How To Follow Up 'The Libertines'? Like This... (Waterloo To Anywhere - Dirty Pretty Things)

Member Name: jwebb5

Product:	Waterloo To Anywhere - Dirty Pretty Things
Date:	20/05/09 (29 review reads)
Rating:

Advantages: Energy; Vocals; Great riffs; all round quality performance and production

Disadvantages: Slightly repetitive; It's not The Libertines...

2004 was an unusual year for British music. The most promising home grown band to emerge in a very long time, The Libertines, were cracking up under the global spotlight, and a certain Mr Doherty's drug problems eventually caused a complete, disappointing demise. However, the aforementioned Doherty's songwriting partner, Carl Barat, along with Libertines' drummer, Gary Powell, swiftly moved on to pastures new, with the formation of the Dirty Pretty Things.

The two ex-Libertines, were joined by Anthony Rossomando, who also had experience with the now dead group - he had filled in as a guitarist when Doherty was incapable of performing (guess why). The fourth member of the band was Didz Hammond, who left his band Cooper Temple Clause to join. Perhaps the chance to work with one of the country's most gifted new songwriters, Barat, and the opportunity to join the 'New Libertines' was too hard to resist. Perhaps he knew something.

Following the success of The Libertines, and their well publicized breakdown, there was always going to be interest in the band member's next projects, but you have to skip forward 2 years, to 2006, before the Dirty Pretty Thing's debut album is released. Was it worth the wait? Does it match what had gone before it?
I certainly think so.

The energy, passion and adrenaline of The Libertines is still there, perhaps even boosted slightly. The recording and production style is cleaner, so the record may have less distinctive charm, but the melodies are much sharper and clearer. And what melodies they are. This is an album packed with great riffs, superb solos, brilliant vocals, and best of all, that indescribable rock and roll electricity.

1 - Deadwood - A spiky riff leads us into the album, and eventually, into a thumping chorus. Excellent drumming is a constant on the album, and while it may not be the loudest area of the song on this particular song, few others beat them for quality. The energy of the band is instant and relentless - this is a quick sharp shock, with clever lyrics, and bags of swagger and attitude. 9/10

2 - Doctors and Dealers - The second track doesn't match the high tempo of the first, but instead shows off the wonderful vocal talents of Barat. Since the guitars are slower, you get more of a chance to appreciate the tune. It's a jaunty song, with plenty of charm, and the changing intensities throughout the song showcase the band's abilities. Another great song. 9/10

3 - Bang Bang, You're Dead - A brilliant brass intro, before the guitars kick in, with a mix of the first song's adrenaline, and the second's melody. It's an excellent halfway point, and the whole song meshes together really well. Barat's bitter lyrics match his voice perfectly, and the when the guitar's are given a little free reign, they really shine. One of the best song's on the album. 10/10

4 - Blood Thirsty Ba----ds - For the first time, the tempo drops more than slightly below the fastest setting, and the result is excellent. The verses are quite quiet, and build to a climactic chorus. As usual, vocals and guitars are excellent. This track is different to those before it, but not worse because of it, and is an excellent example of the band's ability to vary their musical style. 8/10

5 - The Gentry Cove - Almost the reverse of the song before it, in that the verses shine above the choruses. The melodic guitar riff is excellent during the main body of the song, and fits well with the vocals, but the climax is quickened, and loses it's tunefulness. It's a pity, but it's still far from a bad song - just not as good as some. 8/10

6 - Gin and Milk - No such issue with the next track, though. Outstanding from beginning to end, this song sees the pace upped again, but the melody maintained, with possibly the best lyrics on the album, and some incredible guitar work. Barat's vocals are as good as ever, the drumming shines through a little more than on some tracks, and the overall attitude of the song sets it all off masterfully. My favourite song on the album. 10/10

7 - The Enemy - A cleverly constructed song, with a clear progression. A slow, quiet start becomes an energetic kick up the backside, before the main melody begins. One thing I particularly like about this track is the the movement from verse to chorus is virtually unnoticeable - were it not for the title lyric, you'd struggle to tell. A great tune, with a strong bass section. 9/10

8 - If You Love A Woman - A sliding guitar solo builds into the main riff of this song, and it's another beauty. Passionate vocals, a change from the typical laid back style, are backed by an excellent riff, and the result is one of the best songs on the album. Passion, energy, and clever guitars make this a standout moment. 10/10

9 - You F---ing Love It - The most energetic, frantic song on the album, with rapid fire, shouty vocals. It's less than two minutes, but has one of the longest guitar solos on the album, and is definitely hard to get out of your head - not always a good thing, considering the explicit lyrics. The sound of energy - if it was any longer, it would lose it's appeal. 9/10

10 - Wondering - One of the strongest riffs on the album, backed by some fantastic bass. The lyrics are also very good, and this song suits Barat's lazy, effortlessly cool vocal style perfectly. It's a wonderful song, and all the pieces fit together beautifully. Another highlight. 10/10

11 - Last Of The Small Town Playboys - The thing that immediately hits you in the penultimate track is Barat's drawled vocals. It's fantastic, and gives the song real character. Clever, januty melodies are twinned with spikier, edgier riffs to good effect, and while this is one of the slower songs, at least until the last minute or so, the aggressive guitar lines mean it loses none of it's fire. 9/10

12 - B.U.R.M.A. - The final track is one of the weaker notes of the album, although that's not to say it's bad. It's quite different to the rest of the tracks, in that it's stronger focus on melody means it loses some of the focus and electricity of it's neighbours, and instead has a rather dreamy feel to it - something furthered by the sweeping lyrical style. It does build to a slightly more energetic finale, though. Personally, I don't rate it quite as highly as the other tracks, but I certainly don't dislike it. 8/10

It's only while writing this review that I've realised that this is one of few albums where I enjoy listening to every track. It can become slightly repetitive, and my only real complaint is a slight lack of variety, but this is countered by the relatively short running time - it doesn't last too long, so it doesn't have time to grow stale. The relentless upbeat energy helps as well, and makes it a really exciting, enjoyable album.

Dirty Pretty Things debut does sound different to The Libertines' sound. The production is slightly cleaner; the melodies are crisper; and, in my opinion, the vocals are better, as I much prefer Barat's voice to Doherty's. It probably isn't quite as energetic as The Libertines two albums, something perhaps down to the less 'raw' nature of the recordings. However, the musical quality comes very close, and while neither the songs or the lyrics are quite on a par with, say, 'Up The Bracket', this is more of the same excellent stuff.

So while we lost The Libertines in 2004, Dirty Pretty Things rose like a phoenix from the ashes. They may not be quite as beautiful as the bird that came before them, but the differences are slight. 'Waterloo To Anywhere' is a fantastic album, especially for a debut, and while it may get slightly repetitive, the energetic style, brilliant vocals, and punchy guitar riffs make it a wholly enjoyable listen. Two years after it's release, Dirty Pretty Things, like The Libertines, split up, albeit more amicably, and while it means there will be no more albums like this, it is a sign of hope - a sign that maybe Doherty and Barat will re-unite. Apart, they are excellent, but as a team, they are something else altogether.

Summary: An excellent album - just not The Libertines...