Real Gone’s End of Year Round-Up 2022

2022 has gone extremely quickly. With most people back at work in their offices and gigs being a regular occurrence, everything has felt far more like those old pre-2020 days. Almost as if to celebrate a shift back towards “normality” (though we’re no means out of the woods with regard to viruses) lots of our favourite bands went into overdrive, and a few of them even produced albums that are up their with their finest work.

Below, you’ll find Real Gone’s ten favourite releases of 2022, along with a few others that really stood out. It really has been a great year for music; some of the stuff we’ve not included was also of a very high standard, and it really felt like there was something new to explore every week.


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SAXON – Carpe Diem

In terms of tenacity, there are few bands to rival Saxon. During the 80s, the band found themselves among the top tier of British metal acts and, for a time, they seemed unstoppable. Changing fashions meant they fell hugely out of favour throughout the nineties – especially with the press, and especially in the UK – but due to the grit and determination of frontman Biff Byford and guitarist Paul Quinn, the Barnsley boys ploughed on through some pretty lean times, and eventually rode high again in the twenty first century. Off the back of a run of strong albums beginning with 2011’s ‘Call To Arms’, Saxon became popular fixtures on festival bills once again and gradually reclaimed their place as one of British metal’s most important acts.

A global pandemic forced the band off the road in 2020. Robbed of their most natural environment, Biff and company resorted to that time honoured stop gap, the quickly completed covers album. ‘Inspirations’ featured a couple of interesting choices, but was one of those projects that was better in theory. It wasn’t a great release, but it did an important job in keeping everyone’s spirits up until some form of semi-normality returned. It was but a temporary blip, though, since heir twenty third studio album ‘Carpe Diem’ – released in February 2022 – truly reignites the twin engines of Barnsley’s finest denim and leather sons, and features at least a half dozen potential classics among its ten high octane cuts.

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EWIGKEIT – Declassified EP

Ewigkeit’s eighth album ‘DISclose’ drew heavily on themes of other worlds and UF-ology. Quite removed from their black metal origins, its seven songs straddled a wide range of heavy influences, taking in some old school rock and a fair amount of melodic and symphonic black metal, as well as a touch of drone and a little alternative along the way. It was a hugely accessible record considering multi-instrumentalist James Fogarty had first come to prominence as a member of In The Woods and provided you could make it past a semi-abrasive vocal, it was an album with a lot to give.

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SAXON – Destiny

The landscape of hard rock music in 1988 looked very different, in comparison, to that of a decade earlier. When Saxon began their recording career in the late 70s, rock and metal were solely the reserves of the readers of Sounds magazine, the devotees of the Radio One Friday Rock Show and festival goers. By the late 80s, it was no longer considered such a niche genre: bands like Europe and Poison had scored chart success on both sides of the Atlantic; Def Leppard‘s ‘Hysteria’ was one of the biggest selling albums of the era and Guns N’ Roses were on their way to becoming a worldwide, stadium filling phenomenon. Whitesnake‘s ‘1987’ was selling by the bucketload to a broad demographic and even Metallica – a band that only a couple of years earlier seemed entirely marginal – were on the cusp of UK singles chart success, and yet Saxon, in terms of commercial success, appeared to be floundering.

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SAXON – Rock The Nations

Following the tour for 1985’s ‘Innocence Is No Excuse’, founding member Steve ‘Dobby’ Dawson quit the band, leaving Saxon without a bassist and with far less of a moustache quotient. Without securing a replacement, the band re-entered the studio. With Biff Byford handling vocals and bass duties for the recording sessions of what would eventually become ‘Rock The Nations’, Saxon wouldn’t lose momentum. This seemed like the natural solution until a permanent replacement could be found.

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