Sacred Rite

I'm not sure if there is such a thing as a hardcore Sacred Rite fan, but if there is, I am it, and this album shows and justifies why. Sacred Rite, a name not well known even within the heavy metal community. They aren't the most obscure, but they have one of the saddest quality to fame ratios in all of metal. This is classic metal.

You can tell, from the opening bass in "Wings Of Pegasus" that this will be a great album. They are obviously a traditional metal band, but they have a sound very unique to them. Their songs oven rely on bass riffs for the melody just as much as guitar. These songs are also a lot less chorus oriented anthems than many of their peers were. They often lack a distinct chorus altogether, rather opting to have almost a continuous verse. This is different to say the least, and really helps Sacred Rite stand out.

Each song is similar, but has a very distinct identity of their own. The songs never blend together, and it's always always quite obvious when the next song comes on, even if you aren't paying close attention to your music and are listening to it in the background. The production here is not exactly... good. It's noisy and the vocals are killed because of it. It isn't so bad that it takes away from the awesome music, it's just that it would have been very nice for this to have had better production, and it would have really added something to this record.

Guitarist Jimmy "Dee" Caterine provides some great guitar solos and riffs. Bass player Peter Crane is arguably the real standout member from the band. Like John Entwistle of The Who, Crane uses his bass as a melodic instrument that is at the forefront of most Sacred Rites songs, instead of it being used as a regular, boring rhythmic instrument. His bass is also often used in conjunction with Caterine's guitar during solos, and is perhaps even more memorable than Caterine during Caterine's solos! "The Blade" is a great example of this. Vocalist Mark Kaleiwahea is decent. His voice is powerful enough and has enough range to pass my standards, but he isn't anything of exceptional talent. A lot of what makes Mark's voice unimpressive is the production here, as his voice is at least above average during live performances.

If you're a fan of traditional metal you will really dig this album. There isn't a single bad song here in my opinion, and only one song is below exceptional. The songs here are catchy and memorable. I am more of a thrash and death metal fan, and even I will pull this out and listen to it on a fairly regular basis. This is an awesome record, and if you ever find it, you'd be doing yourself a great disservice if you didn't pick it up.

Sacred Rite is basically still an obscure metal band from the '80s. There are TONS of similarly obscure bands from that era, many are way more obscure...and a lot of them are crap. This Hawaiian band, however, managed three albums of classy traditional heavy metal, lifted high above their peers with expert songwriting, amazing playing and an overall approach that was at once easy to get into and not at all dumbed-down. Their self-titled debut remains the strongest of the original triumvirate of S.R. albums. The original vinyl release, in either cover scheme, is a bitch to find, so I recommend you locate the Sentinel Steel CD reissues, which combined the 3 albums, plus bonus tracks, onto two separate releases (Rites Of Passage Vol. 1 & 2).

The album begins with a furious drum beat, speed-metal fast, topped by an incredible run from bassist Peter Crane kicking "Wings Of Pegasus" into high gear. (Crane's bass is as much an axis point in Sacred Rite as Steve Harris is in Iron Maiden.) The Iron Maiden and Judas Priest influences are obvious, though right from the beginning notes Sacred Rite proclaims their own territory, not once ripping off their teachers. Their most similar contemporaries would probably be Tension and their 'Breaking Point' album, another fine, fine piece of '80s trad-metal.

Vocalist Mark Kaleiwahea isn't the kind of helium-high demon you find in these sorts of bands. His voice is in a more sensible register, with a warmth and roundness that belies his young age. He's expressive and exhibits a rare sense of phrasing. Drama flies throughout the album, thanks to songs like "Revelation", "Executioner" and "R.I.P.", and also thanks to stellar lead work from James Caterine and Kaleiwahea...all the while Kaleiwahea only lifts the songs up higher with his confident singing.

Every song is a highlight, each one just different enough from the other, so going into the details doesn't seem necessary. There is one that stands out, not because it's superior, but because it shifts the mood a little. "White Boy" is a more ballsy hard-rock thing, with, dare I say it, a funky groove. It kicks enough ass despite some boy-meets-slut lyrics. Check out the incredible syncopation of the bridge, with drummer Kevin Lum adding a few more layers of Kick-assness. The song was disliked by the band so much that they didn't allow it to make it to the reissues. Strange, and somewhat hypocritical, considering the next album's "Teaser", the whole of the 'IV' album, and most of 'Resurrection' are built on this kind of cock-rock foundation. Alas...

7 songs of pure metal heaven...the high point being what I maintain is one of the most amazing displays of lead-work anywhere in metal, at any time: the solo section in "Executioner". You cannot be without this song if you love leads that perfectly balance emotion and finesse with speed and precision. (What makes this section even more extraordinary is the monster rhythm section offering an incredible foundation to work from.) And you cannot be without this album and call yourself a fan of '80s heavy metal...it's just that simple.