Welcome back to the Real Gone Singles Bar, the place where we explore some of the single MP3s that have landed in our inbox over the previous few weeks. There has been absolutely no shortage of singular tracks coming our way, and this time, our selection brings you a pleasing assortment of digital goodies. You’ll discover new rock sounds, a bit of indie, even a singer songwriter or two. As always, we hope that whatever catches your ear will lead to further exploration.
*
Over the years, Tom Hector has shown a massive love for retro sounds on his self-financed recordings. 2016’s ‘Little Bee’ from Hector And The Leaves presented songs that had traces of Brian Wilson and other power pop singer-songwriters lurking within its melodies; the simpler ‘(interiors)’ from the following year teased with a lo-fi sound, but carried timeless influences from Nick Drake and Elliot Smith. At the heart of the material – no matter the style – there’s a man with an old soul, and that old soul ensures 2023’s ‘Flowers’ continues his DIY voyage in a similar vein.
Following the release of Crosby, Stills and Nash’s excellent ‘CSN’ LP in 1977, Stephen Stills returned to his solo work. He’d made some excellent albums before [1970’s self-titled album and 1975’s ‘Stills’ are both essential listening, and 1976’s ‘Illegal Stills’, while marred a little by a thin sound, is very enjoyable], so there was no need to think that his next solo LP wouldn’t be of a certain standard. However, in comparison to almost everything he’d put his name to previously, his 1978 release ‘Thoroughfare Gap’ can be seen a big misstep.
Edward O’Connell’s third album ‘Feel Some Love’ comes eight years after the excellent ‘Vanishing Act’, but for fans, no matter how much time has passed, it’s the kind of record that’ll hit the spot pretty much instantly. Within a few seconds of the opening track ‘Golden Light’ emerging from the speakers, it almost feels as if O’Connell has never been away. That number’s heavy use of chiming guitars, leading a melody that occasionally sounds as if it could slip into an old Tom Petty tune at the drop of a hat, is typical of the singer-songwriter in that has a sort of timeless quality, especially in the way he’s able to apply a rootsy and friendly vocal to a very bright guitar sound. Some understated harmonies, a hard struck piano, a swirling organ and a Jim Keltner-esque drum part are all on hand to layer a great tune, but everything escalates via a lead guitar break that tips the hat to Roger McGuinn styled melodies. As the final notes fade, there’s a feeling that – at just two minutes and forty two seconds into this album – you’re in more than safe hands.
Nick Shane is one of those musicians who deserves to be better known. The Dundee based singer songwriter has been giving the world some rather solid mod-inflected pop/rock since the release of his ‘An Introspection of Now Here’ album in 2014, but hasn’t really reached household name status – at least outside of Scotland. Even 2019’s ‘Come Under Cover’ – with Nick falling back on the time honoured covers album to attract new ears – didn’t really gain the kind of traction it so warranted, and at the point where 2022 seemed ready to pull to a close, his Discogs page remained strangely incomplete. Nevertheless, the hard working musician isn’t without his share of fans, and at Scotland’s very first Rainbow Awards in 2015, Nick received an award for “Outstanding Contribution to Music & LGBT Rights”. For most, the road to stardom isn’t taken overnight, but quite why Nick isn’t thought of with the same reverence as Miles Kane is a mystery.