| Musical Style: Metal/Hard Rock | Produced By: Randy Rose |
| Record Label: Intense/Retroactive | Country Of Origin: USA |
| Year Released: 1993/2024 | Artist Website: |
| Tracks: 11 | Rating: 85% |
| Running Time: 37:59 |
The Randy Rose 1991 Intense Records debut solo album Sacrificium received a favorable (80%) Angelic Warlord review, but the more polished and better-rounded follow up release Healing (also on Intense but under the Rose moniker) takes the Sacrificium aspirations further. Healing highlights upgraded production values found in a mirror like mix allowing all instrumentation to translucently separate. Whereas realizing a similar doom metal and stoner hard rock form as Sacrificium - including the slower tempos, thickset low end, bulky guitars and bleak setting to go in hand - Healing presents with a more varied sound rooted in stronger melodies and higher levels of accessibility.
Unchanged is manner in which the Mad At The World founding member and vocalist and drummer emphasizes a lower register and gruff but soulful vocal style reminiscent to Glenn Danzig. Hence, Sacrificium and Healing underscore a Danzig like vibe but not without also inviting comparison to Black Sabbath and Trouble. Also not unlike Sacrificium, Healing finds the artist working with several Mad At The World band mates, including guitarist Ben Jacobs and bassist Mike Link. Rounding out the Healing lineup is brother Ray Rose (bass on two songs), Steve Kumada (rhythm and lead guitar), Don Richart (drums) and Ronnie Martin (keyboards).
A long out of print and hard to find collectors item, Healing was re-mastered by Rob Colwell (Bombworks Sound) and re-issued in the spring of 2024 by Retroactive Records on CD (300 copies) and vinyl (200). An 8-page mini booklet (CD) with lyrics in an easy to read font and special message from the artist and 12X12 lyrics insert (vinyl) attributes to Scott Waters (No Life Til Metal Graphics).
Keeping in mind the Healing production is very good to begin with, the Retroactive re-mastering takes things to the next level found in added depth to the low end (better clarity in terms of drums and bass) and sleeker guitar mix (more punch to rhythm guitar and cleaner leads). What I said in my review of Sacrificium holds true as it pertains to Healing: the Intense version sounded fine for its time, but the Retroactive re-issue brings the album up to modern standards.
After opening to portent one minute instrumental “R.I.P.”, album transitions to first full-length vocal piece “Fallen”. What we have is a measured plodder innate to stinging guitars, unfailing bass and artist’s signatures deeply cavernous vocal abilities. The closing minute instrumental run transitions between acidic guitar leads to surprisingly melodic guitar harmonies.
With drum solo to start, “When I Let You In” further elevates the doom overtones with its unearthly feel. It proves even slower, riffs scrape and slither in deliberate fashion, but does not forsake the alluring, validating the distinguished hooks to detach. The catchy underlining groove reminds of Lordchain. Lyric snippet:
Pain is your name
And death is your game
You’re the author of all misery
Blasphemies, insanity
I feel you close
And it starts to burn, yeah
I don’t want to live
Where I’ve been
Drowning in this see of misery
“Seeds Of Sorrow” is first of several up-tempo tracks that serve to uphold that ‘more varied sound’ in question separating Healing from Sacrificium, a mostly slower mid-tempo album. Song, for instance, flies its lengthy with thumping bass underpinning in and out of the mix rhythm guitar while staying true to the catchy proclivity innate to the Healing material.
Second upbeat hard rocker in a row, “My Lies” takes an even more melodic tone with the infectious groove like impetus again pointing to Lordchain. This manifests further in terms of the robust but lower register feel to vocals. It also deserves mention the flawlessly produced crisp rhythm guitar and crystalline guitar leads. Lyric snippet:
Christ died for your pain
Died to the flesh of sin
Salvation comes so suddenly
From the blood that was shed
From Christ we can be free
My lies, your tide
Your hell inside
I will stay in Your way
Aptly entitled “Hooked” proves just that as albums most immediately recognizable. It touches upon an eighties radio friendly vibe, commercial with its draw you in at once hooks but not backing from the Healing ingrained heaviness, noting the intent guitar leads. Am I out of line to suggest comparison to The Cult?
Albums title track represents a return to doom territory. “Healing” proves downtrodden as it gets, somber with its sheering guitar tones and solemn bass, and recognizable in form, catchy with the refrain repeating songs title in disconsolate fashion. Lower register vocals again point to The Cult. Lyric snippet:
Healing is forgiven
Healing is to forget
Healing is to face it
Healing is to walk away from it
Healing is moving forward
Never looking back
Healing is deliverance
From all the pain that tries to come back
Another ominous plodder ensues in “D.O.P.”. What we have is a haunting piece essential to Link’s monster bass line interweaving with open-air guitar for the somber verse sections and fierce energy abounding for the vehement refrain. The teeming creativity helps “D.O.P.” rank with my album favorites.
Albums shortest at three minutes, “Demons” ups tempo with a high-energy and boogie groove that mirrors straightforward hard rock but not without impetus reaching for the decisive and determined. Helping to push the bustling force to the next level is the furious timekeeping of Richart. One cannot deny the refuse to go away initiative. Lyric snippet:
Demons, won’t you leave me be
Can I please be free?
Inside of me
Christ, please free me
I have to leave but
I’d love to stay
But the blood of Christ
Just drives me away
“Never Enough” gives prominence to a bluesy aspect reminiscent to Place Of Skulls. Leisurely and determined, it trenchantly plods its length to gritty vocal harmonies and shuffling guitars while interspersing with quieter moments in which guitars drops from the mix leaving melodic bass to carry the low end. The undeterred guitar leads play a chilling role.
Talk about saving your best for last with five-minute doom ballad “On My Knees”. Song hauntingly drifts to chilling keyboards and forlorn acoustic guitar, upholding an unearthly melody alongside harmonies building upon the downhearted atmosphere. I love how classical guitar carries the instrumental moments. Lyric snippet:
It’s hard to believe
That you’re even out there
I’ve seen it all and
I watched them fall
But if there’s hope
Don’t hold it back
Free me, Christ
From this
Season of black
Of the two nineties era Randy Rose solo albums re-issued by Retroactive Records, I take to Healing slightly over Sacrificium, a fine work in its own right. Healing finds the artist taking the next step in terms of not just production and songwriting but also imbuing his material with an added sense of variety- not just slow, doom-like tracks but also those upbeat and even acoustic. The strong supporting cast of musicians lends further value. If you missed Healing back in the day or interested in an upgraded version, the Retroactive re-issue is strongly recommended.
Review by Andrew Rockwell
Track Listing: “R.I.P.” (:53), “Fallen” (3:09), “When I Let You In” (3:13), “Seeds Of Sorrow” (3:18), “My Lies” (3:43), “Hooked” (4:14), “Healing” (3:32), “D.O.P.” (4:13), “Demons” (2:59), “Never Enough” (3:30), “On My Knees” (5:15)
Musicians
Randy Rose - Lead Vocals
Steve Kumada - Rhythm & Lead Guitar
Ben Jacobs - Rhythm & Lead Guitar
Mike Link - Bass
Don Richart - Drums
Additional Musicians
Ronnie Martin - Keyboards
Ray Rose - Bass (on “Hooked” & “Healing”)
