Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting individual tracks that have landed in our inbox over the previous couple of weeks. This time around, we bring you some pastoral prog from a DIY multi-instrumentalist, a great pop throwback to a pre-Beatle age, a slice of country, a great R&B number…and more besides. As always, we hope you discover something new, and if you like what you hear, why not drop by and tell us? The submissions for the SB are still coming in fast, so there’s a lot more great stuff to come!

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In terms of retro sounds, ‘Who Knew Dancing Was A Sin’ by Elliot James Reay has it all. The strident beats hit like it’s the very early 60s; a reverbed guitar part cuts through a superb bass groove without being intrusive, and a round of brass is on hand to flesh out the sound with an almost soulful flourish. That would already sound great, even without a lead vocal that’s absolutely stunning. Reaching just as deeply into the past, Reay summons a perfect croon that makes him sound like the natural successor to Chris Isaak and delivers the kind of rousing melody that feels sort of timeless. Even a slightly misjudged spoken interlude can’t derail this excellent number, and in terms of a very US sounding, pre-Beatle throwback, it’s a must hear.

A warm bass, a steady drum part and crying steel filling the intro of ‘Cause Memories, They Last’ flaunts Cat Lion’s classic country sound in great style. Although, on a musical level, this is a number that’s immediately familiar, that doesn’t make it flat in any way. Cat’s very natural vocal – shared throughout with a slightly mournful quality,singles befitting the balladry of the lyric and sedate music – is absolutely lovely, and when layered with harmonies on a very melodic chorus, she sounds even better. This is a classic sounding number that could’ve been shared by someone with decades’ more experience in the country music field, and although a couple of the more upbeat tracks from Cat’s debut LP ‘On My Cloud’ might just eclipse this tune, ‘Cause Memories…’ is a perfect introduction for new listeners.

Chopping guitars and a punchy drum sound drop the listener into a world of great sounding pop punk during Jordyn Rayne’s ‘Hell Hound’. Musically, the track asserts itself as sounding like an early Avril Lavigne tune in bigger boots, but it’s on a lyrical and vocal level that this single really excels. Rayne’s voice – although subjected to a little shine via modern production techniques – sounds absolutely huge throughout: whether working a brattish tone on a busy verse or adopting a full cry on a hugely infectious chorus, it’s clear that she has star quality. Lyrically, she attacks the appalling state of US abortion laws at the time of this release, and the important message of “my body, my choice” is incredibly powerful. Whether you’re into great music or important messages – hopefully both – ‘Hell Hound’ is a great listen.

Tian Qiyi’s ‘Mongolian Dub’ isn’t a very commercial single, but it’s certainly distinctive. Heavy percussive rhythms and an absolutely immense bass groove provide the heart of the track, but factor in a couple of spoken word passages, a little throat singing, a few world music drones, and some deep echoes to lend more of a classic dub reggae edge, and it becomes clear that this adventurous duo are looking to break down musical barriers. Commercial or not, it all works brilliantly; the fat grooves really draw the ear throughout, and since the bass belongs to the legendary Jah Wobble, that’ll certainly help this track to find a devoted cult audience.

With its slow beat and sporadic approach to sharing hard struck piano chords, Nyah Grace’s current single ‘Down’ presents a rather minimalist verse, but that’s more than made up for with the help of a superb vocal performance. Over the stripped down backing, Grace’s voice positively soars, delivering classic R&B melodies, interspersed with a few light jazz tones. The effect is stunning; the listener has little choice than to be drawn in by her vocal cry, and by sharing melodies that could have been written and recorded at any point between the early 90s and the present, it creates a track with a hugely enduring quality. The classic feel is also reinforced by the decision to share the vocal in its natural state: so much pop and R&B comes with autotune and other filters in the twenty first century; Nyah’s belief in sharing something real results in a number that absolutely drips with emotion. For lovers of the style, this will be an instant favourite.

In the world of Puddle of Mudd, time appears to have frozen. It’s still 2001. On the current single ‘Beautimous’, the band sound barely distinguishable from their younger selves. If you like the band, this is a good thing. This single is still notable in its own way, however, since it’s one of the best things they’ve released in a long time. The riffs are spiky and the rhythm is tight; in terms of retro post-grunginess, everything rattles along at a fair old crack and it all sounds pretty good with the volume cranked. In a crowded rock scene and with so much music at the push of a button, though, that might not be enough, particularly when Wes Scantlin’s vocals are pretty horrible. Still, full marks for effort here – particularly since POM are long past the point of being relevant.

Those paying very close attention to the UK prog underground may well have encountered Vincent Carr’s SUMIC. The one man band’s 2019 album ‘New Paeans’ was an excellent Mike Oldfield inspired work – very impressive considering that Carr works with a DIY approach and budget to match. His current single ‘Goodbye To A Sycamore’ returns to the more pastoral influenced sounds of the earlier ‘Rekindled’ album, and really values melody over any kind of indulgence or fussiness. By opening with something that sounds like an accordion drone, the track makes no secret of its folk leanings, and Carr’s mandolin work also conveys a strong folky lilt. The guitar works an almost Greek sounding melody, dancing playfully against the drone, creating a strong prog-folk blend, and this forms a very strong first act. Carr eventually shifts effortlessly into even more melodic climes when his guitar work adopts a mournful, Gilmour-esque slide, echoing the ‘More’ era Floyd. In the final movement, both melodies come together, and the descending parts of the riff appear to convey the sense of falling leaves. Understanding that simplicity is often more effective than pure showmanship, this is a very emotive piece that should appeal to fans and new listeners alike.

Last up, here’s an absolutely cracking cover tune. ‘You Get What You Give’ is one of the all time great 90s pop hits, and Gregg Alexander a fantastic songwriter (it remains a mystery as to why the Alexander driven Carly Hennessy album was such a commercial flop). Manchester’s Better Joy has already made the song into a hit with her live audience, but has now shared a brilliant studio recording. The cover retains the familiar vocal melody as its driving force, but rebuilds the music into more of an indie banger. The first half of the arrangement is surprisingly pared down, with shimmering guitar lines capturing a great dream pop vibe, which works rather nicely. Building to a climax, chunkier riffs add a rock edge, but never in a way that detracts from Better Joy’s light and optimistic vocal. If you’ve always loved the original, this will certainly supply a great alternative. If you’ve reached the point where you feel like the original hit became overplayed, prepare to fall in love with a great song all over again…

June 2025