Description: This album "DIAMOND HEAD – Am I Evil" is the album by the Heavy Metal band Diamond Head and this is the original release of 1987 by FM Revolver Records before being re-released by Heavy Metal Records in 1994.
Album Description & Collectors information:
This album contains tracks of Diamond Head's early recording "Borrowed Time (1982)". The album cover artwork is done by Rodney Matthews
Transcript of the Liner Notes:
These notes give background information on the history of NWOBHM ( New Wave Of British Heavy Metal ) and the history and music style by the "DIAMOND HEAD" band
From out of nowhere_ they seem to come. riding roughshod over the treacherous terrain and into a place in history's trenches. They were the pioneers of the so-called New Wave of British Heavy Metal, a batallion of steam-happy salamanders out to breathe some life into the ailing Metal scene.
All it seems such a long time ago that people first whispered in stomped tones about Samson, Angel Witch, Praying Mantis, Quartz, Vardis, Jameson Raid, Ethel The Frog, Toad The Wet Sprocket and other hopefuls destined to disappear into the void of obscurity.
Only Iron Maiden, Def Leppard and (to a lesser extent) Saxon have survived to prosper. Yet, one name is missing from the above list. an act who perhaps can claim with considerable force to have been the finest band to emerge from the genre: a four-piece on whom the passage of time has given a deserved coating of legend "Diamond Head"".
For a short period of time, it was this Stourbridge-base group (formed in '78) who seemed destined to take on the stack-heeled world and leave it quaking in its phenomenal wake. it was they who were hailed as the natural successors to Led Zeppelin.
It was they who packed out venues across the country without the help of either a major record contract or big-time management representation. "Diamond Head" were simply awesome. A gargantuan exercise in all that's best about British rock. Ah yes, stories about the enthusiasm shown for this band are now legendary.
There was the time that fans queued right round the block in Richmond for a show at Brollies Club on the Thames. When you consider that a lot of acts with bigger financial backing could scarcely raise a handful of loyalists at Brollies it was an achievement indeed.
Then there was the occasion when a crowd in Swindon simply wouldn't let the band offstage. imploring 'em back for five encores before carrying the boys shoulder-high out of the venue. Is it any wonder, with fanaticism such as this that most of us were convinced that Diamond Head simply could not fail to hit the biggest and best of times?!
I first saw the Head in early 1980- It was at the Lyceum Ballroom in London. Iron Maiden were just wrapping up their first real headlining tour of the UK. Their debut album had burst onto the charts and they seemed to be the name on everybody's lips. Supporting the five-piece were Praying Mantis, Angel Witch and bottom on a bill of four Diamond Head.
DH were given about 25 minutes to perform a highly truncated set, with hardly any room to breathe, let alone move. Yet such was the charisma and power emanating from the stage that even under such extremely adverse conditions, Diamond Head positively glowed.
A day later, I saw them supporting Girl at The Marquee and the combination of these two performances just hooked me for life. There was no turning back and I saw 'em subsequently on countless occassions in the ensuing years. What was so special? Well.
In many respects the whole was greater than the sum of the parts. The rhythm section of bassist Colin Kimberly and drummer Duncan Scott was never spectacularly inventive, but it was capable of holding down the beat in a uniform fashion, allowing guitarist Brian Tatter room to manoeuvre and gyrate, flaunting a penchant for total unhurried heavy chord structures within a distinctly smokin' ass bluesy framework.
And riding gladiatorily over the top of the instrumental column came the motivationally outlandish vocals from the immaculate Sean Hauls, always the star of the group and a constant source of inspiration to those around him. Sean drew on a rich heritage of singers (David Coverdale, Robert Plant, Glenn Hughes, Paul Rodgers), yet ascribed his own unique phrasing to every song, making them live, breathe.
Laugh and cry. Emotions were most assuredly encapsulated and arranged in a style no-one else has been able to match in recent years. So, what went wrong? A mixture of factors: little luck. bad management decisions, the wrong major label (MCA) at the right time perhaps even a few diffuse factors that remain indefinable even now.
The plain fact of the matter is that. having established such a cult following both on the live circuit and also through independent releases ( a white label, mail order-only album called - at least unofficially - 'Lightning To The Nations', plus a four-track EP called 'Diamond Lights' and three singles - 'Waited Too Lung:'/'Play It Loud, 'Sweet & Innocent'/'Streets Of Gold', Shoot Out The Lights'/'helpless') the band then inked a deal with MCA, hooked up with producer Mike Shipley and released 'Living On Borrowed Time', an album that castrated the very essence of their energy, vitality and momentum.
The rest, as they say, is forgettable cemetery history. Kimberly was replaced by Mervyn Goldsworthy (now with FM) and disappeared to New Zealand. In came keyboardsman Josh Phillips-Gorse and the second album, 'Canterbury', was a disastrous experiment, followed by an equally appalling set at Castle Donington in '83.
It was over and out, goodbye and farewell But, before things got out of control there were sufficient immortal moments, songs, performances of passion and high-grade showmanship/musicianship for me to still proclaim Diamond Head as the band who should have blown away the opposition.
I will always maintain that with even a modicum of fortune, these boys would have decimated Iron Maiden and wiped Def Leppard clear off the chalk board. 'Am I Evil' is, Perhaps. the first album (compilation or otherwise) to truly capture the spirit and vitality of the band.
Why? Because it represents a collection of demos, produced by the band themselves under virtually one-take, live conditions. This gets to the very heart of the quartet and you'll never again hear something so sensitively demonstrative of DH's potential and all encompassing delivery.
This is DH, standing naked and proud, wallowing in stardust under the silvery shadow of the beckoning glove of fate. 'Am I Evil itself begins with a militaristic body charge so redolent of 'Mars: The Bringer Of War' from Hold's 'Planets Suite', before opening up into a full-blooded. orchestrally muscular tam of mean Metal intensity.
Is it any wonder that Metallica chose to cover this particular number not long ago? 'In the Heat Of The Night' just swelters and rubs its nose into bar-room blues technique yet alas has a youthful exuberance, Harris voice scything out a sensual passage through thickly-nettled chords. "Don't You Ever USW dike 'Borrowed Time', 'To Heaven From lie 'Dead Reckoning'. 'Lightning To The Nations'. `Snaking; My Love all surge ebb, flow, flower and biid leaving other, previously-released versions licking turning their gouged wounds in the gutter.
This is Diamond Head the way I wanna remember them. capable of turning the screw is any direction they as chose whilst never losing their individual grip. They were the glory.glory apostles who somehow took a lean slug from the wrong kookier bottle and became mere candy in the A tragedy. `Am I Evil' a tribute . a long overdue eulogy. a fitting reminder. Yeah. we can breathe easily at night again.
Now just slam it on your stere. OK?
MALCOM DOME, KERRANG! JULY 1987
|Music Genre: NWOBHM Heavy Metal|
|Album Production information:
The album: "DIAMOND HEAD – Am I Evil" was produced by: Diamond Head
Album cover design: Rodney Matthews
Rodney Matthews, a British illustrator of extraordinary talent, has carved a remarkable niche for himself in the world of fantasy art. With his imaginative creations and meticulous attention to detail, Matthews has brought to life countless captivating worlds and characters, enchanting audiences across the globe. Born on 6 March 1945, in London, England, Matthews discovered his passion for art at a young age and embarked on a lifelong journey that would shape the landscape of fantasy illustration.
As a child, Matthews exhibited a natural affinity for drawing, sketching fantastical creatures and landscapes that sprang from the depths of his imagination. His artistic abilities were nurtured by his family, who recognized his unique gift and encouraged him to pursue his creative pursuits. Fuelled by their support and his own unwavering determination, Matthews set out to hone his skills and make a name for himself in the art world.
After completing his formal education at Twickenham Art College, Matthews began his professional career as a graphic designer. His early work encompassed a wide range of artistic endeavors, including album covers, book covers, and advertising campaigns. However, it was in the realm of album cover artwork that Matthews truly found his calling, and his talent soon caught the attention of musicians and bands seeking to visually represent their music.
Throughout the 1970s and 1980s, Matthews collaborated with some of the most iconic names in the music industry, including rock bands such as Nazareth, Magnum, and Thin Lizzy. His album cover artwork became synonymous with these bands' identities, visually capturing the essence of their music and captivating audiences before a single note was played. Matthews' distinctive style, characterized by intricate details, vibrant colors, and a sense of wonder, brought a new dimension to the listening experience, making him one of the most sought-after illustrators of the time.
Matthews' artistic contributions extended beyond album covers, as he lent his talents to various mediums, including book illustrations and posters. He illustrated the covers of numerous fantasy and science fiction novels, working with esteemed authors such as Michael Moorcock and Terry Pratchett. His intricate and evocative illustrations added depth and allure to these literary works, immersing readers in the fantastical worlds they portrayed.
In addition to his commercial work, Matthews also pursued personal projects that allowed him to delve further into his own creative visions. These projects included the creation of his own illustrated books, such as "The Tale of the Unicorn" and "The Pied Piper of Hamelin", which showcased his storytelling abilities and allowed him to explore new artistic horizons.
Over the years, Matthews' talent and influence have garnered recognition and acclaim worldwide. His work has been exhibited in prestigious galleries, and he has received numerous awards and accolades for his contributions to the field of illustration. His art continues to inspire and captivate generations of artists and art enthusiasts alike, transcending boundaries and transporting viewers into realms of fantasy and imagination.
Rodney Matthews' artistic legacy serves as a testament to the power of imagination and the ability of art to transport us to new worlds. Through his intricate and awe-inspiring illustrations, he has touched the hearts and minds of countless individuals, igniting their own creative sparks and inviting them to explore the infinite possibilities of the imagination
|Record Label: FM WKFM LP 92|
|Record Format: 12" LP Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
|Year & Country 1987 Made in UK|
Personnel/Band Members and Musicians on: DIAMOND HEAD – Am I Evil
Complete Track-listing of the album "DIAMOND HEAD – Am I Evil"
The detailed tracklist of this record "DIAMOND HEAD – Am I Evil" is:
Note: The images on this page are photos of the actual album. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone )
FM Coast To Coast WKFM LP 92 Record Label Details