Love, Loss and The Eternal Soundtrack

At an unspecific point in 1979, my dad arrived home from work carrying a long playing record. It turned out to be the new Police album.  At this point, ‘Message In a Bottle’ had been all over the radio and I knew I liked this new music. My mum, on the other hand did not have quite the same enthusiasm; she’s a bit put out that this does not have ‘Roxanne’ on it. Presumably, the album – like others – had been purchased at Barnaby’s, a record shop (no longer there) very near my dad’s then place of employment; a giant tin shed in which he worked with dangerous acidic chemicals and little regard for health and safety. That Police album (‘Reggatta De Blanc’) got played a lot. If I think hard, I can still see Dad sitting by his Fidelity stereo system lifting the needle onto the record and playing the title track over and over and I remember thinking how fitting it was that the word emblazoned on the front looked a bit like the word fiddle. That piece of music must have spoken to him:  decades later, he would still attract my attention by calling my name to the tune of that track.

The sight of my dad coming home with new music in this way was not entirely uncommon.

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Big River Blues: Real Gone Meets guitarist Damo Fawsett (Slight Return)

For most people, the arrival of a new year often means a time of change, of looking forward; a time to embrace new ideas and new projects. This is especially true for Damo Fawsett, a hard-working guitarist who recently parted ways with his band Slam Cartel. He already has various new projects underway. At the beginning of January 2016, he stopped by at Real Gone to tell us all about them…

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DAVID BOWIE (8 January 1947 – 10 January 2016)

davidbowieFew figures were as influential within popular music as David Bowie. He not only knew how to pen distinctive songs, oft delivered with an even more distinctive vocal style, but he understood more than most that, to survive, constant reinvention was utterly necessary.

Pretty much no-one would have guessed that from David Jones’s first musical steps with R&B and his bands The King Bees and Lower Third, he would soon reinvent himself as a flippant music-hall act on his much overlooked ‘David Bowie’ debut of 1967. There’s even less there to suggest that the glam rock starman Ziggy Stardust’ was lurking around the corner preparing himself for world domination.

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Real Gone’s End of Year Round Up 2015

We’ve reached the end of 2015. It hasn’t been as thrilling a year for new music as 2014 had been, but there has been plenty to entertain. We’re still waiting on the proposed deluxe edition of Prince & The Revolution’s classic ‘Purple Rain’ (we could be waiting a long time) and those promised UB40 deluxe editions. Another year has passed without the arrival of Real Gone favourite Mick Terry’s second album. Lots of people in the UK have been (over)-excited by Steven Wilson’s ‘Hand.Cannot.Erase.’, but most of what’s impressed us the most at Real Gone – as is so often the case – is often just a little more underground.

Here are our year’s top picks…

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Ian Fraser Kilmister (24 December 1945 – 28 December 2015)

“I don’t do regrets. Regrets are pointless. It’s too late for regrets. You’ve already done it, haven’t you? You’ve lived your life. No point wishing you could change it.”
– Lemmy

From his breakthrough with Hawkwind in the late 60s, Lemmy was a man who lived with little to no compromise, reinvented how the bass could be played and gave us music that would endure the ages. While his formative years with Hawkwind would shape him as a musician, it was with his own band Motörhead he would change the face of rock music. Black Sabbath had laid the foundations of metal with heavy monolithic riffs, but Lemmy bought speed and no-nonsense aggression, without which we would never have had any of the 80s thrash or hardcore metal that followed. In Lemmy’s vision, of course, it was all one thing: rock ‘n’ roll. He just played it faster and louder than his heroes and predecessors and set a new benchmark in the process.

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