|05-08-2009, 07:44 AM||#1 (permalink)|
Join Date: Dec 2008
Black Diamond Heavies - Every Damn Time (2007)
Black Diamond Heavies - Every Damn Time
1 Fever in My Blood 5:29
2 All to Hell 8:01
3 Leave It in the Road 2:57
4 Let Me Coco 0:54
5 Poor Brown Sugar 3:19
6 Stitched in Sin 3:29
7 White Bitch 3:56
8 Signs 3:49
9 Might Be Right 4:31
10 Guess You Gone and F**ked It All Up 3:04
Formed in 2004 in Nashville, Tennessee, the Black Diamond Heavies are the millenniums very own Garage Blues Kings. Originally a traditional band with guitars and stuff, they soon whittled themselves down to two members with John Wesley Myers on keys/growls and Van Campbell on the drums. This two-piece soon became notorious for making a racket with their raw and fiery live sets which soon earned the band a small but passionate following in the Southern States.
In 2007, the Black Diamond Heavies released their first LP; Every Damn Time released on Alive is a real hell raising album, which considering that the number of instruments being used is the bare minimum is actually quite the achievement. In my view the key to the brilliance of this album is the production quality, which is none existent; all the mistakes and imperfections are kept in meaning that none of the energy, fire and passion that the band had quickly earned a reputation for is at all lost.
The album begins with some frantic percussion from Campbell; Fever in My Blood quickly descends into a pulsating rhythm which is soon joined by some keys from Myers, it all seems rather frenzied, a point made worse when Myers adds in his vocals to the piece, which as demonstrated here with this song, are one of the most rasping vocals in the modern era. With all these points considered I therefore come to the conclusion that this song is bloody marvellous and precedes the rest of the album wonderfully.
And what an album it is, raw and proper as nature intended, exemplified yet further by the third track on the album; Leave it In The Road starts with a car crash of percussions, it really does sound like the drum kit is being sent to heaven after a horrible ordeal with a psychopath with two sticks, brilliant stuff. After this exciting start the song just cannot help but ooze filthy bluesy goodness from all four corners, its tremendous stuff with Myers again giving it some venom with the vocals and keys.
Track five is also outstanding but for different reasons, it really is the first attempt on the album for a bit of melody from Myers, and probably as intended he fails miserably, thankfully though no one cares, Poor Brown Sugar is still grouchy and raucous, but this song has a particular swaggering element to it, which after the thumping efforts elsewhere comes as a welcome rest bite.
The album finishes in the spirit of the rest of the album, foot tapping, raw, relentless, marauding and unforgiving, Guess You’ve Gone and F**ked It All Up most definitely sums up this entire album. If you like your music frantic, rough round the edges and loud whilst rapped in a blanket of Blues and Garage, than look no further than this stunning debut from this remarkable two piece, proper music at its best.