heaviness, but brings in a much welcome melodic element. The dozen featured numbers hark back to the days of classic eighties sounding metal, with tunes regularly casting Freeman in a Doro Pesche-esque mould.