12 DIRTY BULLETS LIVE@ THE GARAGE

12 Dirty Bullets - LIVE @ The Garage, Highbury & Islington 29/10/10

Today's review is of local boys and Trinity Bar fellow good timers 12 Dirty Bullets, and separating Friday night's gig at The Garage from the other gigs I have attended and reviewed recently is that I chose this gig because I wanted to go, rather than being assigned to go with the promise of a few Red Stripes and a fistful of silver so you'll have to excuse me for being less than objective when reviewing mates rather than the usual posers I see.

12 Dirty Bullets have earned their stripes and done the grafting to warrant a gig at newly re-opened Garage (although personally I didn't even notice a lick of paint or new door knob different to that of the old one) and have filled the venue with actual record buying fans as well as some friends and family rather than 80-20 ratio the other way which is very ofter then case of up and coming bands on the circuit.

They start the set strong with "Black Roses And Violence" from their debut album and new track "Dreamers" and by the time the band has fallen in around lead singer and guitarist Jamie Jamieson's intro the crowd are already behind them and up for a good night for all.

Tonight's gig includes 8 tracks from their debut "Downsides To Making A Living" including "Sweet Susie", "Rock 'n' Roll Pretty Boys" as well as 5 new tracks being road tested before the second album is released such as gem and definite single worthy "She Could Love You Forever" with its Billy Bragg sounding lyric cradled within a strong money chorus that could be the turning point up the ladder for the band.

The set continued with "Keep Chancing", the first single "Fatman" and crowd favourite "Good Time Girls" which puts 12 Dirty Bullets above a lot of bands in the same genre simply because of the craftsmanship and quality of songwriting involved.

12 Dirty Bullets have never been shy in wearing their influences on their sleeve or in the case of songwriter, Jamie Jamieson, his chest (tonight he sports the classic "Hi how are You?" t-shirt from indie underground legend in his own lunchtime Daniel Johnston) although this was probably missed by the majority of the crowd as they prepared to launch beer at each other and perform high risk shoulder standing acrobatics during the Arctic Monkeys influenced track "Champagne And Cocaine" (another live favourite and a drink spiller unless you watch from a safe distance). This is one of their strongest tracks to date and shows each member of the band playing full tilt as a unit which shows that this isn't a one man show but a well oiled and good old fashioned rock and roll band.

Bringing the set to a conclusion was a 1-2-3-4 combination of first album closer and guitarist Michael Smith's ivory tickling "Away With The Stars", new track "Riddles" and Four Tops Motown hit "I Can't Help Myself (Sugar Pie Honey Bunch)" that although shows the dexterity and versatility of the 4 piece seemed to border on playing to the crowd rather than winning them over on their own steam, although this is small change and simply personal taste during an otherwise faultless set. Currently on tour across the UK, catch em' why you can.

http://www.myspace.com/12dirtybullets

NEW REVIEWS

Swanlights - Antony & The Johnsons

The 4th full length album from Antony Hegarty and his band The Johnsons (no sniggering at the back of the class) was something I was looking forward to reviewing as I'd been a fan since I heard "I'm A Bird Now" and although I felt the next EP and album were worthy inclusions neither of them reached the level of their predecessor. Although with this in mind I was still looking forward to "Swanlights".

The album begins in a haphazard manner that in some ways will underpin the whole album "Everything Is New" meanders along and although features a lot of Hegarty's trademarks doesn't really go anywhere. The album is lifted if only briefly with the track "The Great White Ocean" which reminds the listener of why they loved Antony & The Johnsons in the first place, with its heartfelt lyrics often sung through the tear stained vibrato in his voice although after the initial breakthrough seems to lose direction and energy and slows to a premature end. "Swanlights" continues on with "Ghost" and "I'm in Love" 2 tracks that never hit the mark (wherever they are aiming) "i'm In Love" especially which begins reminiscent of "Going Out" by Supergrass of all bands which shocked me into thinking my playlist had shuffled before Hegarty's voice wobbled into audio horizon. With "Violetta" clocking in at an unimpressive 35 secs it seems that the masterpiece I was preparing myself for seems to be falling through my fingers track by track.

Next in the firing line is the title track itself "Swanlights" which although admirably tries something new with its almost "Everything In It's Right Place" era Radiohead chopping and editing of the vocals lose the lyrics beneath the heavy use of organ and reverberated "oohs and aaahs". When writing this review I found it hard to understand why such an obviously below par record was made from someone so talented and top shelf as Antony & The Johnsons but it seems that the track "The Spirit Was Gone" answers these questions for me with its title although I hope its just a break rather than a permanent vacation.

The only passable single on "Swanlights" is "Thank You For Your Love" and so this is the case drums and steady backbeat have been included. Antony sings "when I was lost in the darkness, thank you for your love" harking back to the New York days when he first arrived. The most bankable track on the album although they aren't the type of band to trouble the top 10 any time soon.

Even "Flétta" - FEAT BJORK comes as a welcome shot in the arm as a possible album saver although prominent in the track and stamping her personality over it doesn't hit the heights of "Boy George" or "Rufus Wainwright" from his second album "I'm A Bird Now" with its starts and stops and quirky arrangement that goes from almost whisper to building conclusion before trailing off may have been better suited to B-side. The album concludes with the double header of "Salt Silver Oxygen" and "Christina's Farm" that have much better titles than they deserve, the equivalent of a dog turd wrapped in fifties. "Christina's Farm" is the better of the two with its lone piano that gives a subtle flicker into what might have been, its still an end to a very mixed and confused album.

"Everything is new" the vocals sing but didn't convince me that the new is always better, "if it ain't not broke-don't fix it" should be something to consider in my opinion. Back to the drawing board and to woodshed those Nina Simone albums again….

that fine rain...soaks you right through...

Another grey cold wet day in Albion and what better to do than to find some pleasure in the soaking clothes and flu nosed grime that is today than to listen to some great songs all with one thing in common....the RAIN!....

So flick on your spotify and bring up your Tuesday Rainy play lists...


1) Rain - The Beatles ; The b-side to Paperback Writer and the first use of backwards singing, cuts straight to the point with this mid 60s classic.

2) Purple Rain - Prince ; The marmite song of his set list but with the bombastic guitar solo and slow build up shows a masterclass in light and shade (even if its all purple)

3) Rainy Night In Georgia - Brook Benton ; This Tony Joe White penned track is a staple of late night soul and r&b classic stations and with this low rumbling velvet vocal from Brook Benton and the expert cradled production by Arif Mardin you can understand why its a classic

4) Have you Ever Seen The Rain - Creedence Clearwater Revival ; CCR (because I'm not continuously writing their name out) made the fashion faux pas of making hit singles one after another in a time where it was ALL about the albums. Leader and chief songwriter John Fogerty made classic rock and roll records where all that mattered was "a great title, a great guitar riff" that harked back to pre-Beatles swampy boogie woogie when everyone else was "progressing"...a great song. Even see George Harrison and John Lennon jamming this during "Let It Be" documentary.

5) Rainy Days And Mondays - The Carpenters ; This would have been a double hitter if I'd updated this page yesterday but as its now Tuesday I guess I'll have to roll with the punch. The Carpenters came about in the early 70s that for America was a turbulent time with Nixon, Watergate, Vietnam, Kent State etc and adult contemporary music with subtle horn accompaniments weren't exactly what "the kids" were reaching out for. But sales don't lie and with this as another number 1 of their 12 top 10 hits (including 3 number ones) there wasn't a riot goin' on in Downey,California.

New Review

Guitar Heaven : The Greatest Guitar Classics Of All Time
-SANTANA

Santana and more importantly Carlos Santana knows what works and what doesn't. After many years in the touring wilderness without a hit to hang onto he joined forces with Arista Records legend Clive Davis and the “Supernatural” album was made in 1999 and brought to him a whole new audience along with a host of supporting acts and solo stars who would “FEAT:” on the tracks. A clever game plan as a name like Eric Clapton, Lauryn Hill, Wyclef Jean can definitely get you some air play on stations outside of his usual FM oldies station. The plan paid off and with it 9 Grammy awards followed along with his biggest hit in 20 years “Smooth” featuring Matchbox 20's Rob Thomas. Santana were back.

They have followed this template since with the album “Shaman” and “All That I Am” which made use of his little black book of “friends”.

This new offering “Guitar Heaven : The Greatest Guitar Classics Of All Time” is a collection of cover versions that reads like the back of a Guitar Hero Game or the best of lists found at the back of a Xmas edition of Guitar Player magazine. The song choices are obvious, as good as the tracks are and as well executed they are played (Carlos Santana playing has never sounded so incendiary and ballsy) it doesn't really knock the originals out of the limelight i.e. “Can't You Hear Me Knocking” feat: (obviously) Scott Weiland is a great choice but isn't going to worry Mick Jagger any time soon for early retirement (or is that late?). Only the classy re-arrangement of the George Harrison Beatles track “While My Guitar Gently Weeps” is worthwhile, with its Mexican mariachi guitar playing the initial piano figure of the original and a restrained vocal from India.Arie give this a stylish make-over. Other tracks include the awful “Photograph” (original Def Lepard) to the confusing “Back In Black” feat: Nas turns AC/DC's original into a strange money spinner hoping for a hit by “updating it” for today, lame.

The Doors keyboard player Ray Manzarek appears with Chester Bennington on the remake of his former bands “Riders On The Storm” without any of the heart of the original Jim Morrison or the the bands interpretation. A definite wasted opportunity as both Manzarek and Santana have the chops to solo into jazz territory instead there is just a lifeless Friday night covers band version here. “Smoke On The Water” (yes I know THAT obvious) is next and like the previous track you just need to walk into any bar in any city and hear a comparable version.

Van Halen's track “Dance The Night Away” was chosen although I have no idea why, can Carlos Santana really think this is one of the greatest classics ever? Its not even in the top 10 of Van Halen's tracks although maybe he possibly decided against bongos with “Hot For Teacher”. Bush front man and the current Mr Gwen Stafani Gavin Rossdale appears on the 2 star version of the
T-REX classic “Get It On” or “Bang A Gong” as its named here by that ol' hippy Carlos.

An album with this title would seem a total lame duck without the inclusion of Jimi Hendrix so its no surprise when one of his great tracks “Little Wing” appears with a left field selection of Joe Cocker on vocals. Like “While My Guitar Gently Weeps” before in the album, they have tried to change the arrangement a little but while this worked previously this only seems to take the guts out of the original as the majority of the Hendrix guitar work is replaced by keyboards that hold the arrangement down enough for Carlos Santana to solo merciless over while Cocker seems lost by the whole thing.

The album picks up from disaster with the inclusion of Jonny Lang and his run through of the Willie Dixon penned Howlin' Wolf classic “I Ain't Superstitious” which has the feel that everyone in the room was firing on all cylinders and the A&R guys were locked outside. This version owes more to the Jeff Beck cover than the Howlin' Wolf original with Lang's vocals leaning towards Rod Stewart's rasp rather than Wolfs growl. The set concludes with run through's of Creedence Clearwater Revivals “Fortunate Son” and Red Hot Chilli Peppers ballad and monster hit “Under The Bridge”, both never get off the ground and are forgotten by the time both familiar choruses kick in. A pointless affair. Download “I Ain't Superstitious” and “While My Guitar Gently Weeps” and bin the rest.

KINGS OF LEON - COME AROUND SUNDOWN ;REVIEW

Kings Of Leon - Come Around Sundown

"Come Around Sundown" the 5th album from the band who when their not dividing the country and indie fraternity on whether they are any good any more or just a bunch of stadium rock sell outs are here to stay and still making some of the best music of their ongoing career.

The new set of songs starts in the same vain as the previous album with the slow rumbling bass of "The End", after all there is no point whacking the single as track 1 boys after all, don't want to blow your load too soon, that's saved for track 2 "Radioactive" with its Edge style circling delayed guitar riff that pretty much carry off where "Use Somebody" left off for the stadium rock crowd.

Kings Of Leon could have played this hand very easy and simply made "Only By The Night" part 2 but sticking with the fashion and progression of their last efforts they have moved on while showing a few musical bread crumbs of what came before them earlier. From track 3 onwards they have shown some new colours in their pallet with the almost Tom Petty-esque swinging "Pyro" and while the chorus like a lot of their recent songs is very stadium friendly this is also going to be one for the isolation of headphones on the bus home as well. Other standout tracks include the almost "Boys Don't Cry" type chords of "Beach Side" with its trademark Caleb Followill opening lyrics that sound like a wordless drawl. This is followed in turn by "No Money" which would be my bet for next single due to its meter reminiscent of "King Of The Rodeo". Only the track "Pony Up" seems well.."pony" as it seems to be a bit of a Kings Of Leon by numbers and definitely should have been relegated to a b-side (if such a thing even exists any more) the album doesn't end there and with the track "Birthday" they manage to bring the level up again with this future definite live favourite. The country influences that Followill often talked about in interviews are present here in tracks such as "Back Down South" which its steel guitar bends and slides and the mariachi style "Mi Amigo" complete with "Ring Of Fire" style trumpets which show more influences of drugstore truck driving men rather then skinny jean wearing fey sensitive indie boys. "Come Around Sundown" ends with "Pickup Truck" again with the standard fade in and echo guitar (starting to get a little tired by track 10 lads). A nice enough bookend to the album and a strong enough contribution although as with some of the other tracks including "The Face" and "The Immortals" some how missed opportunity arrangement wise simply relying on their set bag of tricks and sometimes end up sounding a little tired and boring where once there were the NEW sound.

The indie elite of NME and other magazines seem to have already had the jury's decision back 10 seconds after hearing "Sex On Fire" and have hung,drawn and quartered the band for the very un-cool crime of being popular and becoming successful beyond their piers. I understand that when your mum and the milkman start whistling the chorus to your favourite songs in your teenage years you feel like the only way to regain the balance is to distance yourself from it and spit at them but like it or not Kings Of Leon are here for the long haul and are making strong work. On first listening it doesn't grab me the way "Because Of The Times" caught my attention from the opening bars but this is small potatoes when I'm sure after the multiple listens I'll get from every radio station, TV advert and probably (god forbid) X-factor auditions I'll be hearing some of these tracks for the foreseeable future and whistling them myself as I get my semi skimmed 4 pinter. File next to "auto-pilot", they haven't re-invented the wheel nor have they gone back to horse and cart, they have made a good solid record to be proud of, if only R.E.M could produce an album this good rather then resting on past glories maybe NME would cheer up about KOL's success.

A Day In The Life....

What do you write about when you don't really have any topics to discuss? I need to write something to keep a working daily blog valid after all. I was sent another CD to review but as it was some drum and bass racket I politely declined rather than ripping it to shreds verbally (after all who am I to judge the work of a drum and bass artist especially when I own zero Cd's in that genre and couldn't compare shit from gold)

The record currently on my player is "A Wizard, A True Star" by Todd Rundgren and the book in my line of sight this week is a biography of Charles Bukowski (poet and writer from the beat generation)a typical insight into the mind and life of another of the "suffer for your art" kinda guys, this has always been something I was never sure of. I like a warm bed and a hot bath before I go into the studio to record anything, the idea of having to stay up and destroy a million brain cells before I'm "ready" seems a bit too much of an effort. Either that or I've seen the abyss from the sidelines and never really fancied jumping in feet first. I'm all for being able to pull a riff out of the bag like Keith Richards but do I really want his morning wheezing cough? On the other hand I definitely could do without sliding into the Eric Clapton picture of health safe as milk play by numbers ball ache he calls music these days. Better to paddle your own canoe I guess, just be aware where the rocks and waterfalls are.

Load your spotify's and dig out the following nuggets....


1)Down Boy - Yeah,Yeah Yeahs

2)Since I Lost My Baby - The Temptations

3)Let Your Shoulder Fall - Matthew Jay

4)Life's A Gas - T-Rex

5)She Smiled Sweetly - The Rolling Stones

Re-Discovered Classics - End October...

Once again I'm throwing the gauntlet down for all of my merry men and women out there will Spotify to update their play lists with some of my favourite tracks that they might have missed before. Some are newer than others, some are dead and some are living..in my life I love you more....



You Don't Understand Me - The Raconteurs (from their 2ND album)

Cornerstone - Arctic Monkeys (yes you all probably all have this song already but its such a stone cold classic I couldn't take the risk of you not)

Past - Todd Rundgren (from his more recent album "Liars", slow 70s style Philly soul is what he does best, great production too)

Call My Name - Prince (no god babble or pointless funk jams, give him piano and a sympathetic band and he can still pull the goods from his royal purple behind)

Both Sides, Now - Joni Mitchell (a beautiful track originally from Clouds in 1969 but then re-recorded in 2000 an octave lower with an orchestra on the album of the same name) Both are amazing which is the proof of a great song that the arrangement and key can change and the song still hits the spot.

Are You Passionate? - Neil Young (a criminally underrated album post 9/11, Neil young playing his bluesiest since "This Notes For You")

Rock And Roll - The Velvet Underground (Lou Reed left the Velvet Underground for a solo career but in a classy act of kindness crammed his last album "Loaded" with a ton of "hits" and commercial tracks, here's one of his best.

Shapes Of Things - The Yardbirds (with Eric Clapton off with John Mayall the guitarist duties baton was picked up by Jeff Beck and thrown about a mile over the finish line.

A Kiss Before I Go - Ryan Adams (Here is the Gram Parsons influences coming to the forefront, a 4 star record from start to finish)

Soothe Me - Sam & Dave (Stax legends backed by Booker T and the Mg's, whats not to like?)