In 2018, Real Gone celebrated its ninth birthday. It’s been a long and hard road to this point, but we’re pleased to be celebrating our most successful year online to date. Hundreds of new albums have been heard and a record number of gigs have been attended. Not only has this year been our biggest success…it’s also been our favourite.
Nearing the close of 2018, it’s time to look back and celebrate our favourite events – including our top ten album releases…
Normally, each year has an album that’s a clear stand out. Making that distinction this time around has been somewhat trickier, so we’re awarding a joint “album of the year” to two very different albums. If that seems like a cop-out, we don’t care…there really was only a hair’s breadth between them.
In the late 60’s singer-songwriter Graham Bonnet scored a UK #5 single with cover of the Bee Gees’ ‘Only One Woman’ as part of pop duo Marbles, after which his career took somewhat of a downturn. After two more flop singles with Marbles, he made the move into recording advertising jingles, before releasing a couple more unsuccessful singles in the early 70s. After an appearance in the 1975 UK comedy film ‘Three For All’ – starring his then partner Adrienne Posta – Bonnet signed a deal with the small Ring-O record label, with whom he released two full length albums, ‘Graham Bonnet’ (1977) and ‘No Bad Habits’ (1978).
Between 2016-2018, Grapefruit Records released three excellent box sets exploring the nooks and crannies of the British psychedelia movement. The three anthologies featured in excess of over two hundred tracks and even included items which even the more devoted psych obsessive hadn’t heard before. Having almost exhausted that particular avenue, the same label’s ‘Come Join My Orchestra: The British Baroque Pop Sound 1967-73′ from November 2018 provides an interesting side-step. In the wake of numbers like The Beatles’ ‘Eleanor Rigby’ and ‘For No One’ and the Stones’ ‘Lady Jane’, baroque pop became in vogue and all manner of artists – obscure or otherwise – turned to applying strings and flutes a-plenty. Not quite straight pop, but never as ostentatious as prog rock would make the orchestra, the seven year stretch bridging the two decades turned up all kinds of treats. While often favouring the singer songwriter over the pop bands, ‘Come Join My Orchestra’ is a great celebration of these sometimes forgotten musical experiments – and with seventy eight tracks ranging from the cult classic to genuinely obscure, there’s a lot here to take in.
It has been well documented that second albums can be tricky to complete. For some artists, it’s a case of finding material with a rapidly advancing deadline and a record label breathing down their necks; for others, it’s more a case of real life getting in the way of art. For London-based singer-songwriter Mick Terry, the latter definitely applies. Following the release of his debut ‘The Grown Ups’ in 2009, he began making early plans for a follow up. A tentative completion date was scheduled for Easter 2012, but with a producer several thousand miles away and various other things proving a distraction, that time came and went.
By the end of 2012, a couple of songs had appeared online, but as far as a full release of any kind was concerned, there seemed to be nothing doing. Terry continued to talk about a second album, but still the years ticked by. Grey hairs were cultivated, songs were written; album names changed…Then, eventually, in the summer of 2018 – approximately eight years after a follow up to ‘The Grown Ups’ was first tentatively mentioned – the recording was finally complete and almost ready to fill the world’s collective lugholes.