The Real Gone Advent Calendar 2023

2023 seems to have flown by. We’ve already made it to December, and that can mean only one thing. It’s time for The Real Gone Advent Calendar!

As is traditional, over the next twenty four days, we’ll be posting a new link. It might be a video. It might be audio only. It might be an old favourite. It might be something brand new and unfamiliar. The only way to find out is by coming back each day and opening a new window!

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The REAL GONE Advent Calendar 2022

As 2022 begins to pull to a close, it seems almost unbelievable we’ve made it through another year in what feels like the blink of an eye. At Real Gone, we’re getting ready to bring you our highlights for 2022, but first, it’s time for our advent calendar!

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The Great 80s Project: 1984

Few people could argue against 1984 being one of history’s finest years for pop music.  Above all else, the mighty Frankie Goes To Hollywood came and gave pop a hefty kick up the arse with a combination of great tunes and greater controversy.  They were the first band since the 60s to score three #1 hits in a row, but each one – ‘Relax’, ‘Two Tribes’ and ‘The Power of Love’ were deserving of their success.  Each one sounds as good as ever and in the case of ‘Two Tribes’, there’s still a real edginess you’d think would be long gone.

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Charity version of The Clash classic ‘Rock The Casbah’ available now!

In July 2015, a 4CD set of Clash covers will be unveiled.

Featuring Dreadzone, Horace Panter of The Specials, comedian Kevin Eldon, celebrity Phill Jupitus and Frankie Goes To Hollywood man Brian Nash, alongside a whole host of other names, ‘Combat Cancer’ presents a huge archive of newly recorded versions of Clash classics.

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EDITORIAL COMMENT: Incomplete (or rambling thoughts on collecting from an obsessive music fan)

Right up to the 1980s, things were fairly simple as a music fan.  Your favourite bands released singles and albums and, as a loyal fan, you bought them knowing you’d kept to your end of the bargain.  Sometimes singles weren’t part of albums and in that case you got something extra.   Things started to change in the 1980s when the picture disc started to make regular appearances, thus meaning an occasional extra purchase.  Labels like ZTT (run by business-minded Trevor Horn and Paul Morley) were quick to capitalise on marketing strategies – with bands like Frankie Goes To Hollywood, they made sure that different formats had different mixes and different edits.  In the case of the fledgling cassette single, they even went an extra step by including unreleased bits and pieces from the cutting room floor, often to fans’ bemusement and eventual delight.

Not everyone was as keen to play the game.  Towards the end of the decade, Morrissey – in a spiteful lyrical snide against his then record company’s repackaging of Smiths material – gave us the lyrical legend “reissue, reissue, repackage…re-evaluate the songs, extra track and a tacky badge”. Some bands stuck rigidly to the old model of single release followed by album…and then a couple more singles (often with something extra on the b-side, sure; but once that was done, you knew that was it, at least until the next outpouring of new material in a couple of years).

By the mid-90s, albums would occasionally appear as special editions.  This usually involved a bonus disc containing a handful of extra songs (or in the case of The Beautiful South’s excellent ‘Carry On Up the Charts’ anthology, a whole disc of hard to find b-sides) or live material.  Another easy choice for the consumer: you chose to buy either the standard release or fork out a few extra quid for that bonus disc – job done, everybody happy.  Bon Jovi’s ‘Keep The Faith’ was among the first to mark a shifting tide towards fan-testing, record company greed when the special edition appeared months after the original album’s release.  This staggered release ensured almost everyone had purchased ‘Keep The Faith’ already…but would they buy it again?  Of course they would – if not everyone, then at least a good proportion of the die-hards would want that extra material.  Why wouldn’t they?  The floodgates were open.

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