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Recent Articles
Recent Articles by Dave Pehling
Earth to the Dandy Warhols (Beat the World)
Season of Sweets (Birdman)
Milagrosa (Volcom Entertainment)
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National Features >
Houston Press
A flight attendant's smackdown with the wife of mega-preacher Joel Osteen inspires a whole new set of commandments.
By Rich Connelly
City Pages
Today Denver, tomorrow the Twin Cities.
By Matt Snyders and Bradley Campbell
The Pitch
A country musician rescues Waylon Jennings' tour bus from the scrap heap.
By C.J. Janovy
Village Voice
The provocateur who brought you "Piss Christ" pinches off a new concept.
By Lynn Yaeger
The Heavy
Great Vengeance and Furious Fire (Counter)
Published on April 30, 2008
Throwback R&B acts on both sides of the Atlantic have struck gold by mining the classic sounds of James Brown, Motown, and Aretha Franklin, but few have touched on the fuzzed-out end of the soul spectrum occupied by the likes of Funkadelic, Rare Earth, and psychedelic-era Temptations. Grafting growling guitar licks and falsetto vocals reminiscent of Curtis Mayfield to gritty, booming backbeats, UK band the Heavy offers a credible update to the rawk-and-soul combo on its debut album, Great Vengeance and Furious Fire. Mayfield's shadow looms large over the proceedings, both as the principal inspiration for vocalist Kelvin Swaby's delivery and for the echoes of blaxploitation classic "Freddie's Dead" heard in the hammering funk of "That Kind of Man." While the Heavy shows off range and solid songwriting chops with more sedate numbers like simmering album-opener "Brukpocket's Lament" or acoustic-guitar groovers "Set Me Free" and "Our Special Place," its strong suit remains feral, distortion-laced funk. On the driving "Dignity" (with its cheeky nod to the Spencer Davis Group's version of "Gimme Some Lovin'") and the ferocious album-closing hidden track "Big Bad Wolf," The Heavy lays down soul with a garage-punk intensity that reveals the band has more in common with the Dirtbombs than Amy Winehouse.