Bringing It All Back Home, the 1965 album in which Bob Dylan broke free from the shackles of acoustic music and began his gradual drift away from the out-and-out protest song, represents a perfect marriage between two genres which, up to the record’s release, had never been brought together in such a way. To fans of Dylan, this is no revelation – Bringing It All Back Home is, after all, commonly held up as the album that gave rise to the ‘folk-rock’ movement. But it is not for its influence on a host of mid-sixties bands that this album is significant. Roger McGuinn did not base the Byrds’ distinctive music on Bringing It All Back Home; he based it on a combination of Dylan’s lyrics, the Beatles’ sound, and his own unique guitar skills and techniques (and beyond the Byrds’ early music, folk-rock was and is too broad a category to be pinned down to one founding record). No – Dylan’s first electric album is important more because of its place in Dylan’s own canon.

In fact, we should first take a step back, and remember that Dylan first performed several of the songs that were to feature on Bringing It All Back Home during his 1964 acoustic tour. He had already recorded Another Side of Bob Dylan, an album which took him away from his straight protest song period and into a more reflective song-writing phase, in which he penned introspective love songs as well as more complex political songs (for example Chimes of Freedom). But Another Side of was still exclusively an acoustic affair, and the first songs he wrote for its successor were initially played acoustic as well – for instance Mr. Tambourine Man, and It’s Alright, Ma (I’m Only Bleeding).

Such songs feature on side two of Bringing It All Back Home – where Dylan actually plays acoustic, but with subtle electric touches. In this sense, Bringing It All Back Home acts as some sort of precursor to Blonde on Blonde, in which Dylan achieved his goal of “That wild, that thin mercury sound”. But Bringing It All Back Home was recorded without the guitar sensitivities that Robbie Robertson would bring to Dylan’s 1966 recordings, and it must be considered as an album in its own right – not as a rehearsal for what came later. Because such songs are notable less for their musical arrangement, and more for the sheer poetry and vision contained within.

Mr. Tambourine Man needs little introduction, but the familiarity with which it is regarded – by Dylan aficionados and casual music followers alike – means that it is often over-looked as a work of art. The song is some kind of trip, but also a plea – Dylan recalls the writings of the Beat Generation poets as he seems to reach out for the fulfilment of a dream, which fuses a very personal empire, bleak historical visions and the simple pleasure of dancing beneath the starlight. Quite where he is going, nobody can say – setting a pattern for much of Dylan’s future work.

It’s Alright Ma is evidence of a more mature and nuanced approach to politics – Dylan aims broadsides at the phoney morality of teachers, preachers, religion and the press (to name but a few) – but he can find less in the way of concrete solutions, instead resigning himself to his own internal self-confidence and leaving others to get on with their inadequate lives.

The other half of Bringing It All Back Home is in the style for which the whole album has become famous – it is mostly a brilliant bluesy romp through seven songs. But that is not to say that Dylan’s lyrical genius is any less important here. In what is probably the most inventive of his blues songs from the mid-sixties, Dylan uses Bob Dylan’s 115th Dream to tell a hilarious tale of a trip which starts, apparently, aboard The Mayflower. The journey has a more definite pattern than the one described in Mr. Tambourine Man, but nonetheless, Dylan’s surreal imagination runs riot. His use of historical figures like Columbus would return later in the year in the song Desolation Row (from Highway 61 Revisited) – but 115th Dream is much more entertaining, with its fast and driven bluesy style.

Dylan’s development as a political philosopher/activist – as opposed to just a demonstrator – is further highlighted in Subterranean Homesick Blues and Maggie’s Farm. It was these songs which, more than any others, gave rise to criticism of Dylan by the politico-folk traditionalists, as they are protest songs recorded with electric guitars. How was this possible? The bluesy rapping in Subterranean and the very personal industrial action in Maggie’s Farm showed that an electric protest song could do things an acoustic one could not – it could shout.

Let us not forget Bringing It All Back Home’s love songs. Taking the excitement level down a notch or two, Dylan uses She Belongs To Me and Love Minus Zero to describe very particular lovers – the star of the latter song is an engaging and low-key character who Dylan appears to appreciate for her ability to remove herself from all of the hangers-on, the people seeking a piece of Dylan, and the result of his musings on her is an unassuming song which cannot fail to strike a chord with its listeners. In both songs, Dylan demonstrates his capacity for writing very complex songs and making them flow very easily and naturally. These songs bear repeated listening, which in my case is just as well - as a child, I had double-exposure to She Belongs To Me, as my parents’ copy of Bob Dylan’s Greatest Hits was faulty and contained the song twice, at the expense of Just Like a Woman.

The songs that have yet to be mentioned should not be over-looked – Outlaw Blues, Gates of Eden and It’s All Over Now, Baby Blue are no less remarkable than their peers – but by this point, readers should be itching to listen to the album, and so I will not dwell further on these tracks.

Bringing It All Back Home combines blues, folk, introspection, politics, humour, poetry, a very tight band, vivid characterisations, and originality. Most albums that are deemed at least ‘good’ contain some of these elements, but very few display them all. These ingredients, and many more, jump out at you when listening to Bringing It All Back Home, and for this reason it must be considered a truly great album of rock and roll music.

Keane might just be the only band in Britain to have the dubious privilege of being able to say they're named after a dinner lady.  Then again, they might also be the only band in Britain to want that privilege.

The Battle-born three piece, once known as Cherry Keane (after the aforementioned elderly refectory worker, described by Chaplin as "a kind old lady who helped make tea at school"), have drawn innumerous comparisons to Coldplay thanks to their piano-led ballads, but to liken them to their University College classmates is to do them a disservice.  While Coldplay are whiney and boring, Keane shine on this debut, mainly due to baby-faced lead singer Tom Chaplin's voice.  Rather bizarrely he sounds, at times, not dissimilar to Ewan McGregor in Moulin Rouge, vocals soaring above the piano and drum accompaniment.  'This is the Last Time' really showcases his vocal
talent, the result almost choral; while 'She Has No Time' presents a more mournful Chaplin without the maudlin qualities existent even in Chris
Martin's best efforts.

Keane shun guitars for a simple piano and drum set-up, and while Muse have proved the old joanna can be innovatory and different, on 'Hopes and Fears' the most exciting thing you'll hear is a bit of synth.  That's not to say the overall result doesn't sound good, Keane's ivory tinkler, Tim
Rice-Oxley, is clearly a highly qualified pianist, but while 'Hopes'' twelve tracks don't quite outstay their welcome, by the group's second album fans may well be hoping for something a bit different.  This is a consistent debut with only a couple of tracks which grate (for example the over long bore-fest that is 'Untitled 1'), however none quite reach the euphoric heights of second single and album opener 'Somewhere Only We Know'. 

'Bedshaped' comes damn close however, as does the beautiful 'Your Eyes Open'.

Perhaps the best way to describe Chaplin, Rice-Oxley and Hughes' (Richard, drums) music is inoffensive - songs that your gran might describe as 'a nice little tune'.  While this might spell bland to a lot of people, your gran would be right, 'Hopes and Fears' is full of nice little tunes that will
sound as good to a University student as they will to the same student's dad.  Essentially this is a slick sounding, if slightly samey, debut with a
lot to offer.  Let's just hope Keane can pull something a bit different out of the bag for their second album as they're surely destined for bigger and better things having already notched up two top ten hits and a number one album ahead of The Streets.  Cherry Keane, if only you could see your namesakes now.

Every song's a winner, from the pop-rock hooks of first single 'Lay It On The Line' to the lilting and wistful 'Laughter', the Beatles-esque 'Bouboulina Sunshine', and every other song in between. I've found the album best enjoyed in the spring sunshine that's finally starting to arrive, and with so much more sun on the horizon (we hope) 'A Garden At The Top Of The Tree' is the perfect soundtrack for a new season, and the next, and the next, and the next......

Check out the band's Myspace page here for more information. Enjoy! :)

Avacate, Bristol based alternate rock band, have released their album, 'Ghost Of A Former Self' through Inner City Grit Records.

Avacate (pronounced A-Vacate) are a female-fronted alternate rock band with a unique industrial twist. GigReviewer.com have been very lucky in receiving a copy of their outstanding album for this review.

The album kicks off with a really cool, catchy guitar riff... after a single beat... which grabs your attention immediately. The vocals come in beautifully and start to soften the blow without losing any grip on the music.

The band have a very distinctive sound, which is a good thing, and they never let a beat drop and always keep the high moving and progressing into new territories.

The album as a whole is one that you would have to listen to again and again, and always seems better the more times you listen. Ghost Of A Former Self is a very strangely addictive album.

One of the key tracks to listen out for is 'Magdalene', which is their upcoming EP, which has all the industrial grooves that you would expect from Avacate, along with some very haunting vocals which will make this a great CD to purchase!

You can read some more on this single in our interview we have already had with the band prior to the album review.

The album is also full of very good drum tracks, smooth bass-lines and effective guitars compressed and forced out with the use of the FX they have created.

You can hear more from the band, and find out details on purchasing the album for yourself on their Myspace page. Be sure to be-friend them!

GigReviewer.com hopes to hear lots more from Avacate in due course...and the best of luck to them on their tour of Holland in the next two weeks!

'Village Life' is the first album on this CD, where from the outset you can already start feeling more chilled out with the beautiful picking on the guitar, and then Alex brings in the vocals, sung softly, yet with the grunt behind a true rock star's voice and it just seems to work..!

'I Left The City' with this next track, with a more upbeat rythym to the situation, with some jazz blues piano melodies to accompany the track which gives a nice extra layer to the album, before falling back in to a dream like state with 'Look After Yourself' which shortly follows.

Mostly made up of farily short songs, Woodditton Wives Club provides a nice mix of beats and rythyms while still keeping a nice relaxed general mood to the CD, and perfect for listening to on a cold Sunday evening with a hot mug of chocolate to keep you warm.

'We'll Al Have Fun' is a good stand-out track, mostly piano led, and as you can imagine is alot more upbeat with  memorable lyrics.  Alex also provides a very memorable blues track on his views on 'Smoking', and how great it actually is!

There are some classic moments throughout this album where you can hear some possible influences shining through - where 'Panic' has a partial likeness to Pink Floyd, and 'A Song For Someone' has an essence of the Beatles - what with their chorused vocals.

The album ends on the most upbeat and shortest song of the album, 'Dirty Rugs', the style is reminiscent of the style that used to be played at the end of some shows to end things on a lighter note - with a sudden finish to round everything off.

The album as whole works perfectly in sync with eachother and has been a real treat to review.  We hope to see more from Alex in the future, and hopefully in one of our own future gigs..!

GigReviewer.com have been very lucky to receive an early release of the album for our own review, and where do we start!?!?! This is an awesome album, and perfect for any of you hardcore metal fans out there!

From the moment the album starts with the meaty power chord, you know that you are heading on with something dark, then the high arpeggio brings in a level of mystery before it all kicks off with the beautiful memorable riff that is 'Ocular Gyro Crisis'

The album is full of great harmonising guitar riffs, and the screaming harmonising of the vocals is the type to make your blood boil. The way it is all put together, and played, is really quite extraordinary.

You must agree that Harry Edwards and Daniel Reid's guitar work on 'Synaesthesia' is pure genious. The track is summed up to a dual guitar solo, where they work in wonders together mixing the beauty of longer notes, masterful melodies and all out shred in short sharp bursts that makes this track an absolute favourite.

Tom Hale's epic bass work of tracks such as 'Longitudes' and 'Latitudes' (very nicely put in there by the way!) is also not to be missed, as the fingerwork is alomst something out of a guitar solo! Not to mention the awesome constant that is Phil Brown's drumming techniques.

Kaan Tasan and Philip Winterbottom's dual vocal work is also to be marvelled out throughout the entire album and how they manage to harmonise the heavy screams and light(er) singing parts. The album ends with the furious work of all six members that seems get louder and more energetic during that 'Inevitable Silence' that album finishes on.

The artwork of the CD is also not to be sniffed at, showing the landscapes of the mountans and the dark ruins - completely lifeless save for thetree at the throne on top of the stairs, with the eclipse shining down upon it. It really does set you in the mood for the fantasy and darkness that the 11 track album truly brings.

The album is brought to you by Basick Records and Top Two Studios, released 17th August 2009

1. The Silent Dissenter
2. Greed N Mercy
3. Snapshot
4. The Niggers Will Eliminate Themselves
5. God Is White
6. Child In Armour
7. Playing With Fire
8. Checks & Balances
9. Meanwhile South Of The Border
10. Black Boy
11. Sœur/Putain
12. The Final Solution (I Hated Myself And Wanted To Die)
13. The Tyrant
14. Seeks Asylum

Has anyone been watching that ‘Breaking Point’ series on MTV? You know- the Pop Idol for rockers? Well, I have (I have no life), and on there, I heard them say something along the lines of “…the only way to get ahead as a band is to get label backing.” Bullshit.

There’s a little known concept in these days of apathy and laziness known as DIY - if you want to put out an album - do it… yourself!!! If you need a label, set up your own! You don’t need a prime time TV tie–in show, forcing your product down the public’s throat. And this album is a perfect example of that DIY ethic. Djevara released this, their debut proper after seven demos, on their own Genin label, with money invested by friends and fans, who have faith because these guys are committed (when a portion of each CD sale to various charities, you get the impression it’s not about the fame or money).

And it’s a great investment. The songs are quicker and more urgent, and the sound quality is sharper, meaning the drums and bass, which once sounded a bit muffled, now sound bastard massive. Even the cymbals sound like someone pounding sheet metal into shape. Check ‘Snapshot’ and the title track for proof. Oh, and the final track, ‘Seeks Asylum’, with its two false endings.

The lazy comparison to make is that of a punkier Rage Against The Machine, but that’s no bad thing in my opinion since it’s only an influence, rather than a blatant rip-off. The songs range from fiercely politicised rants (“sit back and watch us die on primetime TV” on ‘The Niggers Will Eliminate Themselves’) to more simplistic dancefloor/moshpit fillers (‘Meanwhile South Of The Border’, and ‘Checks and Balances’), without ever losing steam. Even ‘The Tyrant’, which I previously thought was a bit long has had extra lyrics added to the stop-start ending to keep it interesting (“Come on motherfucker, call a spade a spade” – well, what were you expecting? “Ooh, baby, baby, I love you so much” or something equally banal?).

In fact, the only fault I can find with this album is with the accompanying booklet- there’s a transcript of Shaka Sankofa’s last words, from just before he was executed (in Texas- guess who was Governor at the time?). Whilst I have no qualms about the content (come on, Dubya’s a c*** - we all know it), the printing makes it near impossible to read. Still I suppose it makes you concentrate on the words. 

Now, as then, Gaucho sounds clinical and without a beating heart. As ever, faultless musicianship smothers every second and the anecdotes surrounding Fagen's infamously perfectionist approach to production are the stuff of rock biography legend. The impeccably slick Babylon Sisters slithers from the speakers on pushing 'play', and immediately the snide setting is nudged to eleven-"love's not a game for three," indeed. Worthy of much respect in particular is veteran sticksman Bernard Purdie who gently propels his fellow sessioneers along with his assured shuffle. Bizarrely, track two-the sinister, muzak-esque Hey Nineteen-remains by far the Dan's most profitable single cut. Essentially, it's an aging lothario's slime-stained account of lusting after nubile young things seeking their star in the firmament ("She thinks I'm crazy/But I'm just growing old"). Similarly, Glamour Profession benefits greatly from Fagen’s atypically dispassionate vocal delivery, to say nothing of perhaps the most bruising lines he would commit to vinyl -"Brut and charisma/Poured from the shadow where he stood."

On the eminently danceable title track, the Dan don't so much rock as sway, a triumph of horns and many years holed up in bedrooms endlessly practising guitar, another opportunity unveiling itself for Walter Becker to flaunt his unquestionably fine six-string skills. Meanwhile, on the subsequent Time Out of Mind, references to narcotics abuse abound ("Tonight when I chase the dragon/The water will change to cherry wine"), offering an ample substitute for the paucity of sincerity dominant elsewhere on this nevertheless superb album. (As an aside, Dire Straits aficionados may be interested to learn that Mark Knopfler guests on this track, providing a mellifluous solo.)

Thereafter, the concluding Third World Man delivers a mid-paced, sublimely wracked feel, for which much credit must be awarded to synthesizer virtuoso Rob Mounsey. Over a backing of muted electric piano and subtle acoustic touches, the dictatorial Fagen (who amusingly earned the sobriquet 'Mother' during the pertinent recording sessions) essays a despairing tale of middle-class paranoia and enroaching madness-"I saw the fireworks/I believed that I was dreaming...” Frankly, it makes for an entirely appropriate final scene for what is an inherently bleak treatise on deception, falsehood and amorality-which, equally suitably, renders the stylised and blotchless musical content contained within all the more fitting.

Thinking For Tuesday are a female-fronted band based in and around the South of England. They are full of melodic vocals, thanks to the talents of Tom Langston, Will Jenkins, and of course, Karen Conway who heads up the band.

They have been kind enough to do an interview with us, so if you would like to know more about the band, then you can read it here.

The band have recently released their debut album, Holding For a Reason, which is an awesome 16 track album, and avaliable to purchase here. Several tracks are some snippets which make up the annoyance of ringing a help line, which is a very nice feature.

After opening with one of those snippets, the band kick in with Slide, which has a brilliant feel to the song. Karen's vocals are beautiful, fairly high without being too much "in-your-face" and keeping that rock groove. The chorus makes this a great song to sing along to (like Will and Tom do already)!

The album progresses straight into one of the band's best loved songs, 'Ordinary Song', which is all about the monotony of life. This also a great song, and Chris has a really nice drum-track and helps to show off his talents nicely.

Things start to take a lighter note from here, with 'Tonight' which has some gorgeous lead guitar before building the song up which keeps this album on a high.

The album is full of great riffs, and smooth basslines from Barny Booth. The band work really well together, each having their time to show what they can do, without overdoing anything.

Combined, Thinking For Tuesday makes 'Holding For A Reason' an album you must own. They are very good with making their lyrics something that we can all relate to, and hitting that soft spot in everyone's hearts.

'Dig It Up' is a great example of the dirt of some of the guitar riffs, with great usage of the cowbell. It holds an awesome groove which everyone keeps to without fail. Naturally you have some slow tracks, as with every good album, but all in all it is a brilliant album for lifting your mood.

The album ends with 'Devil May Care', which shows off brilliant guitar solos, riffs, basslines, drums, vocals - quite simply - the biggest high that the band can possibly finish on. We, at least, definitely want to keep hearing more! This track does stick in your head, and you cannot forget it!

Finally, you get through to that help-line to finish on a failure to communicate! Just great...

Britain has had its fair share of iconic bands over the years:  The Beatles, Led Zeppelin, The Smiths, Radiohead, The Cure.  But in the past few years its all been fairly quiet on the icon front in Blighty.  Instead, groups from across the pond such as the White Stripes and the Strokes have found huge success, while the only bands making the charts from our shores were dirge merchants like Stereophonics, Travis and the quite frankly ridiculous Darkness.

However in the past twelve months there's been a sudden upsurge in homegrown talent, popular with music critics, purists and mainstream listeners.  Bands like the Libertines, Franz Ferdinand and Snow Patrol have proved once again that it's cool to be British, blowing their American rivals out of the water.  The Killers would fit perfectly into this newly carved post-punk style indie niche but for one damning fact: they're from LA.  But, this hasn't hampered their progress up the charts one bit.  Instead of basking in their American-ness, the Killers sound like, according to one music mag, 'an indie band from Yorkshire'.  Like fellow self-confessed Anglophiles and Joy Division-alikes Interpol, the Killers cite Brit bands as their main influences including on the list aforementioned icons the Smiths and the Beatles as well as, surprisingly, Oasis.

'Hot Fuss' is the band's debut, and includes their two hits to date 'Somebody Told Me' and 'Mr. Brightside'.  Both are startlingly strong tracks, the former a disco-tinged nod to the New Wave of the early 80s, while the latter is a chugging ode to lost love.  But unfortunately, not all the songs on 'Hot Fuss' live up to the huge promise of these two anthemic hits.

Album opener 'Jenny Was A Friend Of Mine' is one of the songs which does however, a haunting tune with a murderous narrative.  Lead singer Brandon Flowers' (no relation to Mike) voice adds an overwhelming emotional atmosphere while a throbbing bassline brings a catchy hook to the proceedings.  After the next track, 'Mr. Brightside', the album's pace moves down several gears with the musical non-event 'Smile Like You Mean It', a swampy mix of guitar and synth with nothing to offer but some robotic backing vocals.  'Somebody Told Me' ups the tempo before 'All These Things That I've Done' introduces a rather fabulous gospel choir and some of the worst lyrics in recent memory - "I've got soul but I'm not a soldier" Flowers declares at one point.  Hmm. right mate.  Even so, 'All These Things' is one of the CD's highlights, as is the following song 'Andy You're A Star'.  Discordant, monotone (but in a good way) and set in a minor key, 'Andy You're A Star' marks the last stroke of genius on 'Hot Fuss' before the rest of the album deteriorates into average indie-by-numbers.

That's not to say the rest is awful, or even that bad, but compared with the pure pop perfection of 'Mr. Brightside' or 'Jenny Was A Friend of Mine' they simply don't even come close.  'On Top' offers some bizarre synth that wouldn't sound out of place on a cheesy mid-90s Eurobeat hit while the Cure-influenced 'Everything Will Be Alright' is just irritating thanks to the decision to have Flowers sing the whole song using an off-putting distortion effect.  'Glamorous Indie Rock & Roll' has not only an awful title but also a stop-start rhythm which soon becomes annoying, while Flowers' wailing, which sounded so good on 'Jenny' is enough to make your ears bleed.

The Killers appear to be the music media's new darlings at the moment, their popularity proved after playing a packed out set in the New Bands Tent at this year's Glastonbury, but 'Hot Fuss' is not really worthy of the hype surrounding it, at least not the whole album anyway.  It pales in comparison with other debuts released this year such as Franz Ferdinand's eponymous long player, which goes to prove that in light of the UK music scene's rebirth of 'Cool Britannia', us Brits just do it better.  All in all the Killers have produced a brilliant half an album - let's just hope they can come up with more of this for the follow-up, rather than the middle-of-the-road indie-by-numbers which almost kills the atmosphere of this debut.