As I’ve mentioned several times in this column, I’ve always been fascinated by paradoxes. A few examples that come to mind include The Blood, a sacrilegious theatrical punk band known for their memorable melodies; Barry Bryan, a symphonic crooner who dabbled in the darker side of psychedelia; and, for this installment, Dogs D’Amour, a bluesy rock and punk band with a surprisingly sensitive side.
Formed in the UK during the early ’80s by vagabond musician Tyla J. Pallas (born Timothy Taylor), the band briefly experienced mainstream fame in the late ’80s and early ’90s. However, due to their brash and gritty approach and unorthodox sound, superstardom was never on the horizon. Despite this, the band created a prolific catalog, secured a major record deal, and toured globally. Beyond the music, Tyla is also a well-regarded poet and painter. His distinctive artwork has graced most all of the band’s releases. A true renaissance man, Tyla’s comprehensive artistic vision for the band is reminiscent of Rob Zombie, whose artwork and songwriting have defined his musical projects from start to finish.
The Dogs D’Amour first came together in 1982. But just before, Tyla was playing guitar in a band called Bordello Boys. Soon, American vocalist Ned Christie (Robert Stoddard, later of LA Guns) joined and proposed a name change, which marked the beginning of Dogs D’Amour. Gaining a serious buzz from its live shows, the band was soon signed to Kumibeat Records in Finland. But before recording its first outing, The State We’re In, Christie left the band, leaving Tyla to take up the lead vocals in addition to his guitar duties. At first, it may have seemed an unconventional choice for vocals, as Tyla’s style falls somewhere in between Bob Dylan, Ian Hunter, and Lemmy Kilmister. But it’s a sound that’s helped the band remain distinctive for 40+ years. Coupled with its DIY punk aesthetic, fascination with American blues and country, and literate, sardonic approach to lyrical themes, it was like nothing else on the scene. Add in the band’s penchant for a little flash, filtered through Charles Dickens-esque thrift-store duds and smeared eyeliner. The Dogs weren’t pretty, but they had style in spades.
The band would release its debut The State We’re In in 1984, but the album would only be released in Finland — dashing the hopes of a more major breakthrough. But nevertheless, it now fetches serious coin on collector sites. The band would then score a deal with Japanese label Watanabe Records. However, just as the album was about to be released, the label’s owner died on an airplane en route to meet the band, which stalled its release for several years.
Four years had passed since Tyla formed the Dogs, and while the band had built a dedicated following in the UK through live performances, a proper record deal still eluded them. After several lineup changes, including a brief stint with future Jacobites guitarist Dave Kusworth, the Dogs’ classic core lineup was established. This lineup included Jo “Dog” Almeida on guitar, Bam on drums, and Steve James on bass. In 1988, they signed a record deal with the UK label China Records and released their best work, In the Dynamite Jet Saloon, later that year. Drawing on a wide range of influences, from The Rolling Stones and Faces to Johnny Thunders, Johnny Cash, Motörhead, Ian Hunter, and Charles Bukowski, the album is a tour de force of raunchy blues-infused rock ‘n’ roll with a punk edge and a healthy display of poetic romanticism.
They say timing is everything, and this was certainly true with the Dogs’ first major release. The larger musical landscape saw a bit of a back-to-basics trend, where bands as far ranging as The Cult, U2, Guns N’Roses, Traveling Wilburys, Jane’s Addition, REM, Keith Richards and Soundgarden were all releasing albums with a more organic and earthier feel. Hence, the Dogs’ penchant for ragged bluesy riffs besetting Tyla’s wayward croon was a welcome addition to the mix.
The band’s profile was soon thrust into the spotlight internationally with the album’s worldwide release. Kicking off with the irreverent “Debauchery,” the band wears its punk influences staunchly on its weathered sleeve. The infectious pair of singles “The Kid From Kensington” and “I Don’t Want You To Go” both showcase Tyla’s knack for a hooky refrain, while it also quickly becomes evident that the band’s secret weapon is guitarist Jo Dog. Eschewing the flash-guitar acrobatics of the hard rock and heavy metal scenes of the day, Jo’s tasteful licks and epic slide-guitar playing add another dimension to the songs. The melancholic “Kensington” is made all the more effective with the contrasting melodic licks punctuating Tyla’s no-less passionate lyrics. The band as a whole sounds seamlessly in sync, even though a large part of its charm is its raunchy delivery. Meanwhile, the ballad “How Come It Never Rains” shows off its acoustic side, with a serious infusion of country rock.
The album would reach the far corners of charts worldwide, and the band’s trajectory and timing appeared to be well on track. The next few years would be prolific, and the band would release several more albums, EPs, and singles to both fan and critical acclaim. But, the momentum would sadly come to a halt as Tyla and Co. eventually fell victim to changing trends, record label indifference, and the requisite, but no less poignant “internal differences.” Further releases on China Records include A Graveyard of Empty Bottles (1989), Errol Flynn (known as King of Thieves in these parts due to copyright issues) (1989), Straight??!! (1990) and …More Unchartered Heights of Disgrace (1993), which would soon mark the start of a hiatus that would last until the early 2000s, which continues in various forms to this day.
The band’s legacy has been given a shot in the arm with the recent box set release of Dogs D’Amour: Dynamite China Years — Complete Recordings 1988-1993 (HNE Recordings). The music (all of the China label releases + loads of extras) captures a vibrant and chaotic era when the Dogs carved out their unique path amidst a soulless wave of Hollywood-style pop-metal bands, hipster wannabe outlaws, and disaffected, self-important indie-rockers. The 8-disc set also includes an insightful booklet and the rare (Un)Authorised Bootleg Album, featuring the material that would’ve been released during the band’s brief relationship with its Japanese label in the mid-’80s.
The Dogs D’Amour would eventually inform several related bands, including Spike and Tyla’s Hot Knives (featuring Spike from The Quireboys), Shooting Gallery, which included Hanoi Rocks frontman Andy McCoy, The Last Bandits, and The Wildhearts, among others. During his 40+ years playing rock ‘n’ roll, Tyla has consistently harnessed the same creative spark that marked the Dogs’ early days, releasing solo albums, collaborating with other musicians of the era, and producing a series of records under the name Tyla’s Dogs D’Amour. He’s also written memoirs and poetry collections, while his artwork — always a key feature of the Dogs’ albums — has been showcased in galleries.
Despite the band’s ragged sound, appearance, and tongue-in-cheek nuances, the Dogs have cultivated a timeless sound that has often blurred the lines between styles, genres, and subcultures.
For questions, comments, or something you’d like to see, drop me a note @Jimkaz1
