Two years after the release of the soul tinged ‘Feel’, Glenn Hughes returned with ‘Addiction’ – an album that couldn’t be any more different from its predecessor if it tried. With Hughes in the middle of a work frenzy, ‘Addiction’ found him not only returning to hard rock in a big way, but delivering his heaviest solo album to date.
‘Addiction’ is an album that has weathered all kinds of musical storms and from both a performance and production value still sounds absolutely terrific. Not that it was well received by everyone upon release back in 1996. Some older listeners felt that Hughes had adopted “grunge sympathies”, a lazy, somewhat ignorant claim that seemed to miss the fact that the album is also varied in style. Decades on, such claims seem even sillier, as with the passing of time, Soundgarden – and sadly missed vocalist Chris Cornell – have very much joined the pantheon of classic rock acts and Cornell’s approach to vocals never seemed that far removed from the likes of Glenn Hughes and David Coverdale anyway. [If you’re still blinkered enough to not believe this, the proof is there in tracks like Temple of The Dog’s ‘Call Me A Dog’ and ‘All Night Thing’.]
Girl’s debut album ‘Sheer Greed’ wasn’t a massive success upon release in January 1980. It reached a modest #33 on the UK album chart and spawned two flop singles. With Iron Maiden, Saxon, Judas Priest and Motorhead all scoring top five hits on the album charts during the year, so with that in mind, Girl’s chart placing seemed somewhat modest. However, what the young band had lacked in sales they made up for with a sheer weight of live appearances. Regulars at the legendary Marquee, the band also supported a lot of famous rock acts throughout 1980 and 1981 and rarely seemed to be off the road.
1966 was very much a turning point for pop music. Many acts that were considered beat groups had started to branch out and to think beyond live performance. With orchestral tracks like ‘Eleanor Rigby’ and ‘For No One’ Paul McCartney pushed forth the idea of baroque pop. John Lennon, meanwhile, was experimenting with tape loops and early forms of electronica. His ‘Tomorrow Never Knows’, closing The Beatles’ 1966 masterpiece ‘Revolver’, is often considered to be at least partially responsible for the birth of true psychedelia. While it’s obvious Lennon’s sound collage took a massive leap towards the mind expanding sounds of ’67, many other bands were sowing the seeds for change a little earlier. As early as 1965, The Kinks pushed boundaries with their single ‘See My Friends’ – a mix of jangling sixties pop and raga music – while even the Dave Clarke Five had occasionally sounded a bit…out there for the era with an increased use of reverb. While the roots of psychedelia could be argued over almost indefinitely, The Yardbirds’ ‘Shapes of Things’ – a fuzzy mish-mash of beat-pop and soft druggy haze – pre-dates the release of ‘Revolver’ by several months and is very much in the mould that would come to be known as freakbeat. An important branch of the psychedelia family tree, freakbeat took the bones of the sixties sound, loaded it with fuzz and wasn’t shy in exploiting the left/right split for stereo head trips. In 1966, this was very much at the forefront of emerging alternative sounds.
Following an excursion into blues based material on his self explanatory ‘L.A. Blues Authority Volume II: Blues’, Glenn Hughes returned to the more familiar waters of melodic rock for 1994’s ‘From Now On…’ That album, produced by the legendary Bruce Gowdy, was Hughes’s best work since the Hughes/Thrall release back in 1982. Very much a case of “all killer, no filler”, its melodic stance found “The Voice of Rock” in great shape.
Fans were to get a surprise when Glenn returned just a year later with ‘Feel’. He could easily have kept up momentum with a disc’s worth of similar melodic rockers but, ever the restless spirit, he decided instead to indulge his more soulful side. That’s not so say that it is a complete return to the Stevie Wonder tinged soul and funk of 1977’s ‘Play Me Out’, but the bulk of the material is certainly much slicker than most of Glenn’s previous outings.
It’s been a great year at Real Gone. Not only did the website celebrate its tenth birthday, but we got more requests and submissions for review than ever! This year, everything felt like it had truly come together and paved the way for the next phase of the website’s lifespan.
This year, Real Gone received hundreds upon hundreds of review items and digital streams. Obviously, there isn’t enough time to review everything…but from the mountain of stuff we got to listen to and review, there was a lot of great music.