‘Innerevolution’ was a great record. It highlighted the ferocious talent that Phil Sayce can deploy via a selection of slick, modern blues songs but there was the feeling that the studio muted Phil’s ferocity somewhat, a feeling borne out by ‘Ruby Electric’, a collection of previously unreleased studio tracks recorded on vintage equipment (Volume one) and live tracks (volume two) that display a grit that was only hinted at on the displays of virtuosity on ‘Innerevolution’.
Opening with ‘Let the love in’, the album’s single cut and featuring a guest appearance from Melissa Etheridge who, honestly, has never sounded better, we’re straight into heavier territory and Phil’s guitar bursts out of the speakers in a haze of glorious distortion while both vocalists sound invigorated by the glorious music backing them and put in a full-on, lung-deflating performance. It’s so much rawer, so much more in your face than ‘Innerevolution’ and while I loved that disc, here you can really feel the power of Phil’s guitar playing as if he’s standing in the room with you. It doesn’t hurt that ‘let love in’ is a memorable tune with a hook to die for either. ‘Set us free’ is equally pile driving, with the distortion toned down a touch, but with kenny Arnoff’s drums providing a vicious rhythmic backbone to the song and Phil unleashes an exquisite solo that happily napalms its way across the bridge and outro. It’s invigorating stuff and from the off you can hear, above all else, the sound of the musicians having the time of their lives.
The third track will be familiar to Phil’s fans as it is a live-in-the-studio recording of ‘Daydream tonight’, a melodic gem that shines even more brightly from beneath the roughened edges that this performance gives it, but then Kenny Arnoff unleashes a rhythmic barrage for the opening of ‘King of new Mexico’, a storming, distorted, hard-rocking gem of a track which, along with ‘let love in’ is guaranteed to get you moving. It’s the sort of song that instantly has you by the scruff of the neck and refuses to let you go until it’s infected every part of your being with its sublime, blues-fuelled light and, once again, the biggest sense is that this is a record as much for the musicians, who are playing as if their lives depend upon it, as it is for the fans who will treasure every golden moment of the disc.
Things take a softer turn with the gentle ‘were you there’ which features an astonishing guitar performance from Phil as he heads off on a soulful trip that is the closest this disc comes to the more polished edges of its predecessor. Strong on melody and a rather slower moment than the more instant fix of the other tracks here, it still rouses itself to a glorious crescendo and solo in the second half. Following on from the guitar pyrotechnics of the previous track, the title track rounds out the first half of the album in fine style with a heavy blues riff offset with Hendriz-esque solos scrawled across the whole and a multi-layered vocal that sees Phil straining at the leash via an ode to the power and glory of rock and roll. It’s short, sharp and beautiful and it marks this release out once and for all as a love letter to the ecstasy of standing in a room, guitar in hand and being able to make music.
Volume Two is equally powerful, or perhaps even more so, featuring a pristine selection of live tracks recorded in France, Germany and Holland and mixed by living legend Eddie Kramer (whose credits include Led Zeppelin, Handrix and the Stones…) who captures the raw spontaneity of Phil’s live performance in all its glory. Starting with ‘Helios’ which raises itself out of a mire of distortion and noise to segue into ‘one foot in the grave’ it’s clear that Phil Sayce live is no small thing and both he and the band are smoking hot on the eight tracks represented here. As capable of hitting all the right notes on stage as he is in the studio, Phil is in fine voice while the guitars once again sound like they are burning straight out of a cranked up Marshall rather than coming though the comparatively tame speakers of a home stereo. ‘Powerful thing’ is no less impressive and it has a brutal funk groove that makes you wonder what the Red Hot Chilli Peppers could have been like if only they’d developed their rock side rather than the unit-shifting ballads that graced their latter years.
With a brief smatter of audience banter in French, ‘ Slipaway’ sees Phil head into the heavy blues of vintage Led Zeppelin and while he may not have the range of Robert Plant, he certainly has the dexterity of Jimmy Page and after the floor busting rock of the previous two tracks it’s nice to hear something so traditional played with so much power and passion. ‘Alchemy’ is another throwback to blues history and Phil’s tone here is sublime, laden with just the right amount of reverb while the man himself recalls Clapton in his prime and it’s a beautiful oasis of calm amidst the raging storm that surrounds it, providing a moment for the audience to sit back and just appreciate Phil’s playing skills. ‘Take you away’ brings the rock back in and you can hear Phil’s delight as he spontaneously cries out in time to the intro, and you can imagine him on stage, eyes closed and transported by the music. Penultimate track ‘angels live inside’ is a stripped down blues moment played fast and loose with a monumental solo gracing its second half, before the final song sees Phil unleash his trademark cover of Neil Young’s evergreen ‘Cinnamon girl ‘ segued straight into the Beatle’s ‘I want you (she’s so heavy)’ while the audience roar their approval. It’s a nod to Phil’s skill that he manages to simultaneously cover these well-known tracks with respect and stamp his own unique seal upon them and you’re left on a high, slightly surprised that fifty minutes has passed in such a blur.
‘Innerevolution’ was my first experience of Phil Sayce and it is a great album and a worthy introduction to the man. But where that record only smoked, ‘Ruby Electric’ burns with a very real fire and both blues and rock fans will love the storming tracks, the frenzied lead work and the power of Phil’s voice on this record. Truth be told, the rawer sound suits Phil so well and the relaxed vibe that just plugging in and rocking out brings to this recording a timeless, wondrous feel that puts Phil up there with the all-time greats of rock music and guitar playing. Time and again over this review I mentioned joy and passion and that is what sets this record so far ahead of the competition – this is a beautiful, distorted, passionate, messy blast from start to finish and it’s impossible for the listener not to become caught up in it. This is an outstanding release from an exceptional musician and is thoroughly, unreservedly recommended.
