The Devils Devil's Got It CD Review

The Italian Garage Rock Duo, The Devils latest effort, “Devil’s Got It” will be released via Cleopatra Records in March of this year. While The Devils aren’t a new band, this will be their first release on a U.S. label, it’ll also be their tenth anniversary as a band. In essence this will be their first big break in the states, which isn’t a bad thing considering the style of music the band plays. I’m not the biggest fan of Garage Rock and often I think of it as inexperienced musicians just getting out there and going for it in hopes that it’ll catch on. Of course, this isn’t always the case see Jack White/The White Stripes! And I’m wrong about a lot of stuff, so there’s that too.
 
The Devils carry on in the same manner as The White Stripes – drums/guitar except the Drummer, Erika Switchblade is the lead vocalist. As a drummer myself, I can tell you that it isn’t easy to do, specifically if you’re expected to sing well and stay on key and in time. Not only does Switchblade nail it, but she does it with style and grace. Her voice is sultry, thick and rich – think Amy Winehouse and Beth Hart. I haven’t checked out any of their other music, but I can tell you the band’s U.S. debut, “Devil’s Got It” is a cover album of old long lost forgotten R&B/Gospel/Soul/Blues tunes. I’m instantly reminded of The Cramps as they did stuff like this through the years. The band’s first single off the album “Lonely for You Baby” is an old Soul tune from Sam Dees. It’s a fuzzed out mid-tempo banger that oozes of sexuality and bad intentions. Gianni Blacula’s guitar riffs are simplistic, yet they stand up well making this a fun tune. Also represented here is a killer take on “Come Love” which was made popular by the Legendary Bluesman Jimmy Reed. I’m not going to B.S. you; Switchblade’s vocals absolutely SLAY here. As soon as she opens her mouth, the song is hers and nobody else can measure up. The Harmonica lead heard here is otherworldly, this is a beautiful rendition of a classic that has been long forgotten. “Help Me Through the Day” is another stand out tune on the album. I’d originally heard it from Freddie King first, but Bobby Blue Bland also recorded a great version too. I really like the minimalist approach the band uses on the tune, but I’m not going to lie I really miss the big piercing lead breaks from King’s version but let’s be honest, it’s hard to out play Freddie King! Another big Blues cover found here is Willie Dixon’s “Easy Baby”. This time the band FUZZ it out to the absolute MAX! Dixon’s is clean, not here, this version almost falls into the Stoner category at times. The producer of the album is Alain Johannes (QOTSA, Them Crooked Vultures, Chris Cornell). So, I could see why this version would come away sounding like this. It’s not bad, it’s a bit jarring to someone who grew up on the original. The last of the standouts on this album is my favorite track of the bunch – “Everybody Loves a Winner”. It’s an old Soul classic made famous by William Bell. This is a song that I played with the folks back when I first started playing in the Night Clubs. Of course, our version was closer to Doo-Wop/Oldies style. The Devils version here is acoustic which makes for a much more powerful feel-good moment to end the album. Switchblade’s rich vocals are heart wrenching and take me right back to playing with my folks. The smell of cigarette smoke and stale beer and sweat floods my mind and I can’t help but miss those days. If I oversaw the band’s affairs, I’d push for this to be their next single off the album. It’s a classic and this stripped-down version hits in all the right places!
 
Cleopatra is on the cusp of what could be a surprising break through here in the USA with The Devils “Devil’s Got It”. Never mind that it’s a cover album, the bulk of the people walking around today won’t know that and most won’t bother to go back and listen to the original versions. This album has SMASH written all over it. Switchblade’s vocals are reminiscent of Beth Hart/Winehouse and the band’s stripped down go for it approach is still fairly popular here. As for me, I sincerely appreciate the musicianship and homage the band pays to these classics, it’s respectful, admirable and it says a great deal about where they come from and where they’re heading.

~Black Angel