Dogs D’amour

The Dogs D’Amour – A Graveyard of Empty Bottles Vol. 1

Posted on by edwardlayland

With tales of love and loss, maverick heroes and loveable rogues, The Dogs D’Amour‘s mini album A Graveyard of Empty Bottles was one of the most delightful surprise releases I’ve ever encountered. Sandwiched between the Dynamite Jet Saloon and Errol Flynn albums, it came just over a month after the superb How Come It Never Rains had flirted with breaking the top forty. It would prove to be the premature peak of the band’s success and showcases their songwriting at it’s finest.

MTV Unplugged was still some eight months away and, although Guns N Roses Lies had set a precedent, acoustic albums/versions were not yet in vogue when the Dogs unexpectedly dropped Graveyard with an initial run of fifteen thousand limited edition, numbered 10-inch mini albums. It would go on to get a 12″, CD, and cassette release, propelling it to the dizzy heights of number 16 on the UK albums chart, but none would have the charm of the 10″. It’s a beautiful little package dominated by Tyla‘s artwork that so perfectly encapsulates the band’s aesthetic. The best thing about it though, was the songs themselves.

A Graveyard of Empty Bottles kicks off in upbeat fashion with the laid back, blues tinged, foot-tapping vibe of the jaunty I Think It’s Love Again, before the stark contrast of the bleak minor chords of So Once Was I, which doubles down on Tyla’s romantic view of modern day cowboys and wasteland heroes. There is more contrast as we segue into the blues shuffle of Comfort of the Devil, which finds the frontman at his most poetically sublime: “The devil runs his fingers down the spine of fate / Grins at me with a smile that spells out hate / Spins his chamber of his gun / There’s only one soul loaded for fun / Much more fun.”

But it is on Saviour, which closes out side one, or the Blue Blooded Bar Side, where the planets really align. It is two glorious minutes of the Dogs D’Amour at their very best as a heartbroken acoustic backdrop underpins a bittersweet tale of dereliction tinged with hope. In my humble opinion, this is where Tyla just about peaked as an artist, both poetically – “Let me lay your soul to rest / Let my lips drip red wine on your breast / Let me stain your pain with disinterest / Just let me be there for the rest” – and vocally as his voice soars on the killer hook, making this delicate pull on the heart strings nothing short of irresistable.

The flip side, or the 5th of Whiskey Side, opens with the original version of the title track of the then forthcoming album, Errol Flynn. Despite being a catchy, upbeat, mid-tempo romp it adds little to the record as a whole, serving more as a contrast to the heartbroken melancholy of what is to come. And come it does in the measured, atmospheric tale of disgrace that is the drunken downfall of the preacher stumbling from his castle of sin in The Bullet Proof Poet, before the understated When the Dream Has Gone brilliantly continues the story of the heartbroken lovers in How Come It Never Rains with surprising delicacy.

Once again, they save the best ’til last though. Angel initially sounds like a continuation of the previous track given the similar vocal melody, but it soon takes on a life of its own. Weighing in at a positively hefty 3 minutes 19 seconds it tells a serious of near misses for the self destructive, deftly covering loss, depression and grief in one fell swoop. The verses are as ponderous and full of heartache as the other ballads, yet the chorus soars with an absolutely sublime hook before they throw off all previous restraint in an electrified finale of blistering guitars – perfection!

A Graveyard of Empty Bottles may be short at around 19 minutes in total, but it is a delightful little collection that inadvertently showcases a much-loved band at their very best. It captures everything that was great about Tyla J Pallas and his Dogs D’Amour, from their romantic, booze-fueled melancholy to their raunchy, blues-soaked balladeering. This is unpretentious, good old fashioned acoustic rock n roll and deserves twenty minutes of your time.

Everybody Loves a Ballad

Posted on by edwardlayland

Ok. Hands up, I admit it – I’m a sucker for a big rock ballad. You can’t beat a bluesy riff, some heart-break lyrics, a soaring solo and a massive chorus. Ever since I was a kid I’ve loved a tragic melancholy slice of the break-up blues; my favourite Elvis track growing up was ‘I Just Can’t Help Believing’ and I loved ELO‘s ‘I Can’t Get It Out of My Head’; Doctor Hook‘s ‘Sylvia’s Mother’ was another that drifted up through the floor late at night that I couldn’t resist. Call me a sentimental old fool if you will, but come on, we all love a good ballad really and this updated version of an old listicle brings a few that have stood by me.

Ah yes, I remember it well, one of my first musical epiphanies. Back in the days before the internet, before satellite TV and even before channel 5, entertainment back home in England fell way short of today’s multiplicity – we had four TV channels and a handful of radio stations, yet access to non-pop programming was available for a few precious hours here and there. Besides The Tube (Channel 4), The Old Grey Whistle Test (BBC 2) and of course the legendary John Peel on Radio One, we also had the Friday Rock Show with the gravel voiced Tommy Vance for the rock/metal crowd, of which I was an enthusiastic member. Anyway, there I was one Friday night, in the middle of winter, must’ve been January ’89, headphones plugged into my midi system, when Tommy announced the next song – “Top 40 record? Hmmmm” – followed by the heartbreak riff of ‘How Come It Never Rains’ pulling on the heartstrings of my lovelorn 15 year old self. Damn it, I almost cried! I fucking loved that song, still do, Tyla‘s raspy cracked voice, the hook laden chorus and all those bluesy notes bending out of shape – unbeatable.

How do you end an album almost totally dedicated to shagging? Getting dumped that’s how. ‘What It Takes’ has to be one of the ultimate power ballads – it is Aerosmith at their heart aching best. Lyrically it is nothing short of superb, even with its cheeky references to other tracks*, and musically it’s sublime, the subtle time shifts are pure genius. Throw in an astonishing vocal from Steven Tyler and you have one of their finest crying in your beer tunes ever, something they’ve tried hard to match multiple times since, failing repeatedly every damn time. Yes, even on ‘I Don’t Want To Miss A Thing’ – it was good, but pales in comparison. Pass the tissues.

Although ‘Don’t Know What You Got (til it’s gone)’ is without doubt one of the cheesiest, most cliché glam rock power ballads in the history of hair spray, Cinderella were somewhat unfairly lumped in with the glam bands from LA as they prove on the title track of the very same album. Tom Keifer and co absolutely slay on the superb Zeppelinesque blues lament that is ‘Long Cold Winter‘, with its badass bluesy vocals accompanied by a mean lick of guitar; man, the sky is crying, the guitars are crying, even Tom sounds like he’s crying and it’s gonna be a long cold winter without your love baby.

Jeff Buckley‘s ‘Grace’ is one of the finest albums ever committed to vinyl, bearing not even the vaguest hint of filler. Although ‘Last Goodbye is an absolutely incredible break up song, there is way too much groove to the bass line to call it a ballad; ‘Lover, You Should’ve Come Over’ on the other hand….slow acoustic strum, rainy funeral imagery and tonight you’re on my mind… we get soaring vocals in the hook, brooding Hammond underpinning the melody as the emotions stack up in the lyrical climax:
“It’s never over, my kingdom for a kiss upon her shoulder
It’s never over, all my riches for her smiles when i slept so soft against her
It’s never over, all my blood for the sweetness of her laughter
It’s never over, she’s the tear that hangs inside my soul forever”


Then there’s ‘Forget Her’ which features Jeff at his best, fuck it just listen to it – it’s awesome.

Tesla were so sure they’d written the ultimate love song that they called it ‘Love Song’. Ok, so it’s like mega cheesy but hey, it works. Medieval intro and classic break up lyric to kick off, but the twist here is that this song offers hope that we can all find love again. It’s corny, it’s lighters in the air time and on one level it totally sucks, but on another you can’t argue with it’s delivery, from every soaring guitar lick to the arm waving sing along parts – the extended five man acoustical jam version is unbeatable – it out clichés every glam rock cliché ballad ever – even ‘Every Rose..’.

You don’t get much more heart breaking than the warm bath, open vein agony of ‘Black’ by Pearl Jam. Man, Eddie Vedder was really upset when he wrote those words and if you can’t identify with how the poor fella feels then you are either a cold unfeeling shell or you’ve never been dumped. For me, the definitive version has to be the one from MTV Unplugged where Eddie really belts out that killer final slice of desperate heartache.

One of my all time favourite songs is so obscure you’ll be hard pushed to find it anywhere. On the UK version of Tones of Home by Blind Melon, ‘Wooh G.O.D.’, also known as ‘Whoa Dog’, is either a mispress on the vinyl 12″ or wrongly credited as ‘Soak The Sin’. Whatever the case may be, this melancholy lament by tragic vocalist Shannon Hoon to his dead dog** is just so damn raw…

Notes:
*) “Girl before I met you; I was F.I.N.E fine; but your love made me a prisoner; yeah my heart’s been doing time”
**) “Wooh” was the name of Shannon’s dog. It is spelled Wooh, but pronounced “whoa.” Shannon would always catch it tearing something up or raising hell and he always yelled “whoa!” to try to get him to stop so he named him that. Shannon got him in a pet store and really connected with the dog and felt bad that he was cooped up in a cage. The dog was expensive so Shannon went back to the pet store, slid the glass up on the cage and snuck Wooh out of the store under his coat. He died when he swallowed a pin cushion. He was undergoing surgery and was over-anethstized by the vet. Shannon and Rogers buried Wooh near the big “HOLLYWOOD” sign in California. From http://www.blindmelon.org

Everybody Loves a Ballad

Posted on by edwardlayland

Ok. Hands up, I admit it – I’m a sucker for a big rock ballad. You can’t beat a bluesy riff, some heart-break lyrics, a soaring solo and a massive chorus. Ever since I was a kid I’ve loved a tragic melancholy slice of the break-up blues; my favourite Elvis track growing up was ‘I Just Can’t Help Believing’ and I loved ELO‘s ‘I Can’t Get It Out of My Head’; Doctor Hook‘s ‘Sylvia’s Mother’ was another that drifted up through the floor late at night that I couldn’t resist. Call me a sentimental old fool if you will, but come on, we all love a good ballad really and here’s a few that have stood by me.

Ah yes, I remember it well, one of my first musical epiphanies. Back in the days before the internet, before satellite TV and even before channel 5, entertainment back home in England fell way short of today’s multiplicity – we had four TV channels and a handful of radio stations, yet access to non-pop programming was available for a few precious hours here and there. Besides The Tube (Channel 4), The Old Grey Whistle Test (BBC 2) and of course the legendary John Peel on Radio One, we also had the Friday Rock Show with the gravel voiced Tommy Vance for the rock/metal crowd, of which I was an enthusiastic member. Anyway, there I was one Friday night, in the middle of winter, must’ve been January ’89, headphones plugged into my midi system, when Tommy announced the next song – “Top 40 record? Hmmmm” – followed by the heartbreak riff of ‘How Come It Never Rains’ pulling on the heartstrings of my lovelorn 15 year old self. Damn it, I almost cried! I fucking loved that song, still do, Tyla‘s raspy cracked voice, the hook laden chorus and all those bluesy notes bending out of shape – unbeatable.

How do you end an album almost totally dedicated to shagging? Getting dumped that’s how. ‘What It Takes’ has to be one of the ultimate power ballads – it is Aerosmith at their heart aching best. Lyrically it is nothing short of superb, even with its cheeky references to other tracks*, and musically it’s sublime, the subtle time shifts are pure genius. Throw in an astonishing vocal from Steven Tyler and you have one of their finest crying in your beer tunes ever, something they’ve tried hard to match multiple times since, failing repeatedly every damn time. Yes, even on ‘I Don’t Want To Miss A Thing’ – it was good, but pales in comparison. Pass the tissues.

Although ‘Don’t Know What You Got (til it’s gone)’ is without doubt one of the cheesiest, most cliché glam rock power ballads in the history of hair spray, Cinderella were somewhat unfairly lumped in with the glam bands from LA as they prove on the title track of the very same album. Tom Keifer and co absolutely slay on the superb Zeppelinesque blues lament that is ‘Long Cold Winter‘, with its badass bluesy vocals accompanied by a mean lick of guitar; man, the sky is crying, the guitars are crying, even Tom sounds like he’s crying and it’s gonna be a long cold winter without your love baby.

Jeff Buckley‘s ‘Grace’ is one of the finest albums ever committed to vinyl, bearing not even the vaguest hint of filler. Although ‘Last Goodbye is an absolutely incredible break up song, there is way too much groove to the bass line to call it a ballad; ‘Lover, You Should’ve Come Over’ on the other hand….slow acoustic strum, rainy funeral imagery and tonight you’re on my mind… we get soaring vocals in the hook, brooding Hammond underpinning the melody as the emotions stack up in the lyrical climax:
“It’s never over, my kingdom for a kiss upon her shoulder
It’s never over, all my riches for her smiles when i slept so soft against her
It’s never over, all my blood for the sweetness of her laughter
It’s never over, she’s the tear that hangs inside my soul forever”


Then there’s ‘Forget Her’ which features Jeff at his best, fuck it just listen to it – it’s awesome.

Tesla were so sure they’d written the ultimate love song that they called it ‘Love Song’. Ok, so it’s like mega cheesy but hey, it works. Medieval intro and classic break up lyric to kick off, but the twist here is that this song offers hope that we can all find love again. It’s corny, it’s lighters in the air time and on one level it totally sucks, but on another you can’t argue with it’s delivery, from every soaring guitar lick to the arm waving sing along parts – the extended five man acoustical jam version is unbeatable – it out clichés every glam rock cliché ballad ever – even ‘Every Rose..’.

You don’t get much more heart breaking than the warm bath, open vein agony of ‘Black’ by Pearl Jam. Man, Eddie Vedder was really upset when he wrote those words and if you can’t identify with how the poor fella feels then you are either a cold unfeeling shell or you’ve never been dumped. For me, the definitive version has to be the one from MTV Unplugged where Eddie really belts out that killer final slice of desperate heartache.

One of my all time favourite songs is so obscure you’ll be hard pushed to find it anywhere. On the UK version of Tones of Home by Blind Melon, ‘Wooh G.O.D.’, also known as ‘Whoa Dog’, is either a mispress on the vinyl 12″ or wrongly credited as ‘Soak The Sin’. Whatever the case may be, this melancholy lament by tragic vocalist Shannon Hoon to his dead dog** is just so damn raw…

Notes:
*) “Girl before I met you; I was F.I.N.E fine; but your love made me a prisoner; yeah my heart’s been doing time”
**) “Wooh” was the name of Shannon’s dog. It is spelled Wooh, but pronounced “whoa.” Shannon would always catch it tearing something up or raising hell and he always yelled “whoa!” to try to get him to stop so he named him that. Shannon got him in a pet store and really connected with the dog and felt bad that he was cooped up in a cage. The dog was expensive so Shannon went back to the pet store, slid the glass up on the cage and snuck Wooh out of the store under his coat. He died when he swallowed a pin cushion. He was undergoing surgery and was over-anethstized by the vet. Shannon and Rogers buried Wooh near the big “HOLLYWOOD” sign in California. From http://www.blindmelon.org