Tag Archives: melodic rock

THE MORNING LINE – 90s Pickup / This Lens

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Across two enjoyable releases, ‘North’ (2019) and ‘Scene’ (2022), San Francisco’s The Morning Line celebrated a very 90s brand of pop rock, with an array of songs driven by jangling guitars and harmonious vocals. Often sounding like a cross between peak Connells and the lighter elements of Soul Asylum circa ‘Candy From A Stranger’, their best songs had the power to uplift, and in the case of ‘Looking Right At You’ and ‘Make Believe’ (very much highlights from ‘Scene’) even shared a nostalgic quality, despite being newly written.

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THE REAL GONE SINGLES BAR #140

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Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting tracks that have been submitted over the previous few weeks. This time around, there’s some perfect dream pop/indie sounds, a huge stoner friendly piece of deep psych with a heavy edge, some AOR, a superb track with a jazz influenced vocal…and more besides. As always, we hope you find something new to enjoy!

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GRAHAM BONNET BAND – Lost In Hollywood Again

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In 2024, Graham Bonnet and his band took to the stage at the legendary Whiskey A Go Go in Los Angeles. On this night, the intimate venue saw the veteran performer plough through a sixteen song set that celebrated many of the highlights of his long career.

The audio from the Graham Bonnet Band’s 2025 live release ‘Lost In Hollywood Again’ might not sound quite as vital as 2017’s unexpected Alcatrazz reunion in Japan (released for posterity on ‘Parole Denied’), but it’s clear that Bonnet – a man well into his seventies at the time of this show – still loves what he does, and is more than capable of summoning a huge amount of volume at a time of life when some of his peers sound like a shadow of their former selves.

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CHIMPAN A – Here Comes The Flood / Wolves

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Chimpan A’s ‘The Empathy Machine’ was an interesting album. Its songs took on the kind of lengths that would normally be associated with prog rock, but its sounds were far more pop oriented. The best tracks blended layers of synth with perfectly pitched melodic vocals, straddling the musical gulf between pop, AOR and electronica, almost in a way that pre-empted Alex Lifeson’s commercial sounds on the Envy of None debut, released just a few years later.

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