| Musical Style: Hard Rock/Metal | Produced By: P.K. Mitchell & Red Sea |
| Record Label: Rugged/Roxx Records | Country Of Origin: USA |
| Year Released: 1994/2019 | Artist Website: |
| Tracks: 11 | Rating: 95% |
| Running Time: 53:35 |
I like to think of the 90’s as the dark ages of the hard music scene - at least as defined by the Angelic Warlord style guidelines - but there were a several bright moments. One of the few bands from the period to restore faith in all things metal and hard rock was Red Sea and its dynamic spring of 1994 Rugged Records debut Blood. The group arose from the ashes of Die Happy, the classic hard rock tinged with groove act that released a pair of well-received albums on Intense Records, Die Happy (1992) and Volume II (1993), to feature soulful lead vocalist Robin "Kyle" Basauri. Following the break up of Die Happy, Basauri, who got his start on the two Sanctuary Praise albums and P.K. Mitchell’s All Hail The Power, reached out to Rugged Records own Michael Betts with the idea of doing a solo record.
The idea, however, morphed into a band due to Basauri’s friendship with former Fear Not guitarist Chris Howell, whom shared a similar love for the blues. Later rounding out its roster with fellow blues fan and bassist Greg Chaisson, better known for his work in Badlands but also a member of Die Happy, and drummer Jeff Martin (also Badlands), Red Sea honed a sound that critics and fans describe as ‘heavy blues rock’. Specifically, the group resides upon a foundation of the 70’s, Deep Purple, Led Zeppelin and Bad Company come to mind, but with a 90’s edge, referencing the influence of the as notes Die Happy and Badlands. Hence, the manner in which I identify with Red Sea as an outbreak of pure rock ‘n’ roll power, residing within the bluesy trajectory but every bit of a hard rock form bordering on metal.
Similar to many from the era, Blood went out of print and turned into a highly sought after collector’s item. To the rescue Roxx Records, who in the summer of 2019 celebrated the 25th anniversary of Blood by re-mastering (by Rob Colwell of Bombworks Sound) and re-issuing it with upgraded cover art. It addition to being pressed on vinyl for the first time, 150 red vinyl copies and 350 black, it was also re-released on CD, jewel case packaging to feature an 8-page mini booklet with vintage band photos.
As for re-mastering, the original release sounds fine for its era, but the Roxx Records version adds an element of polish to allow for the more pronounced low end along with background details to better stand out in the form of cleaner bass, crisper drums and defined soloing.
Blood opens to one of its stronger cuts in “Soulshaker”. With bass solo to start ensued by cascading drums, the song embodies the groove based as it swings through its verse section to guitars powering in and out of the mix only to take a firmer stance for the heavy hitting and quite engaging refrain. Basauri exhibits his soaring vocal abilities over the final minutes impetus descends to a slower passage carried by bluesy soloing.
Albums title track is every bit good. “Blood” maintains a heightened impetus throughout, as a joining of the heavier (noting the bruising riff driven verse sections) and lighter (embodied in the soulful vocal melodies to adorn the stirring refrain) make a contrasting but assured statement. Howell again proves blues finds him in his natural element soloing wise.
“Wolves At The Door” takes the blues elements to the next level with elevated gritty guitars within a mid-paced backdrop in which heaviness might not be as marked (compared to the opening two) but quality by no means takes a step back. Lending to the earthy angst is the manner in which Chaisson and Martin lock into as staunch a rhythm section backbone you will find. Helping take the song out to seven minutes, is the slower passage at the end upheld by added moving vocal harmonies.
“Dust To Dust” takes a similar stance as “Wolves At The Door” albeit heavier. It begins to open air bass and mildly woven guitars, placidly drifting to moody-mid paced emotion as rhythm guitars gradually build to a more pronounced role in the mix. Melody asserts on high (refrain is one of the albums strongest) as does the blues impression (listen closely to guitar tones). Emotionally expressive vocals further build upon the downcast setting.
“Last Days Of Winter” represents a perfectly varied track, starting to acoustic guitar and militant drums in maintaining an easy going disposition as it slowly builds to a heavier rocking form. Two minutes in, however, impetus upraises until crossing the hard rock threshold as a grainy guitar positioned instrumental interlude acquires ahead of things reaching their dogged conclusion.
“Walk On Fire” impresses as much-needed up-tempo hard rock in follow up to several laid back (albeit brilliant) mid-paced tracks. It proves straightforward and direct in capacity, no-nonsense with its uplifted rhythm guitar tendencies to see bouncing groove-based rhythms drive things ahead but periodically elevating force prior to the steadfast refrain. Nothing fancy or outside the box but rather good, old fashioned, straight on hard rock.
Another blues-rock masterpiece in “Shades Of Purple”. It opens to organ and screaming guitars prior to morphing into a full-bore hard rocker, uplifting intensity levels to off the charts - organ maintains a forthright presence - as the up-tempo asserts within a high melody environment but not backing from the brazen guitar driven (riffs are catchy as they get). The ardor only backs off temporarily ahead of the emanating instrumental section.
“Hell Bound Train” delivers some stylish variances as another Blood favorite. Guitar feedback interwoven with ringing bells as a freight train furrowing down the tracks get it going, burly and intrepid in hurling through its indomitable verse sections but lightening impulse for the decided bass laden slogging refrain. Do I detect a faint hint of seventies classic rock? Basauri delivers several screams that are off the charts.
Laid back blues rocker “Losin My Way” starts to bass and easy-going guitars over a chirping insect backdrop. It focuses on the mid-paced its remaining way, relaxed and casual with its composes predisposition but not forsaking the Rea Sea heavier rocking focal point as found in its unwavering qualities. What we have is the type of quality deep cut that makes an already very good album that much better.
“Down Home Static” is exactly that as a minute of status and Gospel blues vocals that transition to closing track “Tears Of Joy”. The song has a bit of history, initially composed by Joshua Perahia (Joshua) and later recorded for his 1995 M Pire project Chapter One and 2001 solo release Something To Say. I like all three versions, albeit I go with the Red Sea rendering from Basauri’s soaring vocal presence. It otherwise proves a heartfelt ballad with blues guitars, hints of organ and moody mid-paced partiality to match.
To say Blood is a great album would be an understatement, noting how it placed third (tied with Novella’s One Big Sky) in an article I put together outlining what (in my opinion) are the top 50 Christian metal and hard rock albums of the nineties. When factoring Veni Domine (Material Sanctuary) and Holy Soldier (self-titled) placed first and second, respectively, Red Sea is among very good company indeed! Helping further put the album over the top in not just the bluesy hard rock emphasis (certain to delight Bride fans, referencing the fifth place ranking of Snakes In The Playground) but also the consummate duo of Howell and Basauri (not to mention the Badlands rhythm section of Chaisson and Martin). Give credit to Roxx Records for making Blood available again in such a vastly upgraded format.
Review by Andrew Rockwell
Track Listing: “Soulshaker” (4:50), “Blood” (4:52), “Wolves At The Door” (7:19), “Dust To Dust” (5:33), “Last Day Of Winter” (4:36), “Walk On Fire” (3:57), “Shades Of Purple” (5:18), “Hellbound Train” (5:29), “Losin My Way” (5:51), “Down Home Static” (1:04), “Tears Of Joy” (4:45)
Musicians
Robin "Kyle" Basauri - Lead Vocals
Chris Howell - Guitars
Greg Chaisson - Bass
Jeff Martin - Drums
