In 2021, Real Gone celebrated its twelfth year online. It’s hard to believe we’ve endured for so long, but that’s down to you – our enthusiastic and still growing audience – coming back every week to explore the more “cult” aspects of a new release schedule as well as continuing to enjoy our occasional dips back into music’s past.
Having long established a house style, our approach remained the same as the past few years: the site has mixed in depth pieces on new albums with occasional “archive pieces”, full length videos, and other bits of musical news and streams. That’s got us through another tricky twelve month stretch. That makes it sound like a prison sentence, but even with the ongoing pandemic hovering over all of us, it’s been far from bad.
The global pandemic of 2020 knocked everyone and everything for six. People found themselves working from home and only meeting their friends virtually across a connected network of webcams. Businesses closed – both temporarily and permanently – and some places became ghost towns. Seaside tourist industries suffered; restaurants and pubs wondered if we’d truly reached the end times, and the entertainment industry ground to a halt with gigs being endlessly postponed. For James Robert Morrison, this seemingly endless landscape of bleakness became something of an inspiration. As man who’d always centred his work around social commentary, current affairs and the state of things in his immediate surroundings, the seemingly broken world and the online anger and self-entitlement surrounding it resulted in a huge burst of creativity.
It’s that time of year again when Real Gone takes stock of all of the great music that’s been sent our way over the last twelve months. Changes in how people consume their music has meant shifting from providing a free download to offering an album length stream, but the variety and quality of the new music remains very high.
By the end of 2019, few people would have suggested we’d live through a year any more devastating than 2016. That year, famous musicians seemed to be dying on a weekly basis. 2020 had even more of a drastic effect on the music industry with a global pandemic putting a halt on gigs and forcing various small, grass roots venues to close their doors forever.
On the plus side – and you always have to look for a positive, even in the most dire of circumstances – a dramatic change in circumstances has forced musicians to change their way of working. For those with home studios, it’s meant we’ve seen an increase in output. We’ve even been given unexpected albums – right at the end of the year, there were surprise releases from Paul McCartney and Taylor Swift and various other interesting albums were put together remotely. …And as we take stock on a terrible year, it seems that the gift of recorded music has been one of our only constants: 2020 may have been an absolute bastard in so many ways, but we’ve all found new music to love.
‘Pop Up Jim Bob’ comes seven years after Jim Bob’s previous studio album, but in that time he’s been doing anything but resting. There have been Carter USM reunion gigs; two massive and critically acclaimed solo tours and, as J.B. Morrison, he’s written award-nominated novels. You can say what you like about this man, but you could never accuse him of being lazy. Compared to his Carter days, Jim’s solo work has sometimes been overlooked, but as those who were present at any of his “National Treasure” shows – or have been lucky enough to catch him at other times with pianist Chris-TT – will attest, he’s lost none of his lyrical bite. Those still paying attention after 1997 have known the pleasures of Jim’s sweary cookery teacher (‘Mrs. Fucking MacMurphy Teaches Food Technology’), Ray Davies-esque romances transplanted to the inner city with added heroin for the heroine (‘In The Future All This Will Be Yours’) and supermarket unrest (‘The Tesco Riots’, a number that melds a very Carter USM-ish lyric with the kind of bluesy arrangement you wouldn’t have found within a hundred miles of his previous band’s albums). With most of his best work carrying a strong narrative, Jim has continued to be one of the UK’s most distinctive songwriters, regardless of any musical differences.