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4.5 out of 5 stars35
4.5 out of 5 stars
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on 2 May 2006
Since the infamous day the Libertines called it a day and played their last gig in Paris, it has left a massive hole in the British music industry. Boy bands have filled this with Topman images such as the Kooks and the post Libertines hangover was not going away. However the theory goes that the best cure for a hangover is a bit to have some more of what caused it in the first place. DPT is the cure. 'Waterloo to Anywhere' will never be as good as the Libertines. But it see's Carl step up and prove all those people who hailed Pete as the real genius behind the Libs wrong. The clear stands out tracks on the album are the powerful Bang Bang Your Dead, Gin and Milk and The Enemy. You fucking love it storms in at under 2 minutes, If you love a women and Burma both how early punk influnce. ' Wondering' is the gem in album however, with wonderful guitaring and lyrics.The break down of this relationship with Pete is also evident on 'Blood thirsty Bastards' and 'Doctors and Dealers'. What you cannot ignore however is the trademark sound of Carl's guitar style, so evident on both Libertines albums. You can't help but wonder what the songs would have been with lyrical input from Pete.

Waterloo to Anywhere offers sex, drugs and rock'n roll the way it should be, raw, powerful and emotional and honestly makes Down in Albion sound like a demo from a pub band.
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on 2 September 2006
Well frankly this album to me is a pure joy and every song on it is genius. Unlike other albums that have at least 1 bad song The boys in dirty pretty things have got this one spot on and I have never been so happy to part with my money to buy this amazing first album of theirs, and I can only see them carry on as they started and gain the recognition as 1 of the best Indi-Rock bands in the world. The album is easily worth the money and u will not regret buying it and listen to it time and time again and u will never get boarded of it. With songs such as Gentry Cove, Deadwood and bang bang your dead, It is truly 5*.
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on 9 May 2006
So Carl Barat, so often regarded the "water carrier" of the Libertines, before Pete Doherty disintegrated in a vapour of negative publicity and an ubiquitous ever present rock chick girlfriend, returns. And what a comeback this is. Whilst Barat laid low for 18 months, Doherty sadly became a parody of himself and his credibility is now surely extinguished for good.

In that time, indie has become hyperbolic rather than meaningful music. And the NME has thrust upon us week after week the "next big thing", and for the most part these new bands are more wooden than a solid oak chair. The world NEEDS Barat back right now to save us from the mediocre, heard it all before retro rubbish that has somehow found an attentive audience. Waterloo To Anywhere is the most cathartic set of songs someone could write. From the roar of Deadwood, to the lament of moronic hangers on in Blood Thirsty Bastards, the riposte to a lazy and callow society in Gin and Milk, and what must be a serious contender to anthem of the decade, You Fxxking Love It, this album is what all of these conveyor belt indie bands should aspire to. Nice to see some REAL passion and fire from a band for once.

The speed and fury of the album goes over your head the first or second time you hear it, so it takes a little time to appreciate the quality of the music. But there is not one filler track on this album. Funny how you wait so long for a really good album that will last long beyond the initial "sell out every UK venue and a top 5" hype that greets nearly every trumped release, and two come out on the same day (the other being the soon to be classic Stadium Arcadium).

Hardly even worth reviewing this record as the world and its dog will listen to this, but this is just a brilliant record. Libertines Mark II - who cares? Welcome back, Carl and Gary.
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on 3 October 2006
This album is just brilliant, there isn't a bad tune on it. It has real urgency and energy, but there is also lyrical talent in evidence that reaches near poetical standards. Love Carlos, he's the real star and I think some of Dirty Pretty Things work is actually better than The Libertines, definately far exceeds anything by Babyshambles!
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on 11 October 2007
This album is simply perfect. When I first heard it I was underwhelmed, there did not seem to be any real stand out tracks and I had difficulty hearing the melody. However after a few plays the beauty of this album revealed itself. It is rare to hear an album where every track is perfectly formed, no fillers or lazy lyrics just snappy little numbers that you can in no way fault. I can't wait to see what Carl does on the next album, if it is half as good as this I will love it.
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on 27 September 2007
Waterloo to Anywhere sounds more Mick Jones than even the Libertines ever did- and this is not even a production of the former Clash -genious!
This album is the clever bastard-child of Tony Doogan and one of rocks best voices ever, Carl Barat.
The definitive proof that Pete Doherty really did nothing to make The Libertines a great band, well his own shabby Babyshambles are the living proof of that!
Here we have a boquet of songs that really compliments each other.
From first track Deadwood until the last chord on Last of the small tower playboys, the band never misses a beat.
This really is The Clash of the era, meant both as a compliment and a true observation.
My personal favourite is Bang Bang youré dead, where the back-beat and fab guitar strumming really lifts the song to dizzying heights.
This is a feel-good album for a lost generation- we need this dystopic yet strangely exhilirating sound!
For those of us who thought it was all over after the Libertines, this is a great big sugar-coated band-aid!
A must have!
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The Libertines burned bright... and then burned out, when uberjunkie Pete Doherty got kicked out for assorted bad behavior. And from the ashes came two bands, one of which is Carl Barat's new band, Dirty Pretty Things.

Well, it's not exactly a pheonix. Fortunately, the debut "Waterloo to Anywhere" proves that this no Babyshambles -- Barat turns out some wonderfully grimy, raw punk music, reminiscent of the Raveonettes with a blurry Britpop edge. And they even turn up for work on time.

It opens with a solid opener -- the blurry, bizarre "Deadwood," which has cheery vocals and a sort of ominous edge. "You got the world boy/This all you make it?/You had the choice lad/You wouldnt take it," Barat croons cheerfully over a powerful guitar riff. "And what will you do/When they forget your name?"

Well, every artist needs a message song or two, and this seems to be Barat burying his band demons.

With that catchy punk tune as the opener, Dirty Pretty Things rock out with unpretentious gusto in raw tunes like "Gin and Milk," power chords that stretch out into lazy drones, frenetic wild noise, rough rock tunes, stomping punk, and tunes that can be rough and uncertain, or catchy and wild.

If Dirty Pretty Things have a flaw, it's that many of the songs take awhile to separate themselves. On first listening, many of the rockier, catchier sound very alike with all that blurry fuzzy guitar and bass, but as you listen to them a second time, little tune differences start to emerge.

Barat obviously has no musical pretensions, since there isn't really a moment on here that aspires to be more than it is. The production is left deliberately lo-fi and grimy-sounding, which adds a blurred edge to the razor riffs, solid drumming and hard basslines. It really does sound like it was recorded in a garage, which gives it character a lot of rock doens't have.

And Barat also sounds like he's having a lot of fun as he sings. His voice is a pleasant, slightly hoarse one that can jump over the music, and he can be flexible enough to yowl at times. His songs are solidly written, full of insomnia, grimy rooms, and tangled personal relationships. "And I know that she is wise/And she's the apple of my eye/She's my dirty pretty lover/And I want her at my side!"

While he may not get the press that his old bandmate does, Carl Barat shows his musical savvy in "Waterloo to Anywhere," a good debut for a good band.
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on 9 May 2006
A brilliant album. I first heard the tracks live and was blown away and thought maybe Dirty Pretty Things are one of those bands that are at their best on the stage but the album proved me wrong. Every song is spot on, lyrically and musically. And to my suprise the limited edition album comes with a live DVD! Best of both worlds. Some of Englands best rock music in a long time. Just shows who was really the brains behind The Libertines! Buy it without a second thought!
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VINE VOICEon 22 May 2006
Look back 3 years ago, the Libertines days. When Pete Doherty and Carl Barat were warping the minds of NME readers with catchy, punky music. Then, they split. Pete Doherty moved on to take more drugs and make a diabolical record. But Carl Barat stayed in the shadows, he recently revealed that it was the hardest thing he's ever had to do. But eventually, he moved on, wrote some new songs and formed a new band. That new band were Dirty Pretty Things, and believe me, it was worth the wait for him to come back.

You have to think of Dirty Pretty Things as a band which have no history to fully respect this record. Don't compare everything to the Libertines. Then you will realize that this is a very impressive debut album.

The opening track, "Deadwood" is a catchy, fast-paced opener full of energy and powerful chords. "Doctors and Dealers" sounds like a hatemail message sent to Pete Doherty full of insults. Barat sings " Crack pot quacks with cracked up egos" with real feeling. Like he really means it, but somehow the song sounds happy and cheerful, it's a clever track.

"Bang Bang You're Dead" is a cracker. It has everything that a debut single needs. I apologize for this Libertines comparism but it sounds like a less drugged up version of "Don't Look Back Into The Sun" at the start, and then moves into a stunning chorus which will stay in your head for months on end.

Other highlights come from the two minute screamer "You F****** Love It" which is the most basic song you could possibly create but it plays like a record which has been lurking at the back of your collection which you've yet to discover. It's sensational. First listen, provocative, second listen, brilliant. "Gin and Milk" is as controversial as it gets, but it sounds fantastic after a few listens. A clear highlight.

But the best track on the record is easily "Last of the Small Town Playboys". Barat gives a laid back approach towards it but there is such a presense to it which makes it sound so powerful. On the first listen, you think that it's a bit all over the place, but then you realize how god damn catchy it is.

And that sums up the whole record basically. After you're first listen, it's "alright", a bit all over the place, a bit too lazy, nothing special. But then it becomes a really upbeat, clever record.

Its mission is to entertain, mission accomplished.
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on 9 August 2006
Like the album in question, this review shall be short, sharp and straight to the point...

This record is brilliant! The guitars are brash, the bass is rumbling, the drums are tight, Carl's baritone Lahn-dan drawl is suitably edgy and passionate and the whole thing hurtles through the Underground from Waterloo to anywhere with exhuberant punk rock energy and great conviction. The songwriting is confident and ridiculously catchy as at 36 minutes, there is no room for filler. This is an album that makes you smile, that makes you glad to be alive and when it comes to indie rock and modern guitar music in general, this is some of the best around.
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